0:00:02 > 0:00:06Devon - a county famous for its breathtaking countryside
0:00:06 > 0:00:07and tranquil rivers
0:00:07 > 0:00:11pushing their way towards beautiful unspoilt beaches.
0:00:13 > 0:00:17It's no wonder, then, that Devon is a hub for watersports,
0:00:17 > 0:00:19such as kayaking, sailing and surfing,
0:00:19 > 0:00:23and later on in the programme, I'll be returning to the River Dart
0:00:23 > 0:00:26where I'll be meeting a local photographer who's helping me
0:00:26 > 0:00:30to capture this beautiful landscape with the click of a button.
0:00:30 > 0:00:32It certainly is as pretty as a picture
0:00:32 > 0:00:35and a great location to host today's show.
0:00:57 > 0:01:01Waterways and river systems make up the veins of this county
0:01:01 > 0:01:05and, for centuries, Devon has relied on water as a source
0:01:05 > 0:01:08of transport, wealth, trade and tourism.
0:01:11 > 0:01:14The county's beauty doesn't end at the shoreline.
0:01:14 > 0:01:17Just ten miles inland is the historic city of Exeter,
0:01:17 > 0:01:20where we'll be holding our valuation day.
0:01:22 > 0:01:25And it all starts here - Exeter Cathedral.
0:01:25 > 0:01:28Right in the heart of this ancient city
0:01:28 > 0:01:32lies one of the oldest and most beautiful cathedrals in the country.
0:01:32 > 0:01:35There's been a cathedral on this site for nearly 1,000 years
0:01:35 > 0:01:39and, before this, a monastery and, before that, a Saxon Roman church.
0:01:45 > 0:01:48But here today, we have hundreds of Flog It! fans who have turned up
0:01:48 > 0:01:51with their antiques and collectables,
0:01:51 > 0:01:54all hoping to see our experts and, of course, they're going to
0:01:54 > 0:01:57ask that all-important question, which is...
0:01:57 > 0:01:58CROWD: What's it worth?
0:01:58 > 0:02:00Stay tuned and you'll find out.
0:02:03 > 0:02:07And helping us find the answer to that question are our experts,
0:02:07 > 0:02:12who are both on their best behaviour in these auspicious surroundings.
0:02:14 > 0:02:16The marvellous Mark Stacey.
0:02:16 > 0:02:19Oh, gosh! He's rather scary. He is, isn't he? Isn't he?
0:02:19 > 0:02:23My husband will look like that when he gets old. Oh, really? Yes.
0:02:23 > 0:02:26And causing confusion in the queue - Caroline Hawley.
0:02:26 > 0:02:28Have you already been stickered?
0:02:28 > 0:02:31Yeah. She's been... But not... Ah. That was with something else.
0:02:31 > 0:02:33Can I stick her again? Yeah, go on.
0:02:34 > 0:02:39The queue is straining at the leash, so let's throw open the gothic doors
0:02:39 > 0:02:41and take a seat under the mediaeval arches.
0:02:46 > 0:02:49And today's show is just as packed as this cathedral.
0:02:51 > 0:02:53Flog It! gets fashion conscious
0:02:53 > 0:02:56with a special collection of vintage footwear.
0:02:56 > 0:02:58They're absolutely beautiful.
0:02:58 > 0:03:02I go back to the future to view some three-dimensional art.
0:03:03 > 0:03:06Mark finds a pristine William IV tea set
0:03:06 > 0:03:08but how much do you think it's worth?
0:03:12 > 0:03:14First, though, the tables are turned
0:03:14 > 0:03:17as Mark gets a lesson in ancient calligraphy.
0:03:18 > 0:03:21We're in this fantastic location - Exeter Cathedral -
0:03:21 > 0:03:26and you've brought in a page from an antique Bible, is that right?
0:03:26 > 0:03:29You've done some research on this, haven't you? Yes, I have.
0:03:29 > 0:03:33Can you tell me all about it because I'm mesmerised in the detail of it?
0:03:33 > 0:03:35It's incredible, isn't it?
0:03:35 > 0:03:38It is amazing and it is very small, isn't it? Very.
0:03:38 > 0:03:40It's a pocket Bible from the 13th century
0:03:40 > 0:03:44and so it was contemporary with the time the cathedral here was built.
0:03:44 > 0:03:48It was handwritten, in Latin,
0:03:48 > 0:03:52on animal skin - on vellum, this is not paper. Oh, wow!
0:03:52 > 0:03:53This is vellum.
0:03:53 > 0:03:57But it is absolutely tiny and it's exquisitely written, isn't it?
0:03:57 > 0:03:59Yes, it is. I don't know how they could read it.
0:03:59 > 0:04:02I need my glasses and I need a magnifying glass to read it.
0:04:02 > 0:04:05I just think it's beautifully done and it's got
0:04:05 > 0:04:08so much history attached to it, hasn't it? Yes.
