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Warminster in Wiltshire once hosted one of the largest markets in England
and hopefully we'll be keeping that tradition well and truly alive
with lots of selling as Warminster plays host to Flog It.
Warminster was best known for its corn market
which was established in the early part of the 13th century
and it's flourished here for around 700 years.
The market's trade gradually declined because there was no canal
connecting the town and the railway was blamed for diverting traffic away.
By 1900 the great days of the corn market were well and truly over.
100 years later and Warminster is a thriving, modern town.
I'm standing in a recent development known as Corn Market and it features
a gorgeous bronze statue of a young girl sitting at the top
of a stack of grain sacks.
It remains a constant reminder of a bygone age.
We're ready for a day of trading at the Warminster Assembly Rooms
and now it's down to experts, Kate Bliss and David Fletcher,
to lead our team of valuers to sort out the wheat from the chaff.
Kate's lifelong passion for antiques was a bug she caught from
her auctioneer dad, so she has a sharp eye for those hidden gems.
David chooses his items very carefully.
He doesn't claim to be the last of the big spenders.
He once bought a bike at auction for the princely sum of £1!
Coming up on today's show it's first-time nerves for Julia.
-I know this is your first auction?
I'm very excited my heart is pounding.
-But will she cope with the pressure?
-Have I got any discretion?
-What does that mean?
-Will you let it go any cheaper?
And what's got Jane excited?
We'll find out later in the show
but let's get straight down to business
and it looks like the first round is on Angela.
Now you've brought with you a vessel designed to contain my favourite tipple, beer.
It looks to me as if it's Georgian.
Can you tell me anything about it?
Well, I purchased it in a car boot sale, anything up to ten years ago.
I think it may have been between eight and ten years ago.
And the old question, can you remember what you paid for it?
It wasn't any more than £15.
Do you think the people who were selling it to you knew that it was silver?
No. It was actually in a little box which I was actually rummaging around with.
-So you bought a little box for £15 and that included this mug?
A Georgian silver beer mug, it's amazing isn't it, really!
There are four marks.
The first and I suppose really the most important
is the lion standing on all fours, the lion passant in other words.
That mark tells us that it's silver and has qualified for its hallmark.
The second mark we should consider is the crowned leopard's head which tells us that it was
assayed in London and in this instance before 1821...
-we know that because the leopard's head is crowned.
The third mark, "TW"
is the mark of the maker, I think Thomas Whippen, and the
-fourth mark is the date letter which tells us it was assayed in 1767.
George III came to the throne in 1760 so it's an early George III mug,
so a full set of hallmarks in good order.
-Quite often they get rubbed and these haven't been rubbed at all.
One of the things I think is remarkable about this mug is
-that it still has traces of the original hammered decoration.
This is caused really as a by-product of the manufacturing process and with time it more often than
not gets polished away but we can see here quite clearly that that hasn't happened and that is lovely to see.
-We have the sea scroll handle typical of the period with this stylised, stiff leaf capping there,
just what we would expect in the Georgian period.
Also as well I've noticed on the handle there's actually some initials on there.
I don't know whether you can actually tell me about that as well?
Yes. These initials, I think, must be those of a person who owned it.
and I'm absolutely certain they're contemporary with the mug itself.
-I don't think there's any doubt about that, so that's another lovely feature.
In my view this mug given its lovely quality is going to make
in the region of £150 to £200.
-And I would suggest a fixed reserve of £130.
-Just, as I say, to safeguard it, really.
-OK, that's lovely.
-Thank you ever so much.
So with such good provenance, Angela's silver tankard should do well at auction.
Not everyone wants to sell their items but some of them
are so interesting, I just have to take a closer look.
Well, I've got to say, we're having a marvellous day here in Warminster, everybody is thoroughly enjoying
themselves and I've just sat down next to Rosemary who has got a half-finished sampler.
-So how did you come by this?
-My grandmother used to work in
a big house and it was given to her and then passed down to my mother and subsequently onto myself.
What a lovely story, so it's been in the family a long time?
-It has, yes.
-Has it always been in Warminster or in Wiltshire?
