0:00:04 > 0:00:06Well, we all love to be beside the seaside,
0:00:06 > 0:00:10even on a day like this, which is slightly overcast and breezy.
0:00:10 > 0:00:12I'm on Devon's Jurassic coastline.
0:00:12 > 0:00:14I know we're not going to find any dinosaurs today,
0:00:14 > 0:00:18but you never know what might turn up. Welcome to "Flog It!".
0:00:38 > 0:00:41This seaside town sits on the east coast of Devon,
0:00:41 > 0:00:44and boasts two miles of golden, sandy beach
0:00:44 > 0:00:48coupled with the stunning scenery of the majestic Jurassic Coast -
0:00:48 > 0:00:51a perfect place for a relaxing break.
0:00:51 > 0:00:54Or a "Flog It!" valuation day! The Deco-style Exmouth Pavilion
0:00:54 > 0:00:57is our nerve centre for today's valuations.
0:00:57 > 0:01:00We got a wonderful healthy queue here. Look!
0:01:00 > 0:01:03It looks like the whole town has turned up laden with bags
0:01:03 > 0:01:05full of unwanted antiques and treasures.
0:01:05 > 0:01:08We'll whisk the best ones off to auction, so stay tuned
0:01:08 > 0:01:10and find out exactly what it's worth.
0:01:10 > 0:01:15Two people with sunny dispositions are today's lead experts - Christina Trevanion...
0:01:15 > 0:01:19- It's obviously seen a couple of really good parties!- I think so!
0:01:19 > 0:01:21..and Will Axon.
0:01:21 > 0:01:23What have we got in here? Ooh!
0:01:23 > 0:01:26We like a nice fitted box. Look!
0:01:26 > 0:01:30Both highly experienced in the antiques trade,
0:01:30 > 0:01:32they're sizzling down the queue.
0:01:32 > 0:01:34I just saw all you lot over that side!
0:01:34 > 0:01:37- Yes. We had to move across. - The queue's all over the shop.
0:01:37 > 0:01:40Why do you think that's Henley-on-Thames?
0:01:40 > 0:01:42The person told me that I bought it from.
0:01:42 > 0:01:46I lived just round the corner from there, and that's Shrewsbury.
0:01:46 > 0:01:49THEY LAUGH
0:01:49 > 0:01:53- That's unusual, isn't it?- Yes. - You interested in flogging that?
0:01:53 > 0:01:55- Yes.- That's what we like to hear.
0:01:55 > 0:01:58A "Flog It!" favourite!
0:01:58 > 0:02:01So, let's get everyone inside and see what's coming up.
0:02:05 > 0:02:08Christina investigates everything's above board...
0:02:08 > 0:02:11- She does know you've brought it, doesn't she?- Oh, yes.
0:02:11 > 0:02:13THEY LAUGH
0:02:13 > 0:02:17..Will strikes it lucky and attempts to tune in to his musical side...
0:02:17 > 0:02:21With your permission, may I give the gong a bong?
0:02:21 > 0:02:22Certainly.
0:02:24 > 0:02:26..and I get a painting master-class.
0:02:26 > 0:02:29This is ten years of you going...
0:02:30 > 0:02:32That's the problem. It's all feel, isn't it?
0:02:34 > 0:02:37Everyone's sitting comfortably. The experts are ready,
0:02:37 > 0:02:40and Will kicks off things with a bit of colour.
0:02:40 > 0:02:43Well, Muriel, I don't think what we have on the table
0:02:43 > 0:02:46needs any introduction for our viewers at home,
0:02:46 > 0:02:48because it's easily recognisable as Clarice Cliff.
0:02:48 > 0:02:51Tell me, how have you come by these two pieces?
0:02:51 > 0:02:54Well, the first one I bought in Australia
0:02:54 > 0:02:59when I was out there, and I think that was either 1999 or around 2000.
0:02:59 > 0:03:01That was the little plate?
0:03:01 > 0:03:04Yes, in a gold-mining town in Victoria, actually.
0:03:04 > 0:03:06Was it an auction that was going on there?
0:03:06 > 0:03:09No. It was lots of little antique shops there,
0:03:09 > 0:03:11and I saw that.
0:03:11 > 0:03:14I just thought it was a bit of an unusual piece of Clarice.
0:03:14 > 0:03:18With the crinoline lady, which gives it its name.
0:03:18 > 0:03:21The pattern is Crinoline Lady. And what about the Dragon jug?
0:03:21 > 0:03:25I bought that in an auction, so about the year 2000.
0:03:25 > 0:03:27I think it was the millennium year.
0:03:27 > 0:03:31It's called the Dragon jug mainly because of this moulded handle.
0:03:31 > 0:03:34You don't notice that first of all, do you?
0:03:34 > 0:03:37You have to look quite closely, because it's the decoration
0:03:37 > 0:03:40that catches the eye, as often with Clarice,
0:03:40 > 0:03:44because it's so jazzy and bright. You bought the jug in an auction
0:03:44 > 0:03:47in 2000. What I like about it is,
0:03:47 > 0:03:50we've still got this rather nice label on the bottom
0:03:50 > 0:03:52for the Barry Jones collection.
0:03:52 > 0:03:55Barry Jones is a well known collector of Clarice Cliff,
0:03:55 > 0:03:57a big collector in the '80s and '90s.
0:03:57 > 0:04:00Christie's held his sale... I think it was in 2000,
0:04:00 > 0:04:03and this has even got the lot number there, lot 148.
0:04:03 > 0:04:07And below that you've got these nice Clarice Cliff printed marks
0:04:07 > 0:04:09for the Bizarre range,
0:04:09 > 0:04:15which started in 1928, by Clarice, who joined Wilkinson's in 1916.
0:04:15 > 0:04:18They acquired Newport Pottery in 1920,
0:04:18 > 0:04:21hence the Newport Pottery mark beneath that.
0:04:21 > 0:04:23Once the Bizarre range really took off,
0:04:23 > 0:04:27she started to design her own pots, jugs and shapes.
0:04:27 > 0:04:30And then the Crinoline Lady plate -
0:04:30 > 0:04:33you remember buying this when you were in Australia.
0:04:33 > 0:04:36- Do you remember what you paid? - About 200 Australian dollars...
0:04:36 > 0:04:40- Right. So what is that? - I think it was about £70.
0:04:40 > 0:04:44- OK, £70. Not bad, actually!- The rate of exchange was quite good then.
0:04:44 > 0:04:48Better then, wasn't it? And the jug, you remember what you paid for it?
0:04:48 > 0:04:52Yes. With the commission, it was about 450.
0:04:52 > 0:04:55- 450.- Yes. So I did pay quite a lot for that, really.
0:04:55 > 0:04:58Well, when you have single-owner-collection sales,
0:04:58 > 0:05:01prices do tend to be a little bit higher.
0:05:01 > 0:05:04So we know what you paid for each piece -
0:05:04 > 0:05:06around 70 for the plate,
0:05:06 > 0:05:09around four and a bit for the Dragon jug,
0:05:09 > 0:05:13so we're looking at sending you in at around £500, aren't you?
0:05:13 > 0:05:16Now, I'm going to be honest with you - I think 500 to 800
0:05:16 > 0:05:19is going to be too punchy an estimate.
0:05:19 > 0:05:22We're going to have to pitch these at sort of 300 to 500.
0:05:22 > 0:05:24- How do you feel about that?- Yes.
0:05:24 > 0:05:26But you'll put a reserve on it?
0:05:26 > 0:05:29Yes. I think yes. I'm going to agree with you here.
0:05:29 > 0:05:32Sometimes I try to get people to go without reserve,
0:05:32 > 0:05:35but in this instance, where it stands you in at money,
0:05:35 > 0:05:38and you would like to see some of that back,
0:05:38 > 0:05:41let's reserve it fixed at that £300. How does that sound?
0:05:41 > 0:05:46- You can't make it 350, do you think? No?- We've got to be realistic.
