0:00:07 > 0:00:11Exmouth has had a long reputation as the place to relax and recover,
0:00:11 > 0:00:16due to the belief that the salty seawater has restorative qualities.
0:00:16 > 0:00:20Since the 18th century, this resort has been a popular destination for tourists
0:00:20 > 0:00:23and today it's proving even more popular.
0:00:23 > 0:00:26That's because we're in town! Welcome to Flog It!
0:00:51 > 0:00:54We've come to Exmouth Pavilion for our valuation day.
0:00:54 > 0:00:57There are plenty of people waiting patiently,
0:00:57 > 0:01:00hoping they are one of the lucky ones to go off to auction
0:01:00 > 0:01:03and they've got a real treasure in these bags and boxes.
0:01:03 > 0:01:05It could be you, it could be you.
0:01:05 > 0:01:10We've got a wonderful team of exports headed up by Mr Will Axon. Already he's found a wonderful bowl.
0:01:10 > 0:01:12And the beautiful Christina Trevanion,
0:01:12 > 0:01:16hard at work, searching for the best items to take off to auction.
0:01:17 > 0:01:20'Will is on the look out for things quirky and curious
0:01:20 > 0:01:22'and it looks like he's found one example.'
0:01:22 > 0:01:24LAUGHTER
0:01:24 > 0:01:28- It reminds me of the old Easter Island figures.- I've used it for years as a doorstop.
0:01:28 > 0:01:31As a doorstop. Poor little fella.
0:01:31 > 0:01:37He's probably some rare tribal artefact and he's propping your door open.
0:01:37 > 0:01:38LAUGHTER
0:01:38 > 0:01:45'And Christina is prepared to seek high and low for quality...that's if she can get up!'
0:01:45 > 0:01:49Ooh, it's hard to stand up!
0:01:50 > 0:01:53- Yes, of course you can. - CHEERING
0:01:53 > 0:01:56- Thank you so much.- Right. Let's get on with it.
0:01:59 > 0:02:04'As people and their objects pour through the doors, we're bracing ourselves for exciting finds.
0:02:05 > 0:02:10'Coming up on today's show, Will have an open mind to what he values.'
0:02:10 > 0:02:15They are without doubt bayonet light bulbs with a crown on top.
0:02:15 > 0:02:18'Some of our owners doubt their antique is going to sell.'
0:02:18 > 0:02:22I love how you brought your bag to bring it home in!
0:02:24 > 0:02:29'And I become a sculptor's apprentice.' Hey, look at that. That is fabulous, isn't it?
0:02:31 > 0:02:33'But now there are antiques to value
0:02:33 > 0:02:36'and Christina is kicking off proceedings
0:02:36 > 0:02:39'with John and a promisingly large collection in a rather nice bag.'
0:02:40 > 0:02:43John, you've brought me Pandora's box.
0:02:43 > 0:02:45HE LAUGHS Yes, more like it.
0:02:45 > 0:02:52This wonderful box full of silver and some silver plate that we can't fit on the table.
0:02:52 > 0:02:56Tell me, where has this come from? Who was JJS?
0:02:56 > 0:02:59That was my wife's side of the family,
0:02:59 > 0:03:03which was... "J" was for Julia,
0:03:03 > 0:03:08That was her great-great aunt Julia.
0:03:08 > 0:03:13- Ah, so this is your wife's?- That is my wife's.- But she knows you brought it?
0:03:13 > 0:03:15- She definitely does.- Good.
0:03:15 > 0:03:17I do particularly love this box.
0:03:17 > 0:03:20The content is fabulous and we will come on to that in a minute.
0:03:20 > 0:03:24But you've got this wonderful leather exterior, navy leather.
0:03:24 > 0:03:28The gilt-tooling initials on here and we open it up.
0:03:28 > 0:03:33This fabulous, luxurious, watered silk interior,
0:03:33 > 0:03:37which, unfortunately... Obviously, Julia used it quite prolifically,
0:03:37 > 0:03:42because the lining is suffering slightly, but if we look on the inside of the lid,
0:03:42 > 0:03:45we've got this lovely mark for Asprey,
0:03:45 > 0:03:50who were really just one of the most sumptuous retailers available in London,
0:03:50 > 0:03:55and still going today. We've got "Asprey", a registered number and "London".
0:03:55 > 0:03:57It's really nice to have that label.
0:03:57 > 0:04:04It will certainly add to the value. And within the box, we had this silver dressing table set,
0:04:04 > 0:04:08which is really nice to have as such a complete unit.
0:04:08 > 0:04:11We've got this initial "J". Was this also for "Julia"?
0:04:11 > 0:04:14That was correct. It was all for Julia.
0:04:14 > 0:04:17So it's the same sort of date, isn't it?
0:04:17 > 0:04:21So that would make sense, because you've got this decoration,
0:04:21 > 0:04:26which is quite Art Deco, so 1927, and this I would say is a similar sort of date.
0:04:26 > 0:04:30It's nice to have the button hook and also the shoehorn.
0:04:30 > 0:04:35Really nice to have such a complete set and all silver-backed.
0:04:35 > 0:04:40Now, completely different, we've got these five spoons,
0:04:40 > 0:04:43which are by Peter and Ann Bateman.
0:04:43 > 0:04:47The Batemans really are very collectable, particularly Ann.
0:04:47 > 0:04:50And the American market really does like Ann Bateman,
0:04:50 > 0:04:52because she was a female silversmith.
0:04:52 > 0:04:55But they did do quite a lot.
0:04:55 > 0:04:58They were fairly prolific. They're not particularly rare.
0:04:58 > 0:05:03It's a completely different date. Poor old Aunt Julia obviously wasn't around when these were made,
0:05:03 > 0:05:05because these are hallmarked 1797.
0:05:05 > 0:05:08We've got sugar tongs, which, funnily enough,
0:05:08 > 0:05:10different date and the date letter is obscured,
0:05:10 > 0:05:13so it's difficult to tell, but also by Bateman.
0:05:13 > 0:05:17You've got some nice, bright cut decoration on the side of those.
0:05:17 > 0:05:21So very much a period late 18th century, early 19th century.
0:05:23 > 0:05:27Then we've got all sorts of mismatched silver.
