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The bracing sea air. People first came here in the 18th century on doctor's orders, believe it or not, | 0:00:07 | 0:00:13 | |
because they were extolling the virtues of the salt water to invigorate a bit more life into you. | 0:00:13 | 0:00:19 | |
And they've been coming back ever since. | 0:00:19 | 0:00:22 | |
But people should enjoy it even more today as Flog It is here in Worthing on the Sussex coast. | 0:00:22 | 0:00:27 | |
This is where it starts, a Flog It valuation day. | 0:00:48 | 0:00:51 | |
And today we're in this magnificent building, | 0:00:51 | 0:00:53 | |
the Pavilion Theatre in Worthing. | 0:00:53 | 0:00:55 | |
Hundreds of people have turned up, laden with bags and boxes. | 0:00:55 | 0:00:59 | |
Who knows what treasures we'll find? | 0:00:59 | 0:01:02 | |
-It's 9.30 and time to get the doors open. What are you going to do? -ALL: Flog It! | 0:01:02 | 0:01:07 | |
'We have a full team of experts promenading amongst our owners at the end of the pier. | 0:01:09 | 0:01:16 | |
'In the lead are Michael Baggott, an antiques boffin who seems to know a thing or two about future trends.' | 0:01:16 | 0:01:22 | |
-Keep it. Come back to Flog It in four years' time. -I will do that. | 0:01:22 | 0:01:26 | |
And then whoever's there will go, "Can't believe it." | 0:01:26 | 0:01:29 | |
'And David Fletcher, who cites Arthur Negus and Going For A Song | 0:01:29 | 0:01:34 | |
'as one of the reasons he got into the business.' | 0:01:34 | 0:01:38 | |
-It's not worth a fortune. -It's not worth 10,000? -No, it's not worth 10,000. Might be worth a tenner. | 0:01:38 | 0:01:45 | |
'Coming up - Michael makes a few strategic moves.' | 0:01:45 | 0:01:49 | |
Checkmate. | 0:01:50 | 0:01:52 | |
Well done. Good game. | 0:01:52 | 0:01:55 | |
'And David uses his intuition, but will he be proved right?' | 0:01:55 | 0:02:00 | |
Now, I've seen nothing quite like him before, so I'm going to be stabbing in the dark a bit. | 0:02:00 | 0:02:05 | |
'And I visit Christopher Lloyd's gardens at Great Dixter.' | 0:02:05 | 0:02:08 | |
Just breathtaking. | 0:02:08 | 0:02:11 | |
Well, everybody is now safely seated inside the Pavilion. There's a great atmosphere. | 0:02:15 | 0:02:20 | |
-You're all happy, aren't you? -ALL: Yes! | 0:02:20 | 0:02:23 | |
Who'll go home with lots of money? | 0:02:23 | 0:02:25 | |
It could be this person here as Michael has found a gem. Let's take a closer look. | 0:02:25 | 0:02:30 | |
-Pat? -Yes? -First of all, thank you | 0:02:30 | 0:02:32 | |
for bringing this wonderful set in. | 0:02:32 | 0:02:36 | |
Um... Where did you get it from? | 0:02:36 | 0:02:38 | |
It was my father's. | 0:02:38 | 0:02:40 | |
I don't know where he got it from. He's never played with it. | 0:02:40 | 0:02:44 | |
-It's just been stuck in the cupboard. -Oh, no. Really? -Yes. | 0:02:44 | 0:02:48 | |
-Yes. -Stuck away. And did he tell you where he got it from or any idea...? | 0:02:48 | 0:02:52 | |
-No. No. -Oh, dear. -I haven't a clue where it came from. | 0:02:52 | 0:02:55 | |
It's unusual because normally you see these sets incomplete or with a little damage or with a knock. | 0:02:55 | 0:03:02 | |
People will think, "That's a peculiar chess set," as we're very familiar | 0:03:02 | 0:03:07 | |
with the standard pattern of chess set that we get now, which was first done by Jaques, | 0:03:07 | 0:03:12 | |
their Staunton pattern. | 0:03:12 | 0:03:14 | |
You've got the turreted castle, not this turned finial. | 0:03:14 | 0:03:18 | |
Of course, the king looks nothing like that. He's got a little crown with a cross on top. | 0:03:18 | 0:03:23 | |
Now, the Staunton pattern sets, I think came out in about the 1850s. | 0:03:23 | 0:03:28 | |
Before that, you've got a number of different makers producing their own patterns. | 0:03:28 | 0:03:34 | |
-And a lot of these were influenced by Chinese and Indian sets. -Yes. | 0:03:34 | 0:03:39 | |
Now, at first I thought this set was ivory. | 0:03:39 | 0:03:42 | |
-Yes. -But if we look, we've got these tiny black flecks, which are little vesicles, which you get in bone. | 0:03:42 | 0:03:50 | |
So it's actually a turned bone set. | 0:03:50 | 0:03:52 | |
They've left these pieces undyed | 0:03:52 | 0:03:55 | |
and these are stained red. | 0:03:55 | 0:03:57 | |
-And that's quite common to get a white and a red set, rather than a white and a black set. -Black. | 0:03:57 | 0:04:03 | |
And in terms of date, | 0:04:03 | 0:04:05 | |
they're around 1835 up to 1850 in date. | 0:04:05 | 0:04:10 | |
-Gosh. -Where it was made is a little bit more difficult. -Yes. -But we know the date. We know the material. | 0:04:10 | 0:04:17 | |
And we know, to a chess fanatic or someone who likes playing chess sort of habitually, | 0:04:17 | 0:04:23 | |
-it's lovely to have different boards to play. -Yes. -And I think this is a delight. | 0:04:23 | 0:04:28 | |
-Any idea of what the value is? -Well, my son went on the internet to have it valued as he thought it was ivory. | 0:04:28 | 0:04:35 | |
-And the valuation for that was about £500. -Right. Ivory sets are incredibly sought after. | 0:04:35 | 0:04:41 | |
And a set of this pattern in ivory might be £800 to £1,200. | 0:04:41 | 0:04:45 | |
-Golly. -An original Staunton set, £7,000, £10,000. | 0:04:45 | 0:04:51 | |
-£15,000, if it's in its original box. -Oh, gosh! | 0:04:51 | 0:04:55 | |
Bone, I have to bring you back down to earth. | 0:04:55 | 0:04:58 | |
Bone are very much more abundant. | 0:04:58 | 0:05:01 | |
-But this set is in lovely order. -Yes. -And it's got its board, so let's put £150 to £250 on it. -Yes. | 0:05:01 | 0:05:07 | |
Let's put a fixed reserve of 140 on it. It won't go for a penny below that. | 0:05:07 | 0:05:12 | |
-And with any luck two chess fanatics will just get carried away at the auction. -Lovely. | 0:05:12 | 0:05:17 | |
-So we'll put it in for you. Do you play, Pat? -I do, but not very well, because I haven't played for years. | 0:05:17 | 0:05:23 | |
Well, white moves first. It's your move, Pat. | 0:05:23 | 0:05:27 | |
You're testing me now. | 0:05:27 | 0:05:29 | |
You're testing me. I don't know what to do. There we go. | 0:05:29 | 0:05:32 | |
'Well, as you can see, Michael's a bit chess mad, | 0:05:32 | 0:05:36 | |
'so Pat's come to the right place. | 0:05:36 | 0:05:38 | |
'While the rest of us are busy looking for antiques... | 0:05:40 | 0:05:44 | |