No, it started off in London, then into Kent and it came down to Wiltshire with us six years ago.
-You've moved about a bit, haven't you?
-We have, yes.
I love this little sampler. I think because it's unfinished, there's
something quite special about it, because we know who she is.
Her name was Elizabeth Lambridge and it's her work in the year of
our Lord 1771 and for some unknown reason, this is where she stopped.
I wonder what went wrong? I hope it wasn't tragic.
Yes, so do I.
And the condition is absolutely fantastic and there's not a thing wrong with it.
-If it was completed, something like this would be worth around £200 to £300...
-But it's not, sadly.
It's lost half its value - it's probably worth around £100 but it fascinates me,
it's lovely, it really is. I just wish we knew the story...
but that's the good thing about antiques...
it keeps you guessing, it keeps you wondering, doesn't it?
Well, we don't always get to the bottom of the story but Madeleine
knows exactly where her object came from.
Ooh, now that's something a little bit special. Tell me about that?
I bought it here about ten to 12 years ago in a jumble sale.
So when you say 'here', in Warminster?
-Actually in this building.
-In the Assembly Rooms?
-Church jumble sale.
-So what made you buy it?
I just saw a box??
and it was sitting at the bottom. I knew it was gold looking at it.
-So how much did it cost you?
-about 12 years ago?
-OK, so have you worn it? Is it something that you like?
I have worn it, yeah, I did wear it for a while but I think
-it was a man's ring and it was a bit, not very feminine looking.
Well, let's have a closer look at it.
Do you know what the stones are that we've got here?
-They're garnets, aren't they?
-They are garnets. These are a typical blood-red, dark red which is
very akin to the almandine garnet and then the setting and the mount here is gold, you're absolutely right, and
beautifully engraved and we've also got faces on the corners,
haven't we, where the gold has been shaped.
Now there's one thing that puzzles me about this ring.
The gold which is obviously quite a soft metal as I'm sure you know,
is showing quite a lot of wear, obviously on the shank here where it's worn very thin...
-It's very thin, yeah.
-Which suggests to me it certainly is a Georgian ring,
I would say a gent's ring certainly, but the garnets which are set in places where obviously
they're going to be knocked and worn aren't showing very much wear at all.
You'd also expect garnets of this period to be slightly flatter...
-Oh, I see...
-To be cut slightly flatter and I think what we've
got here is a Georgian ring, a Georgian mount and shank but later stones that have been replaced.
-Oh, I see.
-So what about value?
Do you have a feeling about what it might fetch on the open market today?
-No, not really.
-Well, I think you're going to fetch
between £200 and £300 for that and perhaps pitch your reserve at just under that to perhaps the £180 mark.
Are you happy to sell it at that?
Yes, very happy.
OK, well I think for ten pence that's a pretty good return, Madeleine.
Well, it just goes to show it's always worth buying something that catches your eye,
especially if it's just for 10p, and now from something small and light to something big and heavy.
Julia has brought in this rather impressive-looking clock.
Now you must have struggled in with this from the car park!
-Yes, it's very heavy.
-It's a lovely clock.
Now, how long have you owned it?
About 20 years myself, it was my mother's before that and my grandfather's.
-It's a family piece?
-My grandfather used to repair clocks.
-Did he, right.
-So I don't know how he came by it.
-Why are you selling it?
Really because it's living in a box under my stairs and I have no place for it to fit,
really, and it's a beautiful clock but it's just too large and too ornate really for my house.
Yes. Does it keep good time do you know, or...?
It is in good working order.
-When my mother used to have it out in her house yes, it used to keep good time.
-So she did use it?
-Well, I must say that your loss will be someone else's gain.
Well, that's what I feel. At least it might be appreciated a bit more
if it's out being seen, being used - better that than sat in a box.
-We'll start just to discuss the case, if I may.
And the case is made of
ormolu which is a gilt bronze.
Stylistically, it owes its origins really to the 18th century.
These figures, in particular these cariata figures,
these so-called stiff leaf scrolls and things are all typical of the
18th century but in fact it was made in the late 19th century.
It's French, as we have said, fabulous quality and also in remarkably good condition.
