0:00:04 > 0:00:09Well, I'm here in Devon on the beach at Exmouth and I've got it all to myself.
0:00:09 > 0:00:15It's a wonderful day to take in the sea views, the breathtaking scenery, but this is no holiday.
0:00:15 > 0:00:18It's the roller-coaster ride that's "Flog It!".
0:00:39 > 0:00:44There's plenty of treasure for our experts to delve into.
0:00:44 > 0:00:47- Are you all happy to be beside the seaside?- Yes!!
0:00:47 > 0:00:51And what's that all-important question you're going to ask our experts?
0:00:51 > 0:00:55- What's it worth? - Stay tuned and you'll find out.
0:00:55 > 0:00:59'So leading our team of valuers and ready to pounce on the crowd and their items,
0:00:59 > 0:01:03'our experts - Christina Trevanion and Will Axon.'
0:01:03 > 0:01:07Right, Christina, I've spotted some new people in the crowd...
0:01:07 > 0:01:11- No, I'm going first.- Pregnant women, they get all the advantages!
0:01:11 > 0:01:16'Christina will be looking out for silver and jewellery, but she does love a puzzle.'
0:01:16 > 0:01:23"How to drink and not to spill? We'll try the upmost of your skill." That's wonderful!
0:01:23 > 0:01:27'And Will is looking for quality in items AND their owners.'
0:01:27 > 0:01:32- A floral box in a floral bag. - Yeah.- Rather nice.
0:01:32 > 0:01:35- You can sell me as well.- Well done...
0:01:37 > 0:01:39'People are flooding in to the Exmouth Pavilion
0:01:39 > 0:01:43'and we're ready to put on a fantastic seaside show, so coming up...
0:01:43 > 0:01:46'We're all in holiday mode. Christina's hungry.'
0:01:46 > 0:01:49I could think of something to put in them. Lots of sweeties!
0:01:49 > 0:01:51LAUGHTER
0:01:51 > 0:01:54'Will is ready for some fizz.'
0:01:54 > 0:01:57I think we could get a couple of bottles of bubbly out of this one.
0:01:57 > 0:02:00'And I'm enjoying the scenery.'
0:02:00 > 0:02:03This is absolutely stunning. It's like a little window into the past.
0:02:03 > 0:02:05TOOT-TOOT-TOOT!
0:02:08 > 0:02:10'It's time we saw some antiques
0:02:10 > 0:02:13'and Mary has brought in a lovely bowl to show Will.'
0:02:13 > 0:02:15- Well, Mary...- Hello.- Hi, there.
0:02:15 > 0:02:18You've brought with you, potentially,
0:02:18 > 0:02:22a very early piece of Chinese metalware.
0:02:22 > 0:02:27Tell me, has this come to you via China? Have you got any connections with the Far East?
0:02:27 > 0:02:31My father bought it in a house sale
0:02:31 > 0:02:34at the end of the war, so that would be the end of the '40s.
0:02:34 > 0:02:39OK, yes. And it was in a house sale, was it, an auction-type sale?
0:02:39 > 0:02:40- Yes.- Interesting.
0:02:40 > 0:02:46- Any ideas what it is, first of all?- I just know it's a heavy, what looks like, a brass bowl.
0:02:46 > 0:02:50- And Chinese. - Yes. Chinese. That's correct.
0:02:50 > 0:02:53- It's not brass.- Isn't it?
0:02:53 > 0:02:55It's bronze. So it's cast in bronze.
0:02:55 > 0:03:00So a little bit better quality than if it was cast in brass.
0:03:00 > 0:03:04- Any ideas what it would have been used for, originally? - I don't, actually.
0:03:04 > 0:03:07I bet it's been in your house with a plant pot in it, has it?
0:03:07 > 0:03:10- Yes, that's right.- That's invariably how they get used.
0:03:10 > 0:03:15Cos they're perfect for that, aren't they? It is, in fact, a censer.
0:03:15 > 0:03:18- A Chinese censer.- Yes.
0:03:18 > 0:03:25So they were really used as sort of ceremonial incense burners.
0:03:25 > 0:03:27If we spin it upside down... Aw!
0:03:27 > 0:03:32And here we've got the impressed, six-character mark,
0:03:32 > 0:03:38the Chinese mark, similar to the marks that you see on Chinese porcelain,
0:03:38 > 0:03:40in the painted blue marks under the base.
0:03:40 > 0:03:43Now this mark here, if it was right,
0:03:43 > 0:03:49would mean we were holding a piece of 15th-century, Ming Dynasty bronze-ware,
0:03:49 > 0:03:50which we're not.
0:03:50 > 0:03:54The marks there purport to be the Xuande mark,
0:03:54 > 0:03:58which is sort of 1420-1435, that sort of period.
0:03:58 > 0:04:02- So that would be a Ming mark, would it?- That would be Ming, yes.
0:04:02 > 0:04:04But it isn't!
0:04:04 > 0:04:08I can tell you that most of the ones that you see of these
0:04:08 > 0:04:14that are sort of 19th century have that mark on them, the Xuande mark.
0:04:14 > 0:04:17So if I spin it back up and if you look at the inside,
0:04:17 > 0:04:21you can see the sort of finish that the bronze would be
0:04:21 > 0:04:23without being polished.
0:04:23 > 0:04:29You'd see more of that on the outside if it was a period, shall we say, 15th, 16th-century piece.
0:04:29 > 0:04:36Before I tell you what I think it's possibly worth, tell me why you're selling it.
0:04:36 > 0:04:41- 12 years it's been in a cupboard. - In a cupboard?- Yes.
0:04:41 > 0:04:45We hear it all the time on this show. It's either in a cupboard, under the stairs...
0:04:45 > 0:04:52- One downsizes and you have personal things that you like to have on show. - Yes.
0:04:52 > 0:04:55- I think it should be worth around the sort of £300 mark.- Brilliant.
0:04:55 > 0:05:02- Yeah? Does that come as a surprise to you?- It does. I honestly had no idea.- No idea?- No idea.
0:05:02 > 0:05:06I'm going to say to you, if we can straddle that £300 mark,
0:05:06 > 0:05:10- at sort of a £250-£350 estimate... - That's fine.
0:05:10 > 0:05:15- Then I think probably reserve it at that £250...- Yes.
0:05:15 > 0:05:20I don't think you're going to need any discretion on that. So let's firm that reserve at £250.
0:05:20 > 0:05:25I'm hoping it will make a bit more, but if it made 250, would you be happy?
0:05:25 > 0:05:29- I'd be delighted. - That takes the pressure off me a little bit! Mary...
0:05:29 > 0:05:35Thank you for bringing the censer in. I'm pretty confident it's going to find a new home.
0:05:35 > 0:05:37Thank you.
0:05:45 > 0:05:47That's a nice thing.
0:05:48 > 0:05:51That's a good way of making the letters show up.
0:05:51 > 0:05:56- You know when you clean your glasses, you go... It makes the letters stand out.- Lovely.
0:05:56 > 0:05:59'We'll always try and give you top tips on the show.
0:05:59 > 0:06:03'Christina is at her table with three friends of "Flog It!" -
0:06:03 > 0:06:07'Derek, Marion and good old Clarice Cliff.'
0:06:07 > 0:06:11- So, Marion and Derek, we've got these two bowls here...- Yes, yes.
0:06:11 > 0:06:18- Very different in style, but by the same maker, who is...? - Clarice Cliff.- Clarice Cliff.
0:06:18 > 0:06:22And where did you get them from? Do they belong to you, Derek, or you, Marion?
0:06:22 > 0:06:25- They were my mother's.- Right.
0:06:25 > 0:06:29The great memory I have is that she used to grow hyacinth bulbs in them.
0:06:29 > 0:06:32- They'd have hyacinths in them? - On the windowsill. Lovely.
0:06:32 > 0:06:36We've got two very different bowls here.
0:06:36 > 0:06:40This one we're going to talk about first. This is a Holborn-shaped bowl.
0:06:40 > 0:06:43- And it's what we call the "Gibraltar pattern".- Yes.
0:06:43 > 0:06:46Because, as you can see, we've got the Rock of Gibraltar there,
0:06:46 > 0:06:49or what looks like the Rock of Gibraltar,
0:06:49 > 0:06:56and these wonderful sailing boats and a nice cloudy landscape and nice, brightly coloured bands.
0:06:56 > 0:06:59- They're pretty colours. - They're very pretty.
0:06:59 > 0:07:03What worries me slightly is this blue banding here is slightly scratched,
0:07:03 > 0:07:06which might have been done when she was re-potting the hyacinths.
0:07:06 > 0:07:10- Yes, I think so.- So that will affect the value slightly.
0:07:10 > 0:07:12A collector won't find it quite as appealing.
0:07:12 > 0:07:18It dates from the 1930s. It's Clarice Cliff Bizarre, from the Bizarre range.
0:07:18 > 0:07:21So eternally popular with collectors, as you know.
0:07:21 > 0:07:26- Unfortunately... Did Mum do that chip?- Yes!
0:07:26 > 0:07:29- Oh, dear!- I'm sure it wasn't me.
0:07:29 > 0:07:32Having said that, it is quite a rare pattern.
0:07:32 > 0:07:39Moving on to this one. This is her slightly later work. This is what we call the "Napoli pattern".
0:07:39 > 0:07:43This, with the starry background, is really, really lovely.