0:04:08 > 0:04:10I mean, I've seen examples, of course,
0:04:10 > 0:04:15in churches where you have those wonderful pictorial illuminations,
0:04:15 > 0:04:18you know, with the figures and the gold.
0:04:18 > 0:04:22I mean, this is much more delicately done. Where did you find it?
0:04:22 > 0:04:28Well, I found it on an online auction house about eight years ago,
0:04:28 > 0:04:31and I fell in love with it and paid and went and got it.
0:04:31 > 0:04:34And you paid a lot of money for it, did you?
0:04:34 > 0:04:38Um, well, I paid just under ?200 for it.
0:04:38 > 0:04:41That doesn't sound an awful lot to me. When you think how old it is.
0:04:41 > 0:04:46I know. I mean, it is incredibly fascinating and I think, to me,
0:04:46 > 0:04:49I would love to have that frame just on my wall.
0:04:49 > 0:04:51With all the technology we have today
0:04:51 > 0:04:54and all the things we can do... Yes, yes.
0:04:54 > 0:04:57700 years ago, somebody was sitting there,
0:04:57 > 0:05:00just scribing away, tiny little writing. Yes.
0:05:00 > 0:05:02And why have you brought it along,
0:05:02 > 0:05:05because you're not from the United Kingdom, are you?
0:05:05 > 0:05:07No, we are actually from Belgium
0:05:07 > 0:05:11and we love your programme and we watch it every day.
0:05:11 > 0:05:14Record it when we're not there. Really?
0:05:14 > 0:05:17Yes, we do, and so we thought we would come along to
0:05:17 > 0:05:19an actual Flog It! valuation
0:05:19 > 0:05:22and be on the programme, and here we are.
0:05:22 > 0:05:23Wow! And try and sell it.
0:05:23 > 0:05:27You've made my day, bringing this. I've learnt an awful lot as well,
0:05:27 > 0:05:31which is what antiques are all about, really. Yes, it is.
0:05:31 > 0:05:34Every day is different. You never know quite what's going to show up,
0:05:34 > 0:05:36particularly on a Flog It! valuation day.
0:05:36 > 0:05:39Absolutely. How on earth do we value it?
0:05:39 > 0:05:43Because you paid just under ?200 for it, and I look at it
0:05:43 > 0:05:48and think that I probably, if I sold it without knowing that,
0:05:48 > 0:05:50would have put ?200-300 on it. Mm-hm.
0:05:50 > 0:05:53I mean, would you be happy to put a ?200 reserve on it?
0:05:53 > 0:05:56Er, yes, we would but it would be a fixed reserve.
0:05:56 > 0:05:59A fixed reserve, yes. We wouldn't sell it under ?200.
0:05:59 > 0:06:02No, that's right. Well, I'm really excited about the auction.
0:06:02 > 0:06:04Will you be able to make it back for it?
0:06:04 > 0:06:09Yes, we will make a special trip from Brussels to come to the auction.
0:06:09 > 0:06:11All the way from Brussels? Absolutely. Yes.
0:06:11 > 0:06:15Well, I'm really excited. I hope you have a wonderful day.
0:06:15 > 0:06:17Thank you so much. We'll have a grand time!
0:06:17 > 0:06:21A page from a Bible, written and used at the time of
0:06:21 > 0:06:25this cathedral's creation - that's quite extraordinary.
0:06:27 > 0:06:30Next up, Caroline's outside with the painting Mark spotted.
0:06:30 > 0:06:32She's got a theory on its origins.
0:06:33 > 0:06:37So, Lorraine, thank you for bringing this lovely picture along.
0:06:37 > 0:06:39Tell me, how did it come into your possession?
0:06:39 > 0:06:45I don't know who he is and my husband was left him by an elderly lady,
0:06:45 > 0:06:49and because he liked her and she said he could have it.
0:06:49 > 0:06:52And it was somebody your husband worked for?
0:06:52 > 0:06:56Well, he done odd jobs for her and I did her cleaning for her.
0:06:56 > 0:06:59And do you know how she came by it?
0:06:59 > 0:07:01She bought it years ago when she used to travel.
0:07:01 > 0:07:04Yeah. Now, he looks like he's travelled a bit, doesn't he?
0:07:04 > 0:07:08He does, a seafarer. Yeah, he looks a seafarer, he does.
0:07:08 > 0:07:12And, to me, he does look as if he has some maritime connection. Yeah.
0:07:12 > 0:07:15And he's got a twinkle in his eye, hasn't he? Yes, yes.
0:07:15 > 0:07:18So we have a signature down here - J M Beek.
0:07:18 > 0:07:22It's an oil on canvas with the original frame.
0:07:22 > 0:07:26We have had a look at the back of it and it says Volendam,
0:07:26 > 0:07:28which is a northern area of Holland.
0:07:28 > 0:07:32And later, in the early part of the 20th century,
0:07:32 > 0:07:34it became a little artists' enclave
0:07:34 > 0:07:38and people such as Renoir and Picasso worked there.
0:07:38 > 0:07:40Yeah. Yes, so I've looked and looked
0:07:40 > 0:07:44and I can't make that say either Renoir or Picasso. No, no.