I must say, when I first saw it I rather thought it had been
-re-gilded because it was shining across the room...
Glittering away but it hasn't...
I'm sure this gilding is entirely original.
That suggests to me that it's been kept under a glass dome.
Oh, right, yes.
Since I've had it, it never has been, but...
-Maybe the glass dome doesn't survive?
-No. It's worth a significant amount of money as you probably know.
Do you have any notion of how much it might be worth?
Somebody did recently say possibly about
£500 but whether that's sort of in the ball park, I'm not really sure.
Well, I think we can go a little bit higher than that.
I would like to think that this could make £1,000.
And I think an estimate of £800 to £1,200 would be suitable
and if you're prepared to agree a reserve of £800, I would be inclined to go ahead on that basis.
The money isn't so much the issue, you know. It would be nice to see somebody else appreciate it.
OK, so I look forward to seeing you again in the sale room.
Your clock will be there and I hope we have a jolly good day.
-Yes, me too.
-We'll it's been hidden away in a box but it could be about to make Julia a lot of money.
We're selling our items at Henry Aldridge Auctioneers just down the road in Devizes.
The man in charge, Alan Aldridge, has some news about Madeleine's ring.
Madeleine contacted me and the reserve on the day she decided
-she would like to alter, she'd like to raise it to £250.
And because of that, we've had to raise the estimate as well...
£250 to £350 because we can't have an estimate lower than the reserve.
Exactly. Do you think that's now too punchy, £250 to £350?
No, I think it's tight, but I still think it's achievable.
-It's a pretty, pretty ring and for a collector of this sort of thing, who knows!
-OK, well that's what auctions are all about.
-That's what it's about.
That's the exciting part.
You're going to get on the rostrum and do your best.
-I'm going to try.
-Fingers crossed we'll get the top end of the estimate.
Will Madeleine's new reserve affect her chances? We'll find out in just a moment.
First, though, here's a quick reminder of the other items about to go under the hammer.
Angela's silver tankard was valued by David at £150 to £200 and Julia's ornate clock was
also valued by David at £800 to £1,200.
You could say time is up, literally, for Julia.
We're just about to sell that gilt clock, the French clock.
It's a very showy piece and we've got £800 to £1,200 on this.
I was concerned I might have gone in a bit strong but, Paul, I think, and I think you agree with me, if you see
something of good quality you owe it to that item to quote good money, really.
It's very easy to under-quote and think well, it will fly away but I think it just deserves a proper,
realistic estimate in order to make it do its best.
-We shall see.
-We're going to find out, aren't we!
It's ticking away right now, this is it.
Good luck, Julia and I know this is your first auction?
-I'm very excited...
my heart is pounding.
The Empire-style mantel clock.
Four, get me away?
I heard a little three somewhere!
Three I've got.
Well, it's a start.
-My heart's beating as well, I can tell you!
God, this is slow-climbing.
At 550. Six.
At 650. I'll take 25 if it helps.
Seven, seven and a quarter?
-Have I got any discretion on this?
-He's asking for discretion.
-Is there discretion?
-What does that mean?
-Will you let it go any cheaper?
-If in doubt, say no.
-Oh, right, no.
At 725, 725. Is there 750?
At 750 and that's not enough.
-Didn't sell it.
-What a shame.
So close, so close, £50 away.
I had a feeling that is a bit...
-Yes, you're right.
-I'm sorry, but...
-Well, that's OK.
-We did our best I think by putting that sort of estimate on it.
Well, it's been an interesting experience and I've really enjoyed it.
Despite Julia's inexperience, she kept her wits about her and stuck to her guns.
The clock is going home and at least she hasn't sold it for less than she wanted to...
And now it's time for Madeleine's ring.
I hope with the new reserve, we're not going to be sending another item home!
We know since that day at the valuation day you've
put the price up to £250 to £350, that's what you feel it's worth, fixed reserve at 250.
-Why did you do that?
Because I don't really mind if I sell it, actually, so I thought I'd
-rather keep it than let it go for next to nothing.
Alan feels it just might struggle at that, it just might.
-Mmm, I mean hopefully...
