0:00:36 > 0:00:40Hello and welcome to "Flog It! Ten of the Best" from Syon House,
0:00:40 > 0:00:44the exquisite London residence of the Duke of Northumberland.
0:00:44 > 0:00:49It was in 1604 that King James I gifted the estate to the incumbent Percy family.
0:00:49 > 0:00:54And over the years, Syon has gathered quite a reputation for hosting some lavish parties.
0:00:54 > 0:00:57But what's a party without music? Pretty boring, I say.
0:00:57 > 0:01:02Now, many of you will know I love to play the drums. I still play a bit with some local bands
0:01:02 > 0:01:06and over the years I've developed quite a passion for antique musical instruments
0:01:06 > 0:01:10and we've certainly seen some musical items hit the high note in the saleroom.
0:01:10 > 0:01:13So today, as we look back through the Flog It archives,
0:01:13 > 0:01:16I selected some of the show's sweetest music to share with you.
0:01:16 > 0:01:19So stand by for some chart-topping humdingers.
0:01:25 > 0:01:28'And it's Philip Serrell who's up first with his nose in the trough
0:01:28 > 0:01:34'when he met Norman and his unusual pigs in Paisley back in 2007.'
0:01:37 > 0:01:42- Now, are these your toys? - Those were my toys.- Do you remember playing with them as a child?- I do.
0:01:42 > 0:01:46- Were they in the family?- They came down through the family, I think.
0:01:46 > 0:01:52- And you want to sell them now?- Yes. - Your childhood memories, out through the window?- That's it. Yes.
0:01:52 > 0:01:55- Dear me! You can't do that! - I'm the last in the Anderson line.
0:01:55 > 0:01:59- Now, I won't be rude, Norman, how old are you?- I'm 69 next month.
0:01:59 > 0:02:04- 69. So you were playing with these in about the 40s? - Well, no, before that I think.
0:02:04 > 0:02:06- Late 40s?- Late 40s.
0:02:06 > 0:02:11- Well, I think these were made in Germany.- Right.- And I think they were made in the 20s.
0:02:11 > 0:02:17They work on clockwork and our little pig here plays the drums, and our little violinist here,
0:02:17 > 0:02:21- he's on the fiddle.- Great. - So they're German. Do you know how I know that?
0:02:21 > 0:02:24- No. No.- I know that because it says here, "Made in Germany."- Oh.
0:02:24 > 0:02:27- All right, so I'm an all-seeing expert here, Norman.- Right. Yes.
0:02:27 > 0:02:30- And they were made by a company called Schuco.- Right.
0:02:30 > 0:02:35And their name is embossed into the other foot. Have you got the key to wind them up?
0:02:35 > 0:02:40- I haven't.- You haven't?- No. - Well, I think it'd be fairly easy to get a replacement key.
0:02:40 > 0:02:46- And I guess the little feet might move, as well.- They vibrate.- They vibrate? They shuffle along?- Yes.
0:02:46 > 0:02:50Well, what they worth? I think they're going to make £40 to £60 estimate.
0:02:50 > 0:02:54- For the two?- For the two, yes.- Yes. - And we'll put a reserve on of £30?
0:02:54 > 0:03:00- Right.- Are you happy with that?- Yes. - Can you go home and find the key for me?- I'll hunt for it, yes.
0:03:00 > 0:03:05- You have a good hunt, Norman.- Right. - Let's hope they can drum up a bit of interest in the auction.
0:03:07 > 0:03:10'We'll let you know how these little pigs did a little later on.
0:03:12 > 0:03:14'Next we're off to Monmouth where in 2008,
0:03:14 > 0:03:17'Mark Stacey added a major string to his bow
0:03:17 > 0:03:21'when he clapped eyes on Barbara and Gordon's fiddle.'
0:03:23 > 0:03:27When our daughter was at primary school, she wanted to learn to play.
0:03:27 > 0:03:31And a neighbour said she had a violin which we could have.
0:03:31 > 0:03:34So that's how we came by it.
0:03:34 > 0:03:39- It was in a bit of disrepair so we had to have it re-glued.- Right.
0:03:39 > 0:03:43But then my daughter had it and played it for a number of years
0:03:43 > 0:03:48- and then later on, her younger brother took it on.- Oh, right.- Yes.
0:03:48 > 0:03:52- So it's had a good bit of family use?- Oh, yes, yes, yes.
0:03:52 > 0:03:58- Can you remember what you paid for it with your neighbour? - I think it was £10.- £10? Gosh.- Yes.
0:03:58 > 0:04:02- And then a little bit to have it re-glued, et cetera?- Yes, yes.
0:04:02 > 0:04:05- And you got the bow at the same time?- Yes, it came with it.
0:04:05 > 0:04:08- And the nice thing with this, of course, it's signed in the case. - Yes.
0:04:08 > 0:04:11Erm, Stent, 1915.
0:04:11 > 0:04:16And then a little number four on the left-hand bottom of the label. So it could be his fourth violin.
0:04:16 > 0:04:18- You never know.- That's right, yes.
0:04:18 > 0:04:24So, we've got the signature, and I think it's always nice to look all over the instrument
0:04:24 > 0:04:28- because you get this lovely grain there at the back. - Yes. It's beautiful.
0:04:28 > 0:04:34And I particularly like the fact that he's done this, sort of, etched lines all round the outline there.
0:04:34 > 0:04:39- I don't know if you've noticed that black inlay, or markings there.- Yes.
0:04:39 > 0:04:44It's of typical construction, of course, except for this rather nice little figure at the end there,
0:04:44 > 0:04:48- which looks a bit like a melon or something, doesn't it? - Yes.- Or a tomato.
0:04:48 > 0:04:53- Someone suggested it might be a pomegranate. - It could be a pomegranate, actually,
0:04:53 > 0:04:57- but with that seed bit there... - Yes.- Yes.- ..it could well be. Now, in terms of value,
0:04:57 > 0:05:01- it's nice you've got the bow, too. I couldn't see any signatures on the bow.- No. No.
0:05:01 > 0:05:04- Bows are worth a bit of money in their own right.- Yes.
0:05:04 > 0:05:09- I would suggest it may be around 200 to 300 in today's market.- Yes.- Mm.
0:05:09 > 0:05:14- Put the reserve at 200.- Right.- Yes. - With a bit of discretion with the auctioneer.
0:05:14 > 0:05:17Who knows, it might go way above that.
0:05:17 > 0:05:21- It'll be quite exciting. - Yes, it will.- It'll be interesting.
0:05:21 > 0:05:24- Have you been to auctions before? - No.- No, we haven't.
0:05:24 > 0:05:29- So it'll be your first time?- Yes. - There we are, we must try it, mustn't we?- Yes, we must.- Fantastic.
0:05:31 > 0:05:33'We'll have to see if these auction first-timers
0:05:33 > 0:05:36'were blessed with some beginner's luck.
0:05:36 > 0:05:39'But now, I'm taking you back to 2008 to St Albans,
0:05:39 > 0:05:44'where I met Thelma and her rather soulful little squeeze-box.'