0:07:44 > 0:07:46I'm sorry, Lorraine, but it all
0:07:46 > 0:07:51sort of ties in that this could be from an artist around there
0:07:51 > 0:07:55and this gentleman could well be a sailor from that area of Holland.
0:07:55 > 0:07:58We have to do some more research
0:07:58 > 0:08:02but there is a possibility it could be by Jurrien Marinus Beek,
0:08:02 > 0:08:09in which case, some of his pictures have sold in auction for quite a considerable amount,
0:08:09 > 0:08:13so we do need to do some extra research on this
0:08:13 > 0:08:16but, as it is, he's a lovely picture.
0:08:16 > 0:08:17Now, why are you selling him?
0:08:17 > 0:08:21Well, we asked the family and... Nobody in the family wants it?
0:08:21 > 0:08:24No, nobody at all. Right. Well, in that case,
0:08:24 > 0:08:26it's probably a very good time to sell him. Yes.
0:08:26 > 0:08:28Now I will put at this stage
0:08:28 > 0:08:33an estimate - a conservative estimate - of ?200-?300. Right, yes.
0:08:33 > 0:08:36And we'll put a fixed reserve of ?200... Right.
0:08:36 > 0:08:39..but pending further research,
0:08:39 > 0:08:42because he could well do a lot better than that. Right, yeah.
0:08:42 > 0:08:45Are you happy with that, Lorraine? Yes! Yes!
0:08:45 > 0:08:47I can see you're very happy with that. Yes, yeah.
0:08:47 > 0:08:50He looks happy, too, doesn't he? He does, yeah.
0:08:50 > 0:08:53By the time I've had a few more glasses of wine tonight,
0:08:53 > 0:08:55I'll look like him, I expect, and me husband!
0:08:55 > 0:08:56THEY LAUGH
0:08:56 > 0:09:01We find out later if this is by the famous J M Beek
0:09:01 > 0:09:03and how that affects the price.
0:09:03 > 0:09:05Not everyone who comes to a valuation day
0:09:05 > 0:09:07wants to sell their belongings.
0:09:07 > 0:09:09You can come along and get a valuation
0:09:09 > 0:09:13or bring us a piece of local history that will get us excited,
0:09:13 > 0:09:16and I met a local hotelier who's done just that.
0:09:16 > 0:09:17Well, it is Devon, isn't it?
0:09:17 > 0:09:21We couldn't come here without having a cream tea, and the sun is shining,
0:09:21 > 0:09:24and while our experts are working hard inside and outside,
0:09:24 > 0:09:27I thought I'd come outside and have a chat to Ben.
0:09:27 > 0:09:30Now, this has a lot of local connections, doesn't it?
0:09:30 > 0:09:31It does, indeed, yeah.
0:09:31 > 0:09:34This is a photograph of the Tamar Bridge around 1960
0:09:34 > 0:09:38and this gentleman here is my grandfather. Incredible.
0:09:38 > 0:09:42What I find really interesting about it is the lack of health and safety.
0:09:42 > 0:09:44Oh, yes, yeah! The catwalks and everything.
0:09:44 > 0:09:47When you think about it, the mid '60s isn't that long ago, is it?
0:09:47 > 0:09:50That's right. But there is no health and safety.
0:09:50 > 0:09:53Yeah. My nan took my mum down to see the construction of it
0:09:53 > 0:09:56and you can just make out some little baskets here. Yes.
0:09:56 > 0:09:59They were for men to be suspended in to clean the concrete. You're joking!
0:09:59 > 0:10:03They spotted somebody doing that and went, "Look at that poor man!"
0:10:03 > 0:10:05Turns out that was my grandad. Oh, dear!
0:10:05 > 0:10:08I bet she used to make his packed lunch for him as well
0:10:08 > 0:10:10and he used to sit up there and eat it. Yeah.
0:10:10 > 0:10:13Photography is a wonderful way of capturing our social history and
0:10:13 > 0:10:17our heritage and I expect every time you go over that, you think of him.
0:10:17 > 0:10:18I certainly do, yeah.
0:10:18 > 0:10:22Later in the show, I'll be meeting an award-winning photographer
0:10:22 > 0:10:25to find out how to take the perfect picture.
0:10:26 > 0:10:29Cath, how are you? I'm fine, thank you.
0:10:29 > 0:10:32Now, have you brought your supporters with you here?
0:10:32 > 0:10:33I have, yes. Who are these?
0:10:33 > 0:10:38This is Lorraine, my manageress from Cancer Research UK. Oh, right.
0:10:38 > 0:10:42And this is Pat. Pat. Also a volunteer.
0:10:42 > 0:10:45Oh, so this is from the Cancer Research shop, is it?
0:10:45 > 0:10:47Yes, that's a donation. Oh, wow!
0:10:47 > 0:10:52We've had it on our stockroom shelf for six months or so. Gosh!
0:10:52 > 0:10:56We knew it was interesting but...
