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We're in the heart of Thomas Hardy country in Dorchester. | 0:00:03 | 0:00:06 | |
Hardy was born just three miles away from here, | 0:00:06 | 0:00:08 | |
and the fictional setting of Casterbridge | 0:00:08 | 0:00:11 | |
was inspired by the town. | 0:00:11 | 0:00:13 | |
It remains to be seen if we'll be inspired by the antiques | 0:00:13 | 0:00:15 | |
and collectables our crowd have brought along to "Flog It!". | 0:00:15 | 0:00:19 | |
This is where it all starts - a "Flog It!" evaluation day. | 0:00:41 | 0:00:44 | |
Today, we're in the heart of Dorchester. | 0:00:44 | 0:00:45 | |
As you can see, it's a busy little town. | 0:00:45 | 0:00:47 | |
Our venue for the day is the Dorford Centre. | 0:00:47 | 0:00:49 | |
We've got hundreds of people queueing up in the rain. | 0:00:49 | 0:00:52 | |
Somebody in this queue is going home today with an awful lot of money. | 0:00:52 | 0:00:55 | |
They don't know what they've got in their bags and boxes. | 0:00:55 | 0:00:57 | |
Our experts will let them know later on when they get inside, | 0:00:57 | 0:01:00 | |
and then we'll put that valuation to the test, | 0:01:00 | 0:01:02 | |
so keep watching, cos there's going to be one or two surprises. | 0:01:02 | 0:01:05 | |
Leading that team of experts are Mark Stacey and David Fletcher. | 0:01:08 | 0:01:13 | |
Mark started out on his career in antiques in his 20s, | 0:01:13 | 0:01:16 | |
selling silver from a stall at fairs. | 0:01:16 | 0:01:19 | |
David got hooked on antiques even earlier, | 0:01:20 | 0:01:22 | |
thanks to watching the great Arthur Negus on Going For A Song. | 0:01:22 | 0:01:26 | |
So, with over 50 years of experience between them, | 0:01:26 | 0:01:28 | |
they should know exactly what to look for. | 0:01:28 | 0:01:31 | |
Well, I certainly hope so, or we could be in trouble. | 0:01:31 | 0:01:34 | |
Let's have a look at what's coming up on today's programme. | 0:01:34 | 0:01:38 | |
Mark uses all his charms to get his own way. | 0:01:38 | 0:01:40 | |
I'm so pleased. I'm really excited. | 0:01:41 | 0:01:43 | |
Les and Marion get asked a sporting question. | 0:01:44 | 0:01:47 | |
Was she a cricketer herself? Oh, God, no. | 0:01:47 | 0:01:50 | |
And Mark's worried that Chris has been subjected to noise control. | 0:01:50 | 0:01:53 | |
So, you've offended all your neighbours | 0:01:53 | 0:01:55 | |
with your Sherlock Holmes impression. | 0:01:55 | 0:01:58 | |
And Mr Stacey is not wasting any time. | 0:01:58 | 0:02:00 | |
He's quickly plucked Daphne out of the queue. | 0:02:00 | 0:02:02 | |
Where did you get such a lovely looking object? | 0:02:02 | 0:02:05 | |
I inherited it from my grandparents. When was that? | 0:02:05 | 0:02:09 | |
Ooh, about 25 years ago. | 0:02:09 | 0:02:10 | |
And obviously you keep everything spick and span in your home, | 0:02:10 | 0:02:13 | |
cos it's beautifully clean. I cleaned it last week. | 0:02:13 | 0:02:16 | |
I knew it, I knew it. I could tell. It was my daughter getting at me. | 0:02:16 | 0:02:21 | |
So, tell me, where has it been living for the last few years? | 0:02:21 | 0:02:23 | |
Just in the cabinet. Just hidden away, not really looked at? | 0:02:23 | 0:02:26 | |
Not really any notice taken of it until I cleaned it | 0:02:26 | 0:02:29 | |
and I thought, "Oh, I must know more about that." | 0:02:29 | 0:02:32 | |
I think the important thing to look at this is the date on it. | 0:02:32 | 0:02:35 | |
It's clearly hallmarked for 1908/1909 | 0:02:35 | 0:02:38 | |
and it's got this really appealing architectural side. | 0:02:38 | 0:02:42 | |
Actually, the silver is very easy... | 0:02:42 | 0:02:44 | |
They cheat a lot of these things. | 0:02:44 | 0:02:46 | |
It's moulded, it's pressed out in a mould, really, | 0:02:46 | 0:02:48 | |
and then applied on, | 0:02:48 | 0:02:49 | |
but it does give a rather nice dramatic look and it makes it | 0:02:49 | 0:02:53 | |
look a lot more expensive than it actually was to make. | 0:02:53 | 0:02:56 | |
Unfortunately, you haven't been very good with it, have you? No. | 0:02:57 | 0:03:01 | |
You've broken it on the corner there. Was that you? | 0:03:01 | 0:03:04 | |
No, I didn't do the break, | 0:03:04 | 0:03:05 | |
but the little pins came out when I cleaned it one time and I lost them. | 0:03:05 | 0:03:09 | |
Oh, no. Well, that's destroyed the value. Has it? | 0:03:09 | 0:03:13 | |
No. | 0:03:13 | 0:03:14 | |
No, I really like it. I mean, it will appeal to a certain collector. | 0:03:14 | 0:03:19 | |
The style of it is very nice. | 0:03:19 | 0:03:20 | |
If we were putting it into auction, | 0:03:20 | 0:03:22 | |
I would have thought it's going to fetch the sort of ?100 mark. Really? | 0:03:22 | 0:03:28 | |
Yes. Does that excite you? Oh, yeah, I'm excited. Oh, good! | 0:03:28 | 0:03:32 | |
I would like to put an 80-120 on it. | 0:03:32 | 0:03:34 | |
But with a reserve of 80, and hopefully, on the day, | 0:03:35 | 0:03:38 | |
we might get up to sort of ?120, ?140. | 0:03:38 | 0:03:40 | |
Oh, wow. I'm so pleased. I'm really excited. | 0:03:40 | 0:03:43 | |
And what's more, time will tell at the auction. | 0:03:45 | 0:03:48 | |
Oh! Very good. I look forward to seeing you. | 0:03:48 | 0:03:51 | |
That's right, Mark, we'll certainly find out at the auction | 0:03:51 | 0:03:54 | |
if all that excitement is warranted. | 0:03:54 | 0:03:56 | |
David's hoping there's just as much enthusiasm for his cricket | 0:03:56 | 0:03:59 | |
souvenir that Les and Marion have brought along. | 0:03:59 | 0:04:02 | |
Thank you for bringing in this cricket bat. | 0:04:03 | 0:04:06 | |
Or at least quarter size cricket bat, with some very juicy | 0:04:06 | 0:04:11 | |
autographs on it, if you're interested in cricket, as I am. | 0:04:11 | 0:04:15 | |
I say it's a quarter size bat. | 0:04:15 | 0:04:18 | |
I suspect it was made in order to be autographed. How did you come by it? | 0:04:18 | 0:04:23 | |
It actually belongs to my landlady. | 0:04:23 | 0:04:26 | |
And she asked me to bring it along to find out about it. | 0:04:26 | 0:04:30 | |
So, you've communicated with her and she's happy for us to sell it? | 0:04:30 | 0:04:34 | |
Yeah. Good. | 0:04:34 | 0:04:35 | |
Was she a cricketer herself, do you think? Oh, God, no. No. | 0:04:35 | 0:04:38 | |
It can be quite boring, cricket, actually. | 0:04:40 | 0:04:42 | |
As much as I love it... I must say, I tend to like test cricket | 0:04:42 | 0:04:46 | |
more than Twenty20 cricket and this sort of thing. | 0:04:46 | 0:04:49 | |
And this cricket bat relates to a test match. | 0:04:49 | 0:04:52 | |
And it is autographed with the signatures of both sides | 0:04:52 | 0:04:58 | |
who took place in this test in 1938, at Lords, | 0:04:58 | 0:05:03 | |
and this was the last Ashes Test before the war. | 0:05:03 | 0:05:07 | |
Most notable of all, of course, is Don Bradman. | 0:05:07 | 0:05:09 | |
Now, by his standards, | 0:05:09 | 0:05:11 | |
Don Bradman didn't score a huge amount of runs in this match. | 0:05:11 | 0:05:15 | |
He got 100 in the second innings, but Wally Hammond, I think | 0:05:15 | 0:05:18 | |
I'm right in saying, because you've done a bit of research yourself, | 0:05:18 | 0:05:21 | |
scored a double century... 240. | 0:05:21 | 0:05:24 | |
240. And it was a high-scoring draw. | 0:05:24 | 0:05:27 | |
It was very high scoring, yeah. | 0:05:27 | 0:05:29 | |
It's a very collectable thing, of course. | 0:05:29 | 0:05:32 | |
Sporting memorabilia has come on a lot, really, in the past few years. | 0:05:32 | 0:05:36 | |
I've done a bit of homework on this | 0:05:36 | 0:05:39 | |
and we think that it's going to make somewhere in the region of 250-350. | 0:05:39 | 0:05:45 | |
The bulk of that value lies in these autographs that we've discussed. | 0:05:46 | 0:05:50 | |
My opinion would be that we offered it | 0:05:50 | 0:05:54 | |
with an estimate of say 250-300, | 0:05:54 | 0:05:59 | |
and a reserve of 220. | 0:05:59 | 0:06:01 | |
Just tuck it in under the bottom estimate. | 0:06:01 | 0:06:04 | |
Now, it belongs to your landlady. | 0:06:04 | 0:06:06 | |
Do you think that reserve should be fixed? Definitely, yeah. | 0:06:06 | 0:06:10 | |
She's rather careful with her money. | 0:06:10 | 0:06:12 | |
Oh, good for her, and we don't want you getting into trouble, | 0:06:12 | 0:06:14 | |
getting thrown out, that would be awful. | 0:06:14 | 0:06:16 | |
OK, 220 fixed, then. OK. Excellent. | 0:06:16 | 0:06:20 | |
Thank you. | 0:06:20 | 0:06:22 | |
Yes, it's always better to stay on the safe side. | 0:06:22 | 0:06:25 | |
We don't want anybody to be homeless on this show. | 0:06:25 | 0:06:28 | |
Now, not everyone who turns up wants to flog it. | 0:06:29 | 0:06:31 | |
Oh, look at that. | 0:06:32 | 0:06:35 | |
In original box. Yeah, original box. | 0:06:35 | 0:06:38 | |
Chad Valley. | 0:06:38 | 0:06:39 | |
I've had that when I was eight year old. | 0:06:39 | 0:06:43 | |
Have you? Yeah. In 1922. | 0:06:43 | 0:06:46 | |
Is this something you're thinking of selling? No, I just want to know... | 0:06:46 | 0:06:50 | |
You just to know what's it worth. Yes. You're not going to sell it? No. | 0:06:50 | 0:06:54 | |
OK. | 0:06:54 | 0:06:55 | |
Do you know, there are a lot of people out there that collect | 0:06:55 | 0:06:58 | |
toy tractors and farm vehicles. Yep, there's a big market for it. | 0:06:58 | 0:07:01 | |
There really is. | 0:07:01 | 0:07:03 | |
Chad Valley is a great make. | 0:07:03 | 0:07:04 | |
And the condition... Well, it's almost perfect, isn't it? | 0:07:04 | 0:07:07 | |
I think, if you put this into auction, because of its box | 0:07:07 | 0:07:10 | |
and its very good condition, you're looking at around ?200-300. | 0:07:10 | 0:07:13 | |
Am I, really? Yeah. | 0:07:13 | 0:07:15 | |
That's what the collectors want. The collectors want the best. | 0:07:15 | 0:07:18 | |