0:05:44 > 0:05:47- Is this yours?- No, it's my son's.
0:05:47 > 0:05:50- It's your son's. And where is he today?- In Spain.
0:05:50 > 0:05:53- Is he? Is he on holiday?- No, he lives there.- Oh, does he? Nice!
0:05:53 > 0:05:58- Why hasn't mum gone out to join him, then?- Someone's got to sell it, haven't they?- Oh, I see.
0:05:58 > 0:06:02- Do you know much about it?- No. Not really.- Where did he get it from?
0:06:02 > 0:06:06I phoned him last night and said to him, "Where did you get it and how much?"
0:06:06 > 0:06:10- "I'm on my way to see Flog It."- He can't remember.- He can't remember?
0:06:10 > 0:06:14- No. He didn't think it was worth anything.- Well, the box is rosewood.
0:06:14 > 0:06:18- It is.- Yup. So this is quite a nice instrument and it needed protecting.
0:06:18 > 0:06:22- So that's quite fortunate you've still got this little case.- Yes.
0:06:23 > 0:06:27The first thing to check on these accordions is the bellows.
0:06:27 > 0:06:30- You can see they're in pretty good condition.- Yes, they are.
0:06:30 > 0:06:35There's one little split there but that shouldn't deter too much from the value.
0:06:35 > 0:06:40- Cos it can be repaired probably, yes. - Yes. Again, we've got rosewood here with pierced fretwork.
0:06:40 > 0:06:44- That's quite nice. There's a bit of damage.- Can that be repaired?
0:06:44 > 0:06:47- That can be sorted out.- Oh, good. - That's not too much trouble.
0:06:47 > 0:06:51And that's what I was looking for. The maker's label.
0:06:51 > 0:06:55Rock Chidley, 135 High Holborn, London.
0:06:55 > 0:07:00- Oh, is that good, is it?- So it's a good London maker, yes. And I'd put this at the turn of the 1900s.
0:07:00 > 0:07:04- About 1910, 1920.- Hm.
0:07:04 > 0:07:08- I wish I could play them.- So do I.
0:07:08 > 0:07:12- Yeah. Any requests? - THEY LAUGH
0:07:12 > 0:07:18Sadly, I can't play, but I've valued a few of these on Flog It before.
0:07:18 > 0:07:23- And to my surprise, they do quite well.- Oh, good.- And a little trick I learned about valuing them was,
0:07:23 > 0:07:27- count up the little pegs.- Yes.- Yup.
0:07:27 > 0:07:31- We've got 24 there. That's a pretty good one.- Is it?- Yes.- Oh, good.
0:07:31 > 0:07:35Shall we put it into auction with a value of £150 to £200
0:07:35 > 0:07:38- and see what happens? - Yeah. That would be super.
0:07:38 > 0:07:40'What a beautiful accordion.
0:07:40 > 0:07:44'I'll let you know how it performed at the auction a little bit later.
0:07:46 > 0:07:49'For now, I'm taking you back to 2003 to Cambridge,
0:07:49 > 0:07:53'where Catherine Southon went into orchestral overdrive
0:07:53 > 0:07:57'when Cynthia and Ian brought in a stunning mahogany music box.'
0:07:57 > 0:08:00MUSIC BOX PLAYS
0:08:04 > 0:08:08Well, that was beautiful. Nice little piece of music there.
0:08:08 > 0:08:12Well, we've got a lovely German polyphon here.
0:08:12 > 0:08:15A lovely piece of furniture by its own right.
0:08:15 > 0:08:19We can see here a wonderful walnut case,
0:08:19 > 0:08:23and it looks like you have kept it in very good condition.
0:08:23 > 0:08:27Lovely marquetry, as well, which was quite typical of polyphon.
0:08:27 > 0:08:33And as we open up, underneath we can see this lovely, classical print,
0:08:33 > 0:08:38and then, of course, the movement, which is here. How did you come about this?
0:08:38 > 0:08:42We'd been on holiday down to Cornwall and visited an aunt who lives down there,
0:08:42 > 0:08:45and on the way back, stopped at Wells to look at the cathedral.
0:08:45 > 0:08:51And in the square that fronts onto the cathedral, found an antiques shop that sold musical boxes,
0:08:51 > 0:08:56and from the gorgeous tone that we've just heard and the quality of the box
0:08:56 > 0:09:01we decided that this is what we had to have and bought it, fell in love with it and bought it.
0:09:01 > 0:09:06OK. Well, let's take a look at the mechanism. So we take off the ratchet lever here.
0:09:06 > 0:09:11And then the metal disc. Put that down there. Here we've got the comb.
0:09:11 > 0:09:17And then it's against the comb that the little projections on the disc sort of pluck
0:09:17 > 0:09:22and then that's where we get the sound from. Why are you letting this polyphon go?
0:09:22 > 0:09:27We've had lots of pleasure from it. As, indeed, have a lot of our friends and visitors.
0:09:27 > 0:09:30But now we've been fortunate enough to travel quite a bit.
0:09:30 > 0:09:37And we've got lots of things that really could also be displayed. And this takes up quite a lot of room.
0:09:37 > 0:09:40- Mm.- Even though it's a very attractive piece of furniture.
0:09:40 > 0:09:46- So it's got to go. It's had its time.- Yes.- It's served its purpose. - And somebody else can enjoy it.
0:09:46 > 0:09:50- Right. So you say you bought this about 10, 12 years ago?- Yes.
0:09:50 > 0:09:54- Can I ask how much you paid for it? - Just over £2,000.
0:09:54 > 0:09:57I would say, in terms of auction value now,
0:09:57 > 0:10:02I would like to say 1,000 to 1,500,
0:10:02 > 0:10:07but perhaps as you did pay £2,000, perhaps we should try and push it up a little bit more.
0:10:07 > 0:10:10- Hopefully.- And say 12,000 to 15,000. - That's what we would like.
0:10:10 > 0:10:15- Is that what you would prefer? - We'd feel more comfortable. - Yes, no, I can see that.
0:10:15 > 0:10:21- So what would you do with the money? - Well, travel. More things to buy to put on the table.
0:10:23 > 0:10:29'It's time to see if my first batch of musical bygones went for a song or whistled up a nice profit.
0:10:31 > 0:10:35'Norman's little Schuco pigs certainly made Phil Serrell squeal,
0:10:35 > 0:10:38'but did they make a big impression in the saleroom?
0:10:38 > 0:10:43'Mark Stacey loved Barbara and Gordon's early 20th century violin.
0:10:43 > 0:10:48'He seemed confident it would net a grand result at auction.
0:10:48 > 0:10:54'Catherine was mesmerised by Cynthia and Ian's beautifully-maintained polyphon.
0:10:54 > 0:10:57'But did it catch a buyer's eye?
0:10:57 > 0:11:01'And I gave Thelma's accordion a pretty good estimate,
0:11:01 > 0:11:05'but did it manage to squeeze out a few more pounds in the saleroom?
0:11:06 > 0:11:12'We'll find out in a moment. But back in 2003, I was curious
0:11:12 > 0:11:18'to hear what our old friend, auctioneer Will Axon, thought of Cynthia and Ian's polyphon.'