0:07:43 > 0:07:46But it's also on a mushroom glaze.
0:07:46 > 0:07:50Slightly later. 1940s, rather than 1930s.
0:07:50 > 0:07:54And still really very nice together.
0:07:54 > 0:07:57Having said that, I think this is your more valuable one.
0:07:57 > 0:08:00- Yeah. Even though it's got a chip in it?- Yes.
0:08:00 > 0:08:07Collectors like the Bizarre, 1930s wares, rather than the slightly later 1940s wares, OK?
0:08:07 > 0:08:13I think, to be perfectly honest, we would probably offer them as one lot,
0:08:13 > 0:08:15rather than offering them independently.
0:08:15 > 0:08:21And I think you're probably looking in the region of about £200-£300 for the two.
0:08:21 > 0:08:23- Really?- Good.- OK?
0:08:23 > 0:08:26So I think we'll put an estimate of 200-300
0:08:26 > 0:08:30and a reserve of 200 with some discretion should we need it. How do you feel about that?
0:08:30 > 0:08:35- I think that's fine.- Are you happy with that?- Yes. Thank you.- Good.
0:08:35 > 0:08:39'It's wonderful to see a variety of objects turning up.
0:08:39 > 0:08:42'Over at Will's table, Jean's brought lots of sparkle.'
0:08:42 > 0:08:45Well, Jean, welcome to "Flog It!" and, can I say,
0:08:45 > 0:08:50when you pulled these out of your bag, the sparkle caught my eye. Are these personal rings?
0:08:50 > 0:08:53Are these something that you've decided to sell on your own behalf?
0:08:53 > 0:08:58Erm, yes. I inherited them about 30, 35 years ago
0:08:58 > 0:09:03- and they've been in a drawer up in the loft I think ever since.- No!
0:09:03 > 0:09:05I don't mind getting rid of them
0:09:05 > 0:09:11because the person to whom they belonged I think I met once as a child.
0:09:11 > 0:09:17- Right.- So there's no real...- Sort of sentimental value.- Or emotional attachment to them at all.
0:09:17 > 0:09:19Let's have a quick look at this first ring here.
0:09:19 > 0:09:22Two diamonds. Obviously, they are diamonds.
0:09:22 > 0:09:25And a little cut emerald in the middle there
0:09:25 > 0:09:28in a sort of white-and-yellow setting.
0:09:28 > 0:09:34I think the band is stamped. Yes, it is, so it is on a gold band.
0:09:34 > 0:09:36Moving along to this one here,
0:09:36 > 0:09:39which is a fairly plain sort of wedding band.
0:09:39 > 0:09:43I think 22-carat gold, in this instance, which is quite nice.
0:09:43 > 0:09:47- A good purity of gold. - A gentleman's? A gent's?
0:09:47 > 0:09:51Either, or. Either, or. If it fits, wear it.
0:09:51 > 0:09:56- This one here with the little sapphires in...- Yes.
0:09:56 > 0:09:58..has got a bit more age than the other ones.
0:09:58 > 0:10:03You can tell that by this nice scrollwork mount that the stones are set in.
0:10:03 > 0:10:08And, again, on a yellow metal ring. And, lastly, this one here.
0:10:08 > 0:10:11If I pick that up. With the little emeralds
0:10:11 > 0:10:16interspersed with the diamonds and the centre stone there is a reasonable size.
0:10:16 > 0:10:19Now I've weighed the gold band.
0:10:19 > 0:10:24That in itself sort of... It's a shame to talk in these ways,
0:10:24 > 0:10:29but it does scrap in at about £120 plus, so 120 for that one.
0:10:29 > 0:10:33I think these at either end - they're probably going to be worth about 150 each.
0:10:33 > 0:10:37- Oh!- So we're already into sort of 400 plus.- Yes.
0:10:37 > 0:10:41Then I think this one here, you're probably looking at £80-£100.
0:10:41 > 0:10:44So we're looking at around that £500 mark.
0:10:44 > 0:10:50I would suggest putting them in the auction with an estimate of £400-£600. Straddle that 500 mark.
0:10:50 > 0:10:53- You're going to want to reserve these?- Please, yes.
0:10:53 > 0:10:57I'm happy to do that. I'm confident these are going to make above bottom estimate.
0:10:57 > 0:11:00- So let's fix the reserve at 400. - 400, yes.
0:11:00 > 0:11:05- And I'm sure they are going to find a new home.- Lovely. Thank you.- Thanks, Jean.
0:11:08 > 0:11:12'Christina has a more traditional antique on her table.'
0:11:13 > 0:11:15So, Sheila and Roland.
0:11:15 > 0:11:18- But you prefer to be called Bubbles, don't you?- Yeah.- That'll do.
0:11:18 > 0:11:20OK, so we'll call you Bubbles for today, all right?
0:11:20 > 0:11:23You've brought in this rather wonderful Royal Doulton jug,
0:11:23 > 0:11:25which is huge.
0:11:25 > 0:11:26Who carried it here?
0:11:26 > 0:11:29- I did, mostly. - You carried it, Sheila?
0:11:29 > 0:11:31- Yes. - Bubbles, what were you thinking?
0:11:31 > 0:11:34- Eh?- What were you thinking letting Sheila carry it all this way?
0:11:34 > 0:11:36I've got a job to walk meself...
0:11:36 > 0:11:38- Aw!- ..with that as well!
0:11:38 > 0:11:40- I think you're probably right. Yes! - Yeah.
0:11:40 > 0:11:44- He leaves shopping bags all over the place.- Oh, does he?
0:11:44 > 0:11:47- Yeah.- So, tell me, where did you get it from?
0:11:47 > 0:11:51His mother had it for quite some years, and then, of course,
0:11:51 > 0:11:53when she died, we inherited it.
0:11:53 > 0:11:56So, how long have you had it?
0:11:56 > 0:11:58Since 1974.
0:11:58 > 0:12:02OK, now, when you originally had it, did it come with a certificate?
0:12:02 > 0:12:04Somewhere or other it got mislaid.
0:12:04 > 0:12:08Cos it did originally come with a certificate, they all did, sadly.
0:12:08 > 0:12:13It's a Royal Doulton commemorative jug, Dickens commemorative jug,
0:12:13 > 0:12:18and it's what they call the Dickens "Master of Smiles and Tears" jug.
0:12:18 > 0:12:22And it's wonderful cos it's relief moulded with all these figures
0:12:22 > 0:12:25from Dickens literature, and around the top as well
0:12:25 > 0:12:28we've got these sort of London scenes
0:12:28 > 0:12:30from where the stories took place.
0:12:30 > 0:12:31So it really is rather lovely.
0:12:31 > 0:12:36And we know who did it because they've signed it.
0:12:36 > 0:12:39And we can see at the bottom here it's signed Noke.
0:12:39 > 0:12:42- Noke?- Noke, N-O-K-E.
0:12:42 > 0:12:45Now, Charles Noke was a modeler and designer for Royal Doulton
0:12:45 > 0:12:48in the early part of the 20th century.
0:12:48 > 0:12:51He was one of their sort of quite unique designers.
0:12:51 > 0:12:56He was really quite innovative and this was quite unusual for its time,
0:12:56 > 0:13:00so it doesn't surprise me that Noke has put his name to it.
0:13:00 > 0:13:05If we look at the bottom...it actually tells us all about itself.
0:13:05 > 0:13:09Cos we've got this wonderful mark on the bottom here, which says,
0:13:09 > 0:13:11"The Dickens jug",
0:13:11 > 0:13:14and then the title there, "Master of Smiles and Tears...
0:13:14 > 0:13:17"with the magic of his created personality.
0:13:17 > 0:13:20"This is jug number 64..."
0:13:20 > 0:13:24- Right.- So it's number 64 from an edition of 1,000.
0:13:24 > 0:13:27So it's great that it's actually quite early in the production run.
0:13:27 > 0:13:30I think collectors will find that quite appealing.
0:13:30 > 0:13:34So, if we tip it back up again... There we go.
0:13:34 > 0:13:37I've had a good look over it and it doesn't look as if there's
0:13:37 > 0:13:38any kind of chips or cracks,
0:13:38 > 0:13:42or any kind of damage, which bearing in mind it's prewar,
0:13:42 > 0:13:43is really quite impressive.
0:13:43 > 0:13:45So I think it's lovely.
0:13:45 > 0:13:49We have had a little look on the internet to see if we can find
0:13:49 > 0:13:54any comparable prices for it because obviously, there were 1,000 made.
0:13:54 > 0:13:58Through time, obviously, some have been sold in the past.
0:13:58 > 0:14:03And they make anywhere in the region of maybe £250-£350,
0:14:03 > 0:14:05so I think at auction
0:14:05 > 0:14:08that's the sort of figure that we'd be looking at,
0:14:08 > 0:14:13is sort of 250-350, with a reserve of 250.
0:14:13 > 0:14:15- Are you happy with that?- Yes, yes.
0:14:15 > 0:14:17- Yeah, is that all right? - Yes, I think so.
0:14:17 > 0:14:20Well, let's see if we can find someone who can treasure it
0:14:20 > 0:14:21for the next 40, 50 years.
0:14:21 > 0:14:24Yeah, yeah.