They are the fussiest people on the planet. | 0:07:18 | 0:07:20 | |
And one of the other fussiest people in the world is Mark, | 0:07:22 | 0:07:24 | |
although that should come in very useful for Chris's valuation. | 0:07:24 | 0:07:28 | |
Now, we don't get any prizes for knowing what's inside this box. No. | 0:07:28 | 0:07:32 | |
But before we have a look at it, | 0:07:32 | 0:07:33 | |
can you give us a little bit of the history? | 0:07:33 | 0:07:35 | |
Well, I believe it belonged to my grandfather, | 0:07:35 | 0:07:39 | |
and then my mother died and we found it in the house. | 0:07:39 | 0:07:42 | |
I took it over and I got it restored. | 0:07:42 | 0:07:45 | |
The restorer said it was a very good one. Even he couldn't afford it. | 0:07:45 | 0:07:49 | |
Oh, really? So... But I thought I wanted to play, but I can't. | 0:07:49 | 0:07:53 | |
So I put it in the cupboard until I heard you were coming | 0:07:53 | 0:07:56 | |
to Dorchester and decided to dig it out. | 0:07:56 | 0:07:58 | |
Oh, wonderful, so you've offended all your neighbours | 0:07:58 | 0:08:01 | |
with your Sherlock Holmes impression? | 0:08:01 | 0:08:03 | |
..playing the violin... But it's wonderful. | 0:08:03 | 0:08:05 | |
Let's have a little look, because I'm not a violin expert, | 0:08:05 | 0:08:09 | |
but the name was quite interesting, | 0:08:09 | 0:08:11 | |
cos obviously a lot of the violins we see | 0:08:11 | 0:08:13 | |
have got Stradivarius inside them | 0:08:13 | 0:08:15 | |
and we know they are sort of Korean or German or Austrian fakes. | 0:08:15 | 0:08:19 | |
You know, they're not worth very much money, | 0:08:19 | 0:08:21 | |
they're quite good for children to learn on. | 0:08:21 | 0:08:24 | |
See if they have an aptitude for playing the violin. | 0:08:24 | 0:08:26 | |
But this one immediately struck me just because it's got the maker's | 0:08:26 | 0:08:30 | |
name of Buthod inside, which I think is the right way of pronouncing it. | 0:08:30 | 0:08:34 | |
French maker. | 0:08:34 | 0:08:36 | |
The last half of the 19th century. | 0:08:36 | 0:08:38 | |
So I think, from the mark | 0:08:38 | 0:08:39 | |
and from what I've been able to do, limited research wise, | 0:08:39 | 0:08:43 | |
it's about 1870, give or take, you know, ten years or so. | 0:08:43 | 0:08:47 | |
Which makes it a lot more interesting. | 0:08:47 | 0:08:50 | |
What's your feeling about price? About ?500 to ?700. | 0:08:50 | 0:08:54 | |
I think I would agree with that. | 0:08:54 | 0:08:56 | |
I mean, I'd like to say that we're being realistic on that. | 0:08:56 | 0:08:59 | |
I think it just will depend on the day. Yes. | 0:08:59 | 0:09:02 | |
You know, I think it's sensible to put a reserve of 450 on it. | 0:09:02 | 0:09:05 | |
So we don't sell it below that and actually, you know, | 0:09:05 | 0:09:08 | |
it could do rather well. | 0:09:08 | 0:09:10 | |
The other reason I was quite interested in doing it was because | 0:09:10 | 0:09:13 | |
I do another show for the BBC, which you might watch, | 0:09:13 | 0:09:16 | |
called Bargain Hunt. Yes. | 0:09:16 | 0:09:18 | |
And I had a very fun pair of students once, | 0:09:18 | 0:09:21 | |
up in Grimsthorpe Castle, | 0:09:21 | 0:09:23 | |
and we were walking round in the pouring rain | 0:09:23 | 0:09:25 | |
and we found a violin for ?150 and it later sold for ?580. Very good! | 0:09:25 | 0:09:32 | |
So it was one of my highest profits, if not the highest profit for me. | 0:09:32 | 0:09:36 | |
But hopefully, if we put that estimate on with that reserve, | 0:09:36 | 0:09:40 | |
we might end up making sweet music at the auction. | 0:09:40 | 0:09:42 | |
Are you happy to leave it? I am, yes. | 0:09:42 | 0:09:45 | |
And are you going to spend the money to buy another musical instrument? | 0:09:45 | 0:09:48 | |
No, I'll probably go on holiday with it. I think that's a good idea. | 0:09:48 | 0:09:51 | |
Thank you. Thank you. | 0:09:51 | 0:09:52 | |
Sweet music indeed. | 0:09:52 | 0:09:54 | |
You're not only using your Bargain Hunt experience, | 0:09:54 | 0:09:56 | |
but also, using their puns... | 0:09:56 | 0:09:58 | |
I do love a good pun, though! | 0:09:58 | 0:09:59 | |
Next up, Molly has brought in a pair of items for David's attention. | 0:10:01 | 0:10:05 | |
It's a bit gloomy outside, so I hope you won't need these to get | 0:10:05 | 0:10:09 | |
home when it comes time to go, because you decided to sell them. | 0:10:09 | 0:10:12 | |
Yes. Good, OK. How did you come by them? | 0:10:12 | 0:10:15 | |
Well, when my husband and I moved to Cornwall, in 1969, | 0:10:15 | 0:10:19 | |
we started going to the auction room looking for things that would be | 0:10:19 | 0:10:23 | |
used for decoration in our hotel, which was this 15th-century hotel. | 0:10:23 | 0:10:27 | |
And you retired from there and came up to this part of the world? | 0:10:27 | 0:10:30 | |
Oh, yes, a long time ago, we left there and so, | 0:10:30 | 0:10:32 | |
these have resided in the garage for quite a long time. | 0:10:32 | 0:10:36 | |
OK, I love Cornwall and it's tempting to say that these | 0:10:36 | 0:10:39 | |
might have something to do with smuggling. | 0:10:39 | 0:10:41 | |
The smugglers were reputed to have been around our area, | 0:10:41 | 0:10:44 | |
we were only ten miles from Jamaica Inn, but I know that's a story. | 0:10:44 | 0:10:47 | |
What a wonderful book, by Daphne du Maurier. | 0:10:47 | 0:10:50 | |
Yes, you can see the smugglers, can't you, bending to the gale, | 0:10:50 | 0:10:53 | |
holding these lanterns creaking backwards and forwards? Exactly. | 0:10:53 | 0:10:57 | |
I don't honestly know what type of person they were made for. | 0:10:57 | 0:11:00 | |
I suspect probably road workers. | 0:11:00 | 0:11:04 | |
I don't think they're railway lamps. | 0:11:04 | 0:11:06 | |
I think if they were railway lamps, | 0:11:06 | 0:11:08 | |
they'd have had the name of the railway on them. | 0:11:08 | 0:11:10 | |
So they're utilitarian items, they're made, I think, | 0:11:10 | 0:11:13 | |
well, to give it a grand title, | 0:11:13 | 0:11:15 | |
they're made of Japan steel, which really means blackened. | 0:11:15 | 0:11:19 | |
And they're made for candles and, of course, | 0:11:19 | 0:11:23 | |
they could be used here and now. | 0:11:23 | 0:11:25 | |
It's not as if you're going to wire them up or anything. Absolutely. | 0:11:25 | 0:11:27 | |
I know, and I thought this is quite interesting, | 0:11:27 | 0:11:30 | |
they're made by a firm in Birmingham, Griffiths Sons. | 0:11:30 | 0:11:34 | |
And at about the time these were made, | 0:11:34 | 0:11:36 | |
which I would suggest was the late 19th century, Birmingham was | 0:11:36 | 0:11:40 | |
a sort of power house of not only Britain, but the Empire. | 0:11:40 | 0:11:43 | |
And today, we would expect items like these to be made in China, | 0:11:43 | 0:11:47 | |
of course, but items in the late 19th century of this nature | 0:11:47 | 0:11:50 | |
were made in Birmingham. | 0:11:50 | 0:11:52 | |
And they went round the world - India, the Far East | 0:11:52 | 0:11:56 | |
and even down to the far West, in Cornwall. | 0:11:56 | 0:11:58 | |
So they didn't all go abroad. And from that point of view, | 0:11:58 | 0:12:02 | |
I think, they're very interesting. | 0:12:02 | 0:12:04 | |
I mean, I think they're great fun. | 0:12:04 | 0:12:07 | |
They're not fine antiques, but you know that as well as I do. | 0:12:07 | 0:12:11 | |
It was a long time ago, but can you remember what you paid for them? | 0:12:11 | 0:12:14 | |
I think they might have been in a lot, | 0:12:14 | 0:12:16 | |
which my husband would have paid perhaps about ?3. | 0:12:16 | 0:12:20 | |
Yes, we like job lots, it's amazing what you can find in job lots. | 0:12:20 | 0:12:24 | |
Well, you're going to make a profit. | 0:12:24 | 0:12:26 | |
I had in mind a figure of somewhere in the region of ?40 or ?50 | 0:12:26 | 0:12:31 | |
and I was going to suggest an estimate of 30 to 50. Yes. | 0:12:31 | 0:12:35 | |
And if I could twist your arm and say can we sell them | 0:12:35 | 0:12:38 | |
without reserve, I'd be delighted. | 0:12:38 | 0:12:40 | |
Yes, I think so, yes, yes. Good, OK. | 0:12:40 | 0:12:43 | |
So we'll go ahead on that basis and, all being well, | 0:12:43 | 0:12:47 | |
they'll make more than that, but that will be our estimate. | 0:12:47 | 0:12:50 | |
Certainly more than I paid for them. Indeed, indeed. | 0:12:50 | 0:12:52 | |
You'll make a profit, that's the main thing. Thank you. | 0:12:52 | 0:12:55 | |
Oh, David, you are a devil persuading Molly to send her lanterns | 0:12:55 | 0:12:58 | |
to the saleroom with no reserve on them. | 0:12:58 | 0:13:01 | |
Well, we'll have to cross both sets of fingers and hopefully, | 0:13:01 | 0:13:03 | |
there should be some buyers in the saleroom for them. | 0:13:03 | 0:13:07 | |
I want to share one of my favourite parts of the country with you - | 0:13:13 | 0:13:16 | |
the Jurassic Coastline of Dorset and right now, | 0:13:16 | 0:13:19 | |
I'm standing on the island of Portland Bill and over there, | 0:13:19 | 0:13:21 | |
it's Weymouth, but what I really want to show you is over here, | 0:13:21 | 0:13:26 | |
look at that, that's Chesil Beach and it is absolutely breathtaking! | 0:13:26 | 0:13:30 | |
Now, from standing up here, it looks like Chesil Beach is actually | 0:13:36 | 0:13:39 | |
all lovely and sandy and soft, but it's not. | 0:13:39 | 0:13:42 | |
It's actually made up of trillions and trillions of pebbles. | 0:13:42 | 0:13:45 | |
And it's a common misconception that it is man-made, but it's not. | 0:13:45 | 0:13:49 | |
It's made by the powerful forces of nature - geology. | 0:13:49 | 0:13:52 | |
And in turn, Chesil Beach has created the UK's largest lagoon, | 0:13:54 | 0:13:58 | |
which is home to some very special wildlife | 0:13:58 | 0:14:01 | |