0:10:56 > 0:11:01Well, we wanted to get it valued as we didn't want to undersell it.
0:11:01 > 0:11:04No, quite right. Well, I'm so glad you've brought it into us today
0:11:04 > 0:11:07cos I just absolutely love this type of ware.
0:11:07 > 0:11:11It comes from the sort of art nouveau arts and crafts period.
0:11:11 > 0:11:15It's harking back to that period where everything was handmade,
0:11:15 > 0:11:20the use of this hand-beaten copper with these almost Celtic designs,
0:11:20 > 0:11:23and these lovely little cabochons, which are pottery,
0:11:23 > 0:11:25you know, little pottery cabochons.
0:11:25 > 0:11:29There's one that's been quite badly broken. Yes, it's a shame, isn't it?
0:11:29 > 0:11:31But it's still there, that's the main thing. Yes.
0:11:31 > 0:11:35You know, somebody hasn't thrown it away.
0:11:35 > 0:11:38And it's just a delightful little piece. Not signed, unfortunately.
0:11:38 > 0:11:40There's no signature.
0:11:40 > 0:11:44But there are two main schools in the country that we associate
0:11:44 > 0:11:48this type of ware with. One is Newlyn, down in Cornwall... Yes.
0:11:48 > 0:11:51..which we're not far away from, actually... No, no.
0:11:51 > 0:11:54..and the other one is Keswick in Cumbria. Yes.
0:11:54 > 0:11:58So it's difficult to say which one but I'm glad you didn't put it out
0:11:58 > 0:12:00because you might have sold it for ?15 or something.
0:12:00 > 0:12:04Well, that was the thing. That would be horrible, wouldn't it? Yes.
0:12:04 > 0:12:07We'd certainly not seen anything like that in the shop before.
0:12:07 > 0:12:10No. Well, it's amazing what people do bring into charity shops.
0:12:10 > 0:12:13And we've had it a long time as well, haven't we? Yes.
0:12:13 > 0:12:16I think we've got to be sensible with the estimate,
0:12:16 > 0:12:20and I'd like to see an estimate of maybe ?60-?100 on it. Yes.
0:12:20 > 0:12:24And we'll put a reserve on it at ?50. Yes.
0:12:24 > 0:12:26Cos if it doesn't sell for ?50,
0:12:26 > 0:12:30I think it's worth protecting for later. Oh, yes.
0:12:30 > 0:12:33I think you'd like to buy it yourself!
0:12:33 > 0:12:36I would love to but, of course, I'm not allowed to, unfortunately, no.
0:12:36 > 0:12:40So you'd like to flog it? We would. We'll put it into auction, shall we?
0:12:40 > 0:12:44Yes. We might raise you some much needed funds for your charity shop.
0:12:44 > 0:12:47Oh, yes, that would be good. Fantastic. That would be good, yes.
0:12:47 > 0:12:50Thank you so much, all three of you. ALL: Thank you.
0:12:52 > 0:12:53There you go, look.
0:12:53 > 0:12:56It's musical chairs here but this is how the queue works, you see.
0:12:56 > 0:12:59We all get a ticket number and move along,
0:12:59 > 0:13:02and get a seat so you can wait and enjoy and watch what's going on.
0:13:02 > 0:13:04Ah. It's good fun, isn't it? Very.
0:13:04 > 0:13:06And it's your turn soon, fingers crossed,
0:13:06 > 0:13:09but now it's over to auction for the first time today
0:13:09 > 0:13:11as our experts have found their first items.
0:13:11 > 0:13:14I've got my favourites, you've probably got yours.
0:13:14 > 0:13:16Let's find out what the auctioneer thinks.
0:13:16 > 0:13:20This page of a pocket Bible is as old as the cathedral walls.
0:13:20 > 0:13:23Let's hope there's divine intervention at the auction room.
0:13:26 > 0:13:29Arts and crafts material has an enduring appeal,
0:13:29 > 0:13:32so this dish should make the charity a bit of cash.
0:13:34 > 0:13:37And will anyone want to take this craggy fellow home?
0:13:40 > 0:13:42The Tamar Bridge we saw in Ben's photo
0:13:42 > 0:13:45was the first road bridge to connect Devon and Cornwall,
0:13:45 > 0:13:48and it sits next to Brunel's famous railway bridge.
0:13:50 > 0:13:55When it opened in 1961, it was the longest suspension bridge in the UK.
0:13:55 > 0:13:56Take a drive seven miles east
0:13:56 > 0:13:59and you'll reach our auction house for today.
0:13:59 > 0:14:02The man providing the bridge between the buyers
0:14:02 > 0:14:04and the sellers is auctioneer Anthony Eldridge.
0:14:04 > 0:14:08On the day before the auction, I caught up with him
0:14:08 > 0:14:10to chat about that painting.
0:14:10 > 0:14:12We're surrounded by fine art and antiques
0:14:12 > 0:14:15and this one is one of ours. I've just taken it off the wall.