0:11:18 > 0:11:20- Where are you, Will? - THEY LAUGH
0:11:20 > 0:11:24- This is Cynthia and Ian's musical box.- Yup.- In perfect condition.- Yup.
0:11:24 > 0:11:28Catherine, our expert, has put £1,200 to £1,500 on it.
0:11:28 > 0:11:32Yeah, well, it may seem a lot of money, but I think she's around the right sort of area.
0:11:32 > 0:11:36Erm, it's got to be worth that. I think it's a good German example,
0:11:36 > 0:11:42circa 1900, in the walnut case, it's what we call a peripheral movement, playing on two combs,
0:11:42 > 0:11:47- and it's decorative again with this putty print, which is typical of them.- Yes.
0:11:47 > 0:11:50But I think, at £1,200, it stands a chance. I've worked it into...
0:11:50 > 0:11:55- With some spare discs.- Exactly. Which is nice cos people who buy these also like to play them.- Yeah.
0:11:55 > 0:11:58But I think we should get it away for you during the sale.
0:11:58 > 0:12:03- Really?- Yeah. - That's fantastic, isn't it? In a way it's nice to have a smaller box.
0:12:03 > 0:12:09- This is a standard size. What is it? 15.5?- Exactly. It's that.- It's the classic, cliche size, really?
0:12:09 > 0:12:14Exactly, it's a tabletop piece. Sometimes they were made with stands as integral parts of them,
0:12:14 > 0:12:19- but I think this is certainly a tabletop piece.- And there are plenty of collectors of these?- There are.
0:12:19 > 0:12:22Polyphons, musical boxes.
0:12:22 > 0:12:26The more intricate the music box and the movement and so on,
0:12:26 > 0:12:30- a bit similar to the clock market. - Yes.- It's the movement where the money is.- Yes.
0:12:30 > 0:12:34Let's hope it gets the top end of Catherine's valuation,
0:12:34 > 0:12:37- and hits the right note in the saleroom. - We'll cross our fingers for her.
0:12:39 > 0:12:43'The auction room in Cambridge was buzzing when Ian and Cynthia joined me.
0:12:43 > 0:12:45'So let's see how their polyphon got on.'
0:12:48 > 0:12:52Your musical box is super. I love it! We've been playing with it all day long.
0:12:52 > 0:12:57The auctioneer likes it, as well. And we're pretty confident it's going to reach its level here,
0:12:57 > 0:12:59and what Catherine said, £1,200 to £1,500.
0:12:59 > 0:13:05- But I do know you paid a lot more for it, didn't you? - Yes. But we've enjoyed that.
0:13:05 > 0:13:09So you've probably had £800 of pleasure, so you can write that off,
0:13:09 > 0:13:12and hopefully we'll get you £1,200 to £1,400. Here we go!
0:13:14 > 0:13:17The music box there, the German one, circa 1900.
0:13:17 > 0:13:21Super quality and discs to play. Who wants to start me at £1,000?
0:13:21 > 0:13:23£1,000, see me in at £1,000?
0:13:23 > 0:13:27Start me? £900 if you will. At £900.
0:13:27 > 0:13:31£900 bid, thank you at £900 I have. At £900 I have a bid.
0:13:31 > 0:13:34At 900 now, at 900 now, left-handed at 900.
0:13:34 > 0:13:37At 950! At 1,000 now bid.
0:13:37 > 0:13:40At 1,100 bid. At 1,100 bid I have.
0:13:40 > 0:13:43Shakes the head at 1,100. Are you sure? I'll take 50?
0:13:44 > 0:13:49At 1,150? 1,100 it is now. At 1,100 now left-handed at 1,100.
0:13:49 > 0:13:51And 50, fresh bidder.
0:13:51 > 0:13:551,200. And 50. 1,300.
0:13:55 > 0:14:00And 50. Shakes the head, it's 1,350. Seated bid at 1,350.
0:14:00 > 0:14:03Thank you anyway. At 1,350 we have.
0:14:03 > 0:14:06All done then at 1,350 seated bid?
0:14:06 > 0:14:10- Brilliant! That's good, isn't it? - I'm really pleased for you.
0:14:10 > 0:14:12- We haven't got to lug it back. - You had a lot of pleasure
0:14:12 > 0:14:14and haven't written off too much money.
0:14:14 > 0:14:19'What a lovely old instrument that was.
0:14:19 > 0:14:23'Now let's see how Norman's pigs did when they went to market in Glasgow,
0:14:23 > 0:14:27'where Flog It regular Anita Manning was running the saleroom.'
0:14:27 > 0:14:30I did have a play with them at the valuation. No key, though.
0:14:30 > 0:14:33- They're quite charming. - Yeah, they've got personality.
0:14:33 > 0:14:40- Great name, as well,- Yeah.- We've got £40 to £60 on them. I think just one of those is worth that much.
0:14:40 > 0:14:42- So hopefully we can double that up. - Good.
0:14:45 > 0:14:49Two Schuco tin-plate toy clockwork pigs.
0:14:49 > 0:14:54- One playing the drum and another playing the violin.- Come on!
0:14:54 > 0:14:58Start me at £20. Start me at 20 bid.
0:15:00 > 0:15:0525. 30. On the floor at... 35, fresh bidder. 40. 45.
0:15:05 > 0:15:10- Oh, come on!- 50. 55. 55.
0:15:10 > 0:15:15- Come on!- 60, fresh bidder. 65. 70.
0:15:15 > 0:15:17- 75. 80.- It's creeping up.- Good.
0:15:17 > 0:15:2085. 90.
0:15:20 > 0:15:23Any advance at £90? All done at 90.
0:15:23 > 0:15:2795 back in! £95.
0:15:27 > 0:15:30Any advance on 95? 95.
0:15:30 > 0:15:36- Well, it trotted off, didn't it? 95. - Yes. Yes.- Where did that come from?
0:15:38 > 0:15:40'What a great result.
0:15:40 > 0:15:45'Now to Cardiff where we'll find out what the bidders thought of Barbara and Gordon's violin.'
0:15:47 > 0:15:53It's a cracking example, actually. I love the headstock. So unusual. And the condition is very good.
0:15:53 > 0:15:55- Mark, you've put £200 to £300 on this.- Yes.
0:15:55 > 0:16:00I didn't mention anything to the auctioneer and he hasn't said anything to me.
0:16:00 > 0:16:04- Hopefully he agrees with our valuation.- I hope so. It's not my normal sort of subject.
0:16:04 > 0:16:08- It's not.- I'm a bit blind on this. I hope I haven't hit a bum note.
0:16:08 > 0:16:10- Ooh! - HE LAUGHS
0:16:10 > 0:16:15- Well, I think we'll get the top end. Surely we've got to.- I hope so.
0:16:18 > 0:16:22Numerous commission bids here. Start me straight in at...
0:16:23 > 0:16:27- It's gone quiet.- ..£230.
0:16:27 > 0:16:30- 230 I have.- Yes. - Well, we've sold it.
