Wells Flog It!

'Can you guess which city we're coming from today?

'Well, we're in Wells. Welcome to Flog It!'

'Wells is in the heart of Somerset.

'It's one of the most beautiful and historic cities in the UK.

'It may be one of England's smallest cities, but it's big on grandeur,

'and home to the spectacular Wells Cathedral,

'our host for today's show.'

This is where it all starts, in the cloisters at Wells Cathedral.

My favourite part, because you never know what's in all of these bags.

It's our job to find out, to put them into auction and to look after everybody.

Stay tuned because someone is going home with a small fortune.

'With their wealth of experience,

'Anita Manning and Will Axon will be in charge of our valuation tables.

'Here's a look at what's on today's programme.

'Will picks out an unusual early 20th-century ceramic.'

This is the firm, Barum Pottery, the Roman name for Barnstaple...

-Oh! I didn't know that.

-..where the firm was started.

'Magpie Anita is attracted to something that really sparkles.'

Kim, they say that diamonds are a girl's best friend, and what we have

are two nice little diamond items.

'And I take a look around a brand-new building in Bath

'that takes the museum well and truly into the 21st century,

'incorporating magnificently the old and the new.'

It's like a floating pavilion in these beautiful grounds.

And on the inside, it allows the old rooms to breathe with vitality.

'First up on Will's table, Doris has brought in a very generous gift.'

Doris, tell me, has this come straight off your wrist?

-No...

-Or have you brought this along specifically?

I'm a member of the Friends of Wells Cathedral.

-We raise money for the upkeep of the cathedral.

-That must be some job!

It is. It's been going for 80 years, but it's raised a lot of money.

-Someone left us this as a legacy to sell for funds.

-Ah!

Hence you brought it along to see if we can flog it for you.

-I've no idea how much it was worth.

-Any ideas what it was made of?

-Had you heard of Longines, the maker?

-Yes.

We realised it was a decent watch.

-Obviously, it depends on the age and...

-Yes.

You're right.

Age-wise, it's not what we would call a vintage timepiece.

I would imagine that it dates from around the 1980s.

For watch collectors, for them to be interested in watches of that age,

they need to be very limited editions by big names.

But what we do have

is a nine-carat gold bracelet as well as the nine-carat gold case.

Because that, I'm afraid, is where the value is, in the gold content.

It's a bit of a shame, when you say it's worth nothing as a watch.

To go out and buy this new would have been fairly expensive.

Whereas resale, no-one's interested in it as a timepiece.

It's a modern quartz movement

and watch collectors like the mechanics of it.

-It's all a bit anorak-y!

-Yes.

But what we do have is a decent amount of gold, nine-carat gold.

You were given it some time ago. How long have you held on to it?

-Just a few months, about six months.

-You say "just a few months".

The price of gold is steadily rising. It's still going up. People are speculating on the price rising.

With troubles around the world, people see gold as a safe investment.

I would say, having weighed the watch,

that you would be looking at £200 to £300 for the gold value.

-That's certainly very generous...

-Would you be happy at that?

Obviously, whatever you get, it's a bonus, isn't it?

-So shall we put an estimate on it of £200 to £300?

-Yes.

-But are you happy for it just to find its level in the sale?

-Yes.

If it finds its level, whatever we make on it will go into the coffers, we'll be very grateful.

At sales nowadays, with the price of gold, you do get the dealers,

they literally start at one end of the cabinet with the digital scales,

they weigh everything and they know exactly what it's worth.

-They won't let it go for under scrap value.

-No.

It might make a bit more as people speculate on the price rising.

Doris, it's been a pleasure talking to you.

-Thank you.

-Thank you very much for having us at the cathedral.

On behalf of the Friends, it's been great to have you.

Well, fingers crossed the Friends will have a few more pounds to spend on something.

'What a fantastic cause!

'I really hope that watch makes an impact in the saleroom.

'Now, I've spied something a bit quirky

'and I want to take a closer look.'

Roy, you're clutching a post box.