'..the game continues.' | 0:05:45 | 0:05:47 | |
Checkmate. | 0:05:49 | 0:05:51 | |
Well done. Good game. | 0:05:51 | 0:05:54 | |
'Wow, what a bonus! Time to catch up with David, who's having a look at an Art Deco piece, | 0:05:54 | 0:05:59 | |
'brought along by Jason.' | 0:05:59 | 0:06:01 | |
-You've brought along a clock. -Yes. -What can you tell me about it? -Not much. It was my nan's uncle's. | 0:06:01 | 0:06:09 | |
-Do you know anything about the Art Deco style? -Very little. | 0:06:09 | 0:06:13 | |
The Art Deco style is characterised by bold geometric shapes. | 0:06:13 | 0:06:18 | |
So this rectangular shape is absolutely typical. | 0:06:18 | 0:06:22 | |
-I'm interested that it's in an onyx case. -So that's what it is? -It's onyx, yes, a sort of green marble, | 0:06:22 | 0:06:28 | |
which suggests a relatively early date, really. | 0:06:28 | 0:06:32 | |
We all know about the recession which hit America, in particular, in the late 1920s. | 0:06:32 | 0:06:37 | |
And from that date on, | 0:06:37 | 0:06:39 | |
-you tend to find less exotic marbles being used in the cases of these clocks than onyx. -Right. | 0:06:39 | 0:06:45 | |
So I think this is going to date from before 1930, so that all adds up. | 0:06:45 | 0:06:51 | |
And it's by Mappin and Webb. | 0:06:51 | 0:06:53 | |
-Is that important? Is that a good name? -Mappin and Webb is a good name. -Yeah. -Not the best. | 0:06:53 | 0:06:59 | |
Had it have been Garrard or Tiffany | 0:06:59 | 0:07:03 | |
-or Cartier, it would've been better. But Mappin and Webb is pretty good, really. -Yeah. | 0:07:03 | 0:07:09 | |
-Tell me, why are you thinking of selling it? -It's sitting on a corner in a dark room gathering dust. | 0:07:09 | 0:07:15 | |
-It has got a bit of dust on it. I noticed that. -All authentic. -All authentic dust. You don't use it? | 0:07:15 | 0:07:21 | |
-No. -Does it work, do you know? -It does. -It does. OK. | 0:07:21 | 0:07:24 | |
Have you any idea what it might be worth? | 0:07:24 | 0:07:27 | |
-£40, £50? -40 to 50, I don't think you're far out. | 0:07:27 | 0:07:31 | |
In fact, I think you should be a valuer, because that's exactly what I was going to say. | 0:07:31 | 0:07:37 | |
I reckon we should put an estimate on this of £40 to £60. It might make a bit more with a bit of luck. | 0:07:37 | 0:07:44 | |
But I would suggest a reserve beneath the bottom estimate of, say, £35. | 0:07:44 | 0:07:49 | |
-OK. -Is that all right with you? -That is, yes. -OK. We'll go ahead along those lines then. | 0:07:49 | 0:07:55 | |
-And I'll look forward to seeing you at the sale. -OK. -Thank you. -Cheers. | 0:07:55 | 0:07:59 | |
'It's a good-looking Art Deco clock, | 0:08:00 | 0:08:02 | |
'so it deserves to have a little bit more limelight. | 0:08:02 | 0:08:06 | |
'Someone who is not usually in the limelight is Pippa Deeley, one of our off-screen jewellery experts.' | 0:08:06 | 0:08:13 | |
-I notice you're not wearing any diamonds, Pippa. -I know. | 0:08:13 | 0:08:17 | |
We should do something about that, shouldn't we? | 0:08:17 | 0:08:20 | |
'Back to Michael, who's excited by some family silver that Marilyn has brought along.' | 0:08:20 | 0:08:25 | |
You may not know, and a lot of our viewers may not know, | 0:08:25 | 0:08:29 | |
-but I'm a member of a society, and it is the Silver Spoon Club... -Really? -..of Great Britain. | 0:08:29 | 0:08:35 | |
-Good Lord. -And look what you have brought me, Marilyn - silver spoons! | 0:08:35 | 0:08:39 | |
-So are these something that you've collected? -No. -Where have they come from? | 0:08:39 | 0:08:45 | |
-They were my mother-in-law's. And I think they've come down to her, I think. -Right. Right. | 0:08:45 | 0:08:52 | |
Any of these initials family names? | 0:08:52 | 0:08:54 | |
Well, the only one that I've noticed is that one - "MH". | 0:08:54 | 0:08:58 | |
-Now, my father-in-law's mother's name was Hawling. -Ah. | 0:08:58 | 0:09:02 | |
-So I wondered if that "H" had anything to do with that? -Possibly. | 0:09:02 | 0:09:06 | |
Possibly. These are often... | 0:09:06 | 0:09:08 | |
This is a prime example of a marriage initial. | 0:09:08 | 0:09:11 | |
So you have the surname at the top. | 0:09:11 | 0:09:14 | |
And then you've got the husband, | 0:09:14 | 0:09:16 | |
being the 18th century, first, and the wife second. | 0:09:16 | 0:09:19 | |
-Yes. -These are all individual sets of initials, | 0:09:19 | 0:09:22 | |
so these would've been the owner. | 0:09:22 | 0:09:24 | |
-And often they're given as a christening gift. -Right. -That would be your spoon for life. -Yes. | 0:09:24 | 0:09:30 | |
Although when we move the date that these are, | 0:09:30 | 0:09:32 | |
mid-18th century, you do tend to see them more rather in sets, | 0:09:32 | 0:09:37 | |
rather than individual spoons. | 0:09:37 | 0:09:40 | |
We'd better get the pattern out of the way as patterns are very important. And these are Hanoverian. | 0:09:40 | 0:09:45 | |
-Are they? -Because unlike old English, the stem turns up. -Oh, right. | 0:09:45 | 0:09:49 | |
And that was meant because you sat them that way at the table. | 0:09:49 | 0:09:54 | |
-Yes. -And Hanoverian pattern comes in very early in 1709, 1710. | 0:09:54 | 0:09:58 | |
-Good grief! -And then it goes right through it. | 0:09:58 | 0:10:02 | |
It can be as late as this, which is the latest, which is 1776. | 0:10:02 | 0:10:07 | |
-Is it? -They're all London made. | 0:10:07 | 0:10:10 | |
That make is Ebenezer Coker. | 0:10:10 | 0:10:12 | |
And those series of punches will date it between | 0:10:12 | 0:10:16 | |
1739 and 1755. | 0:10:16 | 0:10:20 | |
That one's by a man called Robert Sallam. | 0:10:20 | 0:10:23 | |
And that was made in London in 1763. | 0:10:23 | 0:10:26 | |
This one is probably by John Lamfert. | 0:10:26 | 0:10:30 | |
And is 1766. | 0:10:30 | 0:10:33 | |
And the last one is by Charles Hougham. | 0:10:33 | 0:10:36 | |
And that's London 1776. | 0:10:36 | 0:10:39 | |
-Right. Any idea of what they're worth? -None at all. | 0:10:39 | 0:10:42 | |
-It's not huge figures, which is why I think more people should be collecting them! -Yes. | 0:10:42 | 0:10:48 | |
Because they're, you know, they're eminently collectable. And they're perfect as a start for somebody. | 0:10:48 | 0:10:55 | |
-On the market, they're between £30 and £50 each. -Oh, right. | 0:10:55 | 0:10:59 | |