0:14:35 > 0:14:37Well, I'm here in the beautiful Devon countryside,
0:14:37 > 0:14:40just outside of Newton Abbot, to meet a woman who has made her career
0:14:40 > 0:14:42out of a fusion of art and nature,
0:14:42 > 0:14:47and these wonderful equine beauties have been her inspiration.
0:14:48 > 0:14:52Heather Jansch has always surrounded herself with horses.
0:14:52 > 0:14:55Drawing and painting them frequently.
0:14:57 > 0:14:59Although she studied fine art at Goldsmiths College,
0:14:59 > 0:15:04she left before finishing, finding her own style back in the paddocks.
0:15:06 > 0:15:08I absolutely adore horses,
0:15:08 > 0:15:12I have three myself, and there is something so magical about them.
0:15:12 > 0:15:15It's not surprising artists throughout history have
0:15:15 > 0:15:17found them such a source of inspiration because they want
0:15:17 > 0:15:21to harness that beauty, but also the power and all of that energy.
0:15:21 > 0:15:25But what makes Heather's work so desirable to me and to many others?
0:15:25 > 0:15:27Well, I can tell you,
0:15:27 > 0:15:30the answer lies in her sculpture garden and with the artist herself.
0:15:34 > 0:15:36- Hi, hello. - Hello, Paul. Pleased to meet you.
0:15:36 > 0:15:38What a fabulous place you've got.
0:15:38 > 0:15:39- Thank you.- It really is.
0:15:39 > 0:15:42How did the idea for driftwood sculptures come about?
0:15:42 > 0:15:44- Entirely accident.- Was it?
0:15:44 > 0:15:45Absolutely, yes.
0:15:45 > 0:15:48My son was then about ten years old
0:15:48 > 0:15:53and I'd gone out... without lighting the wood burner.
0:15:53 > 0:15:56When I came back, he'd actually lit the wood burner by chopping up
0:15:56 > 0:15:59- a piece of ivy that had been lying around in my workshop.- Yeah.
0:15:59 > 0:16:02It was one of those pieces that had grown around the poles,
0:16:02 > 0:16:04- it was all twisted. - Yeah, quite nice, actually.
0:16:04 > 0:16:07- And the section that was left behind was about that long.- Yeah.
0:16:07 > 0:16:12The perfect size to fit into a copper wire sculpture that I was working on.
0:16:12 > 0:16:15- And that was the eureka moment, absolutely.- Really?
0:16:15 > 0:16:18Yes, I went cold. And I thought, "Oh, where can I get more?"
0:16:18 > 0:16:20And then I just knew that it was driftwood.
0:16:24 > 0:16:27Do you draw a study or make a small mannequin
0:16:27 > 0:16:30so you know exactly how it's going to go?
0:16:30 > 0:16:35No, I just take a decision about what sort of...size is it going to be
0:16:35 > 0:16:37and what sort of thing is it going to be doing.
0:16:37 > 0:16:39- OK.- And then, really, I draw all the steel,
0:16:39 > 0:16:43- so I work with my assistant who does the welding...- Right.
0:16:43 > 0:16:44..with fairly thin pieces of wire,
0:16:44 > 0:16:48and I say, "Let's have a bit here and a bit there," so it grows quickly like that.
0:16:48 > 0:16:51- So that's the superstructure that carries the weight...- Yes.
0:16:51 > 0:16:53- ..and the general framework of all the driftwood?- That's right.
0:16:53 > 0:16:55- D'you give all your horses a name? - Yes.
0:16:55 > 0:16:58- Do you?- Each horse has to have a name because otherwise
0:16:58 > 0:17:00- you can't differentiate between them. - No.
0:17:00 > 0:17:02How many d'you think you've made in your career?
0:17:02 > 0:17:05- Of the life-size pieces, I don't suppose it's more than about 25.- Mm.
0:17:05 > 0:17:06- But in general...- Maximum.
0:17:06 > 0:17:08..all the smaller mannequins...
0:17:08 > 0:17:10- All the smaller ones, probably not more than 100.- Oh, really?!
0:17:10 > 0:17:13They take quite a long time to make.
0:17:13 > 0:17:15- How long was this...- And there's nobody doing it, only me. It seems!
0:17:15 > 0:17:17There's only you doing it.
0:17:17 > 0:17:19OK, this would be a one-year-old sort of foal,
0:17:19 > 0:17:21- how long would that take? - I can't actually remember.
0:17:21 > 0:17:23- Right.- Because what happens is
0:17:23 > 0:17:27I have probably four or five pieces of different sizes on the go
0:17:27 > 0:17:29at the same time, so if I run out of material...
0:17:29 > 0:17:32- If it doesn't fit that one it goes onto the next one?- That's right.
0:17:32 > 0:17:33That's a good way of working.
0:17:33 > 0:17:36The longest it's taken me, though, is probably three years,
0:17:36 > 0:17:39- from start to finish, on one of the very big ones.- Mm-hm.
0:17:39 > 0:17:42- So, 16.2, or something like that.- Mm.
0:17:42 > 0:17:46And I quote a three-year waiting list because that allows me the time
0:17:46 > 0:17:47to make sure they're right.
0:17:47 > 0:17:49I like to walk past them every day
0:17:49 > 0:17:52because once they're gone from here, that's my reputation gone with them.
0:17:52 > 0:17:55- So they don't go until I'm sure they're right.- Mm.
0:17:56 > 0:17:59Heather's horses can look very different according to
0:17:59 > 0:18:01their location.
0:18:01 > 0:18:05She's even experimented with other strong, natural figures...
0:18:06 > 0:18:08..including this stag.
0:18:09 > 0:18:14- The driftwood pieces have something wilder about them.- Yeah.
0:18:14 > 0:18:16Particularly the heads,
0:18:16 > 0:18:22which are more about the relationship between space and wood
0:18:22 > 0:18:24in an abstract sense,
0:18:24 > 0:18:30- than they are about a literal translation of wood into horse.- Sure.
0:18:30 > 0:18:32Whereas the bigger pieces are much more classical, they...
0:18:32 > 0:18:36I mean, you can tell whether they're a thoroughbred or whether they're
0:18:36 > 0:18:38- an Arab, or...- Yeah, anyone that knows horses can, can't they?
0:18:38 > 0:18:41- You have an idea. Yeah.- Yes, I've noticed that walking around.
0:18:41 > 0:18:43- D'you want an apprentice?- Yes, do! THEY LAUGH
0:18:43 > 0:18:47Actually, I'd love to be, I'd love to come down here for a week and work on one of these.
0:18:47 > 0:18:50- You can have a go in the workshop, if you want.- Phwooh, yes, please!
0:18:50 > 0:18:53- There's a big horse we're halfway through doing.- Gosh, can I?
0:18:53 > 0:18:56- Yeah, we can go and play together in the workshop.- Come on, then.
0:19:01 > 0:19:04- Lovely studio.- I don't know about lovely, but it suffices.
0:19:04 > 0:19:05Oh, no, it is.
0:19:05 > 0:19:07What light as well, and I guess the mirror comes in handy
0:19:07 > 0:19:11- so you can see sculpture all around, the back view's...- It's essential.
0:19:11 > 0:19:13It's essential, isn't it? The back has got to be...
0:19:13 > 0:19:16It's absolutely essential because we can't always get far enough away
0:19:16 > 0:19:18to look at it if the weather's inclement.
0:19:18 > 0:19:20But when it's like this, I can just walk out of the door
0:19:20 > 0:19:23and get a long view on it.
0:19:23 > 0:19:25- How can I help? What can I do? - Well, I'm just...
0:19:25 > 0:19:26Section here's missing.
0:19:26 > 0:19:31Yes, I'm just about to try and find a way into the neck
0:19:31 > 0:19:32and through into the head.
0:19:32 > 0:19:35You know, about this long that's got a bit of a twist in it.
0:19:35 > 0:19:38That one's quite nice, isn't it? Is that any good?
0:19:38 > 0:19:41- It is quite interesting.- Will that go up there? Not really, I don't know.
0:19:41 > 0:19:43- Not quite.- No, that's no good.
0:19:43 > 0:19:46- So, similar.- OK, what about... Have you tried that one? Is that one...
0:19:46 > 0:19:49- Oh, no, we've just had a look at that one. - It all looks the same, doesn't it?
0:19:49 > 0:19:51I bet you pick the same thing up about ten times.
0:19:51 > 0:19:54- Actually, I don't, I've got quite a good memory like that.- Are you good?
0:19:54 > 0:19:56Let's have a look.
0:19:59 > 0:20:01- Oh, is that the ear? - Well, look at that.
0:20:01 > 0:20:02Hey, look at that!
0:20:03 > 0:20:07- That is fabulous, isn't it? - It will need a bit of shaping.
0:20:07 > 0:20:10If you could pass me up a piece of wire...
0:20:10 > 0:20:14- Yeah. - And can you tie it around here?
0:20:14 > 0:20:15Yeah.
0:20:15 > 0:20:19- Tie it quite tight, twist it round. - Yeah. Quite therapeutic, isn't it?
0:20:19 > 0:20:22- It can be really therapeutic or it can drive you mad.- Yeah.
0:20:22 > 0:20:25Oooh-aaaah! THEY CHUCKLE
0:20:25 > 0:20:28And I guess once the final sections are in place
0:20:28 > 0:20:30and all the screws are in place,
0:20:30 > 0:20:31you take the wire that's visible off?
0:20:31 > 0:20:35Yes, all of the wire comes out. We do what we call tacking.