I know it's a post box cos I can see "post" on it.

-How long have you had this?

-About 40 years. More.

-Was it your parents', then?

-Yes.

-Did they ever use it?

Used it to store brushes in, like shoe brushes.

-Oh, did they?

-Yeah.

-Can I have a quick look?

Somebody's done a lot of decorating in your house.

-I can see lots of splashes of emulsion paint. Can you see?

-Yes.

This to me evokes that Edwardian era of hunting, shooting, fishing.

Those big estate houses where you'd have a large reception area

and this would be on the desk with the daily post.

-If you were the master of the house, you'd have the key.

-Yes.

You could pop that open and retrieve your letters.

I think it's beautifully made.

-The lock still works but you don't have the key, do you?

-No.

It's bound in Moroccan leather.

Inside, there's green tooled leather.

Moroccan leather outside, a nice chocolate colour.

This flap would have been crimson red.

-Yes.

-So you've got those lovely three tones.

There's a bit of damage, but not much.

Whoever bought this would polish that with a bit of bee's wax.

Hopefully, it would remove this emulsion. It's only water-based.

You could polish up this silver plate.

I think that's a cracking little box, I really do.

There's a lot of box collectors.

-It's made of soft wood and it's been covered in Moroccan leather.

-Yes.

-Any idea of value?

-Well, I would say probably about £25?

You're right in this condition.

If somebody could clean this up, they might get around £70 for it.

-About £70?

-Yeah.

-It needs a bit of TLC.

-Yes.

-So let's take that into account.

-Let's put it into auction with a guide of £30 to £50.

-Yes.

-A fixed reserve at £25.

-That's fine.

-Happy?

-Yes, thank you.

Let's hope it's not returned to sender, when we get to auction.

Yes.

Kim, they say that diamonds are a girl's best friend.

And what we have here are two nice

little diamond items.

Where did you get them?

I got made redundant a couple of years ago

and I thought I'd put some money into jewellery.

-You wanted to treat yourself?

-Yeah. For investment purposes.

I'd seen it in an antiques shop in Bristol, in Clifton,

and I fell in love with it.

I particularly like this pendant, quite an unusual little piece.

Although I don't think that it is the first part of the 20th century,

it has a 1930s look about it, an Art Deco look.

But one of the most interesting things about it

is that you have this lovely pendant here,

and if we just draw that apart, turn it round,

we have, perhaps,

one which would suit an evening occasion.

So we have day and night, and that's absolutely lovely.

-Thank you.

-Did you know that this opened when you bought it?

I did. That is why I liked it so much, because it was so unusual.

And you could wear it in the day and the evening.

-That captured your imagination?

-It's beautiful, yeah.

-It's lovely.

We have quite a lot of diamonds in this little piece.

They are fairly small.

The auctioneer will use a special tool to measure the diamonds

that will give us a total caratage of the piece.

This will help with the price on it.

-To go on to the little earrings, did you wear these?

-No.

Worn them? No. I don't go anywhere to wear them.

-BOTH LAUGH

-Neither do I!

These are a lovely little pair of floret shaped diamond earrings.

Diamond earrings are very popular.

-Price-wise, you bought them in a retail situation.

-Yes.

So one must think that it will be difficult to recoup that money.

-Right.

-But what I can say is that these items...

I'm not going to ask you how much you paid for them, but I think that these are so delightful

and they are so appealing that we may get a wee surprise with them.

I would like to put an estimate

on the little pendant

-of 150 to 250.

-Right.

-If we keep it low,

and keep it wide, I think that's the best idea.

With the diamond earrings,

180? 220? In that region.

Would you be satisfied with that?

-I'd be very happy.

-You'd be happy if you got your money back.

-Yeah.

We might get a wee surprise.

We'll have to make sure the auctioneer knows that it opens up.

It is auction time and we're putting all our items to the test

right here, Tamlyn & Son auction rooms in the heart of Bridgwater.

'Always factor in commission when buying or selling at auction.