So if we put them into auction between £120 and £200, they'll find their level somewhere in between. | 0:10:59 | 0:11:04 | |
And put a fixed reserve of £120 on them. | 0:11:04 | 0:11:07 | |
-If you're happy for us to put them in, we'll do that? -I think so, yes. | 0:11:07 | 0:11:11 | |
Hopefully there'll be lots of spoon collectors there. | 0:11:11 | 0:11:15 | |
-I'll certainly let them know. -Thank you. That was fascinating. | 0:11:15 | 0:11:19 | |
We are now halfway through our day. I've escaped the mayhem to get a bit of fresh air | 0:11:24 | 0:11:30 | |
before we go to the auction room. Here's what we're taking with us. | 0:11:30 | 0:11:34 | |
Pat's chess set could give a lot of pleasure, | 0:11:34 | 0:11:37 | |
so it's a good move to get it into the saleroom. | 0:11:37 | 0:11:41 | |
Art Deco has a keen following, so Jason's mantel clock should attract a buyer. | 0:11:41 | 0:11:47 | |
We just need a few fellow members of The Silver Spoon Club at the auction room | 0:11:47 | 0:11:52 | |
and Marilyn's family silver is on its way. | 0:11:52 | 0:11:55 | |
There's our first batch of items and this is where we're putting them under the hammer. | 0:11:55 | 0:12:00 | |
This is where it gets exciting - Denham's Auctioneers in Warnham. | 0:12:00 | 0:12:04 | |
You've heard what our experts have had to say. | 0:12:04 | 0:12:07 | |
But ultimately, it's down to the bidders. | 0:12:07 | 0:12:10 | |
So let's get inside. And fingers crossed, we've got some big surprises. | 0:12:10 | 0:12:15 | |
What do you say for that? 110. 120. | 0:12:16 | 0:12:19 | |
Now 120 then. Are we done and selling? At £120. | 0:12:19 | 0:12:22 | |
You could say it's game on, which brings us nicely to this lovely chess set belonging to Pat. | 0:12:23 | 0:12:29 | |
-It's all made of bone. Beautiful. We've got a valuation of £150 to £250. -It's worth that. | 0:12:29 | 0:12:35 | |
I think chess sets are a really good investment. | 0:12:35 | 0:12:37 | |
-If you love a game like that... -You've got to have a good set. | 0:12:37 | 0:12:42 | |
A good board and a set new is maybe £150, £200? | 0:12:42 | 0:12:45 | |
-Buy an antique one. -Exactly. Even if it doesn't have a board, you can pick up a pretty good board. | 0:12:45 | 0:12:51 | |
But always invest in a quality chess set. | 0:12:51 | 0:12:54 | |
And even the basic wooden ones, as long as they're weighted with lead - wonderful feel to them. | 0:12:54 | 0:13:00 | |
Let's hope the bidders want to buy this chess set because it's going under the hammer right now. | 0:13:00 | 0:13:05 | |
The red and white carved chess set, | 0:13:05 | 0:13:08 | |
complete with games compendium box. There it is. | 0:13:08 | 0:13:12 | |
What do we say for this one? £100 for it, do we say? 75 then? I'm bid 50. | 0:13:12 | 0:13:16 | |
-And five. -It's very low. | 0:13:16 | 0:13:19 | |
70. And five. 80. And five. | 0:13:19 | 0:13:22 | |
-90. -Come on, more. More. | 0:13:22 | 0:13:25 | |
£90 then. Are we all done? Selling at £90 then. | 0:13:25 | 0:13:29 | |
You're done with it at 90. At £90 then... Can't sell that at 90. | 0:13:29 | 0:13:34 | |
He didn't sell it and he was just telling everybody | 0:13:34 | 0:13:37 | |
-that it didn't reach the reserve. -Yes. | 0:13:37 | 0:13:40 | |
-Never mind. -But it's worth that. And I think you should go back home. | 0:13:40 | 0:13:44 | |
-Get it out and start playing again. -Even just display it, as it looks wonderful. -Yes. | 0:13:44 | 0:13:48 | |
Thank goodness we put a fixed reserve on that. | 0:13:48 | 0:13:51 | |
'It's always worth protecting something good with a reserve. | 0:13:51 | 0:13:55 | |
'Now for some Art Deco.' | 0:13:55 | 0:13:58 | |
Our next item belongs to Jason, who unfortunately can't be with us. | 0:13:58 | 0:14:02 | |
But you'll remember that he brought in that little Art Deco clock made by Mappin and Webb. | 0:14:02 | 0:14:08 | |
David, our expert, has put £40 to £60 on this. Hopefully, it's going to fly away. | 0:14:08 | 0:14:13 | |
Art Deco's very fashionable today. | 0:14:13 | 0:14:15 | |
Mappin and Webb, as you say, a good maker. It would've been better still had it been Asprey's or Garrard's. | 0:14:15 | 0:14:21 | |
Well, then it would be £100 to £200. | 0:14:21 | 0:14:23 | |
Let's see what the bidders think. Time is up for the Art Deco clock. | 0:14:23 | 0:14:26 | |
Nice little clock, this one. | 0:14:28 | 0:14:30 | |
The Art Deco clock in the marble case. What do we say for this one? | 0:14:30 | 0:14:35 | |
I'm bid 20. And two. 24. | 0:14:35 | 0:14:38 | |
26. 28. 30. | 0:14:38 | 0:14:40 | |
And five. | 0:14:40 | 0:14:42 | |
40. And five. | 0:14:43 | 0:14:44 | |
-We're there. -Yes. | 0:14:44 | 0:14:46 | |
We're now at £45 then. Are we done and selling now at £45? | 0:14:46 | 0:14:50 | |
45, are you...? | 0:14:53 | 0:14:55 | |
-Yes! Well done. Within estimate, £45. -Yep. -That's good. | 0:14:57 | 0:15:00 | |
-I think you should get on the phone and let him know. -OK. I'll do it now. | 0:15:00 | 0:15:04 | |
'I think Jason will be pleased with that. | 0:15:04 | 0:15:08 | |
'Now for those lovely Georgian spoons belonging to Marilyn's son.' | 0:15:08 | 0:15:12 | |
I must say, cracking lot. It's a nice little collection. | 0:15:12 | 0:15:15 | |
-Had you started to collect? -No. They belonged to my mother-in-law. | 0:15:15 | 0:15:20 | |
And when she died in her nineties, | 0:15:20 | 0:15:22 | |
well, my son just literally went to the table and said, "Well, I'll have those." | 0:15:22 | 0:15:27 | |
-He picked up the silver spoons with some other stuff. It was as arbitrary as that. -And your son's here today. | 0:15:27 | 0:15:34 | |
-And your granddaughter. What's her name? -Evie. -Evie. | 0:15:34 | 0:15:37 | |
Look, waving at us now. Aw! | 0:15:37 | 0:15:40 | |
So let's find out what the bidders think. Good luck. | 0:15:40 | 0:15:43 | |
Four antique, silver bottom-marked spoons | 0:15:43 | 0:15:46 | |
or English pattern spoons, there. | 0:15:46 | 0:15:49 | |
I'm bid 70. And five. 80. And five. | 0:15:49 | 0:15:51 | |
90. And five. | 0:15:51 | 0:15:53 | |
100. And ten. | 0:15:53 | 0:15:55 | |
There we go. A silver spoon will never let you down, Paul. | 0:15:55 | 0:16:00 | |
120. We're now at 120 then. | 0:16:00 | 0:16:02 | |
Are we done and selling now? | 0:16:04 | 0:16:06 | |
At £120. All done and selling at 120, are we? | 0:16:06 | 0:16:10 | |
-Spot on, Michael. -Thank you, Paul. | 0:16:10 | 0:16:12 | |
If you want to start collecting something like that, | 0:16:12 | 0:16:16 | |