0:16:30 > 0:16:33At £230. 240. 250.
0:16:33 > 0:16:36- 260. 270. 280. 290.- Fantastic!
0:16:36 > 0:16:40300. 310. At £310. £320, Mike?
0:16:40 > 0:16:42£320, sir? Yes, please.
0:16:42 > 0:16:44320. 330 with me.
0:16:44 > 0:16:48- No? OK. - At £330. Back with me at £330.
0:16:48 > 0:16:52Are we all out then at £330?
0:16:52 > 0:16:54- Yes!- Marvellous! - That wasn't bad, was it?
0:16:54 > 0:16:57- You could say we've ended on a crescendo.- That's brilliant!
0:16:57 > 0:17:01- Barbara, Gordon, Wow!- Wonderful. - Yes, we're very surprised.- Yeah.
0:17:01 > 0:17:04You've got to pay the commission. What are you going to do with £300?
0:17:04 > 0:17:09- We'll split it between our three children, we think.- Yes. - That'll divide up easily, then.
0:17:09 > 0:17:11THEY LAUGH
0:17:11 > 0:17:16- Great result!- Well, I think we hit the right note, didn't we? - It wasn't a bad note, no.
0:17:16 > 0:17:21'So that little fiddle certainly plucked out a good price.
0:17:21 > 0:17:28'Now let's see how my friend Thelma did when her accordion went up for sale.'
0:17:28 > 0:17:30- It's exciting, isn't it? - Isn't it just exciting!
0:17:30 > 0:17:35- What does your son think? Have you got on the phone to him? - When you gave me the estimate, yeah.
0:17:35 > 0:17:39- He had to sit down. - Did he? Did he really?
0:17:39 > 0:17:42Have a couple of beers, put his feet up in the sun out in Spain?
0:17:42 > 0:17:47- That's right.- I don't blame him, really. Let's hope we do him proud, shall we? And you.
0:17:47 > 0:17:51- And he treats you for sorting it all out.- Oh, yes. That'd be lovely.
0:17:51 > 0:17:54- He'll get you out to Spain, won't he?- Well, of course.
0:17:54 > 0:17:58Going under the hammer now. This is it, Thelma. Good luck!
0:18:00 > 0:18:04Not too many Rock Chidley concertinas there. There you are.
0:18:04 > 0:18:08Where shall we say on this one? Are we going to be 200 to start with?
0:18:08 > 0:18:12100 then? 100 is bid. Thank you. 100 I am bid for that one.
0:18:12 > 0:18:16120 is bid for it. 150. At 150.
0:18:16 > 0:18:20180. Are you 200? 200 I'm bid for it.
0:18:20 > 0:18:22220. At 250.
0:18:22 > 0:18:24280. Are you 300?
0:18:24 > 0:18:27I am bid 300. 320 I am bid.
0:18:27 > 0:18:31350 I am bid. 380. At 400.
0:18:31 > 0:18:3520, is it? No, at £400 and 20 now?
0:18:35 > 0:18:38No more? At £400. You lose it, sir.
0:18:38 > 0:18:44At £400 then I'm selling. Yes? At £400, then.
0:18:44 > 0:18:48- Oh, that's super!- Isn't that good? - That's smashing!
0:18:48 > 0:18:51- Yeah, I got a tingle out of that. - THEY LAUGH
0:18:51 > 0:18:55- 400?- Yeah!- Oh!- 400 quid.
0:18:55 > 0:18:59- Instead of 100.- Yeah.- Because that's what it was...- Well, that was the...
0:18:59 > 0:19:05- Yes, well, we hedged our bets, didn't we?- We did indeed. - We were hoping for 250 and wow!
0:19:05 > 0:19:09- They loved it!- I can't wait to get home and tell him now! - I bet you can't.
0:19:09 > 0:19:12Oh, lovely! THEY LAUGH
0:19:19 > 0:19:25Well, Thelma's accordion certainly squeezed some serious cash out of the bidders in St Albans, didn't it?
0:19:25 > 0:19:29All cultures, past and present, have loved playing and listening to music.
0:19:29 > 0:19:33In fact, the oldest song dates back some 4,000 years.
0:19:33 > 0:19:36And the oldest stringed instrument in the world is the harp.
0:19:36 > 0:19:40Which takes me back to 2008, on a little trip to South Wales,
0:19:40 > 0:19:45where I discovered the ancient craft of harp-making has been given a new lease of life
0:19:45 > 0:19:48thanks to modern technology. Take a look at this.
0:19:51 > 0:19:54HARP MUSIC
0:19:57 > 0:20:02When I think of a romanticised Wales, I'm imagining rolling green hills,
0:20:02 > 0:20:07and wonderful stone-built workshops isolated in the countryside,
0:20:07 > 0:20:12with possibly beams of sunlight glittering in on a lone artisan working inside there.
0:20:12 > 0:20:16Using hand tools, working with his hands, creating something
0:20:16 > 0:20:20and hopefully listening to the sound of a gentle, strumming harp.
0:20:20 > 0:20:22HARP MUSIC
0:20:22 > 0:20:25'However, here in the village of Llandysul, near Carmarthen,
0:20:25 > 0:20:27'a mini industrial revolution has taken place.
0:20:27 > 0:20:31'The old handicrafts have been replaced by computers and technology,
0:20:31 > 0:20:37'transforming the art of harp-making. And it's all down to a small community of workers.'
0:20:41 > 0:20:47'The project is called Telynau Teifi and it's spearheading the mechanisation of harp-making,
0:20:47 > 0:20:53'creating employment and harnessing the skills and enthusiasm of young local people.
0:20:53 > 0:20:59'The scheme is the brainchild of Alan Shiers, who began making harps as an artisan 30 years ago.'
0:21:00 > 0:21:06Tell me a little about harps. It's such an unusual instrument to be involved with. How did that happen?
0:21:06 > 0:21:12I worked for a chap called John Weston Thomas who resurrected the craft of harp-making in Wales
0:21:12 > 0:21:16cos prior to that it had died out. And I worked for five years and stayed in contact with him after
0:21:16 > 0:21:19when I went to teach at the Welsh Instrument School.
0:21:19 > 0:21:24- So his harps were the ones to have, really, for anybody that was into Celtic music?- Yeah.
0:21:24 > 0:21:28What was it like to make your very first complete harp? Can you remember that day?
0:21:28 > 0:21:31Yeah, I can. John Thomas and I worked together.
0:21:31 > 0:21:36We'd make two harps in parallel so he could keep an eye on me and then at the end,
0:21:36 > 0:21:42the people came to play them and they were just equal to each other, and that was quite the moment.
0:21:42 > 0:21:47He always said that eventually the pupil should exceed the master or the master has failed,
0:21:47 > 0:21:51which was quite daunting cos he was a great chap. And then he's died now,
0:21:51 > 0:21:54but we've gone on to make concert harps, which he never did.
0:21:54 > 0:21:58So we're taking that on to the next generation, and expanding what we do.
0:21:58 > 0:22:02What's the difference between a concert harp and one of the standard harps?