0:14:15 > 0:14:18Anthony, is it JM Beek? This belongs to Lorraine.
0:14:18 > 0:14:21Caroline wasn't sure if it was by the Dutch artist.
0:14:21 > 0:14:24Have you done any further work? Yes, we have.
0:14:24 > 0:14:25We've had a good look and,
0:14:25 > 0:14:28whilst it's not typical of the sort of work that he did,
0:14:28 > 0:14:31the signature's right and the style's right
0:14:31 > 0:14:33so, yes, we think it's right.
0:14:33 > 0:14:35It looks OK to me. It does look OK.
0:14:35 > 0:14:39Subject matter-wise, typical of a Dutchman.
0:14:39 > 0:14:41I'm not keen on sort of...
0:14:41 > 0:14:45Let's put it this way, sort of being polite to this gentleman,
0:14:45 > 0:14:48wrinkly, sort of liney gentleman with lots of character.
0:14:48 > 0:14:50Yes, well, I agree.
0:14:50 > 0:14:53It's not a classically attractive view, is it?
0:14:53 > 0:14:58Has this put the value up, now we know it's definitely by Beek?
0:14:58 > 0:15:01I don't think the attribution will make it a more attractive picture.
0:15:01 > 0:15:06Let's face it, ?200 nowadays for an oil like this, of this age,
0:15:06 > 0:15:09signed by a named artist, framed up,
0:15:09 > 0:15:12is not a lot of money for an original work of art.
0:15:12 > 0:15:15But look, fingers crossed, it gets the top end. Indeed.
0:15:20 > 0:15:23Well, the sale room's filling up. This is where it gets exciting.
0:15:23 > 0:15:27I absolutely love auctions, it's the best part of the show,
0:15:27 > 0:15:30because you can never tell what's going to happen.
0:15:30 > 0:15:32What will be the fate of the weathered sailor?
0:15:32 > 0:15:36Well, Lorraine wants rid of him so she's lowered the reserve to ?100.
0:15:37 > 0:15:39Well, every picture tells a story.
0:15:39 > 0:15:41Let's hope this one has a great ending.
0:15:41 > 0:15:44Lorraine, it's great to see you. I like your little oil painting.
0:15:44 > 0:15:47Not the kind of thing I would have on my wall.
0:15:47 > 0:15:50I prefer to go for pretty women or officers in uniforms
0:15:50 > 0:15:52but I understand the character.
0:15:52 > 0:15:54It's a nice thing, had a chat to Anthony,
0:15:54 > 0:15:58he agreed the value was dead on, spot on, at ?100-?200, so...
0:15:58 > 0:16:00It could fly.
0:16:00 > 0:16:04Some of his work of landscapes have got quite considerably more money
0:16:04 > 0:16:06but this portrait - possibly not. We'll hope.
0:16:06 > 0:16:09Nevertheless, a good Dutch artist in its contemporary frame -
0:16:09 > 0:16:12it's got a bit going for it. Right. Good luck. Thank you.
0:16:12 > 0:16:15Let's find out what the bidders think. It's going under the hammer.
0:16:15 > 0:16:19Little portrait of a fisherman or a seaman, there it is.
0:16:19 > 0:16:21And I'm bid ?80 for it.
0:16:21 > 0:16:23Against you all, at 80.
0:16:23 > 0:16:25At ?80, 90, 100.
0:16:25 > 0:16:28At ?100, 10 if you want it, and 10, 120.
0:16:28 > 0:16:31At 120 now. 130.
0:16:31 > 0:16:33At 130 here. Take five.
0:16:33 > 0:16:35At ?130.
0:16:36 > 0:16:39At ?130, then, I'll sell at 130.
0:16:40 > 0:16:42BANGS GAVEL ?130, well done.
0:16:42 > 0:16:43Are you happy? Yes, I am.
0:16:43 > 0:16:47Well, you didn't like looking at it, so you don't have to any more.
0:16:47 > 0:16:49No. That's lovely, thank you. Thank you for bringing it in.
0:16:49 > 0:16:51That's all right, thank you.
0:16:51 > 0:16:53Well, the painting might not be to my taste,
0:16:53 > 0:16:56but it charmed this man and we found out why.
0:16:56 > 0:16:59I came here to buy another painting, which I got,
0:16:59 > 0:17:02and I saw that one and I thought, "That's rather nice,"
0:17:02 > 0:17:05and it comes from Holland, I think from Volendam,
0:17:05 > 0:17:09which I visited a number of times on cycling holidays.
0:17:09 > 0:17:11Well, our next owners, Hans and Norma,
0:17:11 > 0:17:14have come all the way from Brussels today to join the show,
0:17:14 > 0:17:16so thank you so much for that.
0:17:16 > 0:17:18We're selling what is possibly one of the oldest things
0:17:18 > 0:17:21I've seen on the show for a long, long time.
0:17:21 > 0:17:25It's a page from a French pocket Bible dating back to the 13th century,
0:17:25 > 0:17:28all handwritten on vellum, and it is a wonderful little gem.