0:05:46 > 0:05:49The auctioneer will want to maximise the value of these.
0:05:49 > 0:05:52The more you get, the more he gets. He's working in your favour.
0:05:52 > 0:05:56So let's wait for the day, and we'll see what happens.
0:05:56 > 0:06:01That's the beauty of auctions. We'll need some Clarice Cliff collectors to help us along, though.
0:06:02 > 0:06:06- You've brought some wonderful things in for us here.- Thank you.
0:06:06 > 0:06:08Have these been handed down through the family?
0:06:08 > 0:06:11The spoons and the knives came from my mother.
0:06:11 > 0:06:14These I did buy about 20 years ago, cos I liked the shape
0:06:14 > 0:06:17and I'd just had a bonus or something.
0:06:17 > 0:06:20Oh! Well, it's good to invest it in silver,
0:06:20 > 0:06:23especially at the moment, cos the price of silver is quite high,
0:06:23 > 0:06:25so you did a very sensible thing.
0:06:25 > 0:06:28I particularly like this little case set here.
0:06:28 > 0:06:31I would like to call it a strawberries-and-cream set,
0:06:31 > 0:06:33because you've got a cream jug and a lovely sugar caster.
0:06:33 > 0:06:36It's very decadent to have silver equipment
0:06:36 > 0:06:38to have your strawberries with.
0:06:38 > 0:06:40I can't say it's been used an awful lot.
0:06:40 > 0:06:43- On the patio with your strawberries! - CHRISTINA LAUGHS
0:06:43 > 0:06:46They are solid silver, made by a company called Adie Brothers,
0:06:46 > 0:06:50and they were assayed in Birmingham. Got a nice Birmingham mark there,
0:06:50 > 0:06:53and a date letter for 1931.
0:06:53 > 0:06:55On closer inspection, if you look at the lid,
0:06:55 > 0:06:57they were actually retailed in Edinburgh,
0:06:57 > 0:07:01- so they've gone from Birmingham to Edinburgh.- Is that quite usual?
0:07:01 > 0:07:04It's not unusual. Let's put it that way.
0:07:04 > 0:07:06- Birmingham silver, there was... - A lot made.
0:07:06 > 0:07:10It was a major, major office. So they really are rather lovely.
0:07:10 > 0:07:14I particularly like the sugar caster with this rather wonderful knob
0:07:14 > 0:07:17on the top, and very pretty. It's very transitional,
0:07:17 > 0:07:21Art Nouveau to Art Deco. This faceted decoration
0:07:21 > 0:07:24particularly is Art Deco. When you bought it,
0:07:24 > 0:07:27- was it damaged? - It was, actually.- It was?
0:07:27 > 0:07:30- But I liked the shape.- Exactly. Because if we put cream in it
0:07:30 > 0:07:32these days, it would be a bit of disaster,
0:07:32 > 0:07:36because unfortunately we've got a crack at the bottom of the spout,
0:07:36 > 0:07:41and there's also been a repair to the crack in there.
0:07:41 > 0:07:44So unfortunately it has been fairly knocked around,
0:07:44 > 0:07:46so that's why I'm not going to put them separately,
0:07:46 > 0:07:49because there is a bit of a condition issue.
0:07:49 > 0:07:52We've also got these very beautiful enamelled spoons,
0:07:52 > 0:07:56again very Art Deco in style, with a little coffee bean on the top,
0:07:56 > 0:07:59so coffee spoons, and the enamelled bowls
0:07:59 > 0:08:02- are particularly beautiful. Have you ever used them?- Never.
0:08:02 > 0:08:05I'd be terrified of using them, wouldn't you?
0:08:05 > 0:08:08They all use mugs now, don't they, and you couldn't use that.
0:08:08 > 0:08:12I did have a lovely coffee set, but you just don't use them. Very sad.
0:08:12 > 0:08:16Very difficult. You'd be terrified of putting them in the dishwasher,
0:08:16 > 0:08:18because they'd just disintegrate.
0:08:18 > 0:08:21They aren't hallmarked, so I think they may be silver gilt,
0:08:21 > 0:08:23but without a hallmark it's difficult to say.
0:08:23 > 0:08:27You've got a similar set there which has got the coffee-bean knob again.
0:08:27 > 0:08:31- Those are silver. - They were quite popular, I think.
0:08:31 > 0:08:34They were. We do see a lot of them coming through the saleroom.
0:08:34 > 0:08:38We have done research on these before, so we know these are silver,
0:08:38 > 0:08:41and these have got silver handles but not silver blades,
0:08:41 > 0:08:46these fruit knives. Then you've got a pair of silver conserve spoons.
0:08:46 > 0:08:49Those are a similar sort of date, 1930s.
0:08:49 > 0:08:51They're by a company called William Hutton & Sons.
0:08:51 > 0:08:54- Is that Birmingham as well, or... - Yes, it is. yes.
0:08:54 > 0:08:57So all in all, you've got quite a usable set.
0:08:57 > 0:08:59- So you'd put them all in together? - Yes, I think so,
0:08:59 > 0:09:03purely because teaspoons aren't that valuable these days,
0:09:03 > 0:09:07even though it's nice that you've got their original boxes.
0:09:07 > 0:09:09As a group lot, we might be looking in the region
0:09:09 > 0:09:12of about £150 to £200, something like that.
0:09:12 > 0:09:16And I think we'd probably set the reserve at £150,
0:09:16 > 0:09:18- with some slight discretion.- Right.
0:09:18 > 0:09:21The way the silver market is going at the moment,
0:09:21 > 0:09:24- we shouldn't need it. So fingers crossed!- Thank you.
0:09:24 > 0:09:27- See you at the auction. - Lovely. I'll look forward to it.
0:09:31 > 0:09:34Here's a cracking example of how hard it is
0:09:34 > 0:09:38to put a value on something like this lignum vitae pestle and mortar.
0:09:38 > 0:09:41Let's just ask a few of our off-screeners quickly.
0:09:43 > 0:09:46- John?- Yeah?- What sort of a value would you put on that?
0:09:46 > 0:09:49- Pestle and mortar?- Yeah.
0:09:49 > 0:09:51100, 150?
0:09:51 > 0:09:55All right. 100 to 150.
0:09:55 > 0:09:58Anthony, Sophie! 18th-century pestle and mortar.
0:09:58 > 0:10:00That's a bit later. That's 19th.
0:10:00 > 0:10:03What sort of price would you put on that?
0:10:03 > 0:10:07- Nice wood, isn't it?- 100 and... 100?
0:10:07 > 0:10:09- OK.- 150, 200.
0:10:09 > 0:10:13Actually, no, maybe more, cos turned wooden items of that period
0:10:13 > 0:10:16would split, wouldn't they? 300, 400, £500, something like that.
0:10:16 > 0:10:19There you go. It's getting higher.
0:10:19 > 0:10:21Off the cuff, a value?
0:10:21 > 0:10:24- Two-ish? - There you are, look. Mixed opinions.
0:10:24 > 0:10:27That's how difficult it is to put a price on something.
0:10:27 > 0:10:30I'll leave it up to Will now to tell you all about it
0:10:30 > 0:10:33- and give you a valuation. There you go, Will.- Thanks.
0:10:33 > 0:10:35That's lovely. Best thing of the day!
0:10:35 > 0:10:38Told you he'd like it. We've been hiding it from him all day
0:10:38 > 0:10:41so he didn't pinch it off our table! Well, Judith,
0:10:41 > 0:10:44- thanks for bringing in the pestle and mortar.- My pleasure.
0:10:44 > 0:10:49- Where's it come from?- We found it in my husband's parents' house
0:10:49 > 0:10:52when we were clearing up. He can remember it
0:10:52 > 0:10:55since the age of ten, so it's about 55 years.
0:10:55 > 0:11:00He thinks that it was to do with his grandparents.
0:11:00 > 0:11:04Right. It's certainly older than you or your husband remembers it.
0:11:04 > 0:11:07I've been looking at it, and it can be quite hard to date...