I mean, I did estimate it at £200 to £300 but that's more
to encourage the bidding in a way, just to creep it up a little bit might put them off, but we'll see.
But hey look, this is auctions and it could fly away...
could make £400, couldn't it?
-I should be so lucky!
-Well, you don't know, do you?
It's a garnet poison or mourning ring.
150 to start me. 150 I've got.
Right, we're in.
230, 240, 250.
-He's sold it!
I'm now out on the book.
Is there 260? All going.
Yes, the hammer's gone down. Well done, Kate, it made estimate.
-You've got what you wanted.
Well, that's a relief and Madeleine goes home without the ring but with a big smile on her face and
now Angela is hoping to raise some money towards a big family event by selling the silver tankard.
-So your daughter is getting married?
-Yes, she is.
Jessica and Carl are getting married next July.
-First marriage in the family?
-It certainly is.
-Isn't that exciting!
It certainly is, I'm really looking forward to it.
-Well, we've got £150 to £200.
It's a nice piece of silver.
Good crisp hallmarks and it's in lovely condition.
-And it was got at a car boot sale as well.
-That's certainly right!
A tankard, a very nice little tankard.
Somewhere around about 125.
125 I've got. At 125.
Five more pounds and you've done it!
140, 150, 160, 170,
-This is good.
At 190, is there 200 anywhere else?
At £190 all done?
-The hammer has gone down.
It just goes to show what you can pick up
if you keep your eyes open at car boot sales.
-That's a good start to the wedding fund. Keep it up and enjoy that big special day.
-I hope the sun is shining.
-Thanks ever so much.
A super result for Angela and a handy contribution to the wedding fund.
In the 1950s, two American friends,
a wealthy collector called Dallas Pratt and an English-born antiques dealer named John Judkin
began to realise a shared vision of creating a unique museum, the likes of which had never been seen
anywhere else in the world before.
Dallas wanted to show that America contributed a great deal towards the decorative arts
and having the kindred spirit in John was the perfect partnership, really,
because it combined Dallas's cheque book with John's business contacts.
Together they acquired a great deal of furniture and objects representing
the cream of the craftsmanship and the folk art of America throughout the centuries
and then they had it shipped all the way over to England.
Claverton Manor near Bath was just a stone's throw away from where John's business was based.
So when the opportunity arose to purchase the place, they both jumped at it.
It was the perfect location to display their collection of Americana.
Today, the collection is maintained by curator, Laura Beresford.
Laura, I love this room, I really do. I could live there!
It's wonderful, isn't it?
I want you to imagine that we've now gone back to late
17th century Massachusetts.
It's a puritan household austere household, but as you can see,
still lots of wonderful decorative items.
So how long did it take to get this sort of broken down
from the house it came from and how did you get it in?
Well, our founders were always very, very keen that their decorative arts
collection be showcased in period room satins because they wanted to
give people a sense of how life was lived and one of our founders had an export business taking European
furniture over to the States and then all these containers were coming back empty so he decided to fill them up.
What happened then? It must have been like one big jigsaw puzzle because it was all in bits?
It's funny you should say that because the guy that was responsible for
putting all those bits together did talk about it being a "nightmarish jigsaw". That was his phrase.
He would go to sleep dreaming of cornicing, you know, bits of plank pursuing him along corridors.
-Who was this guy? Was he a tradesman?
-He was a tradesman.
He was a restorer and his name was Nick Bell Knight and he was a bit of a magician and without him the museum
would not have been the success that it is because he spent two years reassembling all these bits
into these wonderful period room satins and doing it seamlessly in chronological order.
-That's what is so amazing!
-He's got a fabulous eye!
It isn't just furniture here. With the emphasis on decorative arts, the museum also holds the
biggest and best collection of American quilts in Europe.
Let's have a look at a couple, shall we?
-You do the turning.
This is one of my favourite types of quilt. This is a Hawaiian quilt.
-Hawaiian! I mean why would you need a quilt in Hawaii!
There's a very nice story behind this.
When the European missionaries went over they were slightly appalled at all the dancing the island girls
enjoyed and so they wanted to distract them, they wanted to Europeanise them.