that I'll be investigating later. | 0:14:01 | 0:14:03 | |
But first, I'm heading down to ground level | 0:14:03 | 0:14:05 | |
to speak to Sam Scriven, | 0:14:05 | 0:14:07 | |
a geologist from the Jurassic Coast Team, | 0:14:07 | 0:14:09 | |
who's going to enlighten me about the unique creation of Chesil Beach. | 0:14:09 | 0:14:14 | |
Just being up here, on this great mound of pebbles, | 0:14:15 | 0:14:18 | |
it's pretty obvious how powerful the sea and the tides are. That's right. | 0:14:18 | 0:14:21 | |
I mean, the formation of Chesil Bank is a relationship | 0:14:21 | 0:14:24 | |
between the sea and the tides and storms | 0:14:24 | 0:14:26 | |
and the geology that we find along the coast, sort of 15, | 0:14:26 | 0:14:29 | |
18 miles down the coast, in west Dorset there, | 0:14:29 | 0:14:31 | |
you have a tremendously big coastal landslide that'd bring | 0:14:31 | 0:14:34 | |
thousands of tonnes of material down onto the coast every year. | 0:14:34 | 0:14:38 | |
All that material was picked up | 0:14:38 | 0:14:39 | |
and thrown down the coast towards Portland | 0:14:39 | 0:14:41 | |
to create this enormous Chesil Bank that we see today. | 0:14:41 | 0:14:44 | |
I mean, it's acting as a natural barrier now. It's a protection. | 0:14:45 | 0:14:49 | |
Yes, it's a very big example of what's known as a barrier beach. | 0:14:49 | 0:14:52 | |
It takes the full brunt of the southwesterly storms | 0:14:52 | 0:14:54 | |
and protects all the landscape behind it. | 0:14:54 | 0:14:56 | |
You can see the Fleet Lagoon there and the settlements and towns of Portland. | 0:14:56 | 0:15:00 | |
So all those benefit from this enormous natural coastal defence. | 0:15:00 | 0:15:03 | |
It's, in fact, one of the largest and most impressive natural | 0:15:03 | 0:15:07 | |
barrier beaches certainly in Europe, if not the world. | 0:15:07 | 0:15:10 | |
The natural sorting action of the sea means that the | 0:15:13 | 0:15:15 | |
pebbles of the West Bay end, which is one end of the beach, | 0:15:15 | 0:15:18 | |
are much, much smaller than the ones at the Portland end. | 0:15:18 | 0:15:20 | |
And I've got some examples for you, so there you go. | 0:15:20 | 0:15:23 | |
That's a baked-potato size pebble from the Portland end. | 0:15:23 | 0:15:25 | |
PAUL LAUGHS | 0:15:25 | 0:15:27 | |
So the fishermen know where they are at night... | 0:15:27 | 0:15:29 | |
Well, that's the local folklore, yeah, that they'd be able to know. | 0:15:29 | 0:15:32 | |
And that's the West Bay end. | 0:15:32 | 0:15:33 | |
Look at that! | 0:15:33 | 0:15:35 | |
So tiny pebbles, aren't they? Yeah. | 0:15:35 | 0:15:37 | |
And this is basically from the fact that the strong currents are always | 0:15:37 | 0:15:41 | |
from the southwest, so pushing the pebbles down in this direction. | 0:15:41 | 0:15:43 | |
So the big stuff and everything else gets picked up | 0:15:43 | 0:15:46 | |
and thrown down here, but the weaker currents, that can pick up | 0:15:46 | 0:15:48 | |
the small pebbles but leaves the big pebbles behind, which is | 0:15:48 | 0:15:51 | |
why there's this spread of sizes, yeah. Absolutely fascinating. | 0:15:51 | 0:15:55 | |
So there you have it, | 0:15:58 | 0:15:59 | |
the sea on this side of Chesil actually formed the beach. | 0:15:59 | 0:16:02 | |
Now, I'm going | 0:16:02 | 0:16:03 | |
to turn my attentions to the vast expanse of water on this side. | 0:16:03 | 0:16:07 | |
It's called the Fleet and technically, it's classified as a lagoon | 0:16:07 | 0:16:10 | |
and it starts from about here | 0:16:10 | 0:16:12 | |
and it ends up eight miles in that direction. | 0:16:12 | 0:16:15 | |
It is the largest lagoon in the country | 0:16:15 | 0:16:17 | |
and it provides a wonderful habitat for wildlife | 0:16:17 | 0:16:20 | |
and over 300 different species of bird have been recorded here. | 0:16:20 | 0:16:24 | |
But I'm going to focus on one particular type that's very special | 0:16:24 | 0:16:27 | |
to the area and find out a bit more about them. | 0:16:27 | 0:16:30 | |
At the farthest end of the Fleet Lagoon from Portland Bill | 0:16:36 | 0:16:39 | |
is Abbotsbury Swannery. | 0:16:39 | 0:16:41 | |
It's protected from the worst ravages of the weather and the sea | 0:16:41 | 0:16:44 | |
by the barrier of Chesil Beach, so it provides a peaceful habitat. | 0:16:44 | 0:16:48 | |
I'm meeting Dave Wheeler, who holds the unique position of Swanherd. | 0:16:48 | 0:16:52 | |
He's the only person left in Britain to have this title. | 0:16:52 | 0:16:55 | |
Shall I do something with you, Dave, or what's the process? | 0:16:57 | 0:17:00 | |
Yes, please. If you'd like to take a bucket. Yeah. | 0:17:00 | 0:17:02 | |
And spread it really well in the water and they'll find it. OK. | 0:17:02 | 0:17:06 | |
So you are the Swanherd here. What does that mean? | 0:17:06 | 0:17:10 | |
Well, my job is to head a very small team. We're responsible | 0:17:10 | 0:17:15 | |
for managing the swans, caring for the wildlife, the site itself. Yeah. | 0:17:15 | 0:17:20 | |
Swans may have been here for a few thousand years, | 0:17:20 | 0:17:23 | |
that's very likely the case. | 0:17:23 | 0:17:25 | |
Earliest records go back to the 1300s. OK. | 0:17:25 | 0:17:28 | |
And at that time, | 0:17:28 | 0:17:29 | |
the monastery of St Peter's in Abbotsbury were using the swans, | 0:17:29 | 0:17:34 | |
they were taking swans for feast days... Right. | 0:17:34 | 0:17:36 | |
..until Henry VIII destroyed the monastery. Yes, yeah, yeah. | 0:17:36 | 0:17:40 | |
And am I right in saying this is the only colony of nesting swans | 0:17:40 | 0:17:43 | |
that we can actually walk through and be involved with in the world? | 0:17:43 | 0:17:46 | |
There are a few other colonies, but this is very different. | 0:17:46 | 0:17:50 | |
And it's the only colony that's been managed | 0:17:50 | 0:17:53 | |
and it's still managed. | 0:17:53 | 0:17:54 | |
So there's nothing like it anywhere in the world. | 0:17:54 | 0:17:57 | |
So this really is unique, isn't it? It is, it is. | 0:17:57 | 0:18:00 | |
It's a wonderful sight as well. | 0:18:00 | 0:18:02 | |
How many swans are here? | 0:18:02 | 0:18:04 | |
Right here today, in front of us, there are 400-ish. OK. | 0:18:04 | 0:18:08 | |
There's another 400 farther down the lagoon. | 0:18:08 | 0:18:11 | |
They're making their way for this feed now, there's a few coming. Yeah. | 0:18:11 | 0:18:14 | |
I know we all think that swans mate for life but recently, | 0:18:14 | 0:18:18 | |
I read an article in the newspaper that once one... | 0:18:18 | 0:18:21 | |
brought a lover back to the colony. | 0:18:21 | 0:18:23 | |
Yes, they are not perfect. | 0:18:23 | 0:18:25 | |
We do find that there are one or two that at some point, | 0:18:25 | 0:18:29 | |
may swap partners, no doubt they have a reason. | 0:18:29 | 0:18:32 | |
And some that lose a mate may be lucky enough to find | 0:18:32 | 0:18:35 | |
another mate at some point, yes. I'll tell you what though, | 0:18:35 | 0:18:37 | |
there's an awful lot of interlopers, isn't there? Absolutely. | 0:18:37 | 0:18:40 | |
There are a lot of ducks over there. Yeah. These look like coots. Yes. | 0:18:40 | 0:18:43 | |
So, obviously, they understand the pecking order, | 0:18:43 | 0:18:46 | |
they stay away from the swans... They do. | 0:18:46 | 0:18:48 | |
When they move, some of the ducks will come in | 0:18:48 | 0:18:50 | |
and see what they can take, yeah. | 0:18:50 | 0:18:52 | |
Of course, this is absolutely marvellous. | 0:18:58 | 0:19:01 | |
I envy Dave and his job, looking after 400, 500 swans! | 0:19:01 | 0:19:05 | |
When you look out there, it looks so artistic, | 0:19:05 | 0:19:07 | |
it's almost like watching ballerinas perform. | 0:19:07 | 0:19:10 | |
We've all heard of Swan Lake, | 0:19:10 | 0:19:11 | |
but this is the real thing - swan lagoon. | 0:19:11 | 0:19:14 | |
Abbotsbury Swannery is definitely well worth a visit, it's so unique. | 0:19:17 | 0:19:21 | |
I'm keen to find out whether the experts' valuations | 0:19:30 | 0:19:33 | |
are on the money, so let's get the first batch off to auction. | 0:19:33 | 0:19:37 | |
Along with Chris's violin is Les's signed cricket bat. | 0:19:39 | 0:19:42 | |
Will it bowl over the saleroom? | 0:19:42 | 0:19:44 | |
Molly's late 19th-century steel lanterns have been | 0:19:46 | 0:19:48 | |
brightening up her hotel and should grab the bidders' interest. | 0:19:48 | 0:19:52 | |
And finally, Daphne's simple but architectural clock. | 0:19:54 | 0:19:58 | |
We're selling all of our lots here, at Duke's Auctioneers, | 0:20:01 | 0:20:05 | |
where Gary Batt and Matthew Denney will be taking turns on the rostrum. | 0:20:05 | 0:20:09 | |
Commission is charged at 15% plus | 0:20:09 | 0:20:12 | |
VAT for the sellers and the buyers. | 0:20:12 | 0:20:14 | |
This can vary from saleroom to saleroom, | 0:20:14 | 0:20:16 | |
so have a flick through the catalogue to find out | 0:20:16 | 0:20:19 | |
how much your fee will be before you buy or sell at auction. | 0:20:19 | 0:20:22 | |
In a moment, the auction is just about to start but, | 0:20:22 | 0:20:24 | |
before it does, I had a quick chat with the auctioneer | 0:20:24 | 0:20:27 | |
about one of our items. Let's see what he has to say. | 0:20:27 | 0:20:30 | |
I know absolutely nothing about violins. It's all I can say. | 0:20:33 | 0:20:37 | |
Mark Stacey is a brave guy, he's our ceramics expert | 0:20:37 | 0:20:40 | |
and I trust him with my life on ceramics. | 0:20:40 | 0:20:42 | |
I don't know how good he is on violins, | 0:20:42 | 0:20:44 | |
but Chris found this in his mother's house. | 0:20:44 | 0:20:46 | |
He believes it was his grandfather's, | 0:20:46 | 0:20:48 | |
so it's been in the family a long time. | 0:20:48 | 0:20:50 | |
And Mark has given it quite a punchy estimate of ?500 to ?700 | 0:20:50 | 0:20:54 | |