0:20:35 > 0:20:38So once I'm fairly sure that a piece is in the right position,
0:20:38 > 0:20:43I get my assistant to drill a hole and put a screw in.
0:20:43 > 0:20:47When I'm certain of it, the screw comes out and it's recessed
0:20:47 > 0:20:50- and then the final thing is to fill it with wood.- Plugs?
0:20:50 > 0:20:52- No, just wood filler. - Just wood filler.
0:20:52 > 0:20:54But mixed with a stone so it's the right colour.
0:20:54 > 0:20:58- There's a lot of process that goes on, isn't there?- Loads.
0:20:58 > 0:21:01- It's not like, "Let's just put it together with a bit of driftwood," is it?- No.
0:21:01 > 0:21:04Do you stand back and go... After, let's say, three hours' work,
0:21:04 > 0:21:05and you stand back and go,
0:21:05 > 0:21:08- "No, it's not right, I'm going to take it off again"?- Oh, yeah,
0:21:08 > 0:21:11- I've been known to completely deconstruct them before now.- Really?
0:21:11 > 0:21:13PAUL CHUCKLES
0:21:13 > 0:21:15'Heather loves working within the landscape.
0:21:15 > 0:21:19'Where her gardens were once a backdrop for the driftwood horses,
0:21:19 > 0:21:22'they're now a sculptural project in their own right,
0:21:22 > 0:21:26'and she's let me skip more studio work to go and explore the valley.'
0:21:28 > 0:21:31'Heather clearly has green fingers as well as a talent for sculpture -
0:21:31 > 0:21:33'this garden is beautiful.'
0:21:33 > 0:21:37Walking through the wooded valley of Heather's grounds,
0:21:37 > 0:21:40you can see what's inspired her main body of work.
0:21:41 > 0:21:45Trees everywhere in their living organic form
0:21:45 > 0:21:49that are naturally growing with twists and turn on every branch,
0:21:49 > 0:21:53vying for sunlight, competing against their neighbours,
0:21:53 > 0:21:56and everywhere you look there's interesting vistas that just
0:21:56 > 0:21:58surprise you from out of nowhere.
0:21:58 > 0:22:02It is the perfect place for an artist to live and work.
0:22:06 > 0:22:08Oh, this is great, I like this.
0:22:10 > 0:22:12But look at that canopy of woodland.
0:22:17 > 0:22:20Heather's sculptures are absolutely incredible. She's a genius.
0:22:20 > 0:22:24Her work encompasses artistic creativity with technical prowess,
0:22:24 > 0:22:29passion... patience, and love of horses
0:22:29 > 0:22:31because just look what she's created,
0:22:31 > 0:22:33and when you see them outside, they belong outdoors
0:22:33 > 0:22:35in the landscape, they don't look out of place.
0:22:35 > 0:22:38You can view them through all the seasons
0:22:38 > 0:22:40and they all look wonderful, and if you turn your back on them
0:22:40 > 0:22:43for too long, they might just gallop away.
0:22:57 > 0:23:01'We've got our first four items, now we're taking them off to the sale.'
0:23:06 > 0:23:09'We're in Exeter at Bearnes Hampton & Littlewood
0:23:09 > 0:23:11'for our sale today.'
0:23:12 > 0:23:15'Chris Hampton is today's auctioneer on the rostrum,
0:23:15 > 0:23:17'so let's kick things off.'
0:23:17 > 0:23:20You're probably thinking, "What the Dickens is next?"
0:23:20 > 0:23:23Well, I can tell you...
0:23:23 > 0:23:24it's that commemorative jug.
0:23:24 > 0:23:27We've got the jug, we have our wonderful expert, Christina,
0:23:27 > 0:23:30but unfortunately, we do not have our owners.
0:23:30 > 0:23:34But hopefully Sheila and Roland will turn up as we're speaking,
0:23:34 > 0:23:37but if not, it's going ahead. You can't stop an auction.
0:23:37 > 0:23:39- No, you can't.- That's for sure.
0:23:39 > 0:23:41- Yeah.- We're looking at £250-£350
0:23:41 > 0:23:43and it's going under the hammer right now.
0:23:44 > 0:23:50Lot 360 is a Royal Doulton Charles Dickens jug... £200.
0:23:50 > 0:23:52At £200, at 200.
0:23:52 > 0:23:54Where's ten?
0:23:54 > 0:23:56- 210.- There's bidding...- Yes.
0:23:56 > 0:23:59220. 230. 240. 250?
0:24:01 > 0:24:05All right, 260, new place. 270. 280. 290.
0:24:05 > 0:24:09300. 310.
0:24:09 > 0:24:10320...
0:24:10 > 0:24:13- Well, we're getting the top end of the estimate.- Yeah, that is good.
0:24:13 > 0:24:15360. 370.
0:24:15 > 0:24:19380. 390. 400.
0:24:19 > 0:24:20£400.
0:24:20 > 0:24:24- Oh, Roland would be enjoying this. - I know, he would, wouldn't he?
0:24:24 > 0:24:27410, telephone bid. 420.
0:24:27 > 0:24:28We're on the phone now.
0:24:29 > 0:24:32- £420.- Brilliant.
0:24:32 > 0:24:34Selling then. Last chance...
0:24:34 > 0:24:37- At 420... 430 back here. - Oh, he's back. He's back.
0:24:37 > 0:24:39- 440.- He's keen.- He is, isn't he?
0:24:39 > 0:24:40One more?
0:24:40 > 0:24:42- 450.- No, he's out now.
0:24:42 > 0:24:44Now, he's still bidding.
0:24:44 > 0:24:45- No, he's not.- 470?
0:24:45 > 0:24:50No? At £460 ahead then. Selling at £460.
0:24:50 > 0:24:51Brilliant.
0:24:51 > 0:24:53- What a fabulous result.- Yeah.
0:24:53 > 0:24:55- I just wish they were here, I really do.- Aw!
0:24:55 > 0:24:58Oh, that's a shame, maybe it was just difficult to park,
0:24:58 > 0:24:59- I don't know.- Possibly.
0:24:59 > 0:25:01- Or traffic was bad.- No, there is...
0:25:01 > 0:25:03- Nevertheless... - That's a very buoyant result.
0:25:03 > 0:25:06'It's a shame Roland and Sheila missed seeing their jug sell,
0:25:06 > 0:25:09'but hang on, look who's arrived a bit too late.'
0:25:09 > 0:25:12- But we've sold your jug, haven't we? - Yeah, we did.
0:25:12 > 0:25:14- Christina, come in.- Hello!
0:25:14 > 0:25:16- How much?- How much do you think?
0:25:16 > 0:25:17I don't know, I...
0:25:17 > 0:25:20- Come on, come on, top end? Or lower end?- Top end.
0:25:20 > 0:25:21- Top end.- Lower end.
0:25:21 > 0:25:26Whoo! Oh-ho, a split decision there! Well, we actually made £460.
0:25:26 > 0:25:29- Oh, my word!- Is that all right?
0:25:29 > 0:25:30Yes, yes!
0:25:30 > 0:25:33So it hasn't been too disappointing missing it, but at least...
0:25:33 > 0:25:37- Disappointed? Oh, you've knocked 20, 50 years off me!- Aw!
0:25:37 > 0:25:40- CHRISTINA LAUGHS - Bless you, Roland.- Aw!
0:25:40 > 0:25:43- I love it how you've brought your bag to bring it home in.- Yeah...
0:25:43 > 0:25:48'Fantastic result, and less for Sheila to carry home!'
0:25:49 > 0:25:51They're a girl's best friend and they're here,
0:25:51 > 0:25:53mounted on four beautiful gold rings.
0:25:53 > 0:25:55They belong to Jean. Not for much longer.
0:25:55 > 0:25:58We had a valuation and Will put on 400-600.
0:25:58 > 0:26:02It has changed because gold prices have literally shot up.
0:26:02 > 0:26:06- Keep creeping up, don't they? - So we're looking now at £500-£700.
0:26:06 > 0:26:09- Excellent news.- Which is good for you, isn't it?- Indeed it is.
0:26:09 > 0:26:13- The longer we wait, the more they go up in value.- Great!
0:26:13 > 0:26:15Don't say that! She'll withdraw them for the next sale.
0:26:15 > 0:26:19Anyway, let's find out what the bidders think. This is it.
0:26:19 > 0:26:21And this lot,
0:26:21 > 0:26:24an 18-carat gold, diamond and emerald five-stone ring.
0:26:24 > 0:26:27An emerald and diamond three-stone ring.
0:26:27 > 0:26:30A sapphire and diamond seven-stone ring
0:26:30 > 0:26:33and a 22-carat gold wedding ring.
0:26:33 > 0:26:36All the rings there and £400 is bid.
0:26:38 > 0:26:41At £400. At 400. And 20. 450.
0:26:41 > 0:26:44At £450.
0:26:44 > 0:26:47With me at £450.
0:26:47 > 0:26:51Commission bid then at £450. Are you all done?
0:26:51 > 0:26:53Selling...
0:26:54 > 0:26:56- He's selling.- At £450.
0:26:57 > 0:27:01- That's still OK. It's gone, hasn't it?- Yes!- We got excited though.
0:27:01 > 0:27:03Obviously, we put the value up...
0:27:03 > 0:27:07Well, we had to really. The gold prices went up.