'The seller's commission here is:

'Today's sale is under way, headed up by auctioneer Claire Rawle.

'Doris is hoping that gold watch

'will raise some big funds for the cathedral.'

-I've been joined by Doris, who kindly helped us out at the cathedral.

-Yes, I did.

As a steward, and also managed to scrape in a valuation with Will.

-Yes.

-£200 to £300.

-That's right. It was donated, wasn't it, to the Friends?

-Yes.

There was a bit of dithering and we were joking that in the time

that you waited to sell, the price of gold creeped up.

The melt value keeps going up and up.

Even from the valuation day, it's probably sneaked up a few pence.

-The value is purely in the melt weight?

-I'm afraid so.

-That's OK.

It's helping things get away.

When we started doing this show ten years ago, the value of scrap silver was £4.80 an ounce.

-Silver has just gone over £20 an ounce.

-They're paying that.

Incredible. When's it going to stop? I don't know.

But good luck, Doris. This is it.

The lady's Longines wrist watch.

-I've got £220...

-It's gone.

Do I see 250 in the room? Bid's with me at 220. 250.

280. No. At 280, still with me.

300 at the very, very back. £300.

320 anywhere? At £300 at the back there.

Are you all done at 300?

The hammer's gone down. Top end of the estimate.

-The money is going towards restoration of the cathedral?

-Yes.

-Wonderful.

-I would imagine that's a bottomless pit.

-I bet that's ongoing!

-It never stops.

'Well, that's a brilliant start.

'Next, it's Kim and that jewellery that Anita loved so much.'

I gather the proceeds of what we're selling,

the necklace and some earrings, two separate lots,

the proceeds are going to a cultural trip to Rome.

-Have you been before?

-I have.

-You love it?

-LOVE it.

-What's the best thing about Rome?

-The Vatican and the Italian food.

Oh, the food. Bella, bella! Mamma mia!

Well, look, let's get you there in style, OK?

We're looking at £150 to £250. Hopefully, we'll get the top end.

All nine-carat white gold. Good quality.

Wonderful combination of diamonds and white gold.

It's very pretty and it's very feminine.

-Something for the girls.

-Hopefully.

-Well, there's plenty here.

Let's find out what they think. Here's the first one.

9K white gold little pendant with a flexible design.

Pretty little item this. I have to start away here at £75.

At 75. Do I see 80 anywhere? At 75.

At 75. Now 80? At 75... 80. Five.

90. Five. 100.

-110. 120. 130. 140. 145.

-Sticky start but getting there.

-150 at the back...

-Done it!

At 150 it is, then.

Are you all done? Selling at 150.

-Hammer's gone down.

-I'm pleased with that.

That was a sticky start. I thought we'd struggle at 75.

-I thought it was a wee bit low, but they went there.

-Yeah.

-Tension.

One down. One to go. Now the earrings. This is it.

The pair of white metal and diamond earrings in the flower head design.

I'm going to have to start these away at £110.

-Not bad.

-Not bad.

120 anywhere? At 110. Do I see 120?

120. 130.

140? 140. 150. At 150, still here.

At 150. Now 160 anywhere?

At £150. You all done...?

-She didn't sell. That's a shame.

-Nearly.

We got the first one away at £150. You can wear the earrings to Rome.

I'll take them to Rome and wear them. I'm fine with that. Honestly.

-Enjoy it, won't you?

-I will. Thank you very much anyway.

-Close.

Well, you win some, you lose some.

At least Kim protected the earrings with a reserve.

But she's got a good price for the necklace.

For our next lot, which is so quintessentially English,

a touch of Edwardian England and it doesn't cost you a lot of money.

Belongs to Roy and it's that tiny desk post box.

Love it. Absolutely love it.

I know we only said £20 to £30, but it's got the look.

It's got the passion. It breathes that whole country house atmosphere.

It's going under the hammer.

-I hope you haven't changed your mind.

-No, I haven't.

-We're in this till the end.

-Yeah. Thank you.