So that was a call to say, "Come on, stop dancing, stop stripping off and start doing something practical!"
Well, not only to be practical but to become a European lady or to become
familiar with what is acceptable as a lady.
It's a discipline really, isn't it?
Absolutely! It was a means of social control, really.
Have you got a favourite? Is it hiding behind here?
It is a funny favourite and it's this one here.
-What type of bird do you think that is?
I guess I'd say a dove, really!
-I don't know!
-Well, actually they're supposed to be representations of eagles so we're talking about
the great seal of America, this great majestic bird, but they actually look to me like sort of very plump turkeys
which have been shot and this is the explosion in the centre and they're all lying on their back
in the farmyard, but I just find this wonderful because it's just so funny and so comical.
That looks like it's the star of the show, this one.
-It is astonishing, isn't it? It's more or less ten feet square...
And it would really swamp a bed, wouldn't it?
-So the remarkable thing about these quilts is that they weren't actually intended to be used.
These were often given as wedding presents and individual people would make up
each of the blocks which would then be sewn together as the quilt and they're called "album quilts"
because they basically take up the same type of task as an autograph album.
You know you write sweet mementoes wishing them the best for their married life,
for their new home. It's more or less as it was when it was presented to these people in 1847.
So, you've given me a wonderful guided tour of the museum. Thank you so much.
It's a pleasure. Thank you.
Back in our valuation day in Warminster Experts, Kate Bliss and David Fletcher, are busy looking
out for more treasures to take off to auction.
Kate has spotted a little plate brought in by sisters, Anne and Sue.
So how did you come to acquire this?
We bought it at a car boot sale.
-Local to here?
Well, look on the back
first of all and we can see the manufacturer is Minton's, one of
the leading porcelain factories in England in the 19th century
and known for its bone china particularly.
Based in Stoke-On-Trent of course, and some people called it the Sevres of Stoke on Trent -
Sevres of course being the leading porcelain manufacturer in France
because Minton's produced bone china, which had a similar feel to the French hard paste porcelain,
but they were also very much influenced in their designs and decorations by French designs,
and here you can see, first of all
on the children's or the fairies' clothing, you can see the colours.
The enamels they've used are pale pastels -
blue, pink and yellow.
Very much used in France so I'm talking about enamels because it is hand-painted. There's nothing printed
about this plate and if you look very, very closely
there's a signature,
-did you know that?
Underneath here is the initial "A"
and the name is Boullemier.
He was a French artist invited by Solon, the director, also a French
man at Minton to come and decorate the Minton porcelain
and he came over to the Minton factory in 1872
and he is most associated with these cupid-like figures, if you like.
Very commercial subject and why?
Because Minton was aiming their wares across the Atlantic
-to America because on the back...
-We did spot that.
You noticed that, the retailers, Fifth Avenue, New York.
So, a very commercial little plate.
So what about value?
How much did you pay for it, first of all?
Well, at auction I think your £3 should turn into £100 because I would estimate this at
probably £80 to £100 but I think this particular design doesn't come up
that often so I think at £80 to £100
you're going to certainly attract collectors
and it should make the top end of the estimate.
-Well, you seem like a very good team to me.
The items people bring in come from all sorts of places.
Anne and Sue spotted their plate in a car boot sale,
but Brenda's tea set has been in the family for a very long time.
I love this.
-It's by Susie Cooper as I'm sure you know.
-How long have you owned it?
-It was a wedding present.
Yes, and it's only been used once in the whole time.
In all that time. Gosh. So it's been in your hands ever since?
-Susie Cooper was an important designer.
Quite rare, because there weren't many lady designers working in industry and she became
governor of her own firm. I mean the company became known as Susie Cooper
so she was successful both in an artistic sense
and in a business sense and it shows here, doesn't it?
-This shape is known as the falcon shape for obvious reasons, really.
If you look at the spout in profile it looks rather like a
falcon with its bill taking the form of the spout and it's
classic Art Deco. It's streamlined a bit like a racing car -
the finial, the handle, both pick up on that.
And, Brenda, the fact that this was designed in the 1930s or at least
the shape was designed in the 1930s is confirmed if we look at the mark,
-which is from the 1930s.