start with early silver spoons. You can't go wrong. Thanks for bringing them in. | 0:16:16 | 0:16:20 | |
'I'm a bit surprised they didn't go a little higher. But what a great start for a collection!' | 0:16:20 | 0:16:26 | |
Are we done and selling? At £50 then... | 0:16:26 | 0:16:29 | |
Now, while I'm here in Sussex, I'm off to visit a place I've wanted to see for many years. | 0:16:32 | 0:16:38 | |
This is Great Dixter, an idyllic house in a heavenly setting in the Sussex Weald. | 0:16:49 | 0:16:55 | |
It is a place of pilgrimage for many people because it was the home of the late Christopher Lloyd, | 0:16:55 | 0:17:01 | |
one of the most remarkable of British gardeners. | 0:17:01 | 0:17:05 | |
Christopher was known for being witty and opinionated. | 0:17:05 | 0:17:09 | |
And his rise to fame came from the gardening books and the magazine and newspaper articles that he wrote. | 0:17:09 | 0:17:15 | |
And he spent much of his life here, putting his ideas into practice. | 0:17:15 | 0:17:20 | |
And many of them, you could say, were revolutionary. | 0:17:20 | 0:17:24 | |
Sadly, Christopher died in 2006. | 0:17:24 | 0:17:26 | |
But thankfully, not before setting up a charitable trust, | 0:17:26 | 0:17:30 | |
so the garden here at Great Dixter could flourish. | 0:17:30 | 0:17:33 | |
Christopher grew up here with his parents and four brothers and a sister. | 0:17:39 | 0:17:44 | |
His father Nathaniel had employed the architect, Edwin Lutyens, | 0:17:44 | 0:17:48 | |
to restore and enlarge the house in the then popular Arts and Crafts manner. | 0:17:48 | 0:17:53 | |
At the same time, Lutyens set out the framework for the garden, | 0:17:53 | 0:17:57 | |
incorporating many old farm buildings, in a formal style radiating out from the house. | 0:17:57 | 0:18:03 | |
And this gave Christopher's father the opportunity to indulge his enthusiasm for topiary. | 0:18:03 | 0:18:09 | |
And over the decades they've grown into marvellous, majestic, magnificent shapes. | 0:18:09 | 0:18:14 | |
And this gave Christopher the framework for his later flower planting. | 0:18:14 | 0:18:20 | |
I was very lucky to be presented with a ready-made skeleton for the garden. | 0:18:22 | 0:18:29 | |
It was lovely to be able to put flesh on the bones. | 0:18:30 | 0:18:35 | |
It was also fortunate | 0:18:35 | 0:18:37 | |
that I didn't have to make the bones myself | 0:18:37 | 0:18:41 | |
because I'm no good at that at all. | 0:18:41 | 0:18:44 | |
But it was Christopher's mother Daisy, not his father, | 0:18:44 | 0:18:48 | |
who was the real gardener in the family. | 0:18:48 | 0:18:52 | |
It was she who first planted out the borders. | 0:18:52 | 0:18:54 | |
She had a particular love of wild flowers. | 0:18:54 | 0:18:57 | |
And it's wonderful to see the meadows that she planted are still thriving here at Great Dixter today. | 0:18:57 | 0:19:04 | |
But I'm not sure she'd recognise some planting that Christopher brought to the garden. | 0:19:04 | 0:19:09 | |
It's only when you look around, you can see his approach is so bold and unconventional. | 0:19:09 | 0:19:16 | |
Who'd have thought that all of these bright colours would mix together in harmony at such wonderful heights? | 0:19:16 | 0:19:22 | |
So who better to talk to than Fergus Garrett, who worked with Christopher as head gardener for many years? | 0:19:22 | 0:19:29 | |
Christopher described Fergus as brilliant and creative. | 0:19:29 | 0:19:33 | |
You must've learnt a lot from him? | 0:19:33 | 0:19:36 | |
Oh, absolutely. And you know what I've learnt? It's to be free. | 0:19:36 | 0:19:40 | |
And not to be dictated to. There are various rules you have to obey in a garden. | 0:19:40 | 0:19:45 | |
There are rules of ecology. And if you put a dry, shade-loving plant in a wet, moist area, | 0:19:45 | 0:19:51 | |
then it's not going to survive. So there's no point in you even thinking about the combination. | 0:19:51 | 0:19:57 | |
Other than that, it's an expression of your taste. | 0:19:57 | 0:20:00 | |
Christopher thought, "Well, I'm going to go ahead and do whatever pleases me. | 0:20:00 | 0:20:05 | |
"And at least I'm pleasing one person and that's myself." | 0:20:05 | 0:20:09 | |
-Did you ever fall out with him over ideas? -All the time. | 0:20:09 | 0:20:12 | |
I mean, I never ever forgot that it was his garden. | 0:20:12 | 0:20:15 | |
But if I thought that something wasn't going to work, I'd say. | 0:20:15 | 0:20:19 | |
I think he wanted me to say to him. And in the same way, if I thought that I was wrong on something | 0:20:19 | 0:20:26 | |
and he was right, I'd admit it and he'd do the same. And it worked really well. | 0:20:26 | 0:20:31 | |
But a lot of thought has gone into there. I couldn't go and do that and throw a load of plants there. | 0:20:31 | 0:20:36 | |
Yes. It's very complex, actually, | 0:20:36 | 0:20:39 | |
because you want things to look natural in their setting. But there are many seasons in there as well. | 0:20:39 | 0:20:45 | |
And you've got the framework of all these shrubs in here | 0:20:45 | 0:20:49 | |
and layers and layers of plants. So you may have one plant come up. | 0:20:49 | 0:20:53 | |
Then another one takes over. Climbers go over the top of the shrubs. So you have something for every season. | 0:20:53 | 0:21:00 | |
And that's the excitement of a garden. | 0:21:00 | 0:21:02 | |
I love the little colours, the big colours, and also the big, broad leaves that go with it. | 0:21:02 | 0:21:07 | |
It's just absolutely brilliant. | 0:21:07 | 0:21:10 | |
Our planting style is to mimic what happens in nature, in a way. | 0:21:14 | 0:21:18 | |
We want plants to look very comfortable in their setting, as if they've just landed here. | 0:21:18 | 0:21:23 | |
If you took Christopher Lloyd to one side and said, | 0:21:23 | 0:21:26 | |
-"What's most important in a plant?" He'd say, "Shape, more than colour." -Really? -Yes, absolutely. | 0:21:26 | 0:21:32 | |
What a beautiful and romantic place this is. | 0:21:49 | 0:21:53 | |
I've thoroughly enjoyed my time filming here today. | 0:21:53 | 0:21:57 | |
And all I can say is, if you're unsure about planting up with mixed colours, | 0:21:57 | 0:22:02 | |
lots of hot colours together, come here, because it will certainly change your opinion. | 0:22:02 | 0:22:08 | |
It's just breathtaking. And it's clear talking to Fergus that he shares Christopher's vision, | 0:22:08 | 0:22:12 | |