-Here we go.

This early 20th-century domestic post box.

I start this one away at £50 for the little post box...

Yes!

..Five. 70. Five. 80.

Five. 90. Five. 100.

110. 120. 130.

Back of the room at 130. At £130. Now, do I see 140?

-That's brilliant.

-130...

Ever so happy with that!

People with taste here in the room wanted to buy that!

-Yes.

-Happy? You've got to be happy.

-Yes, I am. Very happy.

-That'll come in handy, won't it?

-It will. Yes. I'm so pleased.

'I loved that little post box. I'm over the moon for Roy as well.

'Before we get back to the valuation day in Wells,

'I'm going to travel across Somerset to Bath,

'and look around a unique building full of some real treasures.'

The UK is well endowed when it comes to galleries and museums.

There's around 3,000 of them.

Here in the Georgian splendour of Bath, there's about 20,

which is quite a lot for a city of its size.

Arguably, the jewel in Bath's crown is over there, the Holburne Museum.

This neoclassical gem was built in the late 1700s

as the Sydney Hotel.

Sitting grandly at the end of Great Pulteney Street,

it was the gateway to the 18th-century pleasure gardens,

where glittering socialites could strut their stuff.

And it's no less impressive today.

This is one of the country's most outstanding small museums.

Like all best-loved and characterful museums,

the Holburne has at its heart a personal collection.

'It all started when Sir William Holburne bequeathed his collection

'to the people of Bath,

'providing the kernel for Bath's first public museum, in 1882.

'Holburne was an avid collector of thousands of exquisite objects

'which are now nationally important.

'These include his collection of Renaissance bronzes,

'Italian maiolica,

'stunning silver,

'porcelain

'and paintings.'

He lived up the road in a modest house with three unmarried sisters.

An inventory dated 1874 tells us exactly how every room,

surface and cabinet would have been jam-packed,

stuffed full of art and artefacts.

This exhibit gives you a little indication

of how Sir William Holburne lived at home.

You can see how cluttered it is, but there is fine art everywhere.

Every surface was peppered with items of virtue.

He was a wonderful collector and he had a superb eye.

No-one knows where this passion for collecting came from but we know he went on the European Grand Tour,

so he was obviously influenced by what he saw and he wanted some of that treasure for himself.

'He acquired works of exceptional significance,

'like Susini's refined bronze of a kneeling woman bathing,

'the extraordinary and incredibly rare Diana and Actaeon plate,

'an early example of maiolica,

'and his group of 17th-century Dutch and Netherlandish paintings

'is still the most important in the west of England.'

The seed that Holburne generously sowed

had grown since his death somewhat dramatically.

The museum has acquired a further 2,000 loans, bequests,

gifts and purchases, leaving it somewhat short of space -

the same problem William probably had at home with his collection.

Although the museum had room to house the core of the collection,

it left the galleries feeling a little cramped.

It could only display half of what it owned, so what it needed was an extension.

And boy, did it get one!

Isn't that just fabulous? I bet it wasn't what you were expecting.

It is one big enormous glass cube, but a very clever one.

The architects haven't paid a plodding homage to a city of stone.

They've brought the gardens into play, a fitting tribute to the site's original history.

They've embraced the town with nature

and haven't obscured this wonderful neoclassical building.

It breathes, and it breathes life.

For me, this is a lyrical exercise in modernist architecture.

And it's a triumph.

'Designed by British architect Eric Parry, it's bold and beautiful,

'while responding to the museum's needs, doubling the display space.

'Rather than try to disguise where the old ends and the new begins,

'it's embraced and highlighted.

'Cornices and capitals are celebrated

'and the modern jigsaws into the old seamlessly.'

In my view, a resounding success.

It's a fascinating story of a collector whose passion for art

literally filled his world.

That passion is still celebrated with this very successful building,

juxtaposing the old and the new dramatically,

ensuring that the contents and the exterior of this fabulous place

are going to be appreciated by future generations to come.