-Even though as you say, it was bought in 1955.
Which I think tells us that the pattern, the decoration, is actually
a bit later so we have a 1930s shape decorated in the mid 1950s.
-If anything, I think that makes it more interesting.
It's in perfect condition. A slight sort of "crazing" which you do get. I suspect it's just age which
has caused the glaze to shrink really, but no chips or cracks.
-No, not at all.
Why are you thinking of selling it?
Well, as I said, it's only ever been used the once and it's just in the sideboard all the time and
somebody else who collects this Susie Cooper might be more appreciative of it.
-Time for a change and there will be people out there who will love to get their hands on this.
-I think this is going to make somewhere between £40 and £60.
-How about a reserve of £30?
-That sounds reasonable, yes.
-OK, thank you for bringing it in and I'll see you at the sale.
-Thank you very much. Thank you.
Jane also has a family heirloom she wants to sell
and Kate takes a closer look.
Jane, this is a beautifully tranquil English scene. Where did it come from?
It was my granny's and it hung in her house for many years so she'd had it a long time,
but Granny died quite some years ago
and she handed it onto my mum so it actually belongs to my mother now.
OK, so do you know anything about where it is, first of all?
-Yes, I think that's the Trent...
And I think that bridge is something like the Saxby Bridge, but I'm not
sure, but it's where the Trent, the Derwent and the canal meet.
-Aah, is it?
-It's quite a famous bridge in the area. It's Derbyshire.
Quite a spot? Well, the artist, Frank Gresley, who has signed himself
just down here quite clearly, came from a very well-known family of painters
based in Derbyshire and he was known as the "old man of Chellaston"
because Chellaston was where he lived for most of his life where he was based.
Now he had two sons, Harold and Cuthbert, also painters and water
colourists but Cuthbert in fact painted on ceramics and he joined the Royal Crown Derby
porcelain factory in 1893, but Frank Gresley as 'the old man' if you like,
was born in 1855 and died in the
1930s and I would say this picture is typical of his sort of later output in the early part of the 20th century
and it is really so English, isn't it,
right down to the costumes here the figures are wearing -
Edwardian, late Victorian, Edwardian dress.
This gentleman here with his scythe and his sleeves rolled up
and the ladies here on the bank
and you can feel the warmth in the English red brick houses.
-Along the banks here.
There is a little bit of an issue with condition.
I can tell it's been on a wall, it's slightly yellowed and you
can see that particularly around the clouds here and in the sky
-and we've got a problem with foxing...
Which are these brownie patches that dot particularly the sky,
but a good restorer could certainly get rid of that quite easily,
but in terms of value, that will bring the value
down a little bit. But it certainly ought to fetch between 400 and 600.
OK, yeah, that sounds good!
-Will you be sad to see it go?
-No, because nobody likes it.
We call it the "Grisly Gresley"!
Oh, really! That's a bit sad! I can't think that this could be further from grisly.
-I think it's beautiful!
-Yeah, I do! It is a quintessentially English landscape, isn't it?
-It is, it is.
It may be "Grisly Gresley"
to Jane, but I'm sure someone will take a shine to it at auction.
Auctioneer Alan Aldridge is worried
about Kate's estimate on Anne and Sue's plate.
This plate by Boullemier was bought at a car boot sale in Salisbury two years ago for guess how much money?
-Well, if they were very lucky, two or three quid.
-Yep, you're right.
£3 exactly and we're hoping it's worth £80 to £100.
I think that's a bit "toppy".
It's got a few things in its favour, but I would say
it's touch and go. At three quid, I would say it's a blinder!
Yeah, well of course, yeah!
OK, if this had come to you and you had to give a valuation
at the front door, what would you have said?
I think I would have said probably 50, somewhere around there.
I don't think I would have gone much above 50.
OK, we've got a reserve at £80 with a bit of discretion, so hopefully your top end may be our lower end?
-Yeah, and again good subject and a decent maker. It's a fairly good combination.
I think if we had a little old lady on there, the three quid at a boot sale would have been over the top,
or a little old gentleman like me at a boot sale it would have been very well over the top!