believing it to be Victorian. | 0:20:54 | 0:20:56 | |
Now, my gut feeling is I think this is early 20th century, so... | 0:20:56 | 0:21:01 | |
Well, I think you're probably...I would feel the same. | 0:21:01 | 0:21:04 | |
I think if it was a piece of furniture, it would be easier | 0:21:04 | 0:21:08 | |
for us all to date and identify. | 0:21:08 | 0:21:11 | |
Violins are an enormously difficult area, | 0:21:11 | 0:21:13 | |
it's a very, very specialist subject. | 0:21:13 | 0:21:15 | |
I would feel, just from the look of it and the way that it's constructed, | 0:21:15 | 0:21:18 | |
it's probably more early 20th century. | 0:21:18 | 0:21:21 | |
I do think that the case is contemporary with the violin. | 0:21:21 | 0:21:24 | |
They're of the same age and when you look at the case, | 0:21:24 | 0:21:27 | |
the case does give it away slightly. The case is very 20th century. | 0:21:27 | 0:21:30 | |
Yeah, a Victorian case... Would be more wooden, varnished... | 0:21:30 | 0:21:32 | |
Angular, wooden... Exactly, yeah. | 0:21:32 | 0:21:36 | |
So, nevertheless, the valuation still might be right. | 0:21:36 | 0:21:40 | |
Well, it might be, I mean, this is the essence of auctions. | 0:21:40 | 0:21:43 | |
This is a very good example of how you can never really be | 0:21:43 | 0:21:46 | |
sure in an auction. And your gut feeling? | 0:21:46 | 0:21:50 | |
My gut feeling is the ?500 to ?700 is...shall we say hopeful? | 0:21:50 | 0:21:56 | |
And I HOPE that we will get there, but I'm not entirely confident. OK. | 0:21:56 | 0:22:01 | |
Well, you've heard what Mark had to say slightly earlier on | 0:22:01 | 0:22:04 | |
in the programme, you just heard Gary's and my opinion as well. | 0:22:04 | 0:22:06 | |
You've probably made your own minds up, | 0:22:06 | 0:22:08 | |
but I'll tell you what, this is going to be quite exciting. | 0:22:08 | 0:22:11 | |
Will it hit the high notes? We're going to find out. | 0:22:11 | 0:22:14 | |
The violin will be up for grabs shortly, but first, | 0:22:14 | 0:22:17 | |
let's see what the bidders make of Daphne's silver clock. | 0:22:17 | 0:22:20 | |
Going under the hammer right now, | 0:22:22 | 0:22:24 | |
we've got Daphne's little clock, it's an Art Nouveau one, | 0:22:24 | 0:22:26 | |
?80 to ?120, and it's still working. | 0:22:26 | 0:22:29 | |
I think that's a bargain. And it's silver. Why are you selling it? | 0:22:29 | 0:22:32 | |
I don't want to clean it. No-one wants to clean silver. No... | 0:22:32 | 0:22:35 | |
Or copper or brass. It's a good item. | 0:22:35 | 0:22:37 | |
Yes, all to do with cliches and estimates, of course, 80 to... 120... | 0:22:37 | 0:22:41 | |
But I hope it makes 100. OK. | 0:22:41 | 0:22:42 | |
Split the difference. Good luck, Daphne, this is it. | 0:22:42 | 0:22:46 | |
It's this very pretty, little neoclassical silver mantel clock. | 0:22:46 | 0:22:51 | |
The architectural surround, Sheffield 1908 hallmark. | 0:22:51 | 0:22:56 | |
Small and pretty lot, give us ?50 to start me, please. | 0:22:56 | 0:22:59 | |
60 for you, sir. | 0:23:01 | 0:23:03 | |
60. Any advance on 60? Someone in the room over there, look. | 0:23:03 | 0:23:06 | |
At ?60 on the side. 60 out. At 60. | 0:23:06 | 0:23:08 | |
70. 80. | 0:23:08 | 0:23:10 | |
80? No, at ?70. 80, anyone like? | 0:23:10 | 0:23:15 | |
Disappointing, this, at 70. Come on. | 0:23:15 | 0:23:17 | |
At 70. Five, I'll take. | 0:23:17 | 0:23:19 | |
Five, anyone like? Five is bid, reluctantly. | 0:23:19 | 0:23:23 | |
Thank you, sir. ?75. 80, anyone now, then? We're done. | 0:23:23 | 0:23:27 | |
I'm selling at ?75. It's going. | 0:23:27 | 0:23:30 | |
?75. Only just. | 0:23:32 | 0:23:34 | |
Just. A bit of discretion. That was close, wasn't it? | 0:23:34 | 0:23:38 | |
It was. You're happy, though? | 0:23:38 | 0:23:40 | |
No more polishing! | 0:23:40 | 0:23:41 | |
That was a close shave! | 0:23:41 | 0:23:44 | |
This next lot really fired up my imagination. | 0:23:44 | 0:23:47 | |
Molly, it's good to see you. | 0:23:47 | 0:23:50 | |
I know this is your son Gareth. | 0:23:50 | 0:23:51 | |
You were at the valuation day but we never saw you - you were too busy | 0:23:51 | 0:23:55 | |
feeding parking meters. That's right. | 0:23:55 | 0:23:57 | |
Watching out for traffic wardens! Which is so sad, really. | 0:23:57 | 0:24:01 | |
Two lanterns going under the hammer. I know you used them, didn't you? | 0:24:01 | 0:24:04 | |
I bet they had the look, the flicker. | 0:24:04 | 0:24:07 | |
Hopefully, they'll be flickering away in somebody else's house, | 0:24:07 | 0:24:10 | |
especially at ?30 to ?50. For that sort of money, two decorative items. | 0:24:10 | 0:24:14 | |
As you say, usable too. | 0:24:14 | 0:24:16 | |
I know originally there was no reserve, | 0:24:16 | 0:24:18 | |
but you changed it to a fixed reserve. | 0:24:18 | 0:24:20 | |
I don't blame you, actually. No? | 0:24:20 | 0:24:22 | |
You had second thoughts! Yes. | 0:24:22 | 0:24:24 | |
Auctioneers love no reserve lots. Of course they do! | 0:24:24 | 0:24:27 | |
Good on you. Here we go. Look, it's going under the hammer. | 0:24:27 | 0:24:31 | |
Rather handsome candle lanterns. | 0:24:32 | 0:24:35 | |
I've got interest in these. Who'll start me? At ?30? | 0:24:35 | 0:24:38 | |
?30? 30, anyone? | 0:24:38 | 0:24:40 | |
30 for the lights? Let there be light. 30 bid. | 0:24:43 | 0:24:46 | |
35. 35. Oh, come on. 40 commission. | 0:24:46 | 0:24:49 | |
Five. 50. Five. | 0:24:49 | 0:24:51 | |
At ?55. Out in the room. Beats the book. | 0:24:53 | 0:24:56 | |
?55. 60? Anyone like to join in? | 0:24:56 | 0:25:00 | |
All done and clear, we sell at ?55... | 0:25:00 | 0:25:04 | |
That's it. They're gone. Well done. | 0:25:04 | 0:25:06 | |
Hard work for ?55. | 0:25:06 | 0:25:09 | |
It is. But he got there. That's right. | 0:25:09 | 0:25:11 | |
Well done, David. | 0:25:11 | 0:25:14 | |
That was above estimate and lit up Molly's face. | 0:25:14 | 0:25:16 | |
Hopefully, our expert Mark Stacey will be pulling all the strings! | 0:25:20 | 0:25:23 | |
Well, not literally, of course, because we've got Chris's violin just about to go under the hammer. | 0:25:23 | 0:25:28 | |
?500 - ?700 is riding on this. | 0:25:28 | 0:25:30 | |
It's a lovely instrument, and I think it's a cracking piece. | 0:25:30 | 0:25:33 | |
I did have a chat to the auctioneer earlier. You know what he said. | 0:25:33 | 0:25:37 | |
If it goes, it will go, hopefully, at the bottom end. | 0:25:37 | 0:25:40 | |
Well, it is a general sale, it's the only musical instrument in the sale. | 0:25:40 | 0:25:44 | |
But we did look it up, and we protected it with that reserve, because we have found ones that | 0:25:44 | 0:25:48 | |
made in excess of ?1,000. You've got to be realistic about these things. | 0:25:48 | 0:25:51 | |
And at least you've done your price comparables. | 0:25:51 | 0:25:54 | |
And you've protected it with a reserve. | 0:25:54 | 0:25:56 | |
Many experts say, "Oh, no reserve," don't they? They do. | 0:25:56 | 0:25:59 | |
Don't play with fire like that. Not with something as valuable as this. | 0:25:59 | 0:26:02 | |
Good luck. That's all I can say. Here we go. | 0:26:02 | 0:26:05 | |
This is a rather nice violin, | 0:26:07 | 0:26:10 | |
with a paper label and a Paris maker and two bows therein. | 0:26:10 | 0:26:14 | |
Interesting lot, bit of a speculative lot here. | 0:26:14 | 0:26:16 | |
I've got ?200 to start me. | 0:26:16 | 0:26:18 | |
200 with me. And 20s I'll take if I can. | 0:26:18 | 0:26:22 | |
For the violin, at 200. And 20. 240. | 0:26:22 | 0:26:26 | |
260. At ?260. At ?260. | 0:26:26 | 0:26:30 | |
Any advance on 260? No, I don't think it's going to go. | 0:26:30 | 0:26:33 | |
Going then, at ?260. No interest at all? | 0:26:33 | 0:26:35 | |
Are you all done? | 0:26:35 | 0:26:38 | |
He didn't sell it. Didn't sell it. | 0:26:38 | 0:26:41 | |
Oh, what a shame. Yes, that is a shame. What's going to happen now? | 0:26:41 | 0:26:44 | |
I'll take it home, put it in the cupboard again! | 0:26:44 | 0:26:47 | |
How about start practising? Go on, try and get a tune out of it! | 0:26:47 | 0:26:50 | |
I might be able to, yes! Go on, try it! | 0:26:50 | 0:26:52 | |
Maybe it's meant to be. Mmm. | 0:26:52 | 0:26:53 | |
So, that could lead to a new hobby for Chris, rather than a holiday. | 0:26:53 | 0:26:58 | |
But perhaps this autographed cricket bat | 0:26:58 | 0:27:01 | |
stands more of a sporting chance. | 0:27:01 | 0:27:03 | |
Well, let's sock it to them, David! I think that was a six, don't you?! | 0:27:04 | 0:27:07 | |
I think you were caught at long on, myself! | 0:27:07 | 0:27:09 | |
We're talking about that little quarter-sized cricket bat, | 0:27:09 | 0:27:12 | |
signed by the 1938 touring team. | 0:27:12 | 0:27:14 | |
Wonderful, wonderful series. | 0:27:14 | 0:27:16 | |
Unfortunately, Les and Marion can't be with us today, right now. | 0:27:16 | 0:27:20 | |
But hopefully we'll get that ?350, that's the top end. | 0:27:20 | 0:27:23 | |
I hope so. There are some great names on that bat. | 0:27:23 | 0:27:26 | |
Bradman's the one that everybody wants. | 0:27:26 | 0:27:29 | |
Yes. But Edrich is there, | 0:27:29 | 0:27:30 | |
Compton as well. | 0:27:30 | 0:27:32 | |
Every serious cricketer of that period is on that cricketing bat. | 0:27:32 | 0:27:35 | |
It's the Valhalla of cricketing gods, really! | 0:27:35 | 0:27:37 | |
Are there many of these bats about? I think there probably are. | 0:27:37 | 0:27:41 | |
But they are by no means plentiful. And they are eagerly sought after, | 0:27:41 | 0:27:45 | |
so when they come up, they get snapped up, that's the thing. | 0:27:45 | 0:27:48 | |
The condition is very good on this one. We're going to find out | 0:27:48 | 0:27:50 | |
exactly what the bidders think right now. Here we go. | 0:27:50 | 0:27:53 | |