0:27:07 > 0:27:12- Nevertheless, it's gone within your estimate.- I was confident with that, yeah. Good money. Sold.
0:27:12 > 0:27:15- Good money?- Yes, Yes.- Happy? - Very, yes. Thank you very much.
0:27:15 > 0:27:19'Well, a good result, even though the gold didn't rocket away.
0:27:19 > 0:27:25'Derek and Marion's two Clarice Cliff bowls are surely going to be popular with the bidders.'
0:27:25 > 0:27:29- £200-£300 and, hopefully, we'll get that top end.- Hope so.
0:27:29 > 0:27:34I mean, the name "Clarice Cliff". She was such a pioneer. That will sell it for you. I hope!
0:27:34 > 0:27:38- Yes, yes.- And two nice patterns, as well.- Yes.- Different patterns.
0:27:38 > 0:27:41I like the Gibraltar one. That's really, really pretty.
0:27:41 > 0:27:44It's in good company. There's plenty of Clarice Cliff here.
0:27:44 > 0:27:47So there's something for the collectors. Let's find out what they think.
0:27:50 > 0:27:54Clarice Cliff Fantasque pottery bowl in the Gibraltar pattern.
0:27:54 > 0:27:56And another in the Napoli pattern.
0:27:56 > 0:28:00Lot 420.
0:28:00 > 0:28:02And let's start at £150.
0:28:02 > 0:28:05At £150.
0:28:05 > 0:28:08Where's 160? At £150.
0:28:08 > 0:28:09Come on!
0:28:09 > 0:28:11At £150 then.
0:28:12 > 0:28:15All done? 150.
0:28:15 > 0:28:18- Oh!- Well...- That's not sold.
0:28:18 > 0:28:21I can only say, in ten years of filming "Flog It!"
0:28:21 > 0:28:28and the amount of Clarice Cliff on the show, I think only two items prior to this have failed to sell.
0:28:28 > 0:28:32- You make me feel so special! - LAUGHTER
0:28:32 > 0:28:38You are in an elite... You are in an elite club.
0:28:38 > 0:28:42There are Clarice Cliff collectors out there that will find this, eventually.
0:28:42 > 0:28:45There is another day in another saleroom, or just hang on to it.
0:28:45 > 0:28:48'Well, that was a surprise.
0:28:48 > 0:28:52'Let's hope Mary's fantastic bronze bowl stands its ground.'
0:28:52 > 0:28:58Thank you for bringing in such a wonderful thing. I'm talking about that bronze Chinese censer bowl.
0:28:58 > 0:29:05- 19th century. We're looking at £250-£350. Fixed at 250. - Yes, that's right.- Very exciting.
0:29:05 > 0:29:09- Yes.- And you're very calm about all this.- Yes, I think I am.
0:29:09 > 0:29:13I think you should be fairly confident. My only reservation
0:29:13 > 0:29:18was that the patina's gone - that nice, mid-brown, mid-green patination.
0:29:18 > 0:29:21- But someone's polished that away. - That nuttiness.- Exactly.
0:29:21 > 0:29:25- You're not to blame for that. - Let's find out what they think.
0:29:25 > 0:29:30I've been waiting for this moment ever since the valuation. This is it! Good luck.
0:29:32 > 0:29:35The Chinese bronze circular bowl.
0:29:36 > 0:29:38Lot 495.
0:29:38 > 0:29:42And let's start at £200. And ten.
0:29:42 > 0:29:43220.
0:29:43 > 0:29:46230. 240. 250.
0:29:46 > 0:29:48At £250.
0:29:51 > 0:29:54At £250. And 60 now.
0:29:54 > 0:29:57At £250. Do you wish to bid?
0:29:59 > 0:30:03- £250 is in the room. - It's against you on the phone.
0:30:03 > 0:30:06£250 I have. Do you wish to bid?
0:30:07 > 0:30:10260. It could be a hard afternoon.
0:30:11 > 0:30:16£270. On a sort of "yes" or "no" basis, really.
0:30:18 > 0:30:21270! 280?
0:30:21 > 0:30:24280. 290? 290.
0:30:24 > 0:30:26- This is better.- 300. - It is good, isn't it?
0:30:26 > 0:30:31- 310.- If someone shows interest, they all start showing interest.
0:30:31 > 0:30:35- They think, "Oh, maybe I've missed something!"- 350?
0:30:37 > 0:30:40£350. The bid's in the room.
0:30:40 > 0:30:44Now selling at £350. Last chance...
0:30:46 > 0:30:51Well done. Hammer's gone down. Top end! It took a while, didn't it?
0:30:51 > 0:30:54- Cautious bidders. But there you go. Mary...- That's good.
0:30:54 > 0:30:56- ..thank you for bringing that in. - Thank you.
0:30:56 > 0:30:5895?
0:31:00 > 0:31:04Well, that concludes our first visit to the auction room here in Exeter today.
0:31:04 > 0:31:08We are coming back later in the programme. Don't go away.
0:31:08 > 0:31:12While we were filming in the area, I took the opportunity of going back to the coast
0:31:12 > 0:31:16and doing some sightseeing with a difference. Take a look at this.
0:31:21 > 0:31:25The Devon coast has been popular with holiday-makers for years.
0:31:25 > 0:31:28Seaton's quiet charms appealed to holiday-makers
0:31:28 > 0:31:31and the arrival of the branch railway line to the town
0:31:31 > 0:31:33helped to fetch tourists in droves.
0:31:33 > 0:31:37And over the years, cars and coaches opened up the town
0:31:37 > 0:31:38to even more new visitors.
0:31:38 > 0:31:40So what was on offer to them?
0:31:43 > 0:31:48Well, for over 40 years, these trams have been one of Seaton's most popular tourist attractions,
0:31:48 > 0:31:52taking the visitors on a gentle little journey of around three miles
0:31:52 > 0:31:54to the nearby town of Colyton.
0:31:54 > 0:31:58This fleet of trams attracts around 100,000 visitors a year.
0:31:58 > 0:32:02But life for Seaton's tramway started out in North London
0:32:02 > 0:32:08at an electrical company whose owner was passionate about trams.
0:32:08 > 0:32:11Claude Lane had a tramcar constructed at his factory
0:32:11 > 0:32:16and ran it during the summers in Rhyl and on the southeast coast.
0:32:16 > 0:32:19Looking for a permanent site to run his trams in the mid-1960s,
0:32:19 > 0:32:25Claude came across Seaton, which just had its railway line closed.
0:32:25 > 0:32:28He brought a three-mile section to Colyton
0:32:28 > 0:32:33and in 1969 started the first of 36 return lorry journeys with his assistant,
0:32:33 > 0:32:37transporting the whole tram system from Eastbourne to Seaton.
0:32:50 > 0:32:53The tramway now has 15 trams in its system,
0:32:53 > 0:32:57including a brand-new, very popular, bright pink version.
0:33:00 > 0:33:05And the journey normally starts a few hundred yards down the track, that way, in Seaton itself,
0:33:05 > 0:33:07which you can see there, look.
0:33:07 > 0:33:11But we've been given permission to start outside the depot
0:33:11 > 0:33:15with our own private tram and driver, a chap by the name of John.
0:33:15 > 0:33:19Along this journey, I'm going to point out some of the historical points of interest
0:33:19 > 0:33:22that this beautiful part of Britain has to offer.
0:33:22 > 0:33:23And here's John. Hello.
0:33:23 > 0:33:27- Hello. Morning. Welcome to my tram. - Thank you for taking me out today.
0:33:27 > 0:33:31As it's such a beautiful day, I'm going to go on the top deck.
0:33:31 > 0:33:33- Be my guest.- OK.
0:33:33 > 0:33:36So come aboard with me and let's go sightseeing.
0:33:39 > 0:33:40Here we go!
0:33:43 > 0:33:45TOOT-TOOT!
0:33:57 > 0:34:01This is absolutely stunning. It's like a little window into the past.
0:34:01 > 0:34:05England in the 1930s. Time stood still.
0:34:05 > 0:34:09That's the River Exe. Now, it was a lot wider than this.
0:34:09 > 0:34:12But over the centuries, the shingle beds have shifted.
0:34:12 > 0:34:15It's hard to imagine because all that's grazing land now.
0:34:15 > 0:34:20But it's got narrower and the shingle beds have literally moved,
0:34:20 > 0:34:23blocking part of the mouth of the estuary, closing it up a bit.
0:34:23 > 0:34:27A lot of the locals say it was due to a big, historic storm,
0:34:27 > 0:34:31but it's safe to say this part of the countryside is on the Jurassic coastline
0:34:31 > 0:34:36and it's been subject to many geographical changes over the centuries.
0:34:36 > 0:34:39Nevertheless, it's still beautiful.
0:34:40 > 0:34:42TOOT-TOOT-TOOT!
0:34:42 > 0:34:43TOOT-TOOT-TOOT!
0:34:48 > 0:34:50We've stopped here at Axmouth Loop.
0:34:50 > 0:34:52This is where we let other trams pass by.
0:34:52 > 0:34:57And that's the village of Axmouth over there. Quite a picturesque place, really. Deep in the valley.
0:34:57 > 0:35:03It's got an important place in history, because that was a port dating back to Roman times.
0:35:03 > 0:35:05It was clearly a very busy place.
0:35:05 > 0:35:09That connected to the Fosse Way, the Roman road,
0:35:09 > 0:35:13starting near Cirencester through the Cotswolds to Leicestershire.