0:05:27 > 0:05:31You've got a fish knife, butter knife and various spoons.
0:05:31 > 0:05:33And the silver plate,
0:05:33 > 0:05:39- which there is a quantity of, but we can't fit it on the table. - SHE LAUGHS
0:05:39 > 0:05:45I think at auction we are going to be looking in the region of £150, £250.
0:05:45 > 0:05:49So I think an estimate of 150 to 250
0:05:49 > 0:05:51and a reserve of 150.
0:05:51 > 0:05:54Silver price at the moment is quite buoyant,
0:05:54 > 0:05:57so that may be quite a conservative estimate.
0:05:57 > 0:06:00And just tell me why you're selling these things.
0:06:00 > 0:06:04- It has been put away in a cupboard in my actual dressing room... - Oh, right!
0:06:04 > 0:06:09..not my wife's, and it's about time it got moved out.
0:06:09 > 0:06:12- And I said to her.... - You need some space.- That's it.
0:06:12 > 0:06:16- I need space!- Thank you so much for bringing it in.- Thank you.
0:06:18 > 0:06:21'There are plenty of things to value, but one item caught my attention,
0:06:21 > 0:06:26'so I've popped outside to find out more about it with Devon local Diana.'
0:06:28 > 0:06:31- How did you come by this? - We got it when we got engaged.
0:06:31 > 0:06:37My mother-in-law said that in the cellar, underneath their house, which was the air raid shelter,
0:06:37 > 0:06:40was all the furniture from their London home and we could have the lot.
0:06:40 > 0:06:45So what have you done with it? Have you had your jewellery in it and used it?
0:06:45 > 0:06:47- My keys.- Keys. - And my television licence.
0:06:47 > 0:06:50HE LAUGHS
0:06:50 > 0:06:54- Little things like that.- Important things. You know where to find them. They get lost.
0:06:54 > 0:06:58- Exactly.- Do you know much about it? - Nothing.
0:06:58 > 0:07:00It is an apprentice piece.
0:07:00 > 0:07:04This was made by somebody learning the trade, a cabinet-maker,
0:07:04 > 0:07:09standing at the bench, under instruction for four to five years during his apprenticeship.
0:07:09 > 0:07:14He had to make things like this before they'd let him loose on the real thing -
0:07:14 > 0:07:16a full-size chest of drawers.
0:07:16 > 0:07:20What it does is take in two or three different skills.
0:07:20 > 0:07:24It takes in the basic woodworking skills of proportion.
0:07:24 > 0:07:28Yes? But also look at the dovetails. It takes in the joints.
0:07:28 > 0:07:33Those are wonderfully cut little dovetails, done by hand with the tenon saw.
0:07:33 > 0:07:37It also teaches the apprentice how to use veneers.
0:07:37 > 0:07:43If you look, this is a softwood. It's a very light, cheap wood.
0:07:43 > 0:07:49But it has been covered with a very thin veneer. Can you see that veneer?
0:07:49 > 0:07:56- Just there.- Yes. - That's a Cuban mahogany veneer glued on to the pine carcass.
0:07:56 > 0:08:01This has got everything. It's a three-drawer configuration.
0:08:01 > 0:08:04- Tapering drawers, can you see that?- Yes. - They graduate.
0:08:04 > 0:08:06I've never noticed that before.
0:08:06 > 0:08:11It terminates on these lovely splayed feet, which have this wonderful decorative apron.
0:08:11 > 0:08:13So there's a lot going on.
0:08:13 > 0:08:20It's got its original paint on the back, painted to look like mahogany. You can see, a cheap carcass back,
0:08:20 > 0:08:23because that's not going to get seen, it's not a face side.
0:08:23 > 0:08:30So it was only the face sides and the ends that you'll find in this Cuban mahogany.
0:08:30 > 0:08:34Sadly, one of the drawer knobs is missing, but the rest are original. Little ivory ones.
0:08:34 > 0:08:38- Little turned button knobs. - Never had that one.
0:08:38 > 0:08:40Always gone.
0:08:40 > 0:08:44- A little bit of damage to the top drawer.- I noticed that.
0:08:44 > 0:08:47I tell you what, it's exceptionally honest,
0:08:47 > 0:08:49because no-one's tried to repair it,
0:08:49 > 0:08:53no-one is going to knock you for a little bit of damage like that.
0:08:53 > 0:08:57I think it could do the £200 mark.
0:08:57 > 0:08:58- Really?- Yes.
0:08:58 > 0:09:04But I think we've got to be sensible and pitch it at £120 to...
0:09:06 > 0:09:10- ..160.- Right. - With a reserve of 100.
0:09:10 > 0:09:13- Lovely.- Is that OK?- That's fine. - So we're talking round figures.
0:09:13 > 0:09:16- If it doesn't reach £100, it goes home.- It comes home.
0:09:16 > 0:09:20All right, let's put it into auction. Let's sell it.
0:09:25 > 0:09:30'Back in the Pavilion, Will has three carvings to contend with, brought in by George.'
0:09:30 > 0:09:34Thank you for coming along and bringing these items to show us.
0:09:34 > 0:09:39What interested me was you've got three different points in the world.
0:09:39 > 0:09:41How have you come by these ivories
0:09:41 > 0:09:43and collected them as a group?
0:09:43 > 0:09:48I bought them from an old lady I've known for quite a long time
0:09:48 > 0:09:51with two more pieces that I kept.
0:09:51 > 0:09:55- Unfortunately, she passed away recently.- Sorry to hear that.
0:09:55 > 0:09:58I thought to myself I would sell them.
0:09:58 > 0:10:01OK. Let's have a look at them in more detail.
0:10:01 > 0:10:05- Let's start with this chap at the back.- The Buddha.
0:10:05 > 0:10:11Exactly. A sort of seated Buddha, or one of the many incarnations of Buddha
0:10:11 > 0:10:15in various stages of enlightenment, I think.
0:10:15 > 0:10:18Probably coming from China.
0:10:18 > 0:10:22I would imagine carved Chinese ivory, maybe Canton, that sort of area.
0:10:22 > 0:10:25Maybe made for export, for domestic consumption.