'We're back at our valuation day at Wells Cathedral.

'Before we return to the tables,

'I want to take time out to explore this wonderful building.

'The story starts with these springs

'in the Bishop's Palace garden next to the cathedral.

'The springs, or "waella" in Anglo-Saxon,

'give Wells both its name and origins.

'They bubble up continuously in the gardens

'and are the reason for the original settlement in this area.

'Prior to the cathedral, there were several places of worship here,

'including a Romano-British mausoleum,

'a Saxon mortuary chapel

'and in 705 AD, a minster church was founded here.

'Work on the present cathedral began around 1175.

'Gothic architecture was popular in France,

'but Wells was the first English cathedral to be built

'entirely in this revolutionary style.

'And the exquisite design continues inside.

'When you enter the nave, your eye is drawn

'up to these beautiful scissor arches.

'You'd be forgiven for thinking they are of modern design,

'but they were created in the 1300s to combat sinking tower foundations.

'These ingenious examples were designed by the mason William Joy

'and took a decade to build.

'The cathedral clock dates back to around 1390.

'It's a real delight to watch.

'When it strikes,

'these jousting knights rush around above the clock.

'The building houses

'some of the most impressive examples of stained glass in Europe.

'They're remarkably well intact,

'giving us a fantastic insight into how medieval glaziers

'would have created the windows

'and how our ancestors would have viewed them.

'These are just a few of the remarkable unique features here.

'I really hope I've inspired you to take a look for yourself,

'because it truly is marvellous.

'Back on Will's table, Judith wants to find out more about her vase.'

Judith, this caught my eye when I saw you with it in the queue.

You were here nice and early.

-Is it something you brought because you don't like it?

-I quite like it.

-You want to know more about it.

-Yes.

-Did you go out and buy it?

-No.

It was my mother's.

-I started making pottery, took up a course.

-Oh.

She said, "You like pottery. You have it."

That's very kind of her. So you did a bit of pottery yourself?

-Oh, yes.

-You look an artistic type with these lovely...

-dangling earrings.

-Handmade.

-Really? By yourself?

-No, my daughter.

-So it runs in your family.

-Could be. Yes.

It's interesting you brought up this mother and daughter connection.

There's a father and son connection with the vase you brought in.

That leads us quite nicely in to the vase, which...

Let's pick it up, have a feel.

First thing you've got to do with pottery, spin it round in your hand.

-Look for damage - I've spotted a bit.

-Yes.

-Have a look at the base.

Here we go.

"CH Brannam of Barum".

-A nice date, 1905, I think it says.

-Yes.

-Registered number here.

Then a signature that's probably going to be the decorator's mark.

-Oh, I see.

-Whoever decorated it.

This is Charles. He was the son of the founder of the pottery...

-Yes.

-..who was Thomas.

-Right.

His father Thomas started the firm sort of mid-19th century.

The mainstay of this firm's production

was general domestic ware.

-That's right. Yes.

-Now, the old artistic flair came into it

when Charles, the son, left art school, was looking for a job.

His father said, "Come and work in the pottery."

Rather than making the plain boring domestic wares,

he wanted to experiment with pottery, he's got all these ideas.

-Good.

-And he set up the part of the factory

that was in charge of doing what we call Sgraffito decoration.

You're literally carving into the wet slip of the clay.

-You probably know all this from your days potting.

-Yes.

-This is the firm name here, Barum Pottery.

-Yes.

-The Roman name for Barnstaple.

-Oh, I didn't know that.

Which is where the firm was started. We're not that far from Barnstaple.

-Just across the border?

-It's not very far.

-I'm hoping there's going to be a bit of local collector interest.

-Yes.

I really like the way the handle's slightly off.

-It's natural looking.

-Exactly.

It's got an organic feel, which is what he was after,

-and this wavy rim.

-Yes.

-I don't think it's still going, the firm.

-No, it's closed.

-Ten years ago, I went, and they had a small museum on the site.

-Yes.

Ten years ago... They closed in 2003, I think.