0:22:02 > 0:22:07Erm, if you thought of, say, a mode of transport as being a bicycle and a motorcar, they're both very...
0:22:07 > 0:22:10- As different as that. - ..appropriate for different needs,
0:22:10 > 0:22:14but the complexity of parts is about 2,000 moving parts in a concert harp
0:22:14 > 0:22:17and far less in a folk harp or a Celtic harp.
0:22:17 > 0:22:20How long would it take you to normally build a Celtic harp?
0:22:20 > 0:22:23By hand, it would be about six or eight weeks.
0:22:23 > 0:22:25And then a concert harp, about a year.
0:22:27 > 0:22:32I remember thinking, "Crumbs, I've spent however many weeks making that harp and somebody's paid for it."
0:22:32 > 0:22:35- HE LAUGHS - And that must be a nice feeling.
0:22:35 > 0:22:38Well, when they play it, when the harp sings for the first time,
0:22:38 > 0:22:40it's quite a special moment, really.
0:22:40 > 0:22:43SHE PLAYS HARP
0:22:45 > 0:22:50At my age, you start thinking, "How can we pass this on to the next generation before I lose my skills?"
0:22:50 > 0:22:56The best way to do it, I felt, was to make it into a community business, involving the local authority.
0:22:56 > 0:23:01We bought an old school so we built it into a team of people rather than an individual.
0:23:01 > 0:23:07The question was how you did it, how you actually changed from a craft into a community business,
0:23:07 > 0:23:11a one-man band to seven or eight people,
0:23:11 > 0:23:15and then the way that you communicated those skills using appropriate technology
0:23:15 > 0:23:20- to take away the drudgery and free you up to do creative stuff. - Yes.- That's the bottom line.
0:23:20 > 0:23:23Does it free you up to be creative? I think that's the best way.
0:23:26 > 0:23:31The youngsters have been brought up with computers and they'll use skills I don't have and that's great
0:23:31 > 0:23:36cos it's a cross-fertilisation. I need them, they need me. Makes the team more balanced.
0:23:37 > 0:23:41Do you think there might be a danger that all the old ways might be replaced?
0:23:41 > 0:23:47I don't think so. I think the quality of the wood and sound board and the acoustics are so very human
0:23:47 > 0:23:53and even though we've done something on a machine, it still has to be hand-finished, toleranced and fitted,
0:23:53 > 0:23:56so all the machines do is break the donkey work down.
0:24:01 > 0:24:05We have people who are a bit like I was when I was 16, bright-eyed and bushy-tailed,
0:24:05 > 0:24:10anxious to learn and get the thrill of actually turning stuff into things.
0:24:10 > 0:24:13- And then when it's played, what a reward.- Yes.
0:24:13 > 0:24:17And I think that's human nature. That doesn't change with age. I still get the same buzz.
0:24:17 > 0:24:22But, for me, it's nice to see one of the lads who's done something sit back and hear it,
0:24:22 > 0:24:25and I know what's going through his mind and that's very creative.
0:24:25 > 0:24:29If a 16 or 20-year-old can do that, there's a chance it will survive.
0:24:29 > 0:24:31SHE PLAYS HARP
0:24:37 > 0:24:41Do you think the definitive harp has been made yet?
0:24:41 > 0:24:46No. I wouldn't keep struggling, I think. The harp, to some extent, is still in its infancy.
0:24:46 > 0:24:50Stradivari, Guarneri, Amati violins, that's the absolute in a way,
0:24:50 > 0:24:54but I don't think we've got there with the harp and that's exciting.
0:25:02 > 0:25:06'The work of Allan Shiers and the Telynau Teifi community is certainly ongoing.
0:25:06 > 0:25:10'Not only are they embracing new technology to improve the instrument,
0:25:10 > 0:25:15'they're also closely working with Cardiff University to improve the instrument's sound.
0:25:15 > 0:25:20'So you can definitely say the future of this stunning instrument is in safe hands.'
0:25:26 > 0:25:29'Back to my next symphony of Flog It classics.
0:25:29 > 0:25:35'We're over in Ely where in 2009, Charlie Ross got into the groove
0:25:35 > 0:25:38'with David and Anne's old Edison Gem.'
0:25:40 > 0:25:43- Shall we dance?- We shall. - Put the music on.
0:25:43 > 0:25:44Right. THEY LAUGH
0:25:44 > 0:25:47I love your phonograph. How long have you had it?
0:25:47 > 0:25:51- About 55 years. - 55 years?- Yeah, roughly.
0:25:51 > 0:25:55- Well, in the family. It was my father's.- You inherited it, did you? - From Father.
0:25:55 > 0:25:59- Do you remember it being played as a child?- Oh, yes, I played with it.
0:25:59 > 0:26:04- Really? And how did he get it? - Well, he built lightweight touring bicycles.
0:26:04 > 0:26:06- Yes. - And he built this particular man one.
0:26:06 > 0:26:10It was 7 pounds 15 shillings and sixpence. He went home to get the money.
0:26:10 > 0:26:15- His wife wouldn't let him have the money.- What? - She said it was a waste of money.
0:26:15 > 0:26:22He brought this phonograph and asked Father if he'd have this in lieu until he could save the money
0:26:22 > 0:26:27and then he would come up, pay Dad and take his phonograph home.
0:26:27 > 0:26:29- He never came back. - He never came back?- No.
0:26:29 > 0:26:32So you've still got the phonograph. And you know who made it.
0:26:32 > 0:26:35- Yes, Edison.- It's the Edison Gem,
0:26:35 > 0:26:38- which was his standard model, if you like.- It was.
0:26:38 > 0:26:41- First patented in about 1900.- Yeah.
0:26:41 > 0:26:44- And this, I would think, dates from about 1910.- Yeah.
0:26:44 > 0:26:49What I really like about it, not only, obviously, the carrying case here,
0:26:49 > 0:26:55but that is the original sound box or trumpet. And nobody's fiddled with it.
0:26:55 > 0:26:59The absolutely marvellous, quirky thing I like about this is
0:26:59 > 0:27:04the original cord that held it up from the stanchion
0:27:04 > 0:27:08I see someone has replaced with a chain
0:27:08 > 0:27:13which looks distinctly like a gold watch chain to me. Are you guilty of that?
0:27:13 > 0:27:16- I'm fully guilty. - Well, may I say congratulations?
0:27:16 > 0:27:20- You've considerably added to the value of it. - I tied an old bit of wire on there
0:27:20 > 0:27:24and the wife said, "You cannot take that to Flog It, get a chain."
0:27:24 > 0:27:27The do-it-yourself shop was closed
0:27:27 > 0:27:32- so I thought, "Ah, a watch chain." - How many cylinders have you got?
0:27:32 > 0:27:38- We've got...- Ten.- About nine or ten four-minute cylinders.- Yes.
0:27:38 > 0:27:42- Can we have a quick go? - The three I've got left are all kicked and scratched.
0:27:42 > 0:27:46CRACKLY SCOTTISH VOICE
0:27:47 > 0:27:49Harry Lauder.