0:10:25 > 0:10:31There was a lot of ivory from Canton exported into Europe, because it was fashionable at the time.
0:10:31 > 0:10:35Then if we move to the front, we've got this chap.
0:10:35 > 0:10:39You know who he is, I know who he is. Ganesh, the Hindu god.
0:10:39 > 0:10:43But, again, nicely carved. But, then, Indian ivory, almost certainly.
0:10:43 > 0:10:48- So we've got China, India, and what about this fellow? - That's St George.
0:10:48 > 0:10:51St George and his dragon. Even though he's lost the top end of his lance,
0:10:51 > 0:10:56- he may have had a standard on the end. - With a flag or something.
0:10:56 > 0:11:03- Exactly. When you look at the detail, it's intricately carved. - Definitely.
0:11:03 > 0:11:05They were all bought in India.
0:11:05 > 0:11:09The lady they belong to originally,
0:11:09 > 0:11:15- her husband was manager of the Dum Dum factory in India. - Really?
0:11:15 > 0:11:22She sailed out when she was 20 and she died when she was 96.
0:11:22 > 0:11:24Right. Early 20th century.
0:11:24 > 0:11:28Which again ties them in nicely with regards to the provenance.
0:11:28 > 0:11:31Obviously, with ivory, even worked ivory,
0:11:31 > 0:11:34anything pre-1947 is OK to sell,
0:11:34 > 0:11:38- but anything post-1947 is illegal. - Yes.
0:11:38 > 0:11:43It's not legal to sell. So we are in safe waters.
0:11:43 > 0:11:46Obviously, on Flog It! we've to think about value.
0:11:46 > 0:11:51- Have you had any idea? What did you pay for them? - £100.- For the five?
0:11:51 > 0:11:53- For the five.- OK, that's good going.
0:11:53 > 0:11:58I think you did well. But I don't want to overprice them.
0:11:58 > 0:12:03Would you be willing at a 200 to 300 estimate? That would mean reserving them at 200.
0:12:03 > 0:12:06I would like a reserve of 250.
0:12:06 > 0:12:10Let's agree. £250. Shall we have discretion on that?
0:12:10 > 0:12:16- So if they get to 230, 240, rather than not sell them?- Yes, 30, 240
0:12:16 > 0:12:18- would be my limit.- OK. Let's do it.
0:12:18 > 0:12:22These will go on the catalogue, online. I am sure they will be picked up.
0:12:22 > 0:12:25They'll be catalogued by the saleroom in Exeter.
0:12:25 > 0:12:30- Really, it's just going to be what happens on the day. - Who's in the room.- Who's in the room.
0:12:33 > 0:12:37That's it. We have found our first items to take to auction.
0:12:37 > 0:12:40This is where it gets exciting, because anything could happen
0:12:40 > 0:12:46and here's our experts to give you a quick reminder of all the items they are taking along.
0:12:47 > 0:12:50What a box of treasure that John brought in.
0:12:50 > 0:12:52We've got this wonderful Asprey's box
0:12:52 > 0:12:55and silver from the 18th century to the 20th century.
0:12:55 > 0:12:58There is something here for everybody.
0:12:58 > 0:13:03I've got to put this into auction, because it's a nice example of an apprentice piece.
0:13:03 > 0:13:05It's top drawer.
0:13:05 > 0:13:09I like the fact that these ivories have come from different corners of the world
0:13:09 > 0:13:13to me in Exmouth. And look at the detail of the carving.
0:13:13 > 0:13:15Let's hope the bidders appreciate it, too.
0:13:20 > 0:13:25I guess this is the moment we've all been waiting for.
0:13:25 > 0:13:30It's auction day. We're guests of Bearnes, Hampton & Littlewood, where the commission
0:13:30 > 0:13:33is 16.5 percent plus VAT, so do factor that into your costs.
0:13:33 > 0:13:36My advice is pick up a catalogue on the way in.
0:13:36 > 0:13:37All the information is in it.
0:13:37 > 0:13:41But these commissions vary from saleroom to saleroom.
0:13:41 > 0:13:45As you know, valuing antiques is not an exact science.
0:13:45 > 0:13:48You know how it goes. Our experts are feeling nervous.
0:13:48 > 0:13:51Our owners are feeling nervous. I'm nervous. It's OK for you,
0:13:51 > 0:13:53you can sit back and enjoy this. Put your feet up!
0:13:55 > 0:13:59'Chris Hampton is the auctioneer, so let's kick things off.'
0:13:59 > 0:14:00100?
0:14:00 > 0:14:04You've got that silk-lined Asprey case that John brought in,
0:14:04 > 0:14:08- but it belongs to wife Heather, who is with us today. - Hello.- Thank you for coming in.
0:14:08 > 0:14:14- You've decided to sell this because it's been in a cupboard. It's not on display.- No.
0:14:14 > 0:14:17And it was just taking up space in your shoe cupboard.
0:14:17 > 0:14:21- Is that where it was?! - That's right. Down at the bottom.
0:14:21 > 0:14:24Hopefully, we can turn that into more jewellery.
0:14:24 > 0:14:28- That's right. - More jewellery for Heather. - You want to buy some jewellery?
0:14:28 > 0:14:30Good luck. Here we go.
0:14:31 > 0:14:34The Asprey stitched, blue-leather travelling case
0:14:34 > 0:14:39with contents, silver-backed hand mirror, brushes, comb,
0:14:39 > 0:14:41button hooks. All the lot together.
0:14:42 > 0:14:43£100 is bid.
0:14:43 > 0:14:45And 10. 120.
0:14:45 > 0:14:47130. 140. 150.
0:14:49 > 0:14:51At 150. Where's 160?
0:14:51 > 0:14:54- We're there now.- At £150.
0:14:54 > 0:14:56- 60 will you?- Come on.
0:14:56 > 0:14:59Selling, then. At £150. All done?
0:14:59 > 0:15:02There you are, straight in and out. Blink and you miss it.
0:15:02 > 0:15:05£150. The hammer's gone down.
0:15:05 > 0:15:06- That's good, isn't it?- Yes.
0:15:06 > 0:15:10'There were some nice pieces in that lot, but the money will be better used
0:15:10 > 0:15:12'when they head to jewellery shop!