so the gardens are going to be in safe hands. | 0:22:12 | 0:22:15 | |
I think it's only fitting that we leave the last word to Christopher Lloyd himself, | 0:22:15 | 0:22:20 | |
a man full of inspiration and talent. | 0:22:20 | 0:22:23 | |
Every generation has to make its mark in its own way. | 0:22:25 | 0:22:31 | |
I think that copying the past is a cop-out. | 0:22:31 | 0:22:37 | |
I don't fear in the least about what will happen | 0:22:38 | 0:22:44 | |
to the garden design or its contents when I'm dead | 0:22:44 | 0:22:50 | |
because it's somebody else's turn. | 0:22:50 | 0:22:53 | |
Welcome back to our valuation day at the Pavilion Theatre in Worthing. | 0:23:04 | 0:23:08 | |
We've still got pretty much a full house. | 0:23:08 | 0:23:10 | |
It's time for Act Two, so let's catch up with our experts to see what they're up to. | 0:23:10 | 0:23:15 | |
The heat and the tension is really rising here. | 0:23:15 | 0:23:18 | |
Can I borrow this for a second? Phew! | 0:23:18 | 0:23:21 | |
I'm off. | 0:23:21 | 0:23:23 | |
'Our next owner, Liv, has brought something in that's got David rather foxed.' | 0:23:23 | 0:23:28 | |
Now you're going to have to explain what this is to me. I'm mystified. | 0:23:28 | 0:23:33 | |
This is a nutcracker. | 0:23:33 | 0:23:35 | |
A nutcracker, right. | 0:23:35 | 0:23:37 | |
And it's a nutcracker for special nuts, | 0:23:37 | 0:23:41 | |
which are for macadamia nuts... | 0:23:41 | 0:23:43 | |
-Oh, right. -..which have a very, very hard shell, they say. | 0:23:43 | 0:23:47 | |
-Right. -I'll show you how to do it. | 0:23:47 | 0:23:49 | |
So I swing the handle like that. | 0:23:49 | 0:23:53 | |
And you put the nut in there. | 0:23:53 | 0:23:55 | |
And now... LOUD CRACK | 0:23:55 | 0:23:57 | |
-Like that. -Gosh. -And hopefully the nut is cracked by now. | 0:23:57 | 0:24:01 | |
-It works, I'm sure. -I'm sure it does, yes. | 0:24:01 | 0:24:04 | |
Well, talk about using a sledgehammer to crack a nut! | 0:24:04 | 0:24:08 | |
-This is the very embodiment of that sentiment, isn't it? -Absolutely. | 0:24:08 | 0:24:13 | |
It's described as being "anvil craft". | 0:24:13 | 0:24:17 | |
And it's manufactured, I see, | 0:24:17 | 0:24:20 | |
by a factory operating out of Gladstone Street in T'mba, | 0:24:20 | 0:24:25 | |
which I wouldn't have known, but that's in Queensland. | 0:24:25 | 0:24:29 | |
-Are you aware of any Australian connection? -Yes, there is actually. | 0:24:29 | 0:24:33 | |
-Right. -I got this one from my now ex-husband. | 0:24:33 | 0:24:37 | |
-Right. -He got it from his first ex-wife. | 0:24:37 | 0:24:41 | |
Right. | 0:24:41 | 0:24:42 | |
And she and her family are in Australia. | 0:24:42 | 0:24:45 | |
Well, that seems to be it, doesn't it? I mean, we seem to have cracked it. No pun intended. | 0:24:45 | 0:24:52 | |
So your husband got the house and the car. And you got the nutcracker? | 0:24:52 | 0:24:56 | |
Um... No, it wasn't actually like that. | 0:24:56 | 0:24:59 | |
Good. I'm pleased to hear it. | 0:24:59 | 0:25:02 | |
I don't think there's very much you can say about it, | 0:25:02 | 0:25:05 | |
except that someone has quite consciously attempted to make a decorative item | 0:25:05 | 0:25:10 | |
out of something which is really just useful. | 0:25:10 | 0:25:13 | |
William Morris would be spinning in his grave at the sight of this, | 0:25:13 | 0:25:18 | |
because William Morris believed that form should follow function, | 0:25:18 | 0:25:22 | |
and didn't approve of unnecessary ornamentation. | 0:25:22 | 0:25:26 | |
And this really is more or less entirely unnecessary. | 0:25:26 | 0:25:29 | |
I mean, you could put the nut in there and hit it hard with a hammer | 0:25:29 | 0:25:33 | |
-and it would do exactly the same. -Absolutely. -There's something a bit laddish about it, isn't there? -Yes. | 0:25:33 | 0:25:41 | |
You could imagine the chaps sitting round in a bar in Australia somewhere, | 0:25:41 | 0:25:46 | |
drinking their lager and cracking their nuts on this. | 0:25:46 | 0:25:50 | |
Have you ever used it in anger? | 0:25:50 | 0:25:53 | |
No, I've never tried it, actually, because my feeling is that if you put a walnut or a hazelnut, | 0:25:53 | 0:26:00 | |
-you've got nuts and nut shells everywhere. -It would just turn it to pulp, wouldn't it? -Absolutely. | 0:26:00 | 0:26:06 | |
-And perish the thought, but if you got your thumb stuck in there, it doesn't bear thinking about. -No. | 0:26:06 | 0:26:13 | |
Now, do I really need to ask you why you've decided to divest yourself of this nutcracker? | 0:26:13 | 0:26:19 | |
-No, it's the same old story, that I'm downsizing, moving to a smaller flat. -Right. | 0:26:19 | 0:26:24 | |
-And this is just another piece of... -Clutter? -Clutter, yes, which you have to carry with you. | 0:26:24 | 0:26:30 | |
I was just thinking, if you had a list of 20 things you'd want to get rid of in the downsizing process, | 0:26:30 | 0:26:36 | |
-this would probably be top of the list. -Absolutely. -I don't mean to be rude about it. | 0:26:36 | 0:26:42 | |
-But it has its limitations, doesn't it? -Absolutely. -Well, certainly in a visual sense. | 0:26:42 | 0:26:47 | |
As a piece of engineering, it's fantastic. But let's hope somebody likes it. | 0:26:47 | 0:26:52 | |
I don't know if there are collectors of nutcrackers out there. But if there are, if they're serious, | 0:26:52 | 0:26:58 | |
they'd certainly want to own this. Let's hope that person is out there. | 0:26:58 | 0:27:02 | |
I think what we've got to do, seriously, is go easy on the estimate. | 0:27:02 | 0:27:07 | |
Because I would hate to put an estimate of £100 to £150 on this and not sell it. | 0:27:07 | 0:27:12 | |
-And if we did, we wouldn't sell it. -No. -So if you're philosophical about it, | 0:27:12 | 0:27:17 | |
and would agree to an estimate of say, £20 to £30, | 0:27:17 | 0:27:21 | |
and crucially, agree to offer it up without reserve, | 0:27:21 | 0:27:24 | |
-then we've got a deal. -That's fine, yes. That sounds good. | 0:27:24 | 0:27:28 | |
-Jolly good. We'll go ahead on that basis. I look forward to seeing you at the sale. -Thank you. -Thank you. | 0:27:28 | 0:27:36 | |
'For once I can understand why Liv is trying to move this one on.' | 0:27:36 | 0:27:40 | |
-It's hot in here, though, isn't it? -Yes. -It really is. Temperatures are rising. | 0:27:42 | 0:27:46 | |