0:11:07 > 0:11:10- I would have thought, yes. - ..this sort of turned wood,
0:11:10 > 0:11:14but I think we're probably into the 18th century here.
0:11:14 > 0:11:17- Incredible! - So, yeah, we're thinking 1700s.
0:11:17 > 0:11:20That's possible, because his grandmother was in service,
0:11:20 > 0:11:22a big house in Tiverton.
0:11:22 > 0:11:25This would probably have been used below stairs
0:11:25 > 0:11:28in the kitchen, to prepare, or even for medicinal purposes,
0:11:28 > 0:11:33for preparing medicines and so on, and mixing up certain ingredients.
0:11:33 > 0:11:36And I'm fairly confident that it's lignum vitae,
0:11:36 > 0:11:39which is a well known wood for turning,
0:11:39 > 0:11:41because it's so dense. You can feel the weight of it.
0:11:41 > 0:11:45- Very heavy, yes.- Lignum vitae actually is one of the few woods
0:11:45 > 0:11:50that actually sinks in water. It's so dense that it doesn't float.
0:11:50 > 0:11:54Now, the pestle I think is probably associated, to be fair.
0:11:54 > 0:11:56I don't think they started off life together.
0:11:56 > 0:12:00If you put it inside there, you can see the proportions are a bit odd.
0:12:00 > 0:12:03- I thought that. - It's certainly done the job.
0:12:03 > 0:12:06It fits in quite nicely. Have you given a thought
0:12:06 > 0:12:09- of what it might be worth? - Absolutely no idea.
0:12:09 > 0:12:11We were just intrigued about it, really.
0:12:11 > 0:12:15"Flog It!" was coming to Exmouth, so we'd like to be told about it.
0:12:15 > 0:12:17That's what we're here for. I think you're right.
0:12:17 > 0:12:21I'm going to suggest we put it in the sale with an estimate of...
0:12:21 > 0:12:25- I'm thinking around the £200 mark. - Wow!- How do you feel about that?
0:12:25 > 0:12:28- Very happy with that! Very happy. - Let's put it in.
0:12:28 > 0:12:32Let's straddle that £200 mark. Let's put it in at 150 to 250.
0:12:32 > 0:12:35- Fair enough. Yes, that's fine. - And who knows,
0:12:35 > 0:12:37on the day it could make 200, 300, maybe £400.
0:12:37 > 0:12:39That sounds wonderful.
0:12:39 > 0:12:42The only thing to say now is, "See you at the auction!"
0:12:42 > 0:12:44- Thank you very much.- Not at all.
0:12:44 > 0:12:46So even Will's hedging his bets.
0:12:46 > 0:12:50But it's not long now before we find out its true value.
0:12:50 > 0:12:53Before we head to the saleroom, here's a recap of what we're taking
0:12:53 > 0:12:56and why we're taking it.
0:12:56 > 0:12:58I know you either love it or you hate it,
0:12:58 > 0:13:02but there's no denying, Clarice rarely lets us down at auction.
0:13:02 > 0:13:05We've got a mixed and matched collection of silver here,
0:13:05 > 0:13:08but the sheer quantity should ensure it reaches its estimate.
0:13:08 > 0:13:11Let's hope our buyers are forgiving about the damage.
0:13:11 > 0:13:15A genuine piece of early treen! Right up my street,
0:13:15 > 0:13:17and one of the nicest things I've seen today.
0:13:17 > 0:13:20I'm looking forward to seeing it away at Exeter.
0:13:23 > 0:13:26And Exeter is where we're auctioning our lots today,
0:13:26 > 0:13:29at Bearnes, Hampton & Littlewood.
0:13:29 > 0:13:31That's what it's all about - "sale today"!
0:13:31 > 0:13:33That's what we've all been waiting for.
0:13:33 > 0:13:36I've got my favourites. You've probably got yours.
0:13:36 > 0:13:38You've heard our experts. You've heard the valuation.
0:13:38 > 0:13:42You've probably made your own mind up about what it's worth.
0:13:42 > 0:13:45You've watched the show long enough. You've become a bit of an expert.
0:13:45 > 0:13:48At the end of the day, it's all down to the bidders.
0:13:48 > 0:13:50It's what they think.
0:13:50 > 0:13:53Helping them along is our auctioneer Chris Hampton.
0:13:53 > 0:13:56Remember, there's always seller's commission to pay,
0:13:56 > 0:14:00and here it's 16.5 percent plus VAT.
0:14:00 > 0:14:02So, with the saleroom all filled up,
0:14:02 > 0:14:04let's crack on with Muriel's Clarice Cliff.
0:14:04 > 0:14:08Now, you bought these two items, total value £500.
0:14:08 > 0:14:11We'd like to get you your money back.
0:14:11 > 0:14:14- I'd like to have it back. - Why have you decided to sell?
0:14:14 > 0:14:17Well, we've just redecorated the house.
0:14:17 > 0:14:20- Doesn't work? - Don't want to put everything back.
0:14:20 > 0:14:24- Trying to de-clutter a little bit. - With the Clarice Cliff collectors,
0:14:24 > 0:14:26it's all to do with pattern, so fingers crossed
0:14:26 > 0:14:29that someone's on the phone, or has spotted it on the internet,
0:14:29 > 0:14:34- and has left a hefty commission bid. - It really is down to the bidders.
0:14:34 > 0:14:38They've got their own opinion. Let's let them decide. Here we go.
0:14:38 > 0:14:42The Clarice Cliff Fantasque Dragon jug,
0:14:42 > 0:14:45from the Barry Jones collection,
0:14:45 > 0:14:50and a tea plate in the Idyll pattern, and £280 is bid.
0:14:50 > 0:14:54- Right. We're in at £280, with the auctioneer.- That's good.
0:14:54 > 0:14:57At £300. At £300. At 300.
0:14:57 > 0:15:01And 20. 340.
0:15:01 > 0:15:04- 360.- We have a commission bid on the books.
0:15:04 > 0:15:07At £380 against you.
0:15:07 > 0:15:09At £380.
0:15:09 > 0:15:13Now selling, then, at £380. All done?
0:15:13 > 0:15:17Well, that's good, £380. It's better than what Chris said yesterday.
0:15:17 > 0:15:21- Really?- Yeah. He thought it might struggle around the £300 mark,
0:15:21 > 0:15:24- but I'm pleased with that. - Yeah. It's cost you a bit of money,
0:15:24 > 0:15:27- but you can buy something else now. - Yes.
0:15:27 > 0:15:29- But Muriel's de-cluttering. - That's true. Sorry.
0:15:29 > 0:15:31Put it in the bank.
0:15:31 > 0:15:35That's a pretty good start, and more than we expected.
0:15:35 > 0:15:37Can we do the same again with the silverware?
0:15:39 > 0:15:42I think you could say it's time to say goodbye to your mother's silver.
0:15:42 > 0:15:45- Yes, OK. - We're just a couple of lots away.
0:15:45 > 0:15:48We're looking at 150 to £200. There is a lot there, isn't there?
0:15:48 > 0:15:51- Several boxes. - It's all from the early 1900s,
0:15:51 > 0:15:55and someone's just told me it's all going towards some fencing.
0:15:55 > 0:15:59- Am I right? The proceeds are going to...- Garden fencing?
0:15:59 > 0:16:02Garden fencing. You've just bought a new house, haven't you?
0:16:02 > 0:16:06We've downsized, yes. We bought the house in December,
0:16:06 > 0:16:08so it's still new.
0:16:08 > 0:16:10- Enjoying it?- Yes,
0:16:10 > 0:16:13but you do find a lot of stuff you've got to get rid of...
0:16:13 > 0:16:16- Yes.- ..such as coffee spoons. THEY LAUGH
0:16:16 > 0:16:19It's a good silver sale. Hopefully we'll get some good buyers.
0:16:19 > 0:16:22- There's a lot of people here for silver.- Gosh, yes!
0:16:22 > 0:16:25A lot of dealers are here, so fingers crossed.