0:15:12 > 0:15:15'Time for a miniature chest.'
0:15:15 > 0:15:19OK, it is my turn to be the expert. Let's see if this is top drawer.
0:15:19 > 0:15:23- I've been joined by Diana and her daughter.- Hello.
0:15:23 > 0:15:26- Let's hope we get the top end of the estimate.- Certainly, yes.
0:15:26 > 0:15:30Let's find out what the bidders think. Here we go.
0:15:30 > 0:15:35The miniature chest of three graduated long drawers.
0:15:35 > 0:15:38Nice little chest there. At £75.
0:15:38 > 0:15:40At £75.
0:15:40 > 0:15:42At 75. 80. 5.
0:15:42 > 0:15:44At £85.
0:15:44 > 0:15:46Where's 90?
0:15:46 > 0:15:47At £85.
0:15:47 > 0:15:51- Are you all done? - It's not going to sell.
0:15:51 > 0:15:53No more?
0:15:53 > 0:15:54- It didn't sell.- Never mind.
0:15:54 > 0:15:57- I don't believe that.- Never mind.
0:15:57 > 0:16:00- You are not upset?- No, no.
0:16:00 > 0:16:03It'll go back and take all of my bits and pieces.
0:16:03 > 0:16:04- Aw. - HE LAUGHS
0:16:04 > 0:16:08Put your jewellery in it. Your bits and bobs. Postage stamps
0:16:08 > 0:16:11and elastic bands. Thank you for looking after mum.
0:16:11 > 0:16:15- Couldn't do without her. - Ah, bless!- Couldn't do without her.
0:16:15 > 0:16:19'It's George's ivory trio under scrutiny now.
0:16:19 > 0:16:22'The question is, will they make the reserve?'
0:16:22 > 0:16:24You never know, this could fly out the room.
0:16:24 > 0:16:26We're looking at 250 to 350.
0:16:26 > 0:16:28Hopefully, yes, yes.
0:16:28 > 0:16:31Chinese artefacts are hot to trot right now.
0:16:31 > 0:16:32- Really?- They really are.
0:16:32 > 0:16:36You've just caught us talking about our next lot.
0:16:36 > 0:16:39Whether or not we get top end is another thing. There are a lot of people
0:16:39 > 0:16:42who aren't sure about their Chinese art and artefacts.
0:16:42 > 0:16:45- They take a gamble.- That's right. We have the Chinese Buddha.
0:16:45 > 0:16:52- Yes.- Then we've got the Indian ivory and what I hoped might have been European ivory.
0:16:52 > 0:16:56- The detail on the carving. - This is it. Really nice stuff.
0:16:56 > 0:17:01- That's why I'm not worried. I can take it home.- Exactly.
0:17:01 > 0:17:05Let's see if we've got a touch of the Orient here in the West Country,
0:17:05 > 0:17:07that's worth an awful lot of money.
0:17:07 > 0:17:09We'll find out right now.
0:17:11 > 0:17:15Lot 480 is a Chinese carved-ivory figure of a seated Buddha,
0:17:15 > 0:17:20a carved ivory figure of the Indian god Ganesh,
0:17:20 > 0:17:22and a carved group of St George slaying the dragon.
0:17:22 > 0:17:24£250.
0:17:24 > 0:17:28- At 250, 260.- Straight in.
0:17:28 > 0:17:30280. 290. 300.
0:17:30 > 0:17:33And 20? At £320.
0:17:35 > 0:17:37At £320 with me.
0:17:37 > 0:17:40- Very good.- Selling at £320.
0:17:40 > 0:17:42Are you all done? At 320.
0:17:43 > 0:17:48- The hammer's gone down. - Good estimation.- It was very good.
0:17:48 > 0:17:50That's very kind of you both.
0:17:50 > 0:17:53- You've got to be happy with that.- I am.
0:17:53 > 0:17:58I wouldn't have let it get any less then the reserve I put on it,
0:17:58 > 0:18:00because they are too nice.
0:18:00 > 0:18:03- Yes. Quality.- A couple of other people agreed with you, George.
0:18:03 > 0:18:05Exactly.
0:18:05 > 0:18:09Well, so far so good. That's the end of the first visit to the saleroom.
0:18:09 > 0:18:10We are coming back later in the show.
0:18:10 > 0:18:14Don't go away, because there could be one or two big surprises.
0:18:14 > 0:18:18You know I love horses, so while we were in the area,
0:18:18 > 0:18:21I thought I'd check out what equine art was available.
0:18:21 > 0:18:23Take a look at this and I hope you enjoy it.
0:18:34 > 0:18:38I'm in the beautiful Devon countryside just outside of Newton Abbott to meet a woman
0:18:38 > 0:18:41who has made her career out of a fusion of art and nature.
0:18:41 > 0:18:46These wonderful equine beauties have been her inspiration.
0:18:46 > 0:18:51Heather Jansch has always surrounded herself with horses,
0:18:51 > 0:18:55drawing and painting them frequently.
0:18:55 > 0:19:00Although she studied fine art at Goldsmith's College, she left before finishing,
0:19:00 > 0:19:03finding her own style back in the paddocks.
0:19:04 > 0:19:06I absolutely adore horses.
0:19:06 > 0:19:10I have three. There is something so magical about them.
0:19:10 > 0:19:15It's not surprising artists through history have found them a source of inspiration,
0:19:15 > 0:19:17because they want to harness that beauty,
0:19:17 > 0:19:19but also the power and all of that energy.
0:19:19 > 0:19:25What makes Heather's work so desirable to me and many others?
0:19:25 > 0:19:29The answer lies in her sculpture garden and with the artist herself.
0:19:32 > 0:19:34- Hello.- Hello, Paul, pleased to meet you.
0:19:34 > 0:19:36- What a fabulous place. - Thank you.
0:19:36 > 0:19:40It really is. How did the idea for driftwood sculptures come about?
0:19:40 > 0:19:42- Entirely accident.- Was it?
0:19:42 > 0:19:47Absolutely, yes. My son was then about ten years old.
0:19:47 > 0:19:51And I'd gone out without lighting the wood burner.