'Next, Michael has found a couple of figures belonging to Karl, which are somewhat more delicate.' | 0:27:46 | 0:27:53 | |
Karl, thank you for bringing in these very attractive figures. | 0:27:53 | 0:27:57 | |
Are you a diehard porcelain collector? Where did these come from? | 0:27:57 | 0:28:03 | |
-I bought them off somebody in the local newspaper. -Really? -Yes. | 0:28:03 | 0:28:07 | |
They were advertised as French, possibly Samson figures. | 0:28:07 | 0:28:11 | |
Right. Did they give you any idea of date? | 0:28:11 | 0:28:14 | |
1880, but um... Possibly. I'll probably be proven wrong. | 0:28:14 | 0:28:19 | |
Let's have a look at this chap. | 0:28:19 | 0:28:21 | |
The first thing we've got | 0:28:21 | 0:28:24 | |
is we've got this very bright gilt band. | 0:28:24 | 0:28:28 | |
And you get gilding on 18th-century figures sometimes. | 0:28:28 | 0:28:32 | |
But it isn't this bright metallic finish. | 0:28:32 | 0:28:36 | |
-OK. -So this is more typical of early 20th-century figurines. | 0:28:36 | 0:28:40 | |
If we turn it over... | 0:28:40 | 0:28:43 | |
Blast! | 0:28:43 | 0:28:44 | |
-We don't have a factory mark. -No mark! | 0:28:44 | 0:28:47 | |
It's not uncommon for a lot of the minor German, and sometimes even Italian factories, | 0:28:47 | 0:28:53 | |
not to have a mark on the base of the figurines. | 0:28:53 | 0:28:57 | |
-And the only thing is, it does tend to hold the value back slightly. -Right. | 0:28:57 | 0:29:02 | |
What you want to see when you turn these over are the crossed swords of Meissen. | 0:29:02 | 0:29:07 | |
Or even a mark for Sitzendorf, one of the larger more famous factories. | 0:29:07 | 0:29:11 | |
We've got a visible seam mark there. | 0:29:11 | 0:29:15 | |
Now, if it was a very good factory, they'd have tidied that up. | 0:29:15 | 0:29:19 | |
It's obviously been in a mould. It just needs a bit of hand finishing. | 0:29:19 | 0:29:23 | |
But they haven't gone to that care. | 0:29:23 | 0:29:25 | |
I think from their costume, | 0:29:25 | 0:29:27 | |
you can tell that these are modelled on 18th-century figures. | 0:29:27 | 0:29:32 | |
They're after that vogue in 1740, 1750, for these little figures. | 0:29:32 | 0:29:38 | |
But when these were made, | 0:29:39 | 0:29:41 | |
and I think 1900, maybe even 1910 is a better date than 1880, | 0:29:41 | 0:29:47 | |
these figures were all the rage. | 0:29:47 | 0:29:49 | |
They have got some good points. The modelling of this dog | 0:29:49 | 0:29:53 | |
is not bad at all. | 0:29:53 | 0:29:55 | |
All of this has been hand-painted, all the lines to imitate its fur. | 0:29:55 | 0:30:00 | |
It's got good points and bad points. | 0:30:00 | 0:30:02 | |
-So now we get to the thorny question - how much did they cost you? -£100 I paid. | 0:30:02 | 0:30:07 | |
That's very fair. I mean, there's no shame in paying £100 for a lovely pair of figurines like this. | 0:30:07 | 0:30:14 | |
I think at auction we'd be a little bit more cautious. | 0:30:14 | 0:30:17 | |
But bearing in mind you really want to get most of that money back, | 0:30:17 | 0:30:21 | |
let's put them in at 80 to 120. Let's put a fixed reserve of £80. | 0:30:21 | 0:30:25 | |
And hopefully two people will be charmed by them, | 0:30:25 | 0:30:29 | |
and look at the work involved in them, and just think, "I'll go one more" on the day. | 0:30:29 | 0:30:34 | |
-So why have you decided to part with them now? -I thought I'd bring them along here and have a day out. | 0:30:34 | 0:30:41 | |
Well, hopefully, the day out at the auction will be a profitable one. | 0:30:41 | 0:30:45 | |
-Hopefully. -Fingers crossed. -I'll be happy either way. -Splendid. Thank you so much for bringing them in. | 0:30:45 | 0:30:52 | |
'Good show. It's always good to hear that someone has come along to enjoy the day. | 0:30:52 | 0:30:57 | |
'Glenn has brought in a couple of dolls which could not be more different from each other.' | 0:30:57 | 0:31:03 | |
Now what can you tell me about these dolls you've brought along with you today? | 0:31:03 | 0:31:08 | |
-Well, the small one, I was given when I was five. -Five. Right. | 0:31:08 | 0:31:13 | |
So I've had him quite a long time. | 0:31:13 | 0:31:15 | |
And the other one was my daughters' | 0:31:15 | 0:31:19 | |
-and they've had it probably for about 40 years. -Do you like them? -This one? Yes. -Right. | 0:31:19 | 0:31:25 | |
-But the other one - no. -No. OK. | 0:31:25 | 0:31:28 | |
Let's start by talking about him. | 0:31:28 | 0:31:30 | |
Now, he's dressed, of course, in stars and stripes, | 0:31:30 | 0:31:35 | |
which can only suggest, really, that he's Uncle Sam, I think. | 0:31:35 | 0:31:39 | |
Why don't you like him? | 0:31:39 | 0:31:42 | |
It's his face! | 0:31:42 | 0:31:44 | |
His... His... No, he still frightens me now. | 0:31:44 | 0:31:48 | |
It's strange that they should've chosen a rather sinister face | 0:31:48 | 0:31:52 | |
for such a sort of totemic figure, really, as Uncle Sam. | 0:31:52 | 0:31:57 | |
He wasn't made in America, of course. | 0:31:57 | 0:32:00 | |
That may account for it in part, perhaps. | 0:32:00 | 0:32:03 | |
If I turn him over and we look on the back of his head, | 0:32:03 | 0:32:07 | |
he is indeed marked "Germany". | 0:32:07 | 0:32:10 | |
Right. | 0:32:10 | 0:32:12 | |
He's bisque-headed, | 0:32:12 | 0:32:14 | |
which means his head is made of unglazed china. | 0:32:14 | 0:32:18 | |
I don't think he looks too bad. | 0:32:18 | 0:32:20 | |
He's got a grin on his face. | 0:32:20 | 0:32:22 | |
-He looks dishevelled but that's probably because he's been around for a long time. -Possibly. | 0:32:22 | 0:32:28 | |
I must be honest, I've never seen a doll like this before. | 0:32:28 | 0:32:32 | |
-I would suggest he dates from the turn of the century. -I think so. | 0:32:32 | 0:32:36 | |
So, in fact, he's 110 years old. | 0:32:36 | 0:32:38 | |
-As I say, I've seen nothing quite like him before, so I'll be stabbing in the dark. -Oh, dear. | 0:32:38 | 0:32:44 | |
-I would've thought that he's got to be worth £60 or £70. It's a hunch, really. -Yeah. | 0:32:44 | 0:32:50 | |
On the other hand, if you do find two buyers who want him, he could make a lot more than that. | 0:32:50 | 0:32:56 | |
So as I say, I am speculating a bit. | 0:32:56 | 0:32:58 | |
But let's go for £60, shall we, | 0:32:58 | 0:33:01 | |
-as a reserve? -OK. | 0:33:01 | 0:33:03 | |
An estimate, say, of 60 to 100? | 0:33:03 | 0:33:07 | |