0:35:13 > 0:35:17And it would have been a very busy place. There were 14 inns.
0:35:17 > 0:35:2214 pubs in that village! Obviously, there was nothing to do but drink and fight.
0:35:22 > 0:35:24You can imagine it. Lots of sailors knocking around
0:35:24 > 0:35:29and the odd pirate flexing their muscles along the south coast.
0:35:29 > 0:35:34It only stopped being used as a trading port in the late 19th century.
0:35:34 > 0:35:39Access to the sea had become limited and there was competition from the railway.
0:35:39 > 0:35:41It finally arrived in Seaton in 1868.
0:35:41 > 0:35:48And you had the road bridge, which was built connecting Seaton, just over there, in 1877.
0:35:48 > 0:35:51And that restricted the height of the larger vessels getting here.
0:35:51 > 0:35:54But, thankfully, it's still used as a little port,
0:35:54 > 0:35:58but mainly for fishermen and for tourists and for the odd yacht.
0:36:00 > 0:36:02TOOT-TOOT-TOOT!
0:36:05 > 0:36:08Well, that's it. We can now restart our journey.
0:36:27 > 0:36:31We've just stopped - another treat for me - at Black Hole Marsh,
0:36:31 > 0:36:33so I can have a look at the bird hide.
0:36:33 > 0:36:36This whole area is known as the Exe Estuary wetlands.
0:36:36 > 0:36:40It includes Colyford Common and Seaton Marshes.
0:36:40 > 0:36:45And it is an absolute haven for wildlife, so you must bring a pair of binoculars.
0:36:58 > 0:37:03Otters and roe deer have been spotted here and, of course, you'll find lots of rabbit
0:37:03 > 0:37:06and even shy kingfishers have been regularly spotted.
0:37:06 > 0:37:09It would be really nice to see one of those today.
0:37:19 > 0:37:24Do you know, in my entire life I've only come across three kingfishers in the wild.
0:37:24 > 0:37:27So I'm quite excited today. Now, let's have a look.
0:37:32 > 0:37:36This is a terrific spot to come and sit if you're a bird-watcher.
0:37:36 > 0:37:42And I've been told there's around 30 to 50 species of birds here. This is incredible.
0:37:48 > 0:37:52Well, no kingfishers for me today, but let's get back on the tram
0:37:52 > 0:37:54and keep moving.
0:38:02 > 0:38:05HORN TOOTS
0:38:06 > 0:38:09- Hi.- Hello!
0:38:16 > 0:38:20The tram passes through the village of Colyford as its first scheduled stop.
0:38:20 > 0:38:23The village is actually a royal borough with its own mayor
0:38:23 > 0:38:26and it holds a medieval-style goose fair every year.
0:38:26 > 0:38:29- CROSSING ALARM BLARES - There's enough noise, isn't there?
0:38:29 > 0:38:32- TOOT-TOOT-TOOT! - We're crossing the main road.
0:38:32 > 0:38:35There's sirens and all sorts kicking off.
0:38:39 > 0:38:42Colyton can be seen as we approach this station.
0:38:42 > 0:38:46It's another ancient town and it's a five-minute walk over there.
0:38:46 > 0:38:50Success in the wool and the farming industries brought a lot of wealth to this town,
0:38:50 > 0:38:53despite it being known as the most rebellious place in Devon.
0:38:53 > 0:38:55That's because its residents
0:38:55 > 0:38:59took part in the Monmouth Rebellion in 1685.
0:39:00 > 0:39:02You can see the ancient church there. Look at that.
0:39:02 > 0:39:06Towering above the houses. Oh, that's so beautiful.
0:39:07 > 0:39:11It's only one of three lantern churches left in the country,
0:39:11 > 0:39:13believed to have been built
0:39:13 > 0:39:16in the 14th century to aid sailors as they navigate their way
0:39:16 > 0:39:19in and out of the Exe Estuary.
0:39:22 > 0:39:25- Thank you so much, John. - It's been a pleasure.
0:39:25 > 0:39:26I thoroughly enjoyed that.
0:39:26 > 0:39:29- Nice to see you, m'dear. - Enjoy the return journey.
0:39:30 > 0:39:35Now that is the original railway building which dates back to 1868,
0:39:35 > 0:39:38where I'm going to go and have a cup of tea to round off my day.
0:39:38 > 0:39:44I must say, although the tramway system here is relatively new to this ancient and historic area,
0:39:44 > 0:39:48I think it sits in so comfortably with its surroundings
0:39:48 > 0:39:51and I can't think of a better way of travelling
0:39:51 > 0:39:54to take in all the wildlife and the sights and the history
0:39:54 > 0:39:56of the Exe Valley.
0:39:58 > 0:40:00TOOT-TOOT!
0:40:05 > 0:40:08'Over in Exmouth, there's hardly anyone on the beach
0:40:08 > 0:40:11'because Exmouth Pavilion is packed with people waiting for valuations.'
0:40:14 > 0:40:16Will's with Nesta and her...
0:40:16 > 0:40:17light bulbs!
0:40:17 > 0:40:20These are something that I've never seen before.
0:40:20 > 0:40:21What can you tell me about them?
0:40:21 > 0:40:24I was given them in the '60s, about '68.
0:40:24 > 0:40:27- My husband had a big electrical contract.- Yes.
0:40:27 > 0:40:31They were doing up this mansion that the Americans had lived in in Berkshire.
0:40:31 > 0:40:33- Very nice.- The builders finished.
0:40:33 > 0:40:38He got the electrical contract and he went in to get bits like kettles
0:40:38 > 0:40:40and irons and toasters.
0:40:40 > 0:40:42So he was clearing all the electrical bits out of there?
0:40:42 > 0:40:47Yes. He went into the wholesaler's and saw these few in a box.
0:40:47 > 0:40:50He said, "Being as you've given me a big contract, you can take two."
0:40:50 > 0:40:55Well, listen, I'm amazed they've survived in such good condition.
0:40:55 > 0:41:01Let's just hold one up. They are, without doubt, bayonet-fitted light bulbs
0:41:01 > 0:41:03with a crown on top.
0:41:03 > 0:41:05I've done a bit of research on these
0:41:05 > 0:41:12and I suspect these were made for the coronation of George VI in 1937.
0:41:12 > 0:41:15Would have been the coronation of Edward VIII, but he abdicated,
0:41:15 > 0:41:20so these were produced in 1937 to celebrate the coronation.
0:41:20 > 0:41:26So, really, as a pair of glass light bulbs, they've survived well.
0:41:26 > 0:41:29- Plus they've been to South Africa and back.- No!
0:41:29 > 0:41:32What are you doing carting these halfway around the world?
0:41:32 > 0:41:38- Well, I moved to South Africa in '68. - Yes.- And we came back in '79.
0:41:38 > 0:41:44- They stayed with me all the time. - I bet you never unpacked them in South Africa.- I looked at them.
0:41:44 > 0:41:47But they were wrapped up in Christmas paper.
0:41:47 > 0:41:51- Have they ever been used?- No. But they do go, because I tried them this morning.
0:41:51 > 0:41:53They still actually work?
0:41:53 > 0:41:56- Yes, they actually light up. - That's amazing, isn't it?
0:41:56 > 0:41:59I wish we had a lamp to actually put them on.
0:41:59 > 0:42:01I reckon splendid colours would be issued.
0:42:01 > 0:42:03They're quite pretty when they're lit up.
0:42:03 > 0:42:05This is all hand-painted.
0:42:05 > 0:42:09Someone sat there along a conveyor belt, colouring them in.
0:42:09 > 0:42:15So, interesting. I did a bit of digging around, looking at past auction records.
0:42:15 > 0:42:20- I was quite surprised that they don't make that much money.- No.
0:42:20 > 0:42:23I would suggest that we're looking, for each of them,
0:42:23 > 0:42:27a sensible estimate would be £10 or £20 for each.
0:42:27 > 0:42:31I'm thinking let's put them in the catalogue with an estimate at £30 to £50.
0:42:31 > 0:42:34- You're not going to want them back if they don't sell?- No.
0:42:34 > 0:42:36Let's go no reserve. Shall we live dangerously?
0:42:36 > 0:42:39A guaranteed sale. You're not taking them home.
0:42:39 > 0:42:43We'll see what they make. I look forward to seeing you again at the auction.
0:42:43 > 0:42:45- Thank you very much. - Thank you.
0:42:46 > 0:42:50'And Christina's found a bit of quality in Sue's silver frame.'
0:42:50 > 0:42:54Sue, I really, really like this frame. Where's it come from?
0:42:54 > 0:42:57It's come from the top drawer of my desk.
0:42:57 > 0:42:58THEY LAUGH
0:42:58 > 0:43:05My mother gave it to me years and years ago when she was moving house...
0:43:05 > 0:43:09- Right.- ..from the south-east to the south-west.- Right.
0:43:09 > 0:43:12As to where it came from, I don't know. So I'd be interested
0:43:12 > 0:43:16to know what part of the country it came from or how old.
0:43:16 > 0:43:21If we look at the frame, we've got a nice hallmark down here.
0:43:21 > 0:43:23We've got a maker's mark of HM,
0:43:23 > 0:43:28which is Henry Matthews, who was quite a prolific silversmith in the early 20th century,
0:43:28 > 0:43:31did a lot of frames. Obviously, we've got one here.