0:19:51 > 0:19:55When I came back, he'd lit the wood burner by chopping up
0:19:55 > 0:19:57a piece of ivy that had been lying around in my workshop.
0:19:57 > 0:19:58Yes.
0:19:58 > 0:20:02It was one of those pieces that had grown around a pole and was twisted.
0:20:02 > 0:20:06The section left behind was that long.
0:20:06 > 0:20:12The perfect size to fit into a copper wire sculpture I was working on.
0:20:12 > 0:20:15- That was the eureka moment. - Really?- Yes, I went cold.
0:20:15 > 0:20:19I thought, "Where can I get more?" I just knew it was driftwood.
0:20:19 > 0:20:23- So I was in the car, burning rubber next day. - Beachcombing.- Yes.
0:20:23 > 0:20:26I guess you have to be disciplined working with driftwood.
0:20:26 > 0:20:28You can only do what the shape dictates you to do.
0:20:28 > 0:20:31Yes. That is part of the fascination.
0:20:31 > 0:20:34It's like a three-dimensional jigsaw puzzle.
0:20:34 > 0:20:36You never quite know what you'll end up with.
0:20:36 > 0:20:40These stand outside all year, getting more and more weathered and textured...
0:20:40 > 0:20:43- They do.- ..as they age.
0:20:43 > 0:20:45- Driftwood will weather... - Of course it will.
0:20:45 > 0:20:50..really quite quickly if it gets too wet for too long, so what I do
0:20:50 > 0:20:52is supply them with waterproof rugs.
0:20:52 > 0:20:57If it's going to be a long wet period, people put a rug on them and take it off when it's dry.
0:20:57 > 0:20:58Like you would a normal horse.
0:20:58 > 0:21:01And, in that case, it will last for indefinitely.
0:21:01 > 0:21:06Heather also uses more durable oak for larger pieces
0:21:06 > 0:21:09and some are even cast in bronze.
0:21:10 > 0:21:16Do you draw a study or make a small mannequin, so you know exactly how it will go?
0:21:16 > 0:21:20No, I just take a decision about what sort of size it is going to be.
0:21:20 > 0:21:24- What sort of thing it is going to be doing.- OK.
0:21:24 > 0:21:29Then, really, I draw with steel. So I work with my assistant, who does the welding.
0:21:29 > 0:21:32With thin pieces of wire. I say, "Let's have a bit here, a bit there."
0:21:32 > 0:21:36- It grows quite quickly. - So that's the superstructure that carries the weight
0:21:36 > 0:21:39- and the general framework of the driftwood?- That's right.
0:21:39 > 0:21:41- Do you give all your horses a name? - Yes.
0:21:41 > 0:21:46- Do you?- Each horse has to have a name, otherwise you can't differentiate between them.
0:21:46 > 0:21:48How many have you made?
0:21:48 > 0:21:52Of the life-size pieces, I don't suppose it's more than about 25.
0:21:52 > 0:21:56- In general, all the smaller ones?- Probably not more than 100.
0:21:56 > 0:21:59They take quite a long time to make.
0:21:59 > 0:22:03And there is nobody doing it. Only me. It seems.
0:22:03 > 0:22:06OK, this would be a one-year-old foal. How long would that take?
0:22:06 > 0:22:10I can't actually remember, because what happens is I have probably four or five pieces
0:22:10 > 0:22:14of different sizes on the go at the same time.
0:22:14 > 0:22:19- If I run out of material...- It doesn't fit that, it goes on to the next. That's a good way of working.
0:22:19 > 0:22:25The longest it has taken is probably three years, from start to finish, on one of the very big ones.
0:22:25 > 0:22:28So 16.2, or something like that.
0:22:28 > 0:22:33I quote a three-year waiting list, because it allows me the time to make sure they're right.
0:22:33 > 0:22:38I like to walk past them every day. Because once they've gone, that's my reputation gone with them.
0:22:38 > 0:22:41So they don't go until I'm sure they're right.
0:22:42 > 0:22:47'Heather's horses can look very different according to their location.
0:22:47 > 0:22:51'She's even experimented with other strong, natural figures,
0:22:52 > 0:22:54'including this stag.'
0:22:55 > 0:23:00The driftwood pieces have something wilder about them.
0:23:00 > 0:23:02Particularly the heads,
0:23:02 > 0:23:08which are more about the relationship between space and wood,
0:23:08 > 0:23:15in an abstract sense, than they are about a literal translation of wood into horse.
0:23:15 > 0:23:18Whereas the bigger pieces are more classical.
0:23:18 > 0:23:23You can tell whether they are a thoroughbred or an Arab.
0:23:23 > 0:23:24Anyone who knows horses can.
0:23:24 > 0:23:27Yes, I've noticed that walking around.
0:23:27 > 0:23:29- Do you want an apprentice? - Yes, do!
0:23:29 > 0:23:34- I'd love to be. I'd love to come down here and work on one of these. - You can have a go in the workshop.
0:23:34 > 0:23:39- Yes, please.- There's a big horse we're halfway through doing. - Gosh, can I?
0:23:39 > 0:23:41We can go and play together in the workshop.
0:23:47 > 0:23:49Lovely studio.
0:23:49 > 0:23:52- I don't know about lovely. - Oh, it is. What light, as well.
0:23:52 > 0:23:56I guess the mirror comes in handy so you can see sculpture all around.
0:23:56 > 0:23:59- It's essential. - It's essential, isn't it?
0:23:59 > 0:24:02Because we can't always get far enough away to look at it,
0:24:02 > 0:24:04if the weather is inclement.
0:24:04 > 0:24:09When it's like this, I can walk out of the door and get a long view on it.
0:24:09 > 0:24:10How can I help? What can I do?
0:24:10 > 0:24:13- I'm just... - A section here is missing.- Yes.
0:24:13 > 0:24:17I'm just about to try to find a way into the neck
0:24:17 > 0:24:18and through into the head.
0:24:18 > 0:24:21You know, about this long that has a bit of a twist.
0:24:21 > 0:24:23That looks quite nice. Is that any good?
0:24:23 > 0:24:26- It is quite interesting. - Will it go there? Not really.
0:24:26 > 0:24:28I don't know.
0:24:28 > 0:24:29Not quite.