0:16:25 > 0:16:28Pair of George V silver preserve spoons,
0:16:28 > 0:16:31with some coffee spoons,
0:16:31 > 0:16:35fruit knives, sugar caster, all the lot together.
0:16:35 > 0:16:38£140 is bid. 150. 160.
0:16:38 > 0:16:40170. 180.
0:16:40 > 0:16:42- 190. 200.- 200!
0:16:42 > 0:16:45And ten. 220.
0:16:45 > 0:16:47With me at £220.
0:16:47 > 0:16:51- That's top estimate.- Yes. - 240.- Another trader in now.
0:16:51 > 0:16:55Still with me. Commission bid at £240.
0:16:55 > 0:16:57Selling at 240.
0:16:57 > 0:17:00- That's what it's worth. - Well done!- Thank you very much.
0:17:00 > 0:17:03£240! Not bad, is it? That's half the fence.
0:17:03 > 0:17:06- You've got quite a big garden, haven't you?- Not really.
0:17:06 > 0:17:09- Half the fence. - Are you going for high fencing,
0:17:09 > 0:17:12- or post and rail? - No, it's high, yes.
0:17:12 > 0:17:15- High. Bit of privacy.- Yes. THEY LAUGH
0:17:15 > 0:17:19Another sale above the estimate. Can we make it a hat-trick
0:17:19 > 0:17:21with the pestle and mortar?
0:17:21 > 0:17:24Oh, have I been waiting for this moment
0:17:24 > 0:17:27ever since that valuation day back in Exmouth.
0:17:27 > 0:17:29Judith's here. What a stir you caused!
0:17:29 > 0:17:32- I'm very pleased about that. - What a lovely item, as well!
0:17:32 > 0:17:35Something so tactile, something so sculptural,
0:17:35 > 0:17:39which I took around to all the off-screeners.
0:17:39 > 0:17:41We got a mixed variation of valuations
0:17:41 > 0:17:44and we let Will go ahead with it with you at the table.
0:17:44 > 0:17:47- You were ever so excited. - I was very pleased, yes.
0:17:47 > 0:17:50I'd love to have done that one. This could fly away.
0:17:50 > 0:17:51- Fingers crossed.- Yeah.
0:17:51 > 0:17:55The 18th-century lignum-vitae mortar,
0:17:55 > 0:17:57and a treen pestle,
0:17:57 > 0:18:01and £150 starts it. 160. 170.
0:18:01 > 0:18:03- 180.- Bid on the book.- 190. 200.
0:18:03 > 0:18:07220. 240. 260.
0:18:07 > 0:18:09280. £280.
0:18:09 > 0:18:11Where's 300?
0:18:11 > 0:18:14At £280 straight ahead.
0:18:14 > 0:18:18- Oh, come on. A bit more. - Now selling at £280.
0:18:18 > 0:18:21Well, it's gone. Top end, though, 280.
0:18:21 > 0:18:23- Happy, Judith? - I'm very happy about that.
0:18:23 > 0:18:27That's very good. That's very good. Had a lot going for it, that did.
0:18:27 > 0:18:31Really good. Nice thing. Thank you so much for bringing it in.
0:18:31 > 0:18:33- Our pleasure! - There is commission to pay,
0:18:33 > 0:18:36- and enjoy the money.- Yes, I will.
0:18:36 > 0:18:38After the raft of valuations made earlier,
0:18:38 > 0:18:42Will was the closest, but the overall winner is Judith.
0:18:42 > 0:18:45Stay tuned for more action later on from Exeter in the show,
0:18:45 > 0:18:48and hopefully someone's going home with a lot of money.
0:18:48 > 0:18:51You know I'm passionate about my art,
0:18:51 > 0:18:55so while we're here filming, I thought I'd get a master-class!
0:18:55 > 0:18:58Take a look at this. I hope you enjoy it.
0:19:06 > 0:19:10Over the years on the show, I've discovered some superb antiques,
0:19:10 > 0:19:14seen wonderful works of art and met extraordinary people.
0:19:14 > 0:19:16But every now and then, when I least expect it,
0:19:16 > 0:19:20I come across an artist who completely bowls me over,
0:19:20 > 0:19:24totally inspires me, and that's what happened when I was staying here
0:19:24 > 0:19:26in the Dartmoor National Park.
0:19:32 > 0:19:35I have two passions in life - art and animals,
0:19:35 > 0:19:38and when I saw this painting here in the entrance hall
0:19:38 > 0:19:41at Bovey Castle, well, it was love at first sight.
0:19:41 > 0:19:44For me, this work is contemporary, it's fresh,
0:19:44 > 0:19:48it's alive - vibrant hues, yet understated,
0:19:48 > 0:19:51broad square brushstrokes perfectly placed,
0:19:51 > 0:19:54but with confidence. This work is complicated,
0:19:54 > 0:19:56yet at the same time it's refreshingly simple
0:19:56 > 0:19:58and easy on the eye.
0:19:58 > 0:20:01It's by contemporary artist Katharine Lightfoot,
0:20:01 > 0:20:04and she's kindly agreed to meet up with me today
0:20:04 > 0:20:06to have a chat and also give me a lesson,
0:20:06 > 0:20:08so hopefully I can pick up some tips,
0:20:08 > 0:20:11because her work has inspired me to pick up a paintbrush
0:20:11 > 0:20:14and start to paint.
0:20:14 > 0:20:17Katharine's an impressionist painter,
0:20:17 > 0:20:21who knew from primary school that she wanted to be an artist.
0:20:21 > 0:20:24She grew up in Dartmoor, so it's no surprise that most of her work
0:20:24 > 0:20:27is inspired by the moorland and the farm animals.
0:20:27 > 0:20:32She says it's their stubborn ability to survive the elements
0:20:32 > 0:20:34within their remote and beautiful environment
0:20:34 > 0:20:38that she admires, and the mood and the character she captures
0:20:38 > 0:20:41is stunningly beautiful.
0:20:46 > 0:20:48- Katharine?- Hello, Paul!
0:20:48 > 0:20:51- I'm so pleased to meet you at last. - You, too.
0:20:51 > 0:20:53Thank you for meeting up with me. Oh, crikey!
0:20:53 > 0:20:56Two are underway. One's for me, one's for you.
0:20:56 > 0:20:59- We're painting sheep.- That's right. - You're working from photos?
0:20:59 > 0:21:02I'm afraid we haven't got a resident sheep here,
0:21:02 > 0:21:04so we'll have to paint from photographs,
0:21:04 > 0:21:06- and I've got a lovely Devon Longwool. - Oh, gosh!
0:21:06 > 0:21:09That looks stunning as it is. I'm going to muck this up!
0:21:09 > 0:21:12- No, you're not. - So, you start with a blank canvas.
0:21:12 > 0:21:15Do you put a ground colour on straight away?
0:21:15 > 0:21:18Yes. Always start with a wash that gives more depth to it.
0:21:18 > 0:21:21You've started with a charcoaly dark colour.
0:21:21 > 0:21:23Are we hoping to put green grass on that?
0:21:23 > 0:21:27You can put whatever you like, but green would complement the sheep,
0:21:27 > 0:21:30or a sky blue. Make it up as you go along.
0:21:30 > 0:21:33- Is that what you tend to do? - Artistic licence!
0:21:33 > 0:21:35Can I just pick a brush up? I love your palette.
0:21:35 > 0:21:38Yes. I don't clean it as often as I should,
0:21:38 > 0:21:41- but it works for me. - But animals are your thing.
0:21:41 > 0:21:44- Yes, pretty much.- Sheep, horses...
0:21:44 > 0:21:47- Mostly Dartmoor-inspired, so yes. - Look, I need a lesson.
0:21:47 > 0:21:50I want to learn how to paint like this.
0:21:50 > 0:21:52Where do we start? With this outline?
0:21:52 > 0:21:56I work from dark to light, then bring in the creams and whites
0:21:56 > 0:21:58and highlights, and build it up from there.