0:27:52 > 0:27:55- He's being rude! Can you put him off?- Yeah.
0:27:55 > 0:28:00We can't have him on Flog It! I thought it was going to be a nice little Scottish ballad.
0:28:00 > 0:28:02- No, I'm sorry. - You naughty man, David!
0:28:02 > 0:28:06- How much do you think it's worth? - Oh, £200 or £300.- £200 to £300?
0:28:06 > 0:28:10I think it would've been £200 to £300 a few years ago, possibly a bit more.
0:28:10 > 0:28:13- I think it's now £150 to £200. - That'll do fine.
0:28:13 > 0:28:18- Would that do for you? - Yep, no problem at all. - £150 to £200 with a reserve at £150.
0:28:18 > 0:28:22I'm sure it'll do well. Thank you very much for bringing it along.
0:28:22 > 0:28:24- No problem. - And jolly nice to see you.
0:28:26 > 0:28:31'Naughty but nice. But will it make some noise when it comes up for sale?
0:28:31 > 0:28:33'Hang on and I'll play this back to you later.
0:28:34 > 0:28:38'For now, here are three musical masters I just can't get out of my head.
0:28:41 > 0:28:47- 'Nigel thought Samantha's mirror guitar was finger-plucking good.' - I'll have a little practice.
0:28:48 > 0:28:50- Make sure it's in tune.- Yeah.
0:28:50 > 0:28:54- I really want this. My wife will kill me if I buy it. - THEY LAUGH
0:28:54 > 0:29:00'But I bet his wife was relieved when someone else snapped it up for a tidy £75.'
0:29:02 > 0:29:03Drumming!
0:29:03 > 0:29:07'Now, as you know, I play the drums and I was absolutely captivated
0:29:07 > 0:29:14'by the quality snare drum that Lee brought along for me to see at our Dover valuation day back in 2009.'
0:29:14 > 0:29:18John Bonham in Led Zeppelin used one of these, Ian Paice in Deep Purple.
0:29:18 > 0:29:24Every rock band you can think of used a Ludwig Supersensitive or a Ludwig 400.
0:29:24 > 0:29:28'You remember that delightful polyphone we saw earlier in Cambridge?
0:29:28 > 0:29:34'Well, in Rochdale back in 2007, Nigel Smith met its big brother.'
0:29:34 > 0:29:40I suppose originally this thing would've been in an arcade or in a shop or a public house.
0:29:40 > 0:29:44- It was my grandmother's. She had it in a shop in Bolton. - It's a rare item, this.
0:29:44 > 0:29:47'But while this beast failed to sell in our auction room,
0:29:47 > 0:29:53'it made a real racket when it hit a specialist music sale a few weeks later,
0:29:53 > 0:29:56'making a whopping £9,600.
0:30:03 > 0:30:08'Back to Cambridge to 2006 where I got to jam with Douglas
0:30:08 > 0:30:11'when he brought in this elegant ladies' guitar.'
0:30:13 > 0:30:17How did you come across this? This is a beautiful guitar.
0:30:17 > 0:30:20Well, I'm always calling in charity shops
0:30:20 > 0:30:24and I was always a bit of a magpie collecting stuff.
0:30:24 > 0:30:27And now I'm two years off 70, believe it or not...
0:30:27 > 0:30:32- Wow! You don't look it!- I know. I feel about, well, ten sometimes.
0:30:32 > 0:30:34- THEY LAUGH - Good for you!
0:30:34 > 0:30:38Anyway, now we've joined the Salvation Army,
0:30:38 > 0:30:45- the majors keep on at me and say, "You've got all that stuff...'- "Raise some money, flog something."- Yeah.
0:30:45 > 0:30:48- For the good causes. - So your guitar's going to go.- Yeah.
0:30:48 > 0:30:52- How long have you had this? - 15 years, I think.- 15 years.
0:30:52 > 0:30:54- Yeah.- Do you mind me asking how much you paid for it?
0:30:54 > 0:30:59- A fiver.- A fiver? It was actually made for a lady to play.
0:30:59 > 0:31:01If we turn it over and look at the back...
0:31:01 > 0:31:04Look at that rosewood back. Isn't it beautiful?
0:31:04 > 0:31:09The whole construction is made of steam-bent rosewood, quality materials throughout.
0:31:09 > 0:31:15That's a hardwood imported from the West Indies and it's got that lovely sort of vivid
0:31:15 > 0:31:20black and yellow and orange grain, which makes it very decorative.
0:31:20 > 0:31:23This is a beautiful, beautiful detail. The bridge.
0:31:23 > 0:31:26They're normally just sort of flat and square, but look at that,
0:31:26 > 0:31:30- that's so ornate, inlaid with mother of pearl.- Yeah.
0:31:30 > 0:31:32Mother of pearl on the sides of the neck
0:31:32 > 0:31:35to let you know where the fingering marks are.
0:31:35 > 0:31:39And if we look here on the head stock, those tuning pegs,
0:31:39 > 0:31:43they're made of ivory. And they're beautifully fashioned.
0:31:43 > 0:31:48- Yeah. It's incredible, really. - The whole instrument is very, very feminine.- Mm.
0:31:48 > 0:31:54Inside there is a maker's label and it was made by R&W Davis, based in London.
0:31:54 > 0:31:58And they were around from about the late 1700s, about 1790,
0:31:58 > 0:32:01right up to 1845.
0:32:01 > 0:32:03OK, value. You paid a fiver for that.
0:32:03 > 0:32:09- I think that's in mint condition. - Well, I paid £100 to have it restrung
0:32:09 > 0:32:11- and a couple of splits repaired. - Oh, did you?
0:32:11 > 0:32:14I think we should put this into auction
0:32:14 > 0:32:17with an estimate of £200 to £300.
0:32:17 > 0:32:22- Mm-hm.- And put a fixed reserve on it. It does need a specialist musical sale, really,
0:32:22 > 0:32:25but where we're going, Cheffins, is a very, very good auction room
0:32:25 > 0:32:31and they have a website which will be global, so people all over the world can see what they're selling.
0:32:31 > 0:32:34- Right.- Are you trying to beat me up on the reserve?
0:32:34 > 0:32:38- Well, yeah. - What would you be happy with?- 300.
0:32:38 > 0:32:42OK. No, that's OK. We'll put a valuation of £300 to £400 on this
0:32:42 > 0:32:45- with a reserve of £300.- Mm-hm.- Yeah?
0:32:45 > 0:32:48I'd like to see it do what I said, in between 300 and 400.
0:32:48 > 0:32:51Let's hope it reaches the top end and we're not kind of doing this...
0:32:51 > 0:32:55HE PLAYS BLUES RIF
0:32:55 > 0:32:57Singing the blues there.
0:32:57 > 0:33:00'But was that guitar music to the bidders' ears?
0:33:01 > 0:33:04'Time to move to Barnsley now where in 2007
0:33:04 > 0:33:09'Philip brought in this unusual gong for Michael Baggott to value.'
0:33:11 > 0:33:16Did you have to molest any cows to bring us this item here today?