0:43:31 > 0:43:33We've got the town mark for Birmingham.
0:43:33 > 0:43:36- So that is where it was hallmarked.- Birmingham. Right.
0:43:36 > 0:43:40- And a date letter for 1904.- Ah!
0:43:40 > 0:43:45So it's 100-and-something years old, which is quite good, really, isn't it?
0:43:45 > 0:43:47We've got another hallmark on the inside rim.
0:43:47 > 0:43:50So it tells us that these pieces have not been replaced,
0:43:50 > 0:43:53- which often you do find.- OK.
0:43:53 > 0:43:58It is in remarkably good condition, but if we look at the back of the frame,
0:43:58 > 0:44:04it really looks like it was made yesterday. This velvet is still in such good condition.
0:44:04 > 0:44:08It's got a nice flap at the back, which when we lift up,
0:44:08 > 0:44:12you can see the inside of the frame with the watered silk lining.
0:44:12 > 0:44:18- Is that a watermark or is that the...?- That's watermarked silk.
0:44:18 > 0:44:21- Oh!- OK, so really very lovely.
0:44:21 > 0:44:27In great condition. We've got... We've got some what we call gadrooned
0:44:27 > 0:44:30and beaded decoration around the front.
0:44:30 > 0:44:32Now this would have been made in a sheet
0:44:32 > 0:44:36and then embossed from the back to give these raised areas.
0:44:36 > 0:44:40Also what's quite nice is that we've got this nice, vacant cartouche here.
0:44:40 > 0:44:44Sometimes you find they've got initials or engravings in.
0:44:44 > 0:44:49No initials, so it makes it more appealing for a buyer. They wouldn't have to get it removed.
0:44:49 > 0:44:53- I see.- With regards to an auction estimate...
0:44:53 > 0:44:56we're looking at somewhere in the region of maybe £80 to £120.
0:44:56 > 0:45:00- How do you feel about that? - Oh, no. Very pleased.
0:45:00 > 0:45:03- Very pleased?- Yes. That's more than I anticipated.
0:45:03 > 0:45:08Wonderful. OK. I think if we put an estimate of 80 to 120
0:45:08 > 0:45:12and maybe a reserve of 70 with some slight discretion should we need it.
0:45:12 > 0:45:14- Yeah.- But fingers crossed we won't
0:45:14 > 0:45:18- and it'll sail away for you. - Thank you very much. - You're more than welcome.
0:45:18 > 0:45:25'The sun may not be shining, but I've taken a break outside with Stephanie and her vase.'
0:45:27 > 0:45:31- What time did you arrive today? - I arrived at about 10.30.- Yeah!
0:45:31 > 0:45:34- The queue was still outside by then, wasn't it?- It was.
0:45:34 > 0:45:39It's evaporated now. We're coming to the end of the day. So, how long have you had this?
0:45:39 > 0:45:42- Probably about 20 years. - Really, that long?- Yeah.
0:45:42 > 0:45:47- How did you come by this?- A little old lady who lived in Burnham,
0:45:47 > 0:45:50where I used to live, in Buckinghamshire, gave it to me.
0:45:50 > 0:45:55- I used to do a bit of gardening for her, a bit of shopping.- Right.
0:45:55 > 0:45:59She used to do a bit of baby-sitting for me when my children were younger.
0:45:59 > 0:46:04She said, "You collect things. Would you like this?" I said, "That's pretty. I'll have it."
0:46:04 > 0:46:08- That was sweet of her. Can I have a look?- Yeah, sure. - You know what it is, don't you?
0:46:08 > 0:46:11- It's a bit of Newlyn copper.- Yep.
0:46:11 > 0:46:15And we've seen plenty of great examples on the show before.
0:46:15 > 0:46:19The whole thing was started off, really, by an artist called John Drew Mackenzie.
0:46:19 > 0:46:23He felt sorry for the plight of the Cornish fishermen in the last quarter of the 1800s.
0:46:23 > 0:46:29With bad weather they couldn't go out fishing. They became very poor.
0:46:29 > 0:46:33They started fighting amongst each other, getting drunk, that kind of thing.
0:46:33 > 0:46:36So he tried to teach them a skill to do in the winter months
0:46:36 > 0:46:39when they couldn't fish, so they could earn some money.
0:46:39 > 0:46:42And because they repaired their fishing vessels with copper,
0:46:42 > 0:46:46he thought to himself, "Right. They know how to work with copper.
0:46:46 > 0:46:49"Let's see if they can fashion pieces of copper
0:46:49 > 0:46:53"to make items like this that they could sell."
0:46:53 > 0:47:00You can identify Newlyn copper because it's normally full of bubbles and fishes and seaweed.
0:47:00 > 0:47:03This is called repousse work.
0:47:03 > 0:47:09- So this copper is laid on a wooden mould and hammered... - Oh!- ..onto that mould.
0:47:09 > 0:47:16Repousse work, yeah? It's then bent around into that circle shape and finely soldered together.
0:47:16 > 0:47:20It's finished off with a rolled edge, which is typical of Newlyn copper.
0:47:20 > 0:47:25And here it's stamped "Newlyn". Now, this is good because it definitely tells us it's Newlyn.
0:47:25 > 0:47:28If this wasn't stamped...
0:47:28 > 0:47:31this would be a piece from the late 1800s.
0:47:31 > 0:47:38They started stamping the pieces in around 1912, 1914, after John Drew Mackenzie died.
0:47:38 > 0:47:43So it's not a very early one. If this was a very early one, it would be worth a lot of money.
0:47:43 > 0:47:48- I think it's a cylindrical vase. Any idea of value? - I have no idea of value.
0:47:48 > 0:47:52- £300.- You're joking!
0:47:52 > 0:47:55On a good day it will get that.
0:47:55 > 0:47:59- I can't believe that. - Might do a little bit more.
0:47:59 > 0:48:02- Wow!- Do you want to sell this? - I certainly do.
0:48:02 > 0:48:06- Do you really?- Yes.- It's lovely! And just as I've said that,
0:48:06 > 0:48:11- the sun has come out. You have made my day. - I think you've made mine!
0:48:11 > 0:48:15'It will be hard to top Stephanie's thrilled reaction.
0:48:15 > 0:48:19'And we agreed on £200 to £300 as an estimate and a reserve of 200.
0:48:19 > 0:48:23'Now, let's see what Will thinks of Lorna's silver pincushion.'
0:48:23 > 0:48:28Lorna, you've heard the saying "there's an elephant in the room". There's one in here somewhere.
0:48:28 > 0:48:32There he is, look! Tiny little fella on the table in front of us.
0:48:32 > 0:48:34Is this something you collect?
0:48:34 > 0:48:38No, not a lot. I worked for two old ladies many years ago
0:48:38 > 0:48:40and I used to clean it religiously.
0:48:40 > 0:48:43- And she said it was mine, eventually.- Very kind of them.
0:48:43 > 0:48:46A little silver elephant pincushion's not bad going.
0:48:46 > 0:48:51- I haven't cleaned him since. Except for today. - You gave him a little dust-off.
0:48:51 > 0:48:56That's not too bad with silver. We're telling people all the time, "Don't overpolish your silver!"
0:48:56 > 0:49:00You lose the definition on the detail and you also rub the marks.
0:49:00 > 0:49:05- Now, the marks on this one have been a little bit rubbed. - That was before I had it.
0:49:05 > 0:49:10- I can make out the maker's mark, Levi and Salaman...- Right. - ..who were well-known makers.
0:49:10 > 0:49:14Assayed in Birmingham. They were known for making little trinkets,
0:49:14 > 0:49:17as was a lot of silversmithing around Birmingham.
0:49:17 > 0:49:21That's where most hallmarking occurs for small novelty pieces.
0:49:21 > 0:49:26The date letter is a little bit obscured, but I would imagine this is going to be an Edwardian one,
0:49:26 > 0:49:28so pre-1910.
0:49:28 > 0:49:33So of a good age, really. Have you done a bit of research on them?
0:49:33 > 0:49:35No, he's just been sitting on my mantelpiece.
0:49:35 > 0:49:42- So not used as a pincushion?- No. - Which is obviously what he was originally made for.
0:49:42 > 0:49:45- Have you ever wondered why he's got his trunk up in the air?- No!
0:49:45 > 0:49:48It's supposedly meant to be good luck, isn't it?
0:49:48 > 0:49:53An elephant with his trunk up is good luck, and in small, novelty silver bits like this
0:49:53 > 0:49:56it's unusual to find them complete, because it's fragile,
0:49:56 > 0:50:03and silver, being a soft metal, it's quite easy to break those trunks off, isn't it?
0:50:03 > 0:50:08This is a really good example of a piece of silver that way exceeds its value in what it's made of.
0:50:08 > 0:50:13- Right.- Because if we weighed this little chap, he's not going to weigh a great deal.
0:50:13 > 0:50:16He might scrap in at £20, £30, something like that.
0:50:16 > 0:50:19What sort of value should we pitch it at the auction?
0:50:19 > 0:50:24I haven't a clue what it would fetch, to be honest. I know it's collectable, but I haven't a clue.
0:50:24 > 0:50:27- Would you let it go for 100? - Well, cos it's so tiny...
0:50:27 > 0:50:31It's bizarre, isn't it? Something so small can be worth £100.