0:24:29 > 0:24:32- So similar.- Have you tried that one?
0:24:32 > 0:24:33No, let's look at that one.
0:24:33 > 0:24:35It all looks the same, doesn't it?
0:24:35 > 0:24:38- I bet you pick the same thing about ten times! - Actually, I don't,
0:24:38 > 0:24:40I've got quite a good memory like that.
0:24:40 > 0:24:42Let's have a look.
0:24:45 > 0:24:48- Is that the ear?- Actually, look at that.- Hey, look at that.
0:24:48 > 0:24:50Huh.
0:24:50 > 0:24:53- That is fabulous, isn't it? - It will need a bit of shaping.
0:24:53 > 0:24:56If you can pass me up a piece of wire.
0:24:58 > 0:25:03- And can you tie it around here?- Yes. - Tie it quite tight. Twist it round.
0:25:03 > 0:25:05It's quite therapeutic.
0:25:05 > 0:25:09It can be really therapeutic, or it can drive you mad.
0:25:09 > 0:25:11Oooh! LAUGHTER
0:25:11 > 0:25:14I guess, once the final sections are in place
0:25:14 > 0:25:17and the screws are in place. you take wire that is visible off?
0:25:17 > 0:25:19Yes. The wire comes out.
0:25:19 > 0:25:25We do what we call tacking, so once I'm fairly sure a piece is in the right position,
0:25:25 > 0:25:29I get my assistant to drill a hole and put a screw in.
0:25:29 > 0:25:33When I'm certain of it, the screw comes out
0:25:33 > 0:25:35- and it is recessed and finished with wood.- Plugged?
0:25:35 > 0:25:38No, just a wood filler.
0:25:38 > 0:25:41But mixed with a stain, so it's the right colour.
0:25:41 > 0:25:44- There's a lot of process that go on.- Loads.
0:25:44 > 0:25:47It's not like let's just put it together with a bit of driftwood.
0:25:47 > 0:25:50Do you stand back and go, after three hours working,
0:25:50 > 0:25:53and go, "No it's not right, I'm taking it off again"?
0:25:53 > 0:25:57- Yes. I've known to completely deconstruct them before now.- Really?
0:25:59 > 0:26:01'Heather loves working within the landscape.
0:26:01 > 0:26:05'Where her gardens were once a backdrop for the driftwood horses,
0:26:05 > 0:26:08'they are now a sculptural project in their own right.
0:26:08 > 0:26:12'And she's let me skip studio work to explore the valley.
0:26:13 > 0:26:17'Heather clearly has green fingers, as well as a talent for sculpture.
0:26:17 > 0:26:19'This garden is beautiful.'
0:26:20 > 0:26:23Walking through the wooded valley of Heather's grounds,
0:26:23 > 0:26:27you can see what's inspired her main body of work.
0:26:27 > 0:26:31Trees everywhere in their living organic form that are naturally
0:26:31 > 0:26:35growing with twists and turns on every branch.
0:26:35 > 0:26:40Vying for sunlight, competing against their neighbours. And everywhere you look,
0:26:40 > 0:26:44there are interesting vistas that surprise you from out of nowhere.
0:26:44 > 0:26:48It is the perfect place for an artist to live and work.
0:26:52 > 0:26:54This is great. I like this.
0:26:56 > 0:26:58Look at that canopy of woodland.
0:27:03 > 0:27:06Heather's sculptures are absolutely incredible. She's a genius.
0:27:06 > 0:27:11Her work encompasses artistic creativity with technical prowess, passion,
0:27:11 > 0:27:15patience and love of horses.
0:27:15 > 0:27:20Look at what she's created. When you see them outside, they belong outdoors in the landscape.
0:27:20 > 0:27:22They don't look out of place.
0:27:22 > 0:27:25You can view them through all the seasons and they'll look wonderful.
0:27:25 > 0:27:29If you turn your back on them for too long, they might just gallop away!
0:27:43 > 0:27:46So Sheila and Roland, but you prefer to be called Bubbles.
0:27:46 > 0:27:49- Yes.- All right, we will call you Bubbles for today.
0:27:49 > 0:27:51All right?
0:27:51 > 0:27:55You brought in this rather wonderful Royal Doulton jug, which is huge.
0:27:55 > 0:27:56Who carried it here?
0:27:56 > 0:27:58I did, mostly.
0:27:58 > 0:28:01You carried it, Sheila? Bubbles, what were you thinking?
0:28:01 > 0:28:05- Eh?- What were you thinking, Letting Sheila carry it all this way?
0:28:05 > 0:28:08- I've got a job to walk... - Ah!- ..without that as well!
0:28:08 > 0:28:10I think you're probably right.
0:28:10 > 0:28:13He leaves shopping bags all over the place.
0:28:13 > 0:28:15LAUGHTER
0:28:15 > 0:28:19- Tell me, where did you get it from? - His mother had it
0:28:19 > 0:28:24for quite some years and when she died, we inherited it.
0:28:24 > 0:28:26So how long have you had it?
0:28:26 > 0:28:29- Since 1974.- OK.
0:28:29 > 0:28:33When you originally had it, did it come with a certificate?
0:28:33 > 0:28:35Somewhere or other it got mislaid.
0:28:35 > 0:28:40Because it did originally come with a certificate. They all did.
0:28:40 > 0:28:43It's a Royal Doulton commemorative jug.
0:28:43 > 0:28:49A Dickens commemorative jug and it is what they call the Dickens Master of Smiles and Tears jug.
0:28:49 > 0:28:56And it's wonderful because it's relief-moulded with figures from Dickens' literature.
0:28:56 > 0:29:01And around the top, we've got London scenes from where the stories took place.
0:29:01 > 0:29:07It really is rather lovely. We know who did it, because they've signed it.
0:29:07 > 0:29:10We can see at the bottom here it is signed "Noke".
0:29:10 > 0:29:12- Noke.- Noke. N-O-K-E.
0:29:12 > 0:29:16Charles Noke was a modeller and designer for Royal Doulton
0:29:16 > 0:29:19in the early part of the 20th century.
0:29:19 > 0:29:23He was one of their unique designers. He was quite innovative.