Quarter-sized cricket bat, with all the initials. | 0:27:53 | 0:27:57 | |
England v Australia, 1938. What shall we say for this one? | 0:27:57 | 0:28:00 | |
Start me at ?50 for it. For the old cricket bat, there, ?50. | 0:28:00 | 0:28:04 | |
Who'd like it? 50, I'm bid. Thank you. I'll take 60 next. | 0:28:04 | 0:28:07 | |
At ?50 only, 60. 60 at the back. 70. 80. | 0:28:07 | 0:28:10 | |
A long way to go. | 0:28:10 | 0:28:12 | |
100. Could be a long innings! | 0:28:12 | 0:28:14 | |
130. 140. | 0:28:14 | 0:28:16 | |
It's got to make 220, that's the fixed reserve. | 0:28:16 | 0:28:19 | |
180. We're getting there. 190. 190. | 0:28:19 | 0:28:21 | |
200. 220. 240. | 0:28:21 | 0:28:25 | |
260. 240, far corner. | 0:28:25 | 0:28:26 | |
With two bidders in the room, you don't know where to look. | 0:28:26 | 0:28:29 | |
I'll take 260. | 0:28:29 | 0:28:31 | |
A phone bid now. 280. 300. | 0:28:31 | 0:28:34 | |
Go on! A cracking price! 320. 340. | 0:28:34 | 0:28:38 | |
360. 380. | 0:28:38 | 0:28:41 | |
360. This is the series Bradman scored 364 in. | 0:28:41 | 0:28:45 | |
At ?380, on the telephone. | 0:28:45 | 0:28:47 | |
You're out at the back? Yes! ?380. | 0:28:47 | 0:28:51 | |
Howzat? What a cracking result! | 0:28:51 | 0:28:55 | |
I wish they were here to see that! | 0:28:55 | 0:28:58 | |
Gosh, if you see anything like that on your travels, do pick it up and buy it | 0:28:58 | 0:29:01 | |
if you can pick it up for next to nothing. | 0:29:01 | 0:29:03 | |
It just goes to show, doesn't it, these things are out there? | 0:29:03 | 0:29:07 | |
That's fantastic. And coming up later on the show, we make some more exciting discoveries of our own. | 0:29:07 | 0:29:13 | |
Clarice doesn't do anything for me, but this little plate does! | 0:29:13 | 0:29:17 | |
And I gather, Marie, that it's one of your favourite pieces at home? | 0:29:17 | 0:29:21 | |
SHE SCOFFS | 0:29:21 | 0:29:22 | |
Just a few miles away from our valuation day is Bovington Tank Museum. | 0:29:29 | 0:29:33 | |
It's a state-of-the-art building which houses the most wide-ranging | 0:29:33 | 0:29:37 | |
collection of tanks and armoured vehicles anywhere in the world. | 0:29:37 | 0:29:42 | |
The museum is set in the grounds of Bovington Camp, a tank crew training facility | 0:29:42 | 0:29:47 | |
that was established in 1916 by the British War Office, | 0:29:47 | 0:29:50 | |
and it's still very much in use today. | 0:29:50 | 0:29:52 | |
The tank, as we know it today, was born out of the need to break out of the stalemate of trench warfare. | 0:30:00 | 0:30:05 | |
Winston Churchill, who then was the First Lord of the Admiralty, backed the development | 0:30:07 | 0:30:12 | |
of some kind of armoured vehicle that could be developed, that could | 0:30:12 | 0:30:15 | |
go off road, over trenches and break through barbed wire. | 0:30:15 | 0:30:19 | |
The very first prototype tank was called Little Willie, and here to tell me all about it | 0:30:25 | 0:30:29 | |
and take me on a guided tour of the evolution of tank design in the 20th century is warden Ron Anderson. | 0:30:29 | 0:30:35 | |
This is where it all started, Paul. | 0:30:35 | 0:30:38 | |
This is Little Willie, the very, very first tank in the world. | 0:30:38 | 0:30:42 | |
It is literally held together by big nuts and bolts. | 0:30:42 | 0:30:45 | |
Oh, yes. It does look like an agricultural vehicle, doesn't it? | 0:30:45 | 0:30:48 | |
Oh, yes. Very much so. Having said that, unfortunately, it was a bit of a failure. Why? | 0:30:48 | 0:30:54 | |
Well, centre of gravity, too far forward. | 0:30:54 | 0:30:56 | |
So when the vehicle was going up to a trench, it would just drop in. | 0:30:56 | 0:31:00 | |
Literally nosedive first? Exactly. Well, it's wonderful that it's here. | 0:31:00 | 0:31:03 | |
Oh, yes. It's the only one in the world. | 0:31:03 | 0:31:06 | |
It's a shame it never got used. | 0:31:06 | 0:31:08 | |
No, and they had to get cracking | 0:31:08 | 0:31:11 | |
and get the next tank up that would be far better than this one. Yes. | 0:31:11 | 0:31:16 | |
Using Little Willie as a starting point, | 0:31:16 | 0:31:18 | |
British tank design progressed rapidly throughout World War I. | 0:31:18 | 0:31:21 | |
Next came the Mother tank, followed quickly by the Mark I | 0:31:21 | 0:31:25 | |
through to the Mark IV, which had thicker armour | 0:31:25 | 0:31:28 | |
and a number of other improvements on its predecessors. | 0:31:28 | 0:31:31 | |
So, we've gone from Little Willie to this tank, the Mark IV, | 0:31:35 | 0:31:38 | |
in the space of a couple of years. That's right. | 0:31:38 | 0:31:40 | |
I'm surprised at the space in here. | 0:31:40 | 0:31:43 | |
How many crew? Eight. Eight? | 0:31:43 | 0:31:46 | |
The commander, the driver, two gunners, two loaders | 0:31:46 | 0:31:50 | |
and two gears men at the back. So, not a lot of space in the end. | 0:31:50 | 0:31:53 | |
Plus, extra supplies, food, water, munitions, machine gun. | 0:31:53 | 0:31:59 | |
Yes, you'd be pretty limited even then. | 0:31:59 | 0:32:02 | |
Hm, it must have been noisy. | 0:32:02 | 0:32:04 | |
You had a lot of things to put up with. | 0:32:04 | 0:32:07 | |
But the most horrible of all would be heat. | 0:32:07 | 0:32:10 | |
You can consider 150 degrees Fahrenheit, which is tremendous. | 0:32:10 | 0:32:16 | |
I'd hate to think of the smell. | 0:32:16 | 0:32:18 | |
Almost pitch darkness as well. | 0:32:18 | 0:32:21 | |
If you want to do your toilet, you'd keep one or two empty shells back... | 0:32:21 | 0:32:26 | |
That's what you'd have a pee in? | 0:32:26 | 0:32:29 | |
That's right. And you'd throw them out through the side. | 0:32:29 | 0:32:32 | |
I guess you had to do something. Oh, yes. | 0:32:32 | 0:32:35 | |
The Germans didn't have tanks at this stage. Just machine gun fire. | 0:32:35 | 0:32:39 | |
That wouldn't penetrate this. | 0:32:39 | 0:32:42 | |
You could get a bullet. | 0:32:42 | 0:32:43 | |
If you consider 5,400 rounds hitting the front of this vehicle, | 0:32:43 | 0:32:49 | |
you're bound to get some bullet | 0:32:49 | 0:32:52 | |
hit the seams and come hurtling in here and take somebody out. | 0:32:52 | 0:32:56 | |
And if they did get a strike in these vehicles, the roof would shoot off, | 0:32:56 | 0:33:01 | |
the sides burst to bits and everybody inside would perish. | 0:33:01 | 0:33:06 | |
Having said that, | 0:33:06 | 0:33:09 | |
once you're up onto enemy lines, you could flatten out their barbed wire, | 0:33:09 | 0:33:13 | |
which was what it was all about. | 0:33:13 | 0:33:15 | |
Once you flattened the barbed wire, your troops at the back could | 0:33:15 | 0:33:19 | |
walk over the barbed wire instead of getting slaughtered on it. They could make good ground. Exactly. | 0:33:19 | 0:33:24 | |
Shall we take a trip outside and get some air? | 0:33:28 | 0:33:32 | |
At the end of the First World War, technology continued to progress quickly. | 0:33:32 | 0:33:36 | |
Instead of a mechanised battering tool, | 0:33:36 | 0:33:39 | |
the tank became an armoured cavalry and a weapon in its own right. | 0:33:39 | 0:33:43 | |
The names of Panther, Tiger and Sherman found their place in history | 0:33:45 | 0:33:50 | |
but it was a small Russian tank that would take everyone by surprise. | 0:33:50 | 0:33:54 | |
What are we looking at here? | 0:33:54 | 0:33:56 | |
The T-34. | 0:33:56 | 0:33:58 | |
This is a Russian tank? This is THE Russian tank. | 0:33:58 | 0:34:01 | |
THE Russian tank? Oh, yes. | 0:34:01 | 0:34:04 | |
What was so special about these tanks? Their speed or their cannon? | 0:34:04 | 0:34:08 | |
Deflective armour for a start. If you notice the armour, it's at a slope. | 0:34:08 | 0:34:12 | |
It's almost 45 degrees around the body. | 0:34:12 | 0:34:15 | |
Yes, but not only that - you could turn them out very quickly. | 0:34:15 | 0:34:20 | |
If you look at it, it's crude. | 0:34:20 | 0:34:22 | |
You can see the welding | 0:34:22 | 0:34:24 | |
but it's not been grinded off and then polished and painted. | 0:34:24 | 0:34:28 | |
This vehicle is welded. | 0:34:28 | 0:34:30 | |
It's all meant for productivity - | 0:34:30 | 0:34:32 | |
get these vehicles out, get them to the front, | 0:34:32 | 0:34:35 | |
push back the Germans that are now on the borderlines | 0:34:35 | 0:34:39 | |
of Stalingrad and Moscow, and eventually these vehicles | 0:34:39 | 0:34:44 | |
did push the Germans way back out of your area back into Berlin. | 0:34:44 | 0:34:49 | |
Am I looking at the Russian tank that won the Second World War? Without a doubt. | 0:34:49 | 0:34:54 | |
When you've ten of these against one Panther or Tiger... | 0:34:54 | 0:34:59 | |
They outnumbered them. Literally outnumbered them. | 0:34:59 | 0:35:03 | |
Built out of scrap metal, the T-34 has been described as the fastest, | 0:35:03 | 0:35:08 | |
the best and the cheapest tanks of their day. | 0:35:08 | 0:35:12 | |
Although as warfare began to rely more on sophisticated technology, | 0:35:12 | 0:35:15 | |
the development of tanks continued dramatically over the years. | 0:35:15 | 0:35:20 | |
And this is a British tank which brings us bang up to date. | 0:35:20 | 0:35:23 | |
This is Britain's current main battle tank, the Challenger II. | 0:35:23 | 0:35:28 | |
How many crew? Four. | 0:35:28 | 0:35:31 | |
And would you do a 24-hour shift? | 0:35:31 | 0:35:33 | |
Yes, up to 46 hours. Gosh. | 0:35:33 | 0:35:37 | |
You'd have to do just about everything. | 0:35:37 | 0:35:40 | |
Eat, sleep... | 0:35:40 | 0:35:42 | |
How do you go to the loo? | 0:35:42 | 0:35:44 | |
It's got its own toilet arrangements. | 0:35:44 | 0:35:47 | |
Yes, they don't have to do it in an empty shell casing and throw it out. | 0:35:47 | 0:35:52 | |
It's far more up to date. | 0:35:52 | 0:35:54 | |
Do you know how much this weighs? | 0:35:54 | 0:35:57 | |