0:21:58 > 0:22:00Did you always paint like this?
0:22:00 > 0:22:03It's just a style that's evolved, you know,
0:22:03 > 0:22:07over the space of ten years, and it's just the way I paint now.
0:22:07 > 0:22:11Can I start more on the background, cos I'm feeling really scared,
0:22:11 > 0:22:14and I'm not going to muck up the image so much.
0:22:14 > 0:22:16If I start to feel confident with a bit of blue...
0:22:16 > 0:22:19You've got a lot of white and cream and highlight,
0:22:19 > 0:22:23and on the nose, so that would maybe start building up some depth.
0:22:23 > 0:22:25You tend not to clean your brushes off.
0:22:25 > 0:22:29- You use the same brush for the same colour.- I try to,
0:22:29 > 0:22:32to stop using too much turps. If the brush is too wet,
0:22:32 > 0:22:35it stops the colours underneath from coming through,
0:22:35 > 0:22:37so work with a dryish brush.
0:22:37 > 0:22:40And it's sort of dragged, is it? Sort of moved and sort of...
0:22:40 > 0:22:44- That's right, yes.- I don't know if that's the right colour to use.
0:22:44 > 0:22:46I think it works. The secret's to paint fast.
0:22:46 > 0:22:49I gather that. I've just been watching you,
0:22:49 > 0:22:53and all of a sudden you've put some highlight on your sheep,
0:22:53 > 0:22:56and all of a sudden the sheep's talking to you,
0:22:56 > 0:22:58whereas mine is in the distance, frightened.
0:22:58 > 0:23:00SHE LAUGHS
0:23:00 > 0:23:04We're lucky. We're painting from photos. If you think about Monet,
0:23:04 > 0:23:07he had to paint as fast as he could, and wet on wet.
0:23:07 > 0:23:10- Is his work a big influence to you? - Yes.
0:23:10 > 0:23:13- More so than any other artist? - Yes, definitely.
0:23:13 > 0:23:16Your work has totally inspired me to pick up paintbrushes
0:23:16 > 0:23:18- and do this kind of thing... - Oh, thank you.
0:23:18 > 0:23:21..be loose with it, and be creative and imaginative,
0:23:21 > 0:23:24and that's what I think good art is all about.
0:23:24 > 0:23:27Yeah. I think, when you're starting out as a painter,
0:23:27 > 0:23:30it's always best to use a big canvas and a big brush.
0:23:30 > 0:23:33- Don't be frightened of it. - How long have you been painting?
0:23:33 > 0:23:37- About 12 years full-time now. - And you went to art school?- Yes.
0:23:37 > 0:23:42So you learned the traditional way, then developed your own style,
0:23:42 > 0:23:45which I think is the greatest accolade an artist could ever have -
0:23:45 > 0:23:48- get recognised for your own thing. - And I love my subject matter.
0:23:48 > 0:23:51I love being on the moor. I love animals.
0:23:51 > 0:23:54- It's very therapeutic as well, isn't it?- It is great.
0:23:54 > 0:23:58Can you give me a tip on what to do for some of these curls in the wool?
0:23:58 > 0:24:01- Just...- "Just"!- ..do a curl.
0:24:01 > 0:24:03It's not that easy.
0:24:03 > 0:24:05Just go...
0:24:05 > 0:24:08You see, this is ten years of you going...
0:24:08 > 0:24:12That's the problem. It's all feel, isn't it?
0:24:16 > 0:24:22Katharine's painting style enables her to capture the feeling and the movement of her subjects.
0:24:22 > 0:24:26Bold strokes and layers give every canvas its own individuality,
0:24:26 > 0:24:29capturing the depth and the character of each animal.
0:24:32 > 0:24:34Some have a sense of vulnerability.
0:24:34 > 0:24:38Some seem detached or even isolated,
0:24:38 > 0:24:40while others are just inquisitive.
0:24:52 > 0:24:56I'm going to turn my painting upside down so I can look at it like that.
0:24:56 > 0:24:58It's just something I do. It helps me to look.
0:24:58 > 0:25:01What will you look for when you stand back?
0:25:01 > 0:25:04It helps you to see where you've gone wrong, or where to go
0:25:04 > 0:25:06when you're a bit stuck.
0:25:06 > 0:25:08Will you work on more than one canvas at a time?
0:25:08 > 0:25:12Yes, I do, so I don't overwork them, and because they're oils,
0:25:12 > 0:25:16I let them dry and pick them up, and put fresh colours over the top.
0:25:16 > 0:25:20What do you like painting most? Is it sheep, or would it be the cattle
0:25:20 > 0:25:23- or hounds?- Sheep, I think.
0:25:23 > 0:25:25There's something nice and familiar,
0:25:25 > 0:25:29childhood memories or something. When I have a show in London,
0:25:29 > 0:25:32and I put a sheep in a big swanky gallery, a sheep in the window...
0:25:32 > 0:25:36- In the city centre?- ..you see these businessmen rushing past,
0:25:36 > 0:25:38and they stop and have a look,
0:25:38 > 0:25:41and they smile. It makes them smile, you know?
0:25:41 > 0:25:44Your work does that. It puts a smile on people's faces,
0:25:44 > 0:25:47and I think that's a brilliant quality.
0:25:47 > 0:25:49It's technically very, very clever,
0:25:49 > 0:25:52but because it's loose and expressionistic,
0:25:52 > 0:25:55you don't understand the cleverness. This is why I'm so grateful
0:25:55 > 0:25:58to have this lesson, cos I would never have the confidence
0:25:58 > 0:26:01- to start like this at home. - Starting to relax into it now?
0:26:01 > 0:26:04Just. Yeah, just.
0:26:04 > 0:26:06Now I've lost its ear.
0:26:06 > 0:26:10This is looking more like Highland cattle than a sheep...
0:26:10 > 0:26:12- THEY LAUGH - ..on Exmoor.
0:26:13 > 0:26:17- You're doing really well. - Do you actually stand back and go,
0:26:17 > 0:26:20"Yeah, it's finished," then tomorrow change your mind
0:26:20 > 0:26:22- and want to put more on? - Yeah, absolutely.
0:26:22 > 0:26:25You can go home thinking, "Wow, I've done a good job today,"
0:26:25 > 0:26:28come back the next morning and think, "No way."
0:26:28 > 0:26:31- "How did I think that was good?" - So when do you know?
0:26:31 > 0:26:35When's that definitive moment when you know it's finished?
0:26:35 > 0:26:37When you're actually pleased with it, I suppose -
0:26:37 > 0:26:40when you actually see it and think,
0:26:40 > 0:26:42"Mmm. Done OK there." Yeah.
0:26:42 > 0:26:45Cos sometimes less is best, isn't it?
0:26:45 > 0:26:47That's going to be my maxim - "less is best".
0:26:47 > 0:26:51I want to keep my sheep quite dark. I know it's not finished,
0:26:51 > 0:26:55- but I'm frightened to... - Maybe you could use a big brush.
0:26:55 > 0:26:59- OK.- That one's a bit huge. - Just show me.
0:26:59 > 0:27:02He's got a big blob of white there, and a big blob there,
0:27:02 > 0:27:06- so if you maybe incorporate a few big blobs...- OK.
0:27:06 > 0:27:09..just to soften all those smaller brush marks you've got.
0:27:09 > 0:27:11- Cos there's a lot there.- Yeah.
0:27:11 > 0:27:13- Just here?- Yeah.
0:27:13 > 0:27:15Just... What? A big blob?
0:27:15 > 0:27:18- Yes, cos all this area's quite light, isn't it?- Yeah.
0:27:18 > 0:27:21That's the good thing about oils. You can keep going over it
0:27:21 > 0:27:23- and over it, can't you? - You can, definitely.
0:27:23 > 0:27:26Shall we have a look? Can you turn that back up?
0:27:26 > 0:27:29I'm just intrigued that you've been painting for half an hour now
0:27:29 > 0:27:32- with that upside down.- Too long!