0:29:23 > 0:29:30This was unusual for its time, so it doesn't surprise me that Noke has put his name to it.
0:29:30 > 0:29:36If we look at the bottom, it actually tells us all about itself.
0:29:36 > 0:29:39We've got this wonderful mark that says, "The Dickens jug."
0:29:39 > 0:29:45And the title - "Master of Smiles and Tears
0:29:45 > 0:29:50"with the magic of his created personality. This is jug no 64."
0:29:50 > 0:29:53So it's number 64 from an edition of 1,000.
0:29:53 > 0:29:58So it's great that it's actually quite early in the production run.
0:29:58 > 0:30:01I think collectors will find that quite appealing.
0:30:01 > 0:30:04If we tip it back up, here we go.
0:30:04 > 0:30:11I've had a good look over it and it doesn't look as if there are any chips or cracks or any damage.
0:30:11 > 0:30:14Bearing in mind it's pre-war, it's really impressive.
0:30:14 > 0:30:16So I think it's lovely.
0:30:16 > 0:30:19We have had a little look on the internet
0:30:19 > 0:30:21to see if we can find any comparable prices.
0:30:21 > 0:30:25Obviously, there were 1,000 made.
0:30:25 > 0:30:29Through time, obviously, some have been sold in the past.
0:30:29 > 0:30:34They make anywhere in the region of £250-£300.
0:30:34 > 0:30:38So I think, at auction, that's the sort of figure will be looking at.
0:30:38 > 0:30:44250 to 350. With a reserve of 250.
0:30:44 > 0:30:46- Are you happy with that?- Yes, yes.
0:30:46 > 0:30:48- Is that all right?- I think so.
0:30:48 > 0:30:52Let's see if we can find someone to treasure it for the next 40, 50 years.
0:30:52 > 0:30:54Yes. Mm.
0:30:54 > 0:30:58'And before the sun goes down, we've got time for one more valuation.
0:30:58 > 0:31:01'It's going to be a quirky one.
0:31:01 > 0:31:04'Will's with Nesta and her light bulbs.'
0:31:05 > 0:31:09These are something I've never seen before. What can you tell me about them?
0:31:09 > 0:31:12I was given them in the '60s, about '68.
0:31:12 > 0:31:15- My husband had a big electrical contract.- Yes.
0:31:15 > 0:31:19They were doing up this mansion that the Americans had lived in, in Berkshire.
0:31:19 > 0:31:21- Very nice.- The builders finished.
0:31:21 > 0:31:26He got the electrical contract and he went in to get bits like kettles
0:31:26 > 0:31:28and irons and toasters.
0:31:28 > 0:31:30So he was clearing the electrical bits out?
0:31:30 > 0:31:35Yes. He went into the wholesaler and saw these in a box.
0:31:35 > 0:31:38He said, "Being as you've given me a big contract, you can take two."
0:31:38 > 0:31:43Well, listen, I am amazed they've survived in such good condition.
0:31:43 > 0:31:49Let's just hold one up. They are, without doubt, bayonet-fitted light bulbs
0:31:49 > 0:31:51with a crown on top.
0:31:51 > 0:31:53I've done research on these
0:31:53 > 0:32:00and I suspect they were made for the coronation of George VI in 1937.
0:32:00 > 0:32:03Would have been the coronation of Edward VIII, but he abdicated,
0:32:03 > 0:32:08so these were produced in 1937 to celebrate the coronation.
0:32:08 > 0:32:14So, really, as a pair of glass light bulbs, they've survived well.
0:32:14 > 0:32:17- Plus they've been to South Africa and back.- No!
0:32:17 > 0:32:20What are you doing carting these halfway around the world?!
0:32:20 > 0:32:26I moved to South Africa in '68. We came back in '79.
0:32:26 > 0:32:32- They stayed with me all the time. - I bet you never unpacked them in South Africa.- I looked at them.
0:32:32 > 0:32:35But they were wrapped up in Christmas paper.
0:32:35 > 0:32:39- Have they ever been used?- No. But they do go, because I tried them this morning.
0:32:39 > 0:32:41They still actually work?
0:32:41 > 0:32:44- Yes, they actually light up. - That's amazing.
0:32:44 > 0:32:47I wish we had a lamp to actually put them on.
0:32:47 > 0:32:50- I reckon splendid colours would issue from here. - They are pretty, lit up.
0:32:50 > 0:32:53This is all hand-painted.
0:32:53 > 0:32:57Someone sat there along a conveyor belt, colouring them in.
0:32:57 > 0:33:03So, interesting. I did a bit of digging around, looking at auction records.
0:33:03 > 0:33:08- I was quite surprised that they don't make that much money.- No.
0:33:08 > 0:33:11I would suggest that we are looking, for each of them,
0:33:11 > 0:33:15a sensible estimate would be £10 or £20 for each.
0:33:15 > 0:33:19I'm thinking let's put them in the catalogue with an estimate of £30-£50.
0:33:19 > 0:33:22- You're not going to want them back if they don't sell?- No.
0:33:22 > 0:33:24Let's go no reserve. Shall we live dangerously?
0:33:24 > 0:33:27A guaranteed sale. You're not taking them home.
0:33:27 > 0:33:31We'll see what they make. I look forward to seeing you again at the auction.
0:33:31 > 0:33:33- Thank you very much. - Thank you.
0:33:33 > 0:33:36'It's time to close the doors at Exmouth, but not before
0:33:36 > 0:33:40'we hear why Will and Christina chose their final items.'
0:33:42 > 0:33:47This Doulton jug is probably one of the largest collector's jugs I've seen. It's magnificent.
0:33:47 > 0:33:51And in great condition, which is what Doulton collectors really want.
0:33:51 > 0:33:53It's not always about value on Flog It!
0:33:53 > 0:33:55I picked these out because they caught my eye.
0:33:55 > 0:33:57Fingers crossed they light up the saleroom.
0:34:02 > 0:34:05'At the sale in Exeter, there's no time to waste.
0:34:05 > 0:34:09'Chris Hampton is today's auctioneer and he's got a traditional antique to sell.'
0:34:10 > 0:34:16You're probably thinking, what the Dickens is next? I can tell you. It's that commemorative jug.