0:17:28 > 0:17:31I know we have a value of ?200-?300 on this by you, Mark.
0:17:31 > 0:17:32That's right.
0:17:32 > 0:17:35I think this is really nice. It's a work of art within itself.
0:17:35 > 0:17:38All these are handwritten by a scribe. And it's tiny as well.
0:17:38 > 0:17:42Beautiful, absolutely beautiful. The calligraphy is absolutely wonderful.
0:17:42 > 0:17:45Hopefully, we can send you home with a bit of money. That would be nice.
0:17:45 > 0:17:48Fingers crossed. It's going under the hammer now.
0:17:48 > 0:17:51Let's find out what the bidders in Plymouth think of this.
0:17:51 > 0:17:53Lot 36 is the next lot,
0:17:53 > 0:17:57which is this page from a 13th-century pocket Bible.
0:17:57 > 0:18:00?160 for that. At 160.
0:18:00 > 0:18:05At 160, 170, 180. At 180 now.
0:18:05 > 0:18:07At ?180. Are you all done, then, at 180?
0:18:07 > 0:18:09Come on, come on, come on.
0:18:09 > 0:18:10Quite short, 180.
0:18:12 > 0:18:16He didn't sell it. That can't quite be sold. Not quite, one bid away.
0:18:16 > 0:18:19NORMA: It can't be auctioned. Yes, one bid away.
0:18:19 > 0:18:22He was calling for 180, we had a ?200 reserve. Yes, we did.
0:18:22 > 0:18:26It's a difficult thing because maybe in a specialist sale
0:18:26 > 0:18:30with other works, it might have done a bit better. Yeah.
0:18:30 > 0:18:33Well, I don't mind taking it back home with me at all.
0:18:33 > 0:18:36At least it's not very heavy.
0:18:36 > 0:18:39No, exactly! But it was exciting to be here. Oh, thank you so much.
0:18:39 > 0:18:43And bless you as well, and keep watching the show in Belgium.
0:18:43 > 0:18:44We will, we will.
0:18:44 > 0:18:47It may not have sold but it was a delight to see
0:18:47 > 0:18:50such an ancient piece of calligraphy.
0:18:50 > 0:18:54Let's hope the auction gods are kinder to our ladies from Exeter.
0:18:54 > 0:18:57Cathy, Lorraine and Pat, it's great to see you again.
0:18:57 > 0:19:00Who's manning the charity shop today? Some other volunteers.
0:19:00 > 0:19:02I was going to say!
0:19:02 > 0:19:05Well, thank you for coming along. It's quite exciting for you.
0:19:05 > 0:19:08We're talking about that lovely little copper arts and crafts dish
0:19:08 > 0:19:10in the style of Archibald Knox.
0:19:10 > 0:19:12I think there's a lot going for this,
0:19:12 > 0:19:15I really do, and at ?50, it's sensibly pitched. It should do.
0:19:15 > 0:19:18I love the little cabochons on it. They're beautiful.
0:19:18 > 0:19:21So do I. A good spot as well. Who was the one who spotted it first?
0:19:21 > 0:19:23Well, it came into me. Did it? Yes.
0:19:23 > 0:19:25And you thought, "Ooh, let's take this along to Flog It!"
0:19:25 > 0:19:28We did, yes. Well, let's put it to the test right now.
0:19:28 > 0:19:32It's going under the hammer. The auctioneer's talking about it.
0:19:32 > 0:19:38447 - it's an arts and crafts beaten rectangular beaten copper dish.
0:19:38 > 0:19:43There it is, several bids, they're all on the book and I'm bid ?75.
0:19:43 > 0:19:48Against you all at 75, 80, five, 90, five.
0:19:48 > 0:19:51At 95, then. At ?95.
0:19:52 > 0:19:54Any more in the room at 95?
0:19:55 > 0:19:57Sell it, then, at 95.
0:19:58 > 0:20:01That was it, short and sweet. That was tremendous.
0:20:01 > 0:20:03The hammer's gone down, ?95.
0:20:03 > 0:20:04Well, it wasn't signed or anything, Paul,
0:20:04 > 0:20:08but I still think there might have been a bit of room in that.
0:20:08 > 0:20:10Well, we're happy, aren't we? We are, yes.
0:20:10 > 0:20:13And it's all going to a good cause and that's the main thing.
0:20:13 > 0:20:17And do keep bringing more things in, won't you, if you find them?
0:20:17 > 0:20:19Put them into auction.
0:20:19 > 0:20:22Well, that concludes our first visit to the auction today.
0:20:22 > 0:20:25Now, while we were filming in the area,
0:20:25 > 0:20:29I got a lesson in how to capture its natural beauty with the click of a button.
0:20:36 > 0:20:40Of all the crafts and artistic pursuits that we see on the show,
0:20:40 > 0:20:43photography is perhaps the one we are all most familiar with and,
0:20:43 > 0:20:46let's face it, we all love looking at glossy images in magazines.