0:27:32 > 0:27:34No, not at all!
0:27:38 > 0:27:42- Did that help, turning it over? - It did, actually, yes.
0:27:42 > 0:27:45Gosh! That is so good.
0:27:45 > 0:27:48Thank you so much for helping me. I'll shake your hand.
0:27:48 > 0:27:50- Oily hand. - Can we carry on for a bit more?
0:27:50 > 0:27:53- Yes.- I think this is lovely. What a perfect day out!
0:28:02 > 0:28:04Having finally put the paintbrushes down,
0:28:04 > 0:28:08it's back to the day job in Exmouth for some more valuations.
0:28:08 > 0:28:11Let's get our skates on and see what's on Christina's table.
0:28:11 > 0:28:13Mary, I love this figure. I saw you in the queue,
0:28:13 > 0:28:16and I thought he was just absolutely delightful.
0:28:16 > 0:28:19- Tell me where you got him from. - When I was a child,
0:28:19 > 0:28:21my father used to take me to antique dealers,
0:28:21 > 0:28:25and I used to spend my pocket money on things like this.
0:28:25 > 0:28:29- Really?- I think I probably bought him when I was about ten...
0:28:29 > 0:28:33- Oh!- ..for about sixpence, I think. - Oh, wow!
0:28:33 > 0:28:36So he's been with you quite a long time, really.
0:28:36 > 0:28:40- Yes. Over 60 years.- Oh, my goodness! Why are you thinking of selling him?
0:28:40 > 0:28:45I had no idea that he was unusual, and if someone's got a collection,
0:28:45 > 0:28:49they might want him. I don't mind, cos he's got lots of friends at home.
0:28:49 > 0:28:52- So you actually collect figures? - I did. I don't anymore.
0:28:52 > 0:28:56Right. OK. Obviously as a child, you used to have very good taste.
0:28:56 > 0:28:58He's a lovely pearlware Staffordshire figure.
0:28:58 > 0:29:02I've never seen one that is an ice-skater before.
0:29:02 > 0:29:04I didn't know until today he was an ice-skater.
0:29:04 > 0:29:08- Really? What did you think he was? - I've no idea.
0:29:08 > 0:29:10- I just thought he was rather sweet. - Ahh!
0:29:10 > 0:29:13I'm just wondering whether he might have been part of a series
0:29:13 > 0:29:16for spring, summer, autumn and winter,
0:29:16 > 0:29:18and whether he was representative of winter,
0:29:18 > 0:29:22because you associate ice skating and ice with winter sports.
0:29:22 > 0:29:25You didn't see three of his friends in the shop at the same time?
0:29:25 > 0:29:28Probably not. I probably had him because he was cheap,
0:29:28 > 0:29:32because he's damaged, and I could only afford a certain amount.
0:29:32 > 0:29:34Yes, exactly.
0:29:34 > 0:29:37Well, really, he dates from the early 19th century,
0:29:37 > 0:29:41about maybe 1820, something like that - 1820, 1830.
0:29:41 > 0:29:44And I just think he's great. We know that he's pearlware.
0:29:44 > 0:29:47If we tip him upside down, we can see in the bottom,
0:29:47 > 0:29:49there's some blue pooling of the glaze,
0:29:49 > 0:29:52so this is earthenware that's been covered with a tin-type glaze,
0:29:52 > 0:29:56and on creamware, this pooling would be green.
0:29:56 > 0:29:58So that's how we know that he's pearlware,
0:29:58 > 0:30:01and he's made in the Staffordshire area
0:30:01 > 0:30:04by one of the Staffordshire potters in the early 19th century.
0:30:04 > 0:30:06He's lovely. He's very brightly enamelled.
0:30:06 > 0:30:10- His wonderful stripy waistcoat... - I do like his waistcoat.
0:30:10 > 0:30:12It's great, isn't it? It does worry me slightly
0:30:12 > 0:30:15that we've got a bit of a chip on his hat,
0:30:15 > 0:30:18and his hat's been repainted, so he has had a bit of attention.
0:30:18 > 0:30:21And if we turn him round, we can also see
0:30:21 > 0:30:25that there has been some repainting to the top of the tree stump here.
0:30:25 > 0:30:28I wonder whether somebody has tried to repair it at some point,
0:30:28 > 0:30:31and done a bit of a repaint there. But having said all that,
0:30:31 > 0:30:34I still think he's lovely. He's a great character,
0:30:34 > 0:30:37and I think this ice-skating subject is really quite unusual.
0:30:37 > 0:30:41I sold another pearlware figure that was quite similar recently,
0:30:41 > 0:30:43but he was in much better condition,
0:30:43 > 0:30:46and I sold that for the £80 region.
0:30:46 > 0:30:50So I think at auction, for this little chappie,
0:30:50 > 0:30:53because of his condition, I might go slightly lower than that
0:30:53 > 0:30:57at maybe sort of 50 to 70, with a reserve of 50 firm.
0:30:57 > 0:31:00- That's fine. - Is that all right?- Fine.
0:31:00 > 0:31:02So we'll go 50-70, a reserve of 50,
0:31:02 > 0:31:05- and will we see you at the auction? - No.
0:31:05 > 0:31:07- Where are you off to? - To France for a month.
0:31:07 > 0:31:11- Oh, wonderful. You can't just pop back for the auction?- Not really.
0:31:11 > 0:31:14- Fair enough. - SHE LAUGHS
0:31:14 > 0:31:17Super. Well, hopefully we'll be sending you a nice cheque
0:31:17 > 0:31:21- that you'll get on your return. - That would be nice. - Let's keep our fingers crossed.
0:31:26 > 0:31:30Well, Juanita, first of all can I say, what a lovely name!
0:31:30 > 0:31:33I love this piece you've brought in to show us today,
0:31:33 > 0:31:37the dinner gong, hung from these rather wonderful tusks.
0:31:37 > 0:31:40Initially a lot of people might have seen this
0:31:40 > 0:31:43and thought, "Oh, dear, elephant tusk or elephant ivory."
0:31:43 > 0:31:47Well, they're not. You know and I know that these are wild-boar tusks,
0:31:47 > 0:31:50mounted in the middle here and then on this oak shield.
0:31:50 > 0:31:52So they're definitely boar tusks.
0:31:52 > 0:31:55There's no question of this being elephant ivory,
0:31:55 > 0:31:59- and because of that, we're perfectly legal to sell it.- That's right.
0:31:59 > 0:32:02Is this something you remember being summoned by?
0:32:02 > 0:32:05Occasionally. After we moved house... We had a big house.
0:32:05 > 0:32:08We had the space for it, so...
0:32:08 > 0:32:11just occasionally Mum or Dad used to ring it.
0:32:11 > 0:32:13I mean, it really harks back to an age
0:32:13 > 0:32:16where these sort of things were used for everyday use.
0:32:16 > 0:32:19- Well, that's right. - And I think date-wise,
0:32:19 > 0:32:22I think we could be in the late 19th century,
0:32:22 > 0:32:25that sort of period. How far back do you remember it?
0:32:25 > 0:32:27Has it been with your family forever?
0:32:27 > 0:32:30No. 1964, Daddy bought it.
0:32:30 > 0:32:34Yes? Any ideas what he might have paid for it, do you think?
0:32:34 > 0:32:37- None, unfortunately. - And tell me why you're selling it.
0:32:37 > 0:32:41Is it something you have pleasure having a bang with,
0:32:41 > 0:32:44or is it something that languishes, hidden away in a cupboard?
0:32:44 > 0:32:47It languishes on the floor at the moment.
0:32:47 > 0:32:51I used to enjoy ringing it when we lived as a family,
0:32:51 > 0:32:55but I'm a single person on my own, and really I don't use it.
0:32:55 > 0:32:58It's an example of one of those things that,
0:32:58 > 0:33:02in the way we live our lives nowadays, it's a little redundant.
0:33:02 > 0:33:05- Have you ever thought of what it might be worth?- I don't know.