0:34:16 > 0:34:19We have a jug and we have wonderful expert Christine.
0:34:19 > 0:34:22Unfortunately we do not have our owners.
0:34:22 > 0:34:26Hopefully, Sheila and Roland will turn up as we are speaking.
0:34:26 > 0:34:31But if not, it's going ahead. You can't stop an auction, that's for sure.
0:34:31 > 0:34:35We're looking at £250-£350 and it's going under the hammer now.
0:34:36 > 0:34:41Lot 360 is the Royal Doulton Charles Dickens jug. £200.
0:34:42 > 0:34:46At £200. 200. Where's 10?
0:34:46 > 0:34:48- Somebody is bidding.- Yes.
0:34:48 > 0:34:50230. 240.
0:34:50 > 0:34:51250?
0:34:53 > 0:34:55260. New place. 270.
0:34:55 > 0:34:58280. 290. 300.
0:34:58 > 0:35:00310.
0:35:01 > 0:35:05- 320. 330.- We're getting the top end. - That is good.
0:35:05 > 0:35:07360. 370.
0:35:07 > 0:35:10380. 390.
0:35:10 > 0:35:11400.
0:35:11 > 0:35:12£400.
0:35:12 > 0:35:16- Roland would be enjoying this. - I know. He would, wouldn't he?
0:35:16 > 0:35:19410, telephone bid. 420.
0:35:19 > 0:35:21We're on the phone now.
0:35:21 > 0:35:23£420.
0:35:23 > 0:35:25- Brilliant.- I'm selling, then.
0:35:25 > 0:35:27Last chance. At £420.
0:35:27 > 0:35:29- 430.- (He's back.)
0:35:29 > 0:35:31440.
0:35:31 > 0:35:33One more? 450.
0:35:33 > 0:35:36- No, he is out. - Bo, he's still bidding.
0:35:36 > 0:35:38470. No?
0:35:38 > 0:35:42At £460. Selling at £460.
0:35:42 > 0:35:47- What a fabulous result.- Yeah. - I just wish they were here.
0:35:47 > 0:35:49I really do.
0:35:49 > 0:35:53Oh, that's a shame. Maybe it was difficult to park. I don't know.
0:35:53 > 0:35:57- Nevertheless...- That is a buoyant result.- If you have anything like that, we'd love to see it,
0:35:57 > 0:36:01especially if you want to sell it. Bring it to a valuation day.
0:36:01 > 0:36:03That's where your journey starts
0:36:03 > 0:36:06and you can join us in another saleroom somewhere else in the country.
0:36:06 > 0:36:09You can pick up details on the BBC website.
0:36:09 > 0:36:11Just log on to...
0:36:11 > 0:36:13Follow the links. The information will be there.
0:36:13 > 0:36:17Hopefully, we will be in a town close to you soon.
0:36:17 > 0:36:21'It's a shame Roland and Sheila missed seeing their jug sell,
0:36:21 > 0:36:24'but, hang on, look who's arrived a bit too late.'
0:36:24 > 0:36:29- We've sold your jug, haven't we? - Hello. Hello.
0:36:29 > 0:36:31- How much?- How much do you think?
0:36:31 > 0:36:33- I don't know.- Come on. Top end?
0:36:33 > 0:36:35- Or lower end?- Top end.- Lower end.
0:36:35 > 0:36:38Oh! A split decision there.
0:36:38 > 0:36:41We actually made £460.
0:36:41 > 0:36:43- SHEILA GASPS - Oh, my word!
0:36:43 > 0:36:44Is that all right?!
0:36:44 > 0:36:48- So it hasn't been too disappointing missing it.- Disappointed?
0:36:48 > 0:36:52Cor! You've knocked 50 years off me.
0:36:52 > 0:36:54Ah! Bless you, Roland.
0:36:54 > 0:36:58I love how you brought your bag to bring it home in.
0:36:58 > 0:37:00- HE CHUCKLES - 'A fantastic result.
0:37:00 > 0:37:03'And less for Sheila to carry home.
0:37:03 > 0:37:07'Next up, Nesta's crown-shaped novelties.'
0:37:07 > 0:37:09We have two bayonet-fitting light bulbs.
0:37:09 > 0:37:12Yes! Light bulbs, but with a difference. Made for Edward VIII.
0:37:12 > 0:37:17It never happened for him. Made for George VI, really. Nesta, good luck.
0:37:17 > 0:37:20No reserve. This is it. And I love these.
0:37:22 > 0:37:26Two George VI coronation bayonet-socket light bulbs
0:37:26 > 0:37:28in the form of crowns.
0:37:28 > 0:37:31There we are. £20 for them?
0:37:32 > 0:37:3420. 20 is bid. Thank you.
0:37:34 > 0:37:38- £20. At 20.- And they work.
0:37:38 > 0:37:41Novelty items. At £20. And two, if you will.
0:37:42 > 0:37:4522.
0:37:45 > 0:37:4725. At £25.
0:37:48 > 0:37:52Selling them, then, at £25. Last chance.
0:37:52 > 0:37:54- Well, they've gone.- Never mind.
0:37:54 > 0:37:56- They've sold.- We always said they
0:37:56 > 0:37:58weren't going to be worth a fortune.
0:37:58 > 0:38:00I have some comparables. I'd never seen them sold before.
0:38:00 > 0:38:05I found comparables that had. They were around that sort of figure.
0:38:05 > 0:38:08It's all right. At least is not on your shoulders if they break.
0:38:08 > 0:38:09It's someone else's problem.
0:38:09 > 0:38:12- Better than being stuck in a drawer.- Yes, for sure.
0:38:12 > 0:38:16We don't want things in drawers. They should be on display for everyone to enjoy.
0:38:16 > 0:38:18- Good luck. Thank you for coming in.- Thank you.
0:38:18 > 0:38:20Not a huge figure for Nesta,
0:38:20 > 0:38:23but what an original lot to have seen on the show.
0:38:23 > 0:38:25And that brings us to the end of our show.
0:38:25 > 0:38:28We've had a wonderful time here in Exeter. I hope you've enjoyed the show.
0:38:28 > 0:38:32There'll be plenty more surprises to come so stay tuned. Until then, goodbye.