0:20:46 > 0:20:48For nearly 200 years,
0:20:48 > 0:20:51the professionals have been earning a living from their craft
0:20:51 > 0:20:53but, today, it's the turn of the amateur,
0:20:53 > 0:20:57with subscriptions to magazines and photography websites increasing all the time,
0:20:57 > 0:21:01and we all own a mobile phone with the facility to take pictures on it,
0:21:01 > 0:21:04and all of us are constantly going snap, snap, snap, snap,
0:21:04 > 0:21:06documenting our own social history.
0:21:08 > 0:21:12The first permanent photo was taken in 1825 by Joseph Niepce
0:21:12 > 0:21:15and, by partnering with Louis Daguerre,
0:21:15 > 0:21:18the earliest practical camera was invented.
0:21:18 > 0:21:22It was called the Daguerreotype and, over the next 100 years,
0:21:22 > 0:21:25experiments with process and materials
0:21:25 > 0:21:28brought photography into sharp focus.
0:21:29 > 0:21:33By the mid-20th century, people were saying 'cheese' in full colour
0:21:33 > 0:21:37and using their cameras to expose the reality of war and famine.
0:21:37 > 0:21:40And in 1988, a pivotal moment arrived
0:21:40 > 0:21:44in the form of a compact case, the first high street digital camera.
0:21:44 > 0:21:49The landscape of photography was about to change forever.
0:21:49 > 0:21:53One local man who's been riding the digital wave is Jeremy Rata.
0:21:53 > 0:21:56He's exhibited at the National Gallery
0:21:56 > 0:21:58and he's even photographed the royals.
0:21:58 > 0:22:00He travels to far-flung destinations
0:22:00 > 0:22:04and stays at home in Devon to record the landscape in all its glory,
0:22:04 > 0:22:08and that landscape is available to all of us.
0:22:10 > 0:22:13Jeremy, just about to ruin your shot! Hi there. Hi, Paul.
0:22:13 > 0:22:16Thanks for meeting up with me today, and what a perfect day as well.
0:22:16 > 0:22:19The weather's kind to us. We'll have a good lesson later on.
0:22:19 > 0:22:21What makes a good photograph?
0:22:21 > 0:22:24I mean, we all take holiday snaps and, sometimes, they're incredible,
0:22:24 > 0:22:26but it's fluke.
0:22:26 > 0:22:29It has to have some kind of message or meaning, in my book.
0:22:29 > 0:22:33It's got to be perfectly composed, it's got to be at the moment.
0:22:33 > 0:22:36The timing has to be fantastic, lights, all this kind of thing,
0:22:36 > 0:22:39light being possibly the most important of all. Mm.
0:22:39 > 0:22:42Let's take today for instance. Let's just say I had a camera on me now
0:22:42 > 0:22:45and I wanted to take a shot out there as I think that's stunning.
0:22:45 > 0:22:48Would that work or is the sun in the wrong place?
0:22:48 > 0:22:51No, the sun is absolutely in the wrong place.
0:22:51 > 0:22:54Whilst that's a lovely shot, it's not a shot I would happily take.
0:22:54 > 0:22:57That river you can see there is leading nowhere and so,
0:22:57 > 0:23:00as a result, there's no story being told there.
0:23:00 > 0:23:03It's just trees, a bit of water and some sky.
0:23:03 > 0:23:06I can see where you're coming from. It's the story behind it.
0:23:06 > 0:23:07Where can we capture that?
0:23:07 > 0:23:09Yeah, just round the corner here.
0:23:09 > 0:23:12We'll go and have a look at the river leading into Totnes
0:23:12 > 0:23:14and see if we can get a picture of that. OK.
0:23:15 > 0:23:18Our Devon backdrop is the Sharpham Estate
0:23:18 > 0:23:19on the banks of the River Dart.
0:23:19 > 0:23:23Oh, gosh, I see what you mean. That's Totnes and we've got the...
0:23:23 > 0:23:26That's the River Dart, isn't it, just sort of weaving...
0:23:26 > 0:23:29Yeah, just going straight into it, and it's kind of telling a story,
0:23:29 > 0:23:32harking back to... When you look at great oil paintings,
0:23:32 > 0:23:35that has the wonderful composition that you would see in
0:23:35 > 0:23:38a Canaletto or something, doesn't it? Absolutely.
0:23:38 > 0:23:41You can imagine in the old days, when they went down there by boat -
0:23:41 > 0:23:43which is surely how they would have done -
0:23:43 > 0:23:46they'd turn that corner and see this beautiful town in front of them,
0:23:46 > 0:23:51and suddenly the uplift in spirit - the journey's nearly done, you're nearly there.
0:23:51 > 0:23:54So what do you do? Do you get the right height, what do you do now?
0:23:54 > 0:23:55It's about composition now.
0:23:55 > 0:23:59It's a balancing act because what you don't want is too much foreground.
0:23:59 > 0:24:00OK, because it's boring.
0:24:00 > 0:24:04Exactly. So you've got to get a balance between foreground and sky.