About 53 tonnes. | 0:35:57 | 0:35:59 | |
That's about 50 small cars, isn't it? You could double that. | 0:35:59 | 0:36:02 | |
About 80 Mini Coopers. | 0:36:02 | 0:36:04 | |
Yes. | 0:36:04 | 0:36:06 | |
That's some weight, isn't it? Oh, yes. | 0:36:06 | 0:36:09 | |
The Challenger II is likely to be | 0:36:09 | 0:36:12 | |
the last British heavy main battle tank | 0:36:12 | 0:36:14 | |
and it's currently expected to serve until 2020, | 0:36:14 | 0:36:18 | |
then probably being replaced by a lighter, air-portable vehicle. | 0:36:18 | 0:36:22 | |
Until then, this is still THE state-of-the-art tank. | 0:36:22 | 0:36:26 | |
When you consider the First World War tank which would have a gun sight... | 0:36:26 | 0:36:32 | |
Or stick your head above the turret with binoculars. | 0:36:32 | 0:36:34 | |
That's right. We're now talking about high-tech. | 0:36:34 | 0:36:38 | |
We're talking of a 99% strike hit. Wow. First time. First hit. | 0:36:38 | 0:36:44 | |
Over two kilometres. | 0:36:44 | 0:36:45 | |
That's some distance. Oh, yes. | 0:36:45 | 0:36:47 | |
Tanks have played a remarkable role in 20th-century warfare | 0:36:47 | 0:36:51 | |
and with technologies changing at an alarming rate, | 0:36:51 | 0:36:55 | |
it'll be interesting to see where the evolution of the tank will go. | 0:36:55 | 0:36:59 | |
Our valuation day is being held here in Dorchester. | 0:37:08 | 0:37:11 | |
It's been a busy day but we're still finding some beautiful pieces | 0:37:11 | 0:37:14 | |
like these cat musicians Heather has brought along. | 0:37:14 | 0:37:19 | |
You've brought along a little band of musicians. | 0:37:19 | 0:37:23 | |
Are you a musician yourself? I'm a musician, yes, a professional musician. What's your instrument? | 0:37:23 | 0:37:29 | |
Piano. And a little bit of organ. | 0:37:29 | 0:37:32 | |
How did you come by this little band? | 0:37:32 | 0:37:36 | |
Well, it was always in my mother's display cabinet. | 0:37:36 | 0:37:39 | |
I remember seeing them. | 0:37:39 | 0:37:41 | |
And was your mother a musician? | 0:37:41 | 0:37:43 | |
My mother was a professional musician as well. | 0:37:43 | 0:37:46 | |
And tell me why you're thinking in terms of selling this. | 0:37:46 | 0:37:50 | |
I thought it would be lovely for a young lady or child to have these | 0:37:50 | 0:37:55 | |
and I want them to be on display and for someone to like them. | 0:37:55 | 0:37:59 | |
Let's talk about it. | 0:37:59 | 0:38:02 | |
It's manufactured by a factory called Beswick. | 0:38:02 | 0:38:06 | |
I used to call this factory Bezzick but we now have to call it Bes-wick. It confuses me. | 0:38:06 | 0:38:11 | |
I live in Bedford near a town called Flitwick which is spelled Flit-wick. | 0:38:11 | 0:38:17 | |
People pronounce that Flit-wick. We tell them off and say it's Flittick. | 0:38:17 | 0:38:21 | |
When I pronounce this as Bezzick | 0:38:21 | 0:38:23 | |
I get told off, and they say it's Bes-wick. Let's call it Bes-wick. | 0:38:23 | 0:38:27 | |
I think the band itself, which comprises four pieces, | 0:38:27 | 0:38:32 | |
is based on the Meissen monkey bands of the 18th century. Right. | 0:38:32 | 0:38:37 | |
One of them... I think two of them - we'll pick up this one first - | 0:38:37 | 0:38:41 | |
is marked Beswick. Yes. Bes-wick. | 0:38:41 | 0:38:44 | |
Right. And we have the conductor with the sheet music. That's right. | 0:38:44 | 0:38:50 | |
A violinist... I think that could be the viola | 0:38:50 | 0:38:53 | |
because it's rather big for the poor little cat. | 0:38:53 | 0:38:58 | |
A viola and not a violin. | 0:38:58 | 0:38:59 | |
You know more about these things. It's slightly smaller, the violin. | 0:38:59 | 0:39:03 | |
And you've got this sax. Well, I suppose it's a saxophone. | 0:39:03 | 0:39:07 | |
And then the double bass of course. So, we're actually... | 0:39:07 | 0:39:13 | |
It's quite a good little jazz band, really. | 0:39:13 | 0:39:17 | |
There might possibly once have been... Might have been more. | 0:39:17 | 0:39:20 | |
The modeller, we think, is someone called Kitty MacBride | 0:39:20 | 0:39:25 | |
and she worked at the Beswick factory in the 1960s. | 0:39:25 | 0:39:29 | |
So, in the great scheme of things, they're not that old | 0:39:29 | 0:39:33 | |
but that doesn't make them any less collectable. No. | 0:39:33 | 0:39:36 | |
They're going to appeal to musicians like yourself | 0:39:36 | 0:39:40 | |
but also of course to people who collect cats. | 0:39:40 | 0:39:43 | |
Absolutely. | 0:39:43 | 0:39:44 | |
And the expressions are so good as well. | 0:39:44 | 0:39:47 | |
I don't think they're going to make a fortune. No. | 0:39:47 | 0:39:50 | |
Have you any idea what they might make? No idea at all. | 0:39:50 | 0:39:53 | |
I've never thought about the price at all. | 0:39:53 | 0:39:56 | |
OK. The little chap here has got a chip in the back of his ear. | 0:39:56 | 0:40:01 | |
Just a tiny one. It is a problem. Condition does affect... I know. | 0:40:01 | 0:40:07 | |
I'd be inclined to say we'll end up somewhere between ?20 and ?30. | 0:40:07 | 0:40:11 | |
That's fine. How do you feel about a reserve? | 0:40:11 | 0:40:14 | |
No reserve. No reserve? That's what auctioneers love to hear. | 0:40:14 | 0:40:18 | |
Jolly good. I'm confident they'll sell and who knows, | 0:40:18 | 0:40:21 | |
they might make a little bit more than that. | 0:40:21 | 0:40:24 | |
Thank you for bringing them in. | 0:40:24 | 0:40:25 | |
Most enjoyable. I look forward to seeing you at the sale. | 0:40:25 | 0:40:28 | |
From one well-known make, even if there is a debate on how to pronounce it, to another. | 0:40:28 | 0:40:34 | |
I bet you can't guess the maker of this plate, although I'm sure you'll | 0:40:34 | 0:40:37 | |
recognise this lady's name when I say it. | 0:40:37 | 0:40:41 | |
Lorna, I've gravitated towards this plate | 0:40:41 | 0:40:43 | |
because it looks like the white chalk horses | 0:40:43 | 0:40:46 | |
of the Pewsey Vale. That's what it is, isn't it? | 0:40:46 | 0:40:49 | |
I think it is. It's Clarice Cliff. | 0:40:49 | 0:40:51 | |
It is. Clarice doesn't do anything for me but this plate does. | 0:40:51 | 0:40:55 | |
Tell me, how did you come by it? | 0:40:55 | 0:40:57 | |
We bought it at an auction in Southsea some time ago, | 0:40:57 | 0:41:00 | |
and I liked it. It's different. | 0:41:00 | 0:41:04 | |
It's Clarice Cliff, I knew that because I looked at it, obviously. | 0:41:04 | 0:41:07 | |
And it's different, it's not like any of her others. | 0:41:07 | 0:41:10 | |
It is unusual, isn't it? And I'm not a big fan of | 0:41:10 | 0:41:12 | |
the whole Bizarre range, it doesn't do a lot for me, | 0:41:12 | 0:41:15 | |
but I love this, absolutely love this. | 0:41:15 | 0:41:17 | |
I could live with that, and I'm sure you could and you could as well. | 0:41:17 | 0:41:20 | |
And of course I live right in the Vale. | 0:41:20 | 0:41:22 | |
I live surrounded by half a dozen white chalk horses. | 0:41:22 | 0:41:27 | |
Let me just look on the back. The condition is very, very good. | 0:41:27 | 0:41:30 | |
And there you can see it says Clarice Cliff, | 0:41:30 | 0:41:33 | |
and, of course, designed by John Armstrong. | 0:41:33 | 0:41:36 | |
Now, Harrods had a tableware exhibition | 0:41:36 | 0:41:40 | |
in 1934, and it was a raging artistic success. | 0:41:40 | 0:41:46 | |
You had Dame Laura Knight... | 0:41:46 | 0:41:48 | |
Yes. OK? You had Duncan Grant... | 0:41:48 | 0:41:52 | |
Vanessa Bell from the Bloomsbury school - big names. | 0:41:52 | 0:41:55 | |
And of course Mr Armstrong. Not a lot was known about him. | 0:41:55 | 0:41:59 | |
This was a big break for him. He was a theatre designer and he kind of | 0:41:59 | 0:42:02 | |
followed and worked in the school of Paul Nash and Ben Nicholson. | 0:42:02 | 0:42:06 | |
You can imagine the Shell posters of the day, can't you? | 0:42:06 | 0:42:09 | |
And that's very much like that. | 0:42:09 | 0:42:11 | |
Now, I say it was a big artistic success, | 0:42:11 | 0:42:14 | |
but it was also a major flop, financially, for Harrods. | 0:42:14 | 0:42:20 | |
And the reason why you haven't seen a lot of those around | 0:42:20 | 0:42:23 | |
is because they didn't sell. | 0:42:23 | 0:42:26 | |
I see. So they didn't commission any more. Right. | 0:42:26 | 0:42:29 | |
That's why it flopped. But to get those four artists together in 1934 | 0:42:29 | 0:42:33 | |
was wonderful, absolutely wonderful. | 0:42:33 | 0:42:36 | |
And how much did you pay for this? | 0:42:36 | 0:42:38 | |
About ?40. I think you paid the right money for that. | 0:42:38 | 0:42:44 | |
If you want to put this back into auction | 0:42:44 | 0:42:46 | |
and try and get your money back, | 0:42:46 | 0:42:48 | |
I was going to say to you ?50 to ?80, | 0:42:48 | 0:42:50 | |
and we'll have a ?40 reserve. Yes, that sounds fine. | 0:42:50 | 0:42:53 | |
And we'll see if it is that good investment, shall we? We will, yes. | 0:42:53 | 0:42:57 | |
It might have been a flop back in 1934, | 0:42:57 | 0:43:00 | |
but let's hope that works in Lorna's favour at the auction. | 0:43:00 | 0:43:03 | |
Mark is on safe ground with Marie and John's ceramic vase. | 0:43:05 | 0:43:09 | |
You're going to fill us in on the history of this. | 0:43:11 | 0:43:14 | |
Yes, as far as I know it came from my maternal grandfather, | 0:43:14 | 0:43:18 | |
who was a master baker in Smethwick, Birmingham. | 0:43:18 | 0:43:23 | |
The vase was made in the Ruskin Pottery in Oldbury Road, | 0:43:23 | 0:43:26 | |
which is also in Smethwick. | 0:43:26 | 0:43:28 | |
Yes. We think, we're not sure, that possibly William Howson Taylor | 0:43:28 | 0:43:32 | |
gave the vase to my grandfather. | 0:43:32 | 0:43:35 | |
Oh, right, as a gift? As a gift. | 0:43:35 | 0:43:38 | |
It's been in the family all my life. | 0:43:38 | 0:43:40 | |