-Which is a real shame, but it's the story...

-It's what happens.

-Everything's made abroad.

It's cheaper to produce and it gets shipped back in. It's a shame.

-When these chaps were about...

-It was to sell a bit of art and craft.

I said I spotted a bit of damage, just a small chip here.

I think that may just be a firing crack that's perhaps split.

A bit of crazing inside. Perhaps a little hairline here and there.

-That's an issue...

-Of course.

-..for a hard-core collector. They want things in mint condition.

-Oh, yes.

I can see that, if it's a perfect piece,

fetching £150 to £250.

Because of the damage, I'm going to say to you,

-can I sort of tuck it about £80 to £100?

-All right.

What I don't want is we don't sell it for the sake of £10 or £20,

so I'm going to be even cheekier and say can I put the reserve at £60?

-Yes.

-A fixed reserve at 60, and let's put the estimate of 80 to 120.

-It's not going to pay for your world cruise.

-No!

Why are you selling it? Does it not look nice with flowers in?

I'd like a new garden seat to sit in and watch the flowers grow.

-A nice garden seat.

-Mother will forgive me!

-Listen, anything towards the kitty.

-That's right.

-See you at the saleroom.

-Will do.

'I had a real treat when I spotted this wonderful painting

'that Toni's brought in.'

-Toni, thank you for coming in. I can call you Toni?

-Of course you can.

-I think only people that tell you off call you Antonia.

-When I'm bad!

-When you're bad!

-What can you tell me about your oil painting?

-It was a wedding present.

Some 60-odd years ago.

I love it dearly, but I'm struggling to help with my grandson's fees.

-He's off to university?

-He'll be going to university.

-He's going to end up owing £40,000.

-It's a lot of money!

-It's terrible.

You're a jolly good grandmother, that's all I can say!

-Well, I've got lovely grandchildren.

-That's what grannies are for.

-That's right.

You've brought this to the right guy because I'm from Cornwall.

I love the Newlyn school. I think it's one of the best art movements.

Let's start with Lamorna Birch.

His name is Samuel John Birch, born in Cheshire in 1865.

He's known as a northern artist,

-but he moved to Cornwall in 1902.

-That's interesting.

He joined up with the Newlyn bunch - Stanhope Forbes, Henry Scott Tuke.

Many great artists.

I think this was painted in the 1930s. It's an oil on board.

It's been put under glass and you kept it out of the sunlight.

Thank goodness!

He adopted the name Lamorna after Lamorna Cove,

which he was fond of, a beautiful spot in Cornwall.

Stanhope Forbes said, "Change your name. Adopt Lamorna."

There was another Birch painting at the time, Lionel Birch.

The two artists got confused.

It's beautiful and it is signed.

SJ Lamorna Birch.

There you are, Samuel John Lamorna Birch.

Sadly he died in 1955, but he is a well sought after artist.

-I read that the total volume of works throughout his life was 20,000 pictures.

-Oh, my goodness.

There's a lot of them around.

They're not as rare as a Henry Scott Tuke or a Walter Langley

or a Stanhope Forbes, unfortunately,

or Elizabeth Forbes.

-He's up there with those all-time Newlyn greats, but not in value.

-No.

If I had to put this into auction, I'd tempt the bidders in

with this seascape, at around £300 to £500.

I'd like to think it does £600 in the auction room, 500 to 600.

We're in the West Country. We're selling this in the right place.

And it's beautiful.

-I personally like this a lot.

-I'm very sad to see it go.

But I just want to sort of help at the moment.

-What's your grandson's name?

-Edward. Ed, he's known as.

Edward is flogging his inheritance to pay for his studies.

-Hopefully, he'll get a great career.

-I hope so.

-This will go towards it.

I'd like to put it into auction at £300 to £500, a fixed reserve of £300.

-That sounds wonderful.

-You won't get a penny less.

-Thank you so much.

You put a smile on MY face, you really have.

'What a wonderful character Toni is.