0:50:31 > 0:50:34- Let's put it in at £100 to £150. - Right.
0:50:34 > 0:50:37- What about a reserve?- Yeah, 100. - Yeah, 100?
0:50:37 > 0:50:40Straight in there. 100. Let's fix it at 100.
0:50:40 > 0:50:42- I think so.- I'm confident he's going to make it.
0:50:42 > 0:50:49- What's the money going towards? - We're going on holiday. So it will go towards some champagne.
0:50:49 > 0:50:53- Bubbly on holiday.- Very nice. Where are you going?- Spain. Majorca.- I'm jealous! Spain.
0:50:53 > 0:50:59- Half of my homeland! Half Spanish. - Oh, are you?- Spent a lot of years in Majorca. Enjoy it.
0:50:59 > 0:51:02We could get a couple of bottles of bubbly out of this one.
0:51:02 > 0:51:05- I'll see you on the day. - Thank you.- Well done.
0:51:05 > 0:51:09'Let's get that and our other items wrapped up and sent off to auction.
0:51:09 > 0:51:12'And here's a quick reminder of what we're taking.
0:51:16 > 0:51:20'Next up, Nesta's crown-shaped novelties.'
0:51:20 > 0:51:22Yes! Light bulbs, but with a difference. Made for Edward VIII.
0:51:22 > 0:51:28It never happened for him. Made for George VI, really. Nesta, good luck.
0:51:28 > 0:51:31No reserve. This is it. And I love these.
0:51:33 > 0:51:37Two George VI coronation bayonet-socket light bulbs
0:51:37 > 0:51:39in the form of crowns.
0:51:39 > 0:51:42There we are. £20 for them?
0:51:43 > 0:51:4520. 20 is bid. Thank you.
0:51:45 > 0:51:49- £20. At 20.- And they work.
0:51:49 > 0:51:53Novelty items. At £20. And two, if you will.
0:51:54 > 0:51:5622.
0:51:56 > 0:51:5825. At £25.
0:51:59 > 0:52:03Selling them, then, at £25. Last chance.
0:52:03 > 0:52:05- Well, they've gone.- Never mind.
0:52:05 > 0:52:09- They've sold.- We said they weren't going to be worth a fortune.
0:52:09 > 0:52:11I had some comparables. I'd never seen them sold before.
0:52:11 > 0:52:16I found comparables that had, and they were around that sort of figure.
0:52:16 > 0:52:20It's all right. At least it's not on your shoulders if they break. It's someone else's problem.
0:52:20 > 0:52:23- Better than being stuck in a drawer.- Yes, for sure.
0:52:23 > 0:52:27We don't want things in drawers. They should be on display for everyone to enjoy.
0:52:27 > 0:52:30- Good luck. Thank you for coming in.- Thank you.
0:52:32 > 0:52:36'Will the price of silver today help out our next item?'
0:52:37 > 0:52:42In the frame right now, literally, we have Sue with a wonderful silver picture frame.
0:52:42 > 0:52:47- We like this.- It is beautiful... - It is sweet.- Yeah, really sweet.
0:52:47 > 0:52:50But I want to buy my mother a pair of handmade leather shoes.
0:52:50 > 0:52:55I'm hoping to get enough. That would be of more use to my mum.
0:52:55 > 0:52:58- OK, OK.- This is really nice. Ready to go.
0:52:58 > 0:53:00It's got everything going for it, so...
0:53:00 > 0:53:04The trade will love this and the private buyers and the decorators.
0:53:04 > 0:53:08- I'm pretty sure we'll get within estimate and, hopefully, the top end.- Oh, I hope so.
0:53:08 > 0:53:11Fingers crossed for you and your mum. We'll get those shoes!
0:53:11 > 0:53:16Lot 240 - an Edward VII silver easel photograph frame.
0:53:16 > 0:53:20£80 is bid. At £80. Five.
0:53:20 > 0:53:2190.
0:53:21 > 0:53:24Five. 100. And five.
0:53:24 > 0:53:26- No messing about.- 120. 130.
0:53:26 > 0:53:28Oh, Sue!
0:53:28 > 0:53:30150. With me.
0:53:30 > 0:53:32£150.
0:53:32 > 0:53:37- Commission bid, then, and selling at £150.- Brilliant, brilliant!
0:53:37 > 0:53:40- Top price!- Well done. - Very good.- £150!- Yes.
0:53:40 > 0:53:44That's fantastic! That's two pairs of shoes for Mum.
0:53:44 > 0:53:49Do you think so? I think it's one, really, for handmade shoes.
0:53:49 > 0:53:51- One and a half! - Maybe a little bit of change.
0:53:51 > 0:53:55- I'm absolutely amazed.- Oh, good.
0:53:55 > 0:53:57I hope it goes to a good home as well.
0:53:57 > 0:54:01- What's your mum's name?- Margaret. - Margaret, enjoy those shoes!
0:54:01 > 0:54:05Every time you walk in them think of us.
0:54:05 > 0:54:08'What great news for Sue and her mum. And following that result...
0:54:08 > 0:54:13'Will Lorna's elephant pincushion bring the good luck it's supposed to?'
0:54:13 > 0:54:20Lorna, if we sell this elephant pincushion with its trunk up in the air, as you pointed out...
0:54:20 > 0:54:26It could be quite rare. Do you know, all the money's going towards champagne on holiday?
0:54:26 > 0:54:29Not the holiday, but the champagne.
0:54:29 > 0:54:34If we get that top end, you'll have so much champagne you won't remember that holiday. Will you?
0:54:34 > 0:54:39- Is that your favourite tipple? - I do like champagne. Yes, I do.
0:54:39 > 0:54:44- Do you?- Bubbles, any bubbles. - Do you like champagne?- Yeah. Buck's fizz for breakfast. Love it.
0:54:44 > 0:54:48- Do you know, it does absolutely nothing for me, champagne.- Really?
0:54:48 > 0:54:51- No, it doesn't. - I do like it.- Here it is! It's going under the hammer.
0:54:51 > 0:54:57It's an Edwardian silver pincushion in the form of an elephant.
0:54:57 > 0:54:59And at £75.
0:54:59 > 0:55:01£75.
0:55:01 > 0:55:0480. Five. 90. Five.
0:55:04 > 0:55:06- 100.- Yes!
0:55:06 > 0:55:07£100. Thank you.
0:55:08 > 0:55:11And ten. 120.
0:55:11 > 0:55:14130. 140. 150.
0:55:14 > 0:55:18- 160...- This is good! They're having a little fight over this.
0:55:18 > 0:55:20170 is bid.
0:55:22 > 0:55:26At £170 and selling. At £170.
0:55:27 > 0:55:30- Done it! Good valuation. - I think that's right.- Well done.
0:55:30 > 0:55:35- Don't say it.- I was no Dumbo on that valuation, Paul.
0:55:35 > 0:55:39He had to say that! That little elephant has helped Lorna pack her trunk to go on holiday.
0:55:39 > 0:55:43- How about that?- Cheers! - Thank you.
0:55:44 > 0:55:4675. 80. 85. 90.
0:55:46 > 0:55:4890 seated.
0:55:48 > 0:55:52£90. 95? 100. And five.
0:55:52 > 0:55:58It's my turn to be the expert, and I found what I think is the best thing of the day at the valuation,
0:55:58 > 0:56:03- possibly the best thing in the auction room today. - Really?- It is just beautiful.
0:56:03 > 0:56:07Every artist would love this. And I'm a big fan of Newlyn copper.
0:56:07 > 0:56:11And I think this is quite a rare piece. So £200 to £300 I think is pretty safe.
0:56:11 > 0:56:14- Fingers crossed.- Yeah.
0:56:14 > 0:56:17The Newlyn copper case of cylindrical form,
0:56:17 > 0:56:20decorated with fish.
0:56:20 > 0:56:21£150.
0:56:22 > 0:56:24At £150.
0:56:24 > 0:56:26Where's 160? 160.
0:56:27 > 0:56:29170.
0:56:29 > 0:56:30At 170.
0:56:30 > 0:56:33Where's 180?
0:56:33 > 0:56:37At £170 only. Are you all done, then?
0:56:37 > 0:56:39- Come on!- £170.
0:56:39 > 0:56:41- Last chance.- It's not selling.
0:56:41 > 0:56:43At £170.
0:56:43 > 0:56:48- He didn't sell it.- Not sold! - He didn't sell it.
0:56:48 > 0:56:52I'm so sorry. I don't know what to say.
0:56:52 > 0:56:54I really, genuinely, am speechless.
0:56:54 > 0:56:57I've waxed lyrical about that.
0:56:57 > 0:57:03- I don't understand it, but there you go. Hey, I'm pleased we put a £200 reserve on it.- Are you?
0:57:03 > 0:57:06- Yes. I am.- Good! - I am! I am, honestly.
0:57:06 > 0:57:09- Hang on to it. It's worth that. - Yeah?
0:57:09 > 0:57:13Please hang on to it. Use it, won't you? I don't know what to say.
0:57:13 > 0:57:18- But I've thoroughly enjoyed myself here today. I hope you have as well.- I've had a great time.
0:57:18 > 0:57:23We don't normally end on something like this, but that was a bit of a shock, wasn't it?
0:57:23 > 0:57:27Not everyone's a winner. Join me again soon for more surprises.
0:57:27 > 0:57:30But for now, from Exeter, it's goodbye.