More than that about it, I don't know. | 0:43:40 | 0:43:43 | |
It's wonderful, of course, when we get the family stories, | 0:43:43 | 0:43:46 | |
because it really does tie the history of the piece together. | 0:43:46 | 0:43:50 | |
And I gather, Marie, that it's one of your favourite pieces at home? | 0:43:50 | 0:43:53 | |
No. | 0:43:53 | 0:43:55 | |
No, I'm afraid not. What don't you like about it? | 0:43:55 | 0:43:58 | |
I don't know, I just don't like it. | 0:43:58 | 0:44:01 | |
It's Art Deco. I don't like Art Deco, no. | 0:44:01 | 0:44:04 | |
Well, you're quite right, it is very Art Deco. It's very of the time, | 0:44:04 | 0:44:08 | |
this sort of drip glaze you get produced by Shelley | 0:44:08 | 0:44:10 | |
and a lot of other factories. | 0:44:10 | 0:44:12 | |
But it has typical Ruskin elements | 0:44:12 | 0:44:15 | |
with this sort of dripping and this sort of souffle-type glaze to it. | 0:44:15 | 0:44:20 | |
When we do look at it underneath, we have the mark | 0:44:20 | 0:44:23 | |
"England, W Howson Taylor, Ruskin", | 0:44:23 | 0:44:26 | |
which is quite an early mark. | 0:44:26 | 0:44:29 | |
Normally you get that on the earlier pieces, sort of 1905. | 0:44:29 | 0:44:32 | |
These later pieces from the '20s and '30s | 0:44:32 | 0:44:35 | |
are normally marked "Smethwick", | 0:44:35 | 0:44:38 | |
which ties in with what you're saying. | 0:44:38 | 0:44:40 | |
It is quite a difficult thing to value because it's not one | 0:44:40 | 0:44:43 | |
of the earlier pieces, it's not one of those sang de boeuf, oxblood glazes. | 0:44:43 | 0:44:46 | |
It's not going to be the most commercial piece with the colour, | 0:44:46 | 0:44:50 | |
even though I like the colour. | 0:44:50 | 0:44:52 | |
Did you have any idea of what you thought it might be worth? | 0:44:52 | 0:44:56 | |
We didn't have any idea at all. | 0:44:56 | 0:44:58 | |
I think, you know, as a piece of Ruskin, | 0:44:58 | 0:45:01 | |
we're looking under ?100 in my opinion. | 0:45:01 | 0:45:04 | |
We'd probably be looking at around ?70 to ?80. Yes. | 0:45:04 | 0:45:06 | |
Maybe 60 to 80 as an auction estimate. | 0:45:06 | 0:45:09 | |
Obviously, we'd want to put a reserve, I think, | 0:45:09 | 0:45:11 | |
because you wouldn't want it to go for ?20. Oh, no, no, no. | 0:45:11 | 0:45:15 | |
But you've obviously had it a long time. | 0:45:15 | 0:45:17 | |
Has it not been in pride of place in your home? | 0:45:17 | 0:45:20 | |
No, it hasn't, I must admit. | 0:45:20 | 0:45:21 | |
You've had it hidden away? No, not really. | 0:45:21 | 0:45:24 | |
We keep it out. If I hide it, you'll never find it. | 0:45:24 | 0:45:26 | |
You're determined. My safe place will never be found. | 0:45:26 | 0:45:29 | |
You're determined to get rid of it, aren't you? | 0:45:29 | 0:45:32 | |
Yep. I've got a granddaughter coming and... | 0:45:32 | 0:45:34 | |
Much more important than an old vase. She is, yeah, of course. | 0:45:34 | 0:45:38 | |
Neither of our children like it either. | 0:45:38 | 0:45:40 | |
Tell you what, let's hope the auction house doesn't put it in a safe place and can't find it. | 0:45:40 | 0:45:44 | |
Let's hope it makes a lot of money. We actually won't be at the auction. | 0:45:44 | 0:45:48 | |
What do you mean? | 0:45:48 | 0:45:50 | |
Unfortunately, we'll be in France. So who will be representing you? | 0:45:50 | 0:45:54 | |
I've got a pottery buddy. I go to pottery, and she's going to come. | 0:45:54 | 0:45:57 | |
Are you going to make a replica of the vase? She might. | 0:45:57 | 0:46:00 | |
I won't, but she may. I won't. | 0:46:00 | 0:46:03 | |
Well, have a glass of wine on us, won't you? | 0:46:03 | 0:46:05 | |
We will, yeah. Thank you very much. Thank you so much. Thank you. | 0:46:05 | 0:46:09 | |
No doubt someone will love the Ruskin vase. | 0:46:09 | 0:46:12 | |
Next up, David is examining Wendy's little ceramic pots. | 0:46:12 | 0:46:17 | |
Tell me a little bit about these. | 0:46:17 | 0:46:20 | |
Well, the white one I bought in an auction lot | 0:46:20 | 0:46:23 | |
back in Bath in the late 1980s, | 0:46:23 | 0:46:26 | |
and it was sold as a Worcester inkpot. | 0:46:26 | 0:46:30 | |
Yeah. Then in the beginning of the 2000s, | 0:46:30 | 0:46:34 | |
I saw that in Blandford in an antique centre and I thought, | 0:46:34 | 0:46:39 | |
"Oh! Matches my Worcester inkpot." Then I discovered in | 0:46:39 | 0:46:43 | |
a Miller's catalogue | 0:46:43 | 0:46:45 | |
that it was a Chinese water pot. | 0:46:45 | 0:46:48 | |
Do you have a particular eye for items like this? | 0:46:48 | 0:46:51 | |
Have you ever dabbled a bit? | 0:46:51 | 0:46:53 | |
Well, I had a partnership in a bric-a-brac shop at one time | 0:46:53 | 0:46:57 | |
for a short time | 0:46:57 | 0:46:59 | |
and I used to do antique fairs. | 0:46:59 | 0:47:01 | |
Did you make lots of money? No, no, it was a paying hobby | 0:47:01 | 0:47:05 | |
which I enjoyed. A paying hobby. | 0:47:05 | 0:47:07 | |
Well, you've been very clever here. | 0:47:07 | 0:47:09 | |
Let's start with this one first. | 0:47:09 | 0:47:12 | |
This was made in the Royal Worcester factory | 0:47:12 | 0:47:16 | |
and this bears the figure 75, which means | 0:47:16 | 0:47:19 | |
it was made in 1875. Not 1975, of course. 1875. | 0:47:19 | 0:47:23 | |
This is entirely unmarked | 0:47:24 | 0:47:29 | |
although it has quite an interesting label on the base of it. | 0:47:29 | 0:47:33 | |
And it's Chinese. | 0:47:33 | 0:47:35 | |
Now, what interests me most about these | 0:47:35 | 0:47:40 | |
is that they demonstrate the influence of the Far East | 0:47:40 | 0:47:43 | |
on the decorative arts of the West, | 0:47:43 | 0:47:47 | |
and it's very unusual that we see | 0:47:47 | 0:47:50 | |
examples like this, which we can so directly compare. | 0:47:50 | 0:47:54 | |
And this quite clearly derives from this. | 0:47:54 | 0:47:59 | |
So tell me why you're selling them. | 0:47:59 | 0:48:01 | |
Well, they've been sitting in the cupboard for a long time. | 0:48:01 | 0:48:04 | |
My family aren't interested in them | 0:48:04 | 0:48:06 | |
so I just thought I would... And I wanted to come to this programme. | 0:48:06 | 0:48:10 | |
Come and see what goes on. Good for you. OK, then. | 0:48:10 | 0:48:13 | |
Now, tell me what you paid for them. | 0:48:13 | 0:48:16 | |
Well, the lot came to ?80 | 0:48:16 | 0:48:21 | |
that the Worcester pot was amongst, | 0:48:21 | 0:48:24 | |
and I paid ?11 for the Chinese pot. OK. | 0:48:24 | 0:48:29 | |
I think that the Worcester pot | 0:48:29 | 0:48:32 | |
is going to be worth between ?100 and ?120, | 0:48:32 | 0:48:38 | |
and this little chap is worth another ?30 or ?40. | 0:48:38 | 0:48:42 | |
Now, auctioneers don't always like to mix categories. | 0:48:42 | 0:48:46 | |
Strictly speaking, here we have an Oriental and a European item, | 0:48:46 | 0:48:49 | |
but I think, in this instance, we should break that rule | 0:48:49 | 0:48:53 | |
and sell them as one lot, for obvious reasons. | 0:48:53 | 0:48:56 | |
And I suggest a reserve of ?140... | 0:48:56 | 0:48:59 | |
Yes. ..and an estimate of ?140 to ?180. Yes. | 0:48:59 | 0:49:04 | |
So, they're not going to set the world alight... No, no. | 0:49:04 | 0:49:07 | |
..but you're going to show a profit. | 0:49:07 | 0:49:10 | |
Well, yes. And as a retired dealer, | 0:49:10 | 0:49:13 | |
you'll appreciate that. | 0:49:13 | 0:49:15 | |
All dealers like a good turn, don't they? Definitely. OK. | 0:49:15 | 0:49:18 | |
Thanks for bringing them in. Thank you. I'll see you at the sale. | 0:49:18 | 0:49:22 | |
Right, we're ready to take our last few lots off to auction. | 0:49:22 | 0:49:26 | |
Going under the hammer are Wendy's beautiful little pots, | 0:49:26 | 0:49:29 | |
one Worcester and one all the way from China. | 0:49:29 | 0:49:32 | |
Marie might not have to put up with the disliked vase much longer. | 0:49:32 | 0:49:36 | |
And I'm convinced the Clarice Cliff plate could do well | 0:49:36 | 0:49:40 | |
because of its unusual design. | 0:49:40 | 0:49:42 | |
We are also hoping the interest of the collectors creates a bidding war | 0:49:42 | 0:49:45 | |
for Heather's cat band. | 0:49:45 | 0:49:47 | |
And now for my favourite part of the show. | 0:49:49 | 0:49:51 | |
Let's head straight to the auction and see what the bidders think. | 0:49:51 | 0:49:55 | |
First up, it's the Ruskin vase. | 0:49:57 | 0:49:58 | |
Coming under the hammer now we've got a fabulous studio piece. | 0:49:58 | 0:50:01 | |
It's by Ruskin, it belongs to Marie and John. | 0:50:01 | 0:50:03 | |
But unfortunately they can't be with us. But we do have Philippa. | 0:50:03 | 0:50:06 | |
So how did you meet them, in your pottery classes? | 0:50:06 | 0:50:09 | |
Yes, in pottery classes. | 0:50:09 | 0:50:11 | |
Marie and I do pottery together, but not as good as Ruskin. | 0:50:11 | 0:50:14 | |
No, but I bet you've studied the lines and some of the principles. | 0:50:14 | 0:50:17 | |
Yes, yes. No, it's a nice piece. | 0:50:17 | 0:50:20 | |
Is it something you fancy yourself? Would you buy it? | 0:50:20 | 0:50:23 | |
No. Why not? | 0:50:23 | 0:50:25 | |
I'm sorry, no. You wouldn't? | 0:50:25 | 0:50:27 | |
No. Who do you aspire to, then? | 0:50:27 | 0:50:29 | |
Clarice Cliff, I suppose. And I love Art Deco. | 0:50:29 | 0:50:32 | |
Will we get top end, do you think? | 0:50:32 | 0:50:34 | |
?60 to ?70? I don't know. I always find Ruskin quite unpredictable. | 0:50:34 | 0:50:38 | |
The high-fire glazes are fine, | 0:50:38 | 0:50:40 | |
but these softer glazes can be very hit and miss. | 0:50:40 | 0:50:43 | |
That's why I put a modest estimate on it. | 0:50:43 | 0:50:45 | |
It is a small piece. And the colour's nice. | 0:50:45 | 0:50:48 | |
If you haven't got a lot of money it's a good thing to invest in. | 0:50:48 | 0:50:51 | |
Absolutely. OK. All the talking's over with. | 0:50:51 | 0:50:54 | |