'Before we see how that fabulous painting does at auction,

'let's have a reminder of what we're taking and why.'

This pottery is right up my street.

With Barnstaple over the border,

I'm hoping we get a local collector interested.

Cornish art reminds me of home. It's got to go into auction.

It's the best thing I have seen all day.

I've got high hopes for this. I just love it.

'We're back at Tamlyn & Son in Bridgwater.

'The auction is in full swing.

'Before our items went under the hammer,

'I caught up with auctioneer Claire Rawle to find out if she rates

'that Cornish painting as much as I do.'

I come from Cornwall.

I know all about the Newlyn school. I know a lot about Lamorna Birch.

-This stands out from a lot of his work.

-Yeah.

-I put 300 to 500 on it.

Toni has had it for a long time.

I wouldn't be selling it.

It's got its contemporary frame. Everything is so right about it.

-I'm sure this is going to fly away.

-I really like it as well.

I find his work a little dark. It concentrates on woods and valleys.

-Yeah.

-I love this because of the light.

The impressionistic look of it. I think it's a great picture.

-Much interest so far?

-We've had quite a bit. Yes.

-Good.

I'm hoping it should do well, especially for her. It'd be great.

-This is going to go back to Cornwall.

-It ought to, really.

-Oh, yes.

-Or somebody from Cornwall

that wants a bit of Cornwall on their wall.

-I think the light is fantastic.

-So do I.

Whatever you do, don't go away. Could have a big surprise.

'I can't wait to see how that painting does,

'but first up, remember that sweet vase that Judith brought in?'

We're putting a bit of local pottery under the hammer. It belongs to Judith. Why are you selling this?

-I need a new garden seat.

-We've got our work cut out.

-A garden seat coming up right now.

-Fingers crossed.

Local pottery, like you say. Hopefully, a few dealers

have come across the border and are going to bid furiously.

It's all in the clay! Here we go.

This is the Brannam Barum pottery vase.

Designed by Frederick Braddon.

I've got to start away here at £45. At 45.

Do I see 50 anywhere? At 45. At 45.

Do I see 50? At 45 it is, then...

Oh, surely? Come on!

45 with me, then. No. That has to stay with me, ladies and gentlemen.

They were sitting on their hands. Maybe the locals have got enough.

You're probably right. We need to send it up the M5.

Sometimes you can get more money for Troika in London or Newcastle

than you can in Newlyn or St Ives.

If I was one of these people in the crowd I might have stuck my hand up.

Judith, I'm ever so sorry. Shall we send Will round with his tool kit?

I'll build you a garden seat!

I'm pretty handy with a hammer and nails!

'Now, that's an offer you can't refuse!

'At long last, it's time to see my favourite item go under the hammer.

'It's that fantastic Cornish painting.'

This is the one I have been waiting for. I absolutely love this.

The Lamorna Birch oil. You saw what the auctioneer had to say.

Sadly, Antonia can't be with us. She's not feeling well.

I hope it goes at the top end so we put a smile on her face,

and she gets well soon.

And I hope you enjoy this moment when you're watching.

Samuel John Lamorna Birch, the rocky coastal scene.

I have to start this one away at £320. At 320.

Do I see 350? 350. 380. 400.

At 400. Now in the room at 400. 420 on the telephone. 450.

-We've got a phone bid.

-480. 500.

520. 550.

580. 600.

-This is great.

-620. 650.

-The bid's still in the room at 650.

-Top money for his work.

At £650, then. Are you all sure?

-Selling at 650...

-I'm very pleased with that.

The hammer's gone down. Antonia, enjoy this moment.

That was good money. It was a lovely painting.

It's gone!

The auction has finished. It is all over for our owners.

One minute the room was jam-packed, the next, everybody's vanished

apart from the lucky ones, picking up their lots and going home very happy.

We've had a mixed day, but I think everybody's enjoyed themselves and that is the main thing.

If you've got any antiques you want to sell, we would love to see you.

For now, from Somerset, it's goodbye.