Two children, nice subject and that will help it.
Fingers crossed, OK.
So, has Kate overestimated the value of the plate?
We'll find out shortly.
And the other items we're selling are
Brenda's breakfast set valued by David at £40 to £60
and Jane's painting valued by Kate at £400 to £600.
Coming up, it's Anne and Sue's little plate.
-So who spotted it first?
-Did you dive in on it and say, "Yes, here you are, £3?"
-No, not at all.
OK, let's hope we get the top end of Kate's estimate, hopefully £80.
I hope so, yes. It's such a charming little image of those two skaters and it's Minton at its best.
Yes. Well, Alan said it's a lovely image and that's hopefully what will get it away.
He said it might be just a struggle, but it hopefully will get away.
The Minton plate, 50?
Anyone want to start me at 30?
It's a pretty plate. Anyone want to start me at £30 on it?
-Cor, it's falling flat, in the room!
No. No-one want to start me at 25 on it?
Come on, come on, a couple more bids.
Ladies and gentlemen, we'll pass that, then.
-It's not selling. I'm really sorry.
We were close,
but it just wasn't enough.
I think the reserve was just a little bit too high.
There's another day and another auction room.
That's right! I mean things change so dramatically in a different auction house on another day and the thing
is, you picked up a cracking bargain and a really nice quality plate and I think the money is there, or
thereabouts, so I think it's probably a good thing if it didn't go because
-you've got it to try it on another day.
Anne and Sue will be taking the plate home, but at least they have a good idea of its value
and I'm sure it won't be long before they turn their £3 investment into a pocket-full of money.
Now it's Brenda's breakfast set which she only ever used once
in 54 years but are the right bidders here?
Right, we've got some Susie Cooper. It's a top name in ceramics design, it's a breakfast set going under the
hammer for £40 to £60 belonging to Brenda.
Now, you're selling this because you want to divide the money up
for the kids don't you, really, in a way?
Well, probably, yes.
-Because they don't want it, do they?
-No, they don't.
-No, not at all.
-We don't, either!
-No! We never have breakfast in bed!
Susie Cooper is a brilliant name. It's a name to look out for,
it really is and I know that's kind of why you focused on that so much?
Well, it characterises a style. It just sums up the Art Deco style.
It sums up the modern movement in architecture as well.
It just speaks of the 1930s and things should speak of their period, really,
and this does.
It's a nice little set, this.
20 I've got, 20 I've got, five.
-30, five, 40, five, 50...
Five, 60. At £55, 55 is there, 60, at 55.
I'm not going to dwell on it. At 55...
It's going to sell.
At 55, all done.
-That was good, that was good.
-Yes, I'm quite pleased with that.
-I'm very pleased with that!
Well, that was short and sweet, but it made David's estimate.
Next up, it's that unloved painting belonging to Jane.
We've got £400 to £600 on this and you refer to this painting as
-"Grisly Gresley", because you don't like it?
-Not very much!
I think it's wonderful!
Hopefully we'll get that top end and I know you think that way as well?
Well, I'm really hoping and it's a lovely Derbyshire scene.
He's from a well-known family of artists, the Gresley family,
and I think it's beautifully painted.
It's just whether we've got a Derbyshire landscape lover
in the room today!
Right, next I have a watercolour by Frank Gresley.
180. 200. 220.
At 620 on the phone.
At 620 for the last time.
-Yes, the hammer has gone down.
At £620! You've got to pleased with that!
Very! Mum will be very pleased.
The "Grisly Gresley" has gone, and well done, Kate, for your estimate.
It's a good price and in the current market when watercolours
-are a little bit unpredictable, I think it's a fair price.
52. 100. Seven.
Well, that's it. It's all over for our owners.
We're coming to the end of another show.
As you can see, the sale is still going on.
We did walk the tightrope today, a few close shaves, but in the end, everybody did go home happy and
that's the name of the game. If you would like to take part in Flog It!
and you've got some antiques to sell, we would love to see you and hopefully we're
coming to a valuation day very near you soon, but from Wiltshire, until then it's cheerio.