0:33:16 > 0:33:19THEY LAUGH No, no, no, it was like that. Bought as seen.
0:33:19 > 0:33:25- Where did you get it?- Erm, Moonfleet Manor on the Dorset coast.
0:33:25 > 0:33:27- What drew you to it?- Er...
0:33:27 > 0:33:31- Cos it's not everybody's taste, is it? - No. It's just a thing of beauty.
0:33:31 > 0:33:37It goes to show that the Victorians would shoot, stuff and use anything with four legs.
0:33:37 > 0:33:40And here we've got cow horn.
0:33:40 > 0:33:42But it's most attractively used
0:33:42 > 0:33:46and you can't really fault it for that.
0:33:46 > 0:33:50- They didn't specifically go out and shoot a cow to make it.- No.
0:33:50 > 0:33:52It's a by-product that's being used.
0:33:52 > 0:33:55It's not everybody's taste, but it's been beautifully mounted.
0:33:55 > 0:33:58Originally, all of this brass would've been silvered.
0:33:58 > 0:34:01So you'd have got a sheen to it.
0:34:01 > 0:34:05- There's a little bit of silvering still on the cartouche and... - The crest?
0:34:05 > 0:34:10Well, it's nice. It's either for a name or a crest or initials and it's nice that it hasn't been done.
0:34:10 > 0:34:15- But the lovely thing is that you've got the original... - You call it a whacker.- Whacker.
0:34:15 > 0:34:20- That's the technical term for it. - Oh, right. - Shall we give it a go?- Go on, then.
0:34:20 > 0:34:23GONG CHIMES
0:34:23 > 0:34:27- You wouldn't want to hear that more than once a day, would you? - No, I wouldn't.
0:34:27 > 0:34:30It's a nice thing. It's an acquired taste
0:34:30 > 0:34:33but somebody out there at the auction will love it.
0:34:33 > 0:34:35Now the thorny question.
0:34:35 > 0:34:41- What did you give for it at that antiques fair all those years ago? - £80.
0:34:41 > 0:34:44Well, as I think you know, that's a fair retail price for it at the time.
0:34:44 > 0:34:47- That was '86.- '86.
0:34:47 > 0:34:50- Things were buoyant in '86. - HE LAUGHS
0:34:50 > 0:34:53But I think now, at auction, realistically,
0:34:53 > 0:34:56there's a very good chance that you'll get your £80 back,
0:34:56 > 0:35:00but I think if we pitch it at between £60 and £100,
0:35:00 > 0:35:03and put a fixed reserve of £60 on it,
0:35:03 > 0:35:06I think we've got a very good chance of getting it away.
0:35:06 > 0:35:10- Fair enough. - So if you're happy to sell it, we'll pop it in the auction for you.
0:35:10 > 0:35:12- Why are you parting with it now? - Room.
0:35:12 > 0:35:17- No room.- There is no more room. I'm cured of collecting things now
0:35:17 > 0:35:20because my wife staples my hands together when we go out.
0:35:20 > 0:35:23You can't do anything with your hands stapled together.
0:35:23 > 0:35:29Over the years, you collect stuff that you forget that you've collected and it's no longer required.
0:35:29 > 0:35:33- If goes from a collection to a load of clutter, doesn't it?- It does.
0:35:33 > 0:35:37We'll try and help you out with this. I hope it does really well at the auction.
0:35:38 > 0:35:43'Looks like Philip's gong whacked Michael right between the eyes!
0:35:44 > 0:35:48'Here's a quick recap of my last collection of musical masterpieces.
0:35:51 > 0:35:54'Douglas bought a bargain with this £5 ladies' guitar
0:35:54 > 0:35:59'and I had high hopes it would strum its way to success in the saleroom.
0:36:00 > 0:36:03'But was it a case of going, going, gong
0:36:03 > 0:36:07'when Philip's unusual two-horned treasure went up for sale?
0:36:08 > 0:36:14'David and Anne's phonograph really got Charlie in a spin, but did it make some noise in the saleroom?
0:36:16 > 0:36:19'No need to hang around because it's the first one up.'
0:36:20 > 0:36:24- It's packed in here. You can't actually get through the door anymore.- No.
0:36:24 > 0:36:26So hopefully we're in for a good result.
0:36:26 > 0:36:31Going under the hammer right now is the Edison gramophone with original rolls and the horn,
0:36:31 > 0:36:34and that's great, as well, because it makes it complete.
0:36:34 > 0:36:38- Why do you want to sell it? - I don't particularly want to now, but it's too late.
0:36:38 > 0:36:42Charlie's twisted your arm. He's our expert. That's a sign of a good auctioneer.
0:36:42 > 0:36:48- I have quite a few reptiles. - Have you?- And with the electric costs, it's a large building...
0:36:48 > 0:36:52Right, so we need to get some money for the electricity, basically.
0:36:52 > 0:36:55And the great thing is, the horn needs holding up
0:36:55 > 0:37:00and he's found an 18-carat gold watch chain to hold it up with.
0:37:00 > 0:37:02And that's still there, isn't it?
0:37:02 > 0:37:04That's probably going to add £20 or £30.
0:37:04 > 0:37:08Sounds like it's a come and buy me. It's going under the hammer now.
0:37:08 > 0:37:10Edison Gem phonograph.
0:37:10 > 0:37:12Interesting little lot, this.
0:37:12 > 0:37:15Start at, what, £100. Straight in, 100.
0:37:15 > 0:37:17100 I'm bid. 100. 110.
0:37:17 > 0:37:20120. 130. 140. 150.
0:37:20 > 0:37:23- 160. 170. 180. 190.- Yes!
0:37:23 > 0:37:25200. 210. 220. 230. 240.
0:37:25 > 0:37:29250. 260. 270. 280. 290.
0:37:29 > 0:37:31- 300. 310. 320. 330.- Fantastic.
0:37:31 > 0:37:34- We're making sweet music now. - 340. 350.
0:37:34 > 0:37:36360. 370.
0:37:36 > 0:37:40At 370. Are you in on the phones?
0:37:40 > 0:37:43At 370. 380. Back at 380.
0:37:43 > 0:37:47At £380, I'll sell at the very back. We had a rhythm going there!
0:37:47 > 0:37:50- Wonderful result. - At 380. You're all out down here.
0:37:50 > 0:37:54- Yes!- Yes!- £380!- Thank you.
0:37:54 > 0:37:57- Superb!- Thank you very much. - Great pleasure.
0:37:57 > 0:38:02Anne, there is commission to pay, don't forget. That's how they earn their wages.
0:38:02 > 0:38:06- It's still three months electric there.- That's incredible, isn't it?
0:38:06 > 0:38:10- The reptiles will be happy.- They certainly will! They'll be too hot! - THEY LAUGH
0:38:12 > 0:38:14'That was a resounding success!
0:38:14 > 0:38:19'Now over to Sheffield to find out how that gong got on.'
0:38:19 > 0:38:24- Why do you want to flog this?- Home furnishings...- Yes.- ..cost money.
0:38:24 > 0:38:28- Yes.- We have to part with the things that we love.- Right, OK.