0:33:05 > 0:33:08You hear certain things. Sometimes they say,
0:33:08 > 0:33:12"Oh, it might be worth"... You know, when you watch "Flog It!" or...
0:33:12 > 0:33:14- Yes.- ..antiques roadshows,
0:33:14 > 0:33:17they say, "It's gone up in value so it's now that."
0:33:17 > 0:33:21- Yes.- "Now it's no longer politically correct,
0:33:21 > 0:33:24so it's gone down." So I don't know at all.
0:33:24 > 0:33:28There is an element of that, yes. Anything made with animal parts
0:33:28 > 0:33:31doesn't tend to be as well received as it once was,
0:33:31 > 0:33:35but it's a piece of social history. I mean, value-wise,
0:33:35 > 0:33:39I think even though it's not terribly fashionable,
0:33:39 > 0:33:42I think there is still a market out there for it.
0:33:42 > 0:33:45I'm going to say between 100 and £200.
0:33:45 > 0:33:47I don't know how you feel about that.
0:33:47 > 0:33:50Is that a sort of ballpark figure you would be pleased with?
0:33:50 > 0:33:53- Ooh, very pleased!- OK.
0:33:53 > 0:33:56Well, listen, why don't we put that estimate on it,
0:33:56 > 0:33:59100 to 200. Let's reserve it at £100.
0:33:59 > 0:34:02Can I have a bit of discretion on that as a reserve figure?
0:34:02 > 0:34:05- Certainly.- So that's £100 discretionary reserve,
0:34:05 > 0:34:09and I think it's going to find a new home at the saleroom.
0:34:09 > 0:34:12There's only one thing left to do. With your permission,
0:34:12 > 0:34:14- may I give the gong a bong? - Certainly.
0:34:14 > 0:34:17Oh, I feel like that chap on the films. Here we go!
0:34:17 > 0:34:21- HE PLAYS ECHOING NOTE - What a lovely sound! It is.
0:34:21 > 0:34:25Well, on that note, thank you very much for bringing it in,
0:34:25 > 0:34:29and I look forward to seeing you again at the saleroom. It's been a pleasure.
0:34:29 > 0:34:32It's an interesting item. I just hope it's a hit with the bidders
0:34:32 > 0:34:35and it's not too specialist.
0:34:35 > 0:34:38Right, John!
0:34:38 > 0:34:42Well, talk to me about this vinaigrette, which my wife had.
0:34:42 > 0:34:45I saw you in the queue, and it was very blustery outside.
0:34:45 > 0:34:49You had a big box of things, and you came up with this little gem.
0:34:49 > 0:34:52- Where has it come from? - It's come from her family
0:34:52 > 0:34:55who've passed on, from her great-aunt Julia.
0:34:55 > 0:34:58- So this is on your wife's side. - On my wife's side.
0:34:58 > 0:35:02- And do you know what it is? - Yes. I gathered...
0:35:02 > 0:35:05My wife has educated me a bit, and told me it was a vinaigrette.
0:35:05 > 0:35:07Ah! Do you know what they were used for?
0:35:07 > 0:35:10- Yes, for obnoxious smells.- Oh!
0:35:10 > 0:35:13- SHE LAUGHS - That's right.
0:35:13 > 0:35:17In the 19th century, when there was something not too sweet-smelling,
0:35:17 > 0:35:20you would have your vinaigrette, wave it under your nose,
0:35:20 > 0:35:23and it would bring lightness back to your life.
0:35:23 > 0:35:25This is the most wonderful vinaigrette.
0:35:25 > 0:35:28It's silver. You've got this wonderful agate top,
0:35:28 > 0:35:31which has been especially chosen and polished
0:35:31 > 0:35:34to fit this space, and also the banding has been selected
0:35:34 > 0:35:37to create these wonderful striations here.
0:35:37 > 0:35:42If we open it up, inside we've got this beautiful silver-gilt...
0:35:42 > 0:35:44what we call a grille. Underneath this grille
0:35:44 > 0:35:48you would have had a sponge soaked in perfume
0:35:48 > 0:35:51or scent, basically. Yes. And what's even more exciting
0:35:51 > 0:35:54for a vinaigrette collector, if we lift the grille,
0:35:54 > 0:35:56which sadly has had some damage to it...
0:35:56 > 0:36:00The grille hinge, unfortunately, is a little bit damaged there.
0:36:00 > 0:36:04But underneath the grille we've got this wonderful hallmark
0:36:04 > 0:36:07which tells us that it was made in Birmingham,
0:36:07 > 0:36:10and the date letter is for 1850,
0:36:10 > 0:36:12and we've got those magic initials NM.
0:36:12 > 0:36:16Now, NM stands for Nathaniel Mills...
0:36:16 > 0:36:18- Oh! - ..who, for vinaigrette collectors,
0:36:18 > 0:36:22is the creme de la creme of makers. OK?
0:36:22 > 0:36:25At this stage in his career, Nathaniel Mills had passed away,
0:36:25 > 0:36:30and his vinaigrette or small-working firm had passed to his sons.
0:36:30 > 0:36:33- To his sons. - So at this particular date,
0:36:33 > 0:36:36it's not actually Nathaniel Mills making these pieces anymore.
0:36:36 > 0:36:40However, as we can see from how intricate this grille is,
0:36:40 > 0:36:42his sons have really maintained his standards,
0:36:42 > 0:36:46and he's still popular today with vinaigrette collectors.
0:36:46 > 0:36:51And if we turn it over, we've got this continuing floral engraved design here,
0:36:51 > 0:36:54and what we call a cartouche in the middle,
0:36:54 > 0:36:57which you would have had your initials, your name
0:36:57 > 0:37:01or some sort of dedicatory inscription in.
0:37:01 > 0:37:04Sometimes they can detract from the value, but this has been left vacant.
0:37:04 > 0:37:07That actually will be a plus point to any buyer,
0:37:07 > 0:37:09because they can have their own put in,
0:37:09 > 0:37:13so that's fantastic. So, tell me, John, why are you selling it?
0:37:13 > 0:37:16My wife has literally said, "Well, I don't need it."
0:37:16 > 0:37:19- Yeah.- And it's better to go towards something else
0:37:19 > 0:37:22- which we might want to buy. - Yes, exactly.
0:37:22 > 0:37:26- Modern jewellery. - Sensible woman. I like that.
0:37:26 > 0:37:28I think, if you were to send it to auction,
0:37:28 > 0:37:30we're looking somewhere in the region
0:37:30 > 0:37:32of maybe 150 to £200...
0:37:32 > 0:37:37- Right.- ..with a reserve of 150, with some slight discretion.
0:37:37 > 0:37:39- Right. - I just think it could do better,
0:37:39 > 0:37:42but I do have some concerns about the condition.
0:37:42 > 0:37:45- How do you feel about that? - I feel fine about it.
0:37:45 > 0:37:47I think my wife will be happy as well.
0:37:47 > 0:37:49- She'd be OK with that? - Oh, definitely.
0:37:49 > 0:37:53Oh, good. I'm pleased. She does know you've brought it, doesn't she?
0:37:53 > 0:37:56Oh, yes, she knows I've brought it. THEY LAUGH
0:37:56 > 0:37:59'Well, I wouldn't want to be in your shoes if she didn't!'
0:38:02 > 0:38:06Sadly it's time to say goodbye to the Pavilion here in Exmouth,
0:38:06 > 0:38:08and to all of these wonderful people.
0:38:08 > 0:38:11We've found the final items to take to the saleroom.
0:38:11 > 0:38:15There could be some surprises there. Here's a recap of what we're taking,
0:38:15 > 0:38:19but, more importantly, why we are taking them to auction. Let's flog it!
0:38:20 > 0:38:24This is a lovely piece of nearly 200-year-old Staffordshire pottery.
0:38:24 > 0:38:28Despite his faults, let's hope he skates away at over £50 for Mary.
0:38:28 > 0:38:30What a great tusk-mounted dinner gong!