Let's find out, shall we? It is down to this lot, isn't it? Here we go. Indeed. | 0:50:54 | 0:50:58 | |
It's a stylish Ruskin-ware vase, square form, unusual glaze. | 0:50:59 | 0:51:05 | |
Who'll start me off with this at, say, ?40 to get on with it? | 0:51:05 | 0:51:08 | |
?40 to start. 40 bid, the Ruskin. | 0:51:08 | 0:51:11 | |
45, if you will. 45, 50. | 0:51:11 | 0:51:13 | |
Five? 60. Five? | 0:51:13 | 0:51:16 | |
At 60 only, then. At 60. | 0:51:16 | 0:51:18 | |
Anyone want? Come along. | 0:51:18 | 0:51:21 | |
I've got 60. | 0:51:21 | 0:51:23 | |
It's sold. Only just, though. | 0:51:23 | 0:51:25 | |
Sells, then, at ?60, right at the back of the room. | 0:51:25 | 0:51:29 | |
It's gone. You'll have to ring them up and tell them. Yes, I will. | 0:51:29 | 0:51:32 | |
And I'm sure there's a gin and tonic in it for you, don't you? | 0:51:32 | 0:51:35 | |
I hope so. I hope so. | 0:51:35 | 0:51:37 | |
Marie and John should be happy with that, and I hope Lorna feels | 0:51:37 | 0:51:41 | |
the same, as the Clarice Cliff plate that I fell in love with is up next. | 0:51:41 | 0:51:45 | |
It's never let us down before. | 0:51:47 | 0:51:49 | |
You know what I'm talking about - Clarice Cliff. | 0:51:49 | 0:51:51 | |
It's my turn to be the expert. | 0:51:51 | 0:51:53 | |
It's that lovely plate belonging to Lorna, | 0:51:53 | 0:51:55 | |
who's joined me, looking fabulous. Thank you. | 0:51:55 | 0:51:57 | |
Have you seen it in the cabinet? I have. | 0:51:57 | 0:51:59 | |
Doesn't it look good? It does, yes. | 0:51:59 | 0:52:01 | |
Do you want it back now? | 0:52:01 | 0:52:03 | |
Torn. | 0:52:03 | 0:52:05 | |
THEY LAUGH | 0:52:05 | 0:52:07 | |
Really? Yeah. Oh, really? | 0:52:07 | 0:52:09 | |
You think you might... It's a bit late now, isn't it? | 0:52:09 | 0:52:11 | |
It is, yes. No, I'll be happy if it goes. | 0:52:11 | 0:52:14 | |
Especially at ?80. Yes, definitely. | 0:52:14 | 0:52:17 | |
OK, OK. Well, if it doesn't sell, you'll be happy, then, won't you? | 0:52:17 | 0:52:20 | |
Maybe not. Anyway, it's going under the hammer right now. | 0:52:20 | 0:52:23 | |
Stylish, Art Deco-y John Armstrong for Clarice Cliff Bizarre tea plate, | 0:52:24 | 0:52:30 | |
decorated with a prancing horse. | 0:52:30 | 0:52:32 | |
It's gone quiet. It always goes quiet on my valuations. | 0:52:32 | 0:52:35 | |
That's easily ?50. I've got ?50 to start me | 0:52:38 | 0:52:40 | |
for this collectable item. | 0:52:40 | 0:52:41 | |
?50 to start me, take fives if I can. | 0:52:41 | 0:52:43 | |
At 50, five with me, commission, 60. | 0:52:43 | 0:52:46 | |
Five. 70. Five. 80. | 0:52:46 | 0:52:50 | |
On the telephone, 85? | 0:52:50 | 0:52:52 | |
Exciting again... I'm feeling happier. | 0:52:52 | 0:52:55 | |
90. Five. 100? | 0:52:55 | 0:53:00 | |
At ?95 on the telephone. It's not worthwhile ringing him up. | 0:53:00 | 0:53:03 | |
At ?95. If we reverse the charges. ?95. | 0:53:03 | 0:53:08 | |
All done. Probably can't do that nowadays, can you? | 0:53:08 | 0:53:10 | |
Selling at ?95, we're out. | 0:53:10 | 0:53:14 | |
Ever so happy. I'm pleased, ever so pleased. That's good, isn't it? | 0:53:14 | 0:53:17 | |
Yes. Don't forget, there is commission to pay, | 0:53:17 | 0:53:20 | |
but that's a nice treat. Yes. A meal out. Or would you reinvest in antiques? | 0:53:20 | 0:53:24 | |
Probably reinvest in antiques. Would you? OK, what tickles your fancy, then? | 0:53:24 | 0:53:28 | |
Anything in the room here? Not really. | 0:53:28 | 0:53:30 | |
I like the Art Deco figures. Do you? Dancers and that. They're nice. | 0:53:30 | 0:53:34 | |
You'll have to save up for those. I know. | 0:53:34 | 0:53:37 | |
It's good to plough the money back into antiques, | 0:53:37 | 0:53:40 | |
and Lorna's off to a good start with a healthy profit. | 0:53:40 | 0:53:44 | |
Good luck, Wendy, that's all I can say. | 0:53:47 | 0:53:50 | |
We're looking at ?140 to ?180. Mm-hm. | 0:53:50 | 0:53:52 | |
It's an interesting lot, | 0:53:52 | 0:53:54 | |
because one is a copy of the other. Which came first? The Worcester. | 0:53:54 | 0:53:58 | |
The Worcester one is based on the Chinese. That's right. | 0:53:58 | 0:54:02 | |
You paid ?80 and ?11. | 0:54:02 | 0:54:04 | |
Yes, that's right. | 0:54:04 | 0:54:06 | |
We can easily beat that today, surely? There's a bit of profit there for you. I'm sure. | 0:54:06 | 0:54:10 | |
I sold the other things in the lot too, that the Worcester pot was in | 0:54:10 | 0:54:13 | |
and just kept that. So you're already quids in? Yes. | 0:54:13 | 0:54:17 | |
OK. We're going to find out. Good luck. | 0:54:17 | 0:54:19 | |
Nice quality little pieces of a similar nature, | 0:54:20 | 0:54:23 | |
the Worcester chinoiserie inkwell | 0:54:23 | 0:54:26 | |
and a little Chinese example of a similar nature. | 0:54:26 | 0:54:29 | |
OK. Two pretty little items. Good little lot. | 0:54:29 | 0:54:32 | |
Who'll start me, please, for these, | 0:54:32 | 0:54:34 | |
Worcester and Chinese, at ?50? | 0:54:34 | 0:54:36 | |
50 is bid. 60 I'll take. | 0:54:38 | 0:54:41 | |
A long way to go. Yeah. 50. 60. 70. | 0:54:41 | 0:54:45 | |
70. 80? 80. | 0:54:45 | 0:54:47 | |
90. 100. | 0:54:47 | 0:54:49 | |
?100 is bid. We're getting there. 110. 120. | 0:54:49 | 0:54:53 | |
120. 130 will you? | 0:54:53 | 0:54:55 | |
Yeah? | 0:54:55 | 0:54:56 | |
130. 140. | 0:54:56 | 0:54:59 | |
140 bid. 150? | 0:54:59 | 0:55:02 | |
No. At ?140 bid. Standing near me at 140... | 0:55:02 | 0:55:06 | |
Any further bids in the room at all? Going at ?140... I'm selling... | 0:55:06 | 0:55:10 | |
Hammer's gone down. Sold. That's good. Happy? We're happy. | 0:55:12 | 0:55:15 | |
Spot on. | 0:55:15 | 0:55:17 | |
What are you going to start collecting now? I don't know. | 0:55:17 | 0:55:20 | |
I collect little pots for the bathroom, sort of cure all pots. | 0:55:20 | 0:55:24 | |
You're going to reinvest your money. What a good result. | 0:55:24 | 0:55:28 | |
A spot-on valuation by our expert. | 0:55:28 | 0:55:31 | |
Lastly, we're selling that jazz-playing cat band. | 0:55:32 | 0:55:36 | |
Cracking little lot, | 0:55:36 | 0:55:37 | |
the four Beswick cats, the little orchestra belonging to Heather. | 0:55:37 | 0:55:40 | |
That's right. After Kitty MacBride. | 0:55:40 | 0:55:43 | |
Why are you selling these? You're a big cat lover. | 0:55:43 | 0:55:46 | |
I'm selling them because I have so much in the display cabinet. | 0:55:46 | 0:55:50 | |
Do you? Do you, really? Is it taking over? Yes, that's right. | 0:55:50 | 0:55:53 | |
So are you downsizing or just sort of sorting out? | 0:55:53 | 0:55:56 | |
No, I'm just sorting out. Sorting out, OK. | 0:55:56 | 0:55:58 | |
Will we get more than 50 quid, do you think? | 0:55:58 | 0:56:00 | |
I hope so, yes. They're good fun. | 0:56:00 | 0:56:02 | |
They're based on a Meissen original. | 0:56:02 | 0:56:05 | |
If you were trying to buy a Meissen original monkey band, | 0:56:05 | 0:56:08 | |
you'd be spending a fortune. So this, by comparison, | 0:56:08 | 0:56:11 | |
looks very reasonably priced. And they are sweet. | 0:56:11 | 0:56:13 | |
And thanks for pointing out to me that it was a viola, not a violin. | 0:56:13 | 0:56:16 | |
I tell you what, though, I had a chat to the auctioneer | 0:56:16 | 0:56:19 | |
just before the sale started, and he said | 0:56:19 | 0:56:22 | |
there are a lot of people that are interested in these. | 0:56:22 | 0:56:25 | |
Excellent. It's the sort of thing that sells really well. | 0:56:25 | 0:56:28 | |
It's a collectable that everybody knows about and wants. Lovely. | 0:56:28 | 0:56:31 | |
They are sweet. It's the right place to sell them. | 0:56:31 | 0:56:33 | |
You've upped the reserve to ?50. Hopefully we'll get more than ?50. | 0:56:33 | 0:56:36 | |
Fingers crossed. Here we go, this is it. Lovely. | 0:56:36 | 0:56:39 | |
There they are, fiddling away. | 0:56:39 | 0:56:42 | |
And the drums. Collectable lot. I've got overlapping bids with me | 0:56:42 | 0:56:47 | |
to start. I've ?40 to start. I'll take five for the Beswick. | 0:56:47 | 0:56:51 | |
Yeah, somebody's waving down there, look. 50? 50. Five? | 0:56:51 | 0:56:55 | |
60. Five? | 0:56:55 | 0:56:58 | |
No, at ?60. And five, anyone like? | 0:56:58 | 0:57:00 | |
And five, anyone want? | 0:57:00 | 0:57:02 | |
65. There's a late bid on the phone. | 0:57:02 | 0:57:04 | |
70. Five on the phone? | 0:57:04 | 0:57:06 | |
International telephone bidding for the cats. Ooh! | 0:57:07 | 0:57:11 | |
?75. This could be from America, or possibly Puddletown. 75? | 0:57:11 | 0:57:16 | |
LAUGHTER | 0:57:16 | 0:57:18 | |
80. Five? | 0:57:18 | 0:57:20 | |
This is good, isn't it? Excellent. | 0:57:20 | 0:57:22 | |
?85,000(?) | 0:57:22 | 0:57:25 | |
LAUGHTER | 0:57:25 | 0:57:26 | |
85. 90. | 0:57:26 | 0:57:28 | |
Five. 100. And ten? | 0:57:28 | 0:57:31 | |
Come on, cat collectors. Got ?100. | 0:57:31 | 0:57:34 | |
And ten. At ?110. We're out against the book on the telephone. | 0:57:34 | 0:57:37 | |
Could almost be exciting. | 0:57:37 | 0:57:39 | |
LAUGHTER | 0:57:39 | 0:57:41 | |
But perhaps not. GAVEL BANGS | 0:57:41 | 0:57:43 | |
Yes, ?110. Excellent! I'm really pleased with that. Fabulous. | 0:57:43 | 0:57:47 | |
I hadn't anticipated any telephone bidding. Thank you, David. | 0:57:47 | 0:57:50 | |
No, thank you. You valued them, really, not me. Well, there we go. | 0:57:50 | 0:57:54 | |
So are you stripping any more from the cabinet? Not at the moment. Not at the moment? | 0:57:54 | 0:57:57 | |
So a standing ovation for the musical cats, | 0:57:59 | 0:58:02 | |
and that's it for today's show. | 0:58:02 | 0:58:04 | |
If you think you've got anything at home | 0:58:04 | 0:58:07 | |
that people would fight over in the auction room, | 0:58:07 | 0:58:09 | |
bring it along to one of our valuation days. | 0:58:09 | 0:58:12 |