-Mm-hm. -And um... We'll hope for the best. | 0:33:07 | 0:33:10 | |
OK. That deals with our American friend. | 0:33:10 | 0:33:13 | |
And we'll turn now to a rather more conventional doll. | 0:33:13 | 0:33:17 | |
-And tell me about her. -It's just "Dolly". That's all she was ever called by my children. | 0:33:17 | 0:33:24 | |
No-one in the family has ever played with her by the looks of things? | 0:33:24 | 0:33:28 | |
-Oh, do you not think so? -I think she looks in pretty good nick. | 0:33:28 | 0:33:33 | |
-I'm afraid she's been played with and played with. -She's done well. She's lost one or two of her fingertips. | 0:33:33 | 0:33:39 | |
Her body will be made of papier mache, but her face has survived. We'll look at the back of her head. | 0:33:39 | 0:33:45 | |
And it tells us that the doll was made in the Armand Marseille factory, | 0:33:45 | 0:33:52 | |
which is actually in Koppelsdorf in Germany. | 0:33:52 | 0:33:55 | |
I think a German manufacturer like this | 0:33:55 | 0:33:59 | |
would've chosen the name Armand Marseille | 0:33:59 | 0:34:03 | |
to give it just a suggestion of sophistication. | 0:34:03 | 0:34:06 | |
French dolls are more saleable now, and they were more expensive when they were new, than German dolls. | 0:34:06 | 0:34:13 | |
So this dignifies it a bit. It might have deceived people into thinking that it was French but it's German. | 0:34:13 | 0:34:20 | |
And we know that because it's marked "Germany". Now why are you sending her off to the saleroom? | 0:34:20 | 0:34:26 | |
-I've only got boys in the family and the girls are grown up. -OK. | 0:34:26 | 0:34:31 | |
If a granddaughter comes along, you have to buy another one because this one will have gone by then. | 0:34:31 | 0:34:37 | |
And I think she's going to make more money because she's more commercial as a doll, really. | 0:34:37 | 0:34:44 | |
She's pretty. She's got a lovely smile on her face. | 0:34:44 | 0:34:49 | |
She makes you feel better. Poor Uncle Sam makes you feel a bit worse, perhaps. | 0:34:49 | 0:34:54 | |
So let's go for an estimate of 100 to 150. | 0:34:54 | 0:34:59 | |
And I would suggest a reserve just below the bottom estimate of £90. | 0:34:59 | 0:35:03 | |
-That's fine. -OK? -Yes. | 0:35:03 | 0:35:06 | |
'Well, we'll just have to wait and see how they do. | 0:35:06 | 0:35:09 | |
'Let's remind ourselves of what our experts picked to take off to the auction. | 0:35:09 | 0:35:14 | |
'How could anyone forget Liv's nutcracker? | 0:35:14 | 0:35:18 | |
'But then they say beauty is in the eye of the beholder. | 0:35:18 | 0:35:22 | |
'Whereas Karl's hand-painted French figures | 0:35:22 | 0:35:26 | |
'will have much wider appeal. | 0:35:26 | 0:35:29 | |
'And finally, David speculated a bit about one of Glenn's dolls. | 0:35:29 | 0:35:33 | |
'So it'll be interesting to see exactly what Uncle Sam makes.' | 0:35:33 | 0:35:37 | |
130. 140. | 0:35:41 | 0:35:43 | |
We have 140. Are we done? Selling then... | 0:35:43 | 0:35:47 | |
'Now for something of a first on Flog It.' | 0:35:47 | 0:35:50 | |
Going under the hammer right now, we've got a doorstop. Well, of a kind, anyway, haven't we, Liv? | 0:35:50 | 0:35:57 | |
An Australian nutcracker doorstop. | 0:35:57 | 0:36:00 | |
I've not seen anything like that before. I also had a play with it. | 0:36:00 | 0:36:04 | |
You've got to, haven't you, David? It works. | 0:36:04 | 0:36:07 | |
-I think it's over-engineered. -I think it is. -Maybe. -The design didn't take off, did it? | 0:36:07 | 0:36:13 | |
-No. -If it did, I've not seen another one. -I thought it was quite dangerous as well. | 0:36:13 | 0:36:18 | |
-Right. OK. I think it's about time we put it under the hammer, don't you? -Absolutely. -There's no reserve. | 0:36:18 | 0:36:24 | |
-It's got to go. You don't want to take it home? -No. -Let's flog it. Here we go. | 0:36:24 | 0:36:29 | |
The Australian nutcracker. | 0:36:29 | 0:36:32 | |
There it is. | 0:36:32 | 0:36:34 | |
It's a talking point. What do we say for it? | 0:36:34 | 0:36:38 | |
£20 for it do we say? Come along now. A real curio. | 0:36:38 | 0:36:41 | |
-Fingers crossed. -10 to get us going? Five anywhere? | 0:36:41 | 0:36:45 | |
-I'm bid five. Six. -We got some bidding. | 0:36:45 | 0:36:48 | |
Seven. Eight. Nine. Ten. | 0:36:48 | 0:36:49 | |
12. 14, are you going? Yours at 12. | 0:36:49 | 0:36:52 | |
Do I see 14? At £12. 14. | 0:36:52 | 0:36:54 | |
16. 18. | 0:36:54 | 0:36:55 | |
-They're going nuts over it. -What a cracker! | 0:36:55 | 0:36:59 | |
20. And two. | 0:36:59 | 0:37:00 | |
24. 26. 28. 30. | 0:37:00 | 0:37:04 | |
And two? | 0:37:04 | 0:37:05 | |
Straight down the middle at 30, I'm going to sell. All out at 30, are we? | 0:37:05 | 0:37:09 | |
£30. Top end of the estimate. Well done. I'm very impressed with that. | 0:37:10 | 0:37:14 | |
Probably never ever see another one like it. Well done, Liv. | 0:37:14 | 0:37:18 | |
-Thank you for bringing it in. It's not a lot of money, but it's a great talking point. -Yeah. | 0:37:18 | 0:37:23 | |
'And I'm very glad it sold as well as it did. | 0:37:23 | 0:37:27 | |
'Next, something continental to tempt the bidders.' | 0:37:27 | 0:37:30 | |
Well, moving along swiftly now. | 0:37:30 | 0:37:33 | |
We've got a classic 80 to 120 valuation on two French figurines just about to go under the hammer. | 0:37:33 | 0:37:39 | |
They belong to Karl. Valued by Michael. Will we get the top end? | 0:37:39 | 0:37:43 | |
The quality's there, but I don't know. | 0:37:43 | 0:37:46 | |
Bizarrely, when they were made, everybody wanted these figures. | 0:37:46 | 0:37:50 | |
That's why they were made as there weren't enough of the antique ones to meet demand. | 0:37:50 | 0:37:55 | |
Well, let's put it to the test here. | 0:37:55 | 0:37:58 | |
The pair of 19th-century continental porcelain figures. | 0:37:58 | 0:38:02 | |
There they are. What do you think? £100 for them? | 0:38:02 | 0:38:05 | |
75 then. Was that 50? I'm bid 50. And five. | 0:38:05 | 0:38:08 | |
-Someone's interested. -60. And five. 70. And five. | 0:38:08 | 0:38:12 | |
80. And five. | 0:38:12 | 0:38:14 | |
Here we go. | 0:38:14 | 0:38:15 | |
90. And five. 100. And ten. | 0:38:15 | 0:38:18 | |
120. With me now at 120 then. | 0:38:18 | 0:38:21 | |
-That's OK. -They're coming back into fashion. -That's good. | 0:38:21 | 0:38:25 | |
Now at £120 then. Are we all done at 120? | 0:38:25 | 0:38:29 | |