0:38:30 > 0:38:32I'm certain that at 100 to £200,
0:38:32 > 0:38:35the bidders are going to get their teeth right into it.
0:38:37 > 0:38:41I really like this silver-and-agate- set Nathaniel Mills vinaigrette.
0:38:41 > 0:38:44With the right internet exposure, it could really fly.
0:38:48 > 0:38:51We're back in Exeter for our last visit to the saleroom
0:38:51 > 0:38:55with auctioneer Chris Hampton. It's the ice-skating figure next,
0:38:55 > 0:38:58but with Mary on holiday in France, it's up to Christina and myself
0:38:58 > 0:39:00to see the sale go through.
0:39:00 > 0:39:04With only a fixed reserve of £50! Surely it's got to do that.
0:39:04 > 0:39:06I hope so. I really hope so. It's difficult,
0:39:06 > 0:39:09because the condition... There's a bit of repainting.
0:39:09 > 0:39:11Nice-looking thing, though!
0:39:11 > 0:39:14Yes. It's an unusual subject, isn't it?
0:39:14 > 0:39:16The ice-skating is what should clinch it.
0:39:16 > 0:39:19Fingers crossed. It's a shame Mary can't be with us,
0:39:19 > 0:39:21but unfortunately she hasn't made it today.
0:39:21 > 0:39:24Nevertheless you'll enjoy watching this,
0:39:24 > 0:39:26- especially as we should sell it. - Hope so.
0:39:26 > 0:39:28This is it.
0:39:28 > 0:39:31The Staffordshire pearl-glazed figure,
0:39:31 > 0:39:34allegorical of winter, and at £40...
0:39:34 > 0:39:37- 40, thank you.- Yes!- £40. At 40.
0:39:37 > 0:39:40- Come on, come on. - 45? 50? 50.- Yes! We've sold it.
0:39:40 > 0:39:44- Has it sold? - At £50. At 50. Straight ahead at 50.
0:39:44 > 0:39:49Five anywhere now? At £50, then. All done? Selling at £50.
0:39:51 > 0:39:53- Is that all right? - She'll be happy with that.
0:39:53 > 0:39:56She wanted to see it go. But it's a fine line in the auction room!
0:39:56 > 0:40:00Oh, it's very nerve-racking, even though I've done this for years.
0:40:00 > 0:40:03It's all right for you. You've got your feet up, enjoying this.
0:40:03 > 0:40:06If you haven't experienced it, get down to your local saleroom,
0:40:06 > 0:40:10or why not come to a valuation day, details on our BBC website.
0:40:12 > 0:40:15Follow the links. All the information will be there,
0:40:15 > 0:40:18plus a lot more about what goes on behind the scenes.
0:40:18 > 0:40:21Dust down your unwanted antiques and bring them along,
0:40:21 > 0:40:23because we're coming to a place near you soon.
0:40:23 > 0:40:27Juanita dusted down our next item to go under the hammer.
0:40:27 > 0:40:30I've just been joined by Juanita and Will,
0:40:30 > 0:40:32and will it be a case of "going, going, gong"?
0:40:32 > 0:40:37It would look great down here in a big old manor house
0:40:37 > 0:40:40- in the West Country, wouldn't it? - It would.
0:40:40 > 0:40:44- Why are you selling this? - Oh...- Just remind us.
0:40:44 > 0:40:48When my dad bought it we had a big house,
0:40:48 > 0:40:50a detached house,
0:40:50 > 0:40:54and we used to use it every so often.
0:40:54 > 0:40:57But I live in a semi-detached bungalow.
0:40:57 > 0:41:00A smaller place, so it doesn't really work, does it?
0:41:00 > 0:41:03Hopefully somebody will fall in love with this.
0:41:03 > 0:41:06It'll look nice with those little Edwardian letterboxes.
0:41:06 > 0:41:08It's going under the hammer right now.
0:41:08 > 0:41:11Let's find out what this lot think.
0:41:11 > 0:41:13The early 20th-century dinner gong,
0:41:13 > 0:41:18suspended between two ivory tusks, on the oak base.
0:41:18 > 0:41:21And at £75. At £75.
0:41:21 > 0:41:24At 75. At £75.
0:41:24 > 0:41:2680. Five.
0:41:27 > 0:41:30- He shakes the head.- 85.
0:41:30 > 0:41:33At 85. 90 anywhere? 90, new place.
0:41:33 > 0:41:37- At £90. At 90. - We've sold it.- We've sold it.
0:41:37 > 0:41:41At £90, then. Last chance. Selling.
0:41:41 > 0:41:43At £90...
0:41:43 > 0:41:46Ten percent under the discretionary reserve.
0:41:46 > 0:41:49- It's all right, though. - We're happy with that.- Good.
0:41:49 > 0:41:53The trouble there was, the buyers have got the same problem as you.
0:41:53 > 0:41:56- If you don't have the sort of house -- It won't work.
0:41:56 > 0:42:00- But it had to be worth £90. - It's "gong".- Good.
0:42:00 > 0:42:02THEY LAUGH
0:42:02 > 0:42:06So that ten percent discretionary reserve was definitely worth it.
0:42:06 > 0:42:11Next it's John with our final lot, and that lovely Nathaniel Mills vinaigrette.
0:42:11 > 0:42:13John, it's good to see you again. This is Heather,
0:42:13 > 0:42:17who we didn't see at the valuation day, John's wife.
0:42:17 > 0:42:20- Now, it's yours, isn't it? - Yes.- Well, it was Great Aunt's.
0:42:20 > 0:42:23- Sad to see it go?- Not really.- No!
0:42:23 > 0:42:25- THEY LAUGH - That's the answer we like!
0:42:25 > 0:42:27We're here to sell things, not keep things.
0:42:27 > 0:42:30I'm sure you've got other things of hers.
0:42:30 > 0:42:33- What a quality piece! - I know. It's lovely.
0:42:33 > 0:42:37I know most Nathaniel Mills collectors do want castle-tops
0:42:37 > 0:42:40and what you'd expect of Nathaniel Mills,
0:42:40 > 0:42:44but this is slightly unusual, so hopefully we'll find good bidders
0:42:44 > 0:42:46- who'll want it.- Here we go.
0:42:46 > 0:42:48It won't be in the saleroom for much longer.
0:42:48 > 0:42:52A Victorian silver and polished-agate oval vinaigrette
0:42:52 > 0:42:57by Nathaniel Mills, and we'll start here at £180.
0:42:57 > 0:42:59- Oh! - That's straight in at the top end.
0:42:59 > 0:43:02And ten. 220.
0:43:02 > 0:43:04230 with me. 240. 250.
0:43:04 > 0:43:08260. 270. 280. Five.
0:43:08 > 0:43:11290. £290.
0:43:11 > 0:43:13- Brilliant!- Yeah.
0:43:13 > 0:43:16At £290 I sell. At 290.
0:43:16 > 0:43:18- THEY LAUGH - £290!
0:43:18 > 0:43:22- Brilliant!- I'll dig my wallet out now to buy more jewellery!
0:43:22 > 0:43:24THEY LAUGH
0:43:24 > 0:43:28- John! - That's a promise! That's a promise.
0:43:28 > 0:43:32- A man that loves you. There you go. - Brilliant. Well done.
0:43:32 > 0:43:34- Thank you.- You're more than welcome.
0:43:34 > 0:43:36Thank you for doing the valuation.
0:43:40 > 0:43:42How about that? I think most people have gone home happy.
0:43:42 > 0:43:46That's what it's all about. We've had a terrific time
0:43:46 > 0:43:49here at Exeter, and thanks to everybody here
0:43:49 > 0:43:52for looking after us. I can't wait to come back. But until then,
0:43:52 > 0:43:56join me again for many more surprises on "Flog It!". Bye-bye.
0:43:56 > 0:44:00Subtitles by Red Bee Media Ltd
0:44:00 > 0:44:04E-mail subtitling@bbc.co.uk
0:44:04 > 0:44:04.