0:38:28 > 0:38:31- Ask my ex-wife.- Oh, I see.
0:38:31 > 0:38:33HE LAUGHS
0:38:33 > 0:38:36- I've been to Moonfleet Manor. - It's nice, isn't it?
0:38:36 > 0:38:40- Yeah, good hotel, right on Chesil Beach.- That's right, yeah.
0:38:40 > 0:38:43It's full of history. I felt right at home there with the coffins.
0:38:43 > 0:38:46HE LAUGHS Blend in with the stiffs.
0:38:46 > 0:38:49Oh, don't think like that.
0:38:49 > 0:38:53Well, it's got good provenance, anyway, and I like it so...
0:38:53 > 0:38:56- And if you want one of these, that's the right price.- Exactly!
0:38:56 > 0:39:00If someone said, "Here's £100, go out and find me one tomorrow" it'd be very hard to do.
0:39:00 > 0:39:05- Especially with its original whacker.- Yes. - As catalogued. Whacker.
0:39:06 > 0:39:10An early 20th century horn, brass and walnut dinner gong and whacker.
0:39:10 > 0:39:12Nice little item. £100 for it?
0:39:14 > 0:39:17The bidding has started at 55.
0:39:17 > 0:39:2160. Top of the room by the door. Let's have 65.
0:39:21 > 0:39:24Let's have 65.
0:39:24 > 0:39:27Seems cheap. Anybody else with 65? There is.
0:39:27 > 0:39:2970. 5.
0:39:31 > 0:39:33Come on, come on, come on.
0:39:33 > 0:39:3775 I'm looking for. Is he back in? 80. 85.
0:39:38 > 0:39:41- Please.- 80. Hammer's dropping at £80. Have we finished?
0:39:42 > 0:39:46- Are you happy with that? - Oh, yes. More than happy.
0:39:46 > 0:39:49- How much did you pay for it?- £80.
0:39:49 > 0:39:51- You got your money back. - That was 30 years ago.
0:39:51 > 0:39:55- And you've had the enjoyment. - Oh, yes.
0:39:55 > 0:39:59And I know it's going to go to a good home, somebody that appreciates it.
0:40:00 > 0:40:04'Philip's gong held its own and tuned up rather nicely.
0:40:05 > 0:40:09'Now onto Cambridge where I caught up with auctioneer Will Axon
0:40:09 > 0:40:12'to see what he made of Douglas's lovely ladies' guitar.'
0:40:13 > 0:40:16Now this really opened up my eyes at the valuation day.
0:40:16 > 0:40:19I think it's my favourite thing on the day.
0:40:19 > 0:40:22- Yes.- Still is, in the sale.
0:40:22 > 0:40:25I put it in at £300 to £400. I know I beat him down a bit.
0:40:25 > 0:40:29I'm pretty sure it'll do £400 to £500, but I'm doing the auctioneer trick, bringing them in.
0:40:29 > 0:40:34Yeah, and Douglas himself actually came to give us a visit.
0:40:34 > 0:40:38He'd restrung the guitar, it had a broken string.
0:40:38 > 0:40:42We tuned it up and I'm afraid he also upped his reserve.
0:40:42 > 0:40:44- So all your hard work on our behalf...- Yeah.
0:40:44 > 0:40:49I'm afraid he's upped it to £400, so it's another £100 on the reserve.
0:40:49 > 0:40:54I thought he might. But on the day, I said it should be £300 to £500
0:40:54 > 0:40:57but I'd just like to get it down, so I think we're on the money.
0:40:57 > 0:41:01- Yeah.- And I'm pretty sure this will sell.- I'm touching wood it will.
0:41:01 > 0:41:06- I've shown it to the right people. - Lots of interest?- Yeah, it's been well viewed during the sale.
0:41:06 > 0:41:09It just smacks of quality, so it's obviously going to catch people's eyes
0:41:09 > 0:41:14just for construction, the rosewood, the ivory.
0:41:14 > 0:41:17- It's all there, isn't it?- Yeah. - The detail.- The detail, the age.
0:41:17 > 0:41:20So it's been well viewed. I've had violin buyers.
0:41:20 > 0:41:24There's a slight crossover because of the label inside, as well, it's a violin-maker's label.
0:41:24 > 0:41:27Probably the retailer rather than the maker.
0:41:27 > 0:41:30But that all adds to the quality.
0:41:30 > 0:41:34- £500?- It might do. - It might do. He's not going to say!
0:41:37 > 0:41:40'So, let's see if it struck a chord with the bidders.'
0:41:41 > 0:41:46Fingers crossed, we should get in between the £400 to £600 mark for this.
0:41:46 > 0:41:48- Well...- I'm hopeful for the top end.
0:41:48 > 0:41:53- It's so playable and it's a beautiful instrument.- Did you see I put a string on it?- I did!
0:41:53 > 0:41:56And you've tuned it, as well. That's lovely. Thank you very much!
0:41:56 > 0:41:59It's the first string I've put on one, anyway.
0:42:02 > 0:42:06There we are, much admired, the 19th century parlour guitar there
0:42:06 > 0:42:08with rosewood back and so on.
0:42:08 > 0:42:12I've got bids here starting me at 200. 220. 240. 260.
0:42:12 > 0:42:15280 I'm bid on commission. At 280.
0:42:15 > 0:42:18300 now. At £300 I'm bid in the room now, 300 bid.
0:42:18 > 0:42:23Right-handed at 300. 350. 350.
0:42:23 > 0:42:26- You want 400? 400 I'm in the room now. 400.- It's gone.
0:42:26 > 0:42:30- I was getting worried then. - And 50? 420. 450.
0:42:30 > 0:42:32- We got a phone bid.- 460. 480?
0:42:32 > 0:42:34At 450 now. 480?
0:42:34 > 0:42:37- 500, we'll take it.- Wow.
0:42:37 > 0:42:39550 in the room now. 550.
0:42:39 > 0:42:43At 550. 600. 600. At 600 on the telephone now.
0:42:43 > 0:42:45- I don't believe it!- This is good.
0:42:45 > 0:42:49Try me again. At 650. At 650.
0:42:49 > 0:42:53- Oh, yes, it's building to a lovely crescendo!- Fantastic.- 700.
0:42:53 > 0:42:55700 on the telephone. Are you all done elsewhere?
0:42:55 > 0:42:59At £700 the hammer's up. Last chance at 700.
0:42:59 > 0:43:05- Oh, fantastic!- The hammer's gone down at £700.- That's fantastic!
0:43:05 > 0:43:08The money is definitely going to come in so useful.
0:43:08 > 0:43:13- Thank you very much. - Fantastic! Well, very pleased.- What a great result.- I don't believe it.
0:43:19 > 0:43:25Now that's what I call music, but sadly, that guitar was my swansong for today.
0:43:25 > 0:43:27I hope you've enjoyed this little trip down memory lane.
0:43:27 > 0:43:33Do tune in again for another jaunt through the Flog It archives. Until then, it's goodbye from Syon House.
0:43:35 > 0:43:39Subtitles by Red Bee Media Ltd
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