-You got your money back. -Yeah. -Well done. Well done. | 0:38:29 | 0:38:33 | |
Well, we got it right. | 0:38:33 | 0:38:36 | |
These things are worth the price that they're worth. | 0:38:36 | 0:38:39 | |
-But I think for the work that goes into them... -They're cheap. -So buy them whilst they're £120 now | 0:38:39 | 0:38:45 | |
-before they hit 300 again. -And then put them back on the market in ten years' time. -Don't hold me to that. | 0:38:45 | 0:38:51 | |
There is very little that is certain in the antiques world. | 0:38:51 | 0:38:55 | |
Before the sale started, I caught up with auctioneer Simon Langton. | 0:38:58 | 0:39:03 | |
Glenn's dolls, she's selling them because she wants to downsize. | 0:39:03 | 0:39:07 | |
We've got the German bisque head one, which has got a value of £100-£150. | 0:39:07 | 0:39:12 | |
And little Uncle Sam there, also bisque head. He's got a value of £60 to £100. He's also got a broken leg. | 0:39:12 | 0:39:18 | |
And she was given Uncle Sam when she was only five, | 0:39:18 | 0:39:21 | |
so she might regret selling that little fella. | 0:39:21 | 0:39:24 | |
She's had it a long time. | 0:39:24 | 0:39:26 | |
-He doesn't take up much room for someone's who's downsizing. -No. | 0:39:26 | 0:39:30 | |
But if he's got to go, he's got to go. | 0:39:30 | 0:39:32 | |
-I would definitely keep that. -It's quite a rare doll. | 0:39:32 | 0:39:35 | |
-They came out about 1915, just before the First World War. -Have many survived? -This is the question. | 0:39:35 | 0:39:42 | |
This is the question because £60 to £100 could quite easily turn into 300 to 400, couldn't it? | 0:39:42 | 0:39:48 | |
-It could do. -If he's the only one! -If he's the only one in the world, then yes, the sky's the limit. | 0:39:48 | 0:39:54 | |
Unfortunately, the market has gone down a little bit in dolls the last two or three years. | 0:39:54 | 0:40:00 | |
But we have got the right people for dolls and we've got the internet, so we shall see. | 0:40:00 | 0:40:05 | |
-Fingers crossed. -Let's hope so. -He does look a bit frightening, doesn't he? | 0:40:05 | 0:40:10 | |
Hopefully, we'll have smiles on our faces at the end of the day. | 0:40:10 | 0:40:13 | |
We've got two wonderful dolls going under the hammer. They belong to Glenn, but she hasn't turned up yet. | 0:40:13 | 0:40:20 | |
But she might walk in any moment. We're just about to sell the first lot, the German bisque head doll, | 0:40:20 | 0:40:26 | |
which you put a valuation of 100 to 150, David. And the second one is that wonderful 20th-century one, | 0:40:26 | 0:40:32 | |
Uncle Sam, again with the bisque head. We've had a chat to the auctioneer. You know what he said. | 0:40:32 | 0:40:38 | |
The first one, you were right, bang-on. | 0:40:38 | 0:40:41 | |
-But Uncle Sam is a bit different. -Why does he look so miserable, do you think? -I don't know. | 0:40:41 | 0:40:47 | |
Maybe the person that was moulding his face had a bad day! | 0:40:47 | 0:40:51 | |
-But he's so miserable, he makes you laugh, doesn't he? He's not frightening. -No. -Here we go. | 0:40:51 | 0:40:57 | |
Armand Marseille porcelain-headed doll. There it is. | 0:40:57 | 0:41:01 | |
Nice doll, this one. | 0:41:01 | 0:41:03 | |
What do we say? Bids here start us at 70. And five. | 0:41:03 | 0:41:06 | |
80. And five. 90. And five. | 0:41:06 | 0:41:08 | |
100. With me at £100. Looking for the ten. | 0:41:08 | 0:41:11 | |
And ten. 120. 130, madam? | 0:41:11 | 0:41:15 | |
Well done. | 0:41:15 | 0:41:17 | |
With me at 120. All done and selling now at £120 if you're done with it? | 0:41:17 | 0:41:22 | |
Mid-estimate for the first one. And now the second. | 0:41:22 | 0:41:25 | |
Glenn might walk in at the moment it makes a lot of money. | 0:41:25 | 0:41:29 | |
-I find the other dolls quite spooky. I don't like them at all. But I could live with Uncle Sam. -Yeah. | 0:41:29 | 0:41:35 | |
Let's find out if this lot could. Here we go. | 0:41:35 | 0:41:38 | |
Uncle Sam doll. | 0:41:38 | 0:41:40 | |
There we have him. | 0:41:40 | 0:41:42 | |
What do we say for him? | 0:41:42 | 0:41:44 | |
£100 for him, do we say? 75 then? | 0:41:44 | 0:41:47 | |
50? I'm going to start at 30. And five. 40. And five. | 0:41:47 | 0:41:50 | |
50. And five. 60. And five. | 0:41:50 | 0:41:54 | |
Lady's bid at £65. 70. | 0:41:54 | 0:41:56 | |
And five. 80. And five. | 0:41:56 | 0:41:58 | |
90. And five. 100. | 0:41:58 | 0:42:00 | |
-Right. Top end of the estimate. -130. 140. 150. | 0:42:00 | 0:42:04 | |
160. 170. | 0:42:04 | 0:42:06 | |
180. 190. | 0:42:06 | 0:42:08 | |
-200. -Do you know, I think Uncle Sam's beginning to smile. | 0:42:08 | 0:42:11 | |
240. 260. | 0:42:11 | 0:42:13 | |
280. 300. | 0:42:13 | 0:42:16 | |
And 20. 340. | 0:42:16 | 0:42:18 | |
360. | 0:42:18 | 0:42:19 | |
380. | 0:42:19 | 0:42:21 | |
400. | 0:42:21 | 0:42:23 | |
And 20. | 0:42:23 | 0:42:24 | |
440. | 0:42:24 | 0:42:25 | |
460. 480. | 0:42:25 | 0:42:28 | |
500. | 0:42:28 | 0:42:29 | |
-Undercooked this one, David, a bit. -I have got dolls wrong before, Paul. | 0:42:29 | 0:42:34 | |
Well, I wouldn't know what to value them at. | 0:42:34 | 0:42:38 | |
540. 560? | 0:42:38 | 0:42:40 | |
560? | 0:42:40 | 0:42:42 | |
At £540 in the room now. At 5-4-0. | 0:42:42 | 0:42:45 | |
I'm going to sell at 5-4-0... 560. | 0:42:45 | 0:42:48 | |
That's auctions. 580. | 0:42:48 | 0:42:50 | |
600? | 0:42:50 | 0:42:52 | |
At £580. Are we all done? Are you sure about this? At 5-8-0. | 0:42:52 | 0:42:56 | |
Going to sell at 5-8-0 now... | 0:42:56 | 0:42:58 | |
Where is Glenn when you need her? | 0:42:58 | 0:43:00 | |
Hopefully she'll come running in right now for the golden moment! | 0:43:00 | 0:43:04 | |
-£580. Who could've predicted that? -Well, Paul, these things are rare. | 0:43:04 | 0:43:08 | |
They're scarce. You put an estimate on them. You hope for the best. | 0:43:08 | 0:43:12 | |
-And sometimes you're lucky enough to get the best. -We know what they're worth now. | 0:43:12 | 0:43:17 | |
If you've got anything like that at home, we'd love to see it. Bring it to one of our valuation days. | 0:43:17 | 0:43:21 | |
And you can pick up details on our website - log on to bbc.co.uk/flogit | 0:43:21 | 0:43:25 | |
Follow the links and all the information will be there. | 0:43:25 | 0:43:28 | |
We'd love to see you. Join us again next time for more surprises. | 0:43:28 | 0:43:32 | |
Subtitles by Red Bee Media Ltd | 0:43:50 | 0:43:54 |