0:24:04 > 0:24:08But also, as you can see here, we're looking slightly down on the river.
0:24:08 > 0:24:10The lower down you go, the less of the river you see.
0:24:10 > 0:24:13So you're on the...? Yeah, so it's kind of...
0:24:13 > 0:24:17I would probably go down to here, maybe even on my knees. Yeah.
0:24:17 > 0:24:18What about the trees there -
0:24:18 > 0:24:21will you use that as a border to frame the picture?
0:24:21 > 0:24:23We'll use those to frame it. It's purely composition.
0:24:23 > 0:24:26That can be done just as easily with a compact
0:24:26 > 0:24:28as it can with an expensive camera.
0:24:28 > 0:24:29OK. Snap away, then. All right.
0:24:29 > 0:24:31I've got to remember all this!
0:24:38 > 0:24:40OK, portraiture.
0:24:40 > 0:24:42Yes. Taking pictures of people's faces,
0:24:42 > 0:24:46which is quite important, really, cos that's what we all love to do.
0:24:46 > 0:24:51Most people don't want to have their photograph taken. Secretly, they do.
0:24:51 > 0:24:54But there's something about it that they feel uncomfortable or awkward,
0:24:54 > 0:24:57so the best thing you can do, when taking a portrait,
0:24:57 > 0:24:59is set yourself up,
0:24:59 > 0:25:02make sure you know what you want to achieve before you do it,
0:25:02 > 0:25:04and then bring them slowly and gently into it.
0:25:04 > 0:25:07Talk to them, explain it to them, and the more you can do that,
0:25:07 > 0:25:10the more they'll become subconsciously relaxed,
0:25:10 > 0:25:12and that's when you'll get the right photograph.
0:25:12 > 0:25:15OK, we have a farmer, Dave, who's agreed to have his...
0:25:15 > 0:25:18He's looking thrilled about it, too(!) He is, yeah!
0:25:18 > 0:25:22Dave, do you mind coming and helping us with Bracken? And Bracken.
0:25:22 > 0:25:24OK, these are your cows, Dave. How do you do? How are you?
0:25:24 > 0:25:25If you come with me,
0:25:25 > 0:25:29what I'm going to do is try and get you, to start off with,
0:25:29 > 0:25:32stood up here and get the cows to come round if we can, with Bracken.
0:25:32 > 0:25:36Bracken! And, at some stage, just to get the sun balanced with you,
0:25:36 > 0:25:39I might just pop a light over your head. OK. Got it? Right.
0:25:39 > 0:25:41You get going. Come on!
0:25:41 > 0:25:44Come on, come on, come on. Come on!
0:25:45 > 0:25:49Poor old Dave! He's got some legwork now to do. Yeah.
0:25:49 > 0:25:52What they say is, "Never work with animals"!
0:25:52 > 0:25:56Bracken's managed to turn the cows around. Brilliant. Mind you, if...
0:25:56 > 0:26:00That's quite an impressive sight, isn't it? That really is.
0:26:02 > 0:26:06Bracken! Gosh, you can see how quickly you have to work, don't you?
0:26:06 > 0:26:07Look straight at me.
0:26:07 > 0:26:11Jeremy's got an assistant who's just bouncing the light on Dave's face,
0:26:11 > 0:26:15which you could do with a built-in flash, if you want, on a camera.
0:26:15 > 0:26:17Brilliant. Really love that.
0:26:21 > 0:26:24Right, taking all that on board - there's a lot to remember -
0:26:24 > 0:26:26Jeremy has lent me one of his cameras.
0:26:26 > 0:26:29It's got a standard zoom lens. I've set it on automatic,
0:26:29 > 0:26:32so the camera's going to do all the work for me.
0:26:32 > 0:26:36I can now focus on my composition, subject matter and the right light.
0:26:36 > 0:26:39I'm going to start with portraiture and then get onto
0:26:39 > 0:26:43the more difficult subject of landscape photography after this.
0:26:43 > 0:26:47Let's go and find some members of the general public and snap away.
0:26:55 > 0:26:57Right, Jake, here we go.
0:26:58 > 0:27:00So far, so good.
0:27:05 > 0:27:06Look at me.
0:27:07 > 0:27:10Yes, thank you very much.
0:27:10 > 0:27:11Thank you!
0:27:15 > 0:27:20I'm happy with that. Let's go and see what Jeremy thinks of these.
0:27:22 > 0:27:25Right, Jeremy, thanks for the use of the camera.
0:27:25 > 0:27:28I know you've downloaded my photographs onto your laptop.
0:27:28 > 0:27:32So now is the moment we can reveal how bad they are.
0:27:32 > 0:27:34This first one we're looking at, the lady with the hydrangea -
0:27:34 > 0:27:38it's absolutely a spot-on photograph. It captures everything you need.
0:27:38 > 0:27:40It's got humour in it, she's clearly relaxed,
0:27:40 > 0:27:44she's got a slight smile on her face. She's got an interesting face.
0:27:44 > 0:27:45You've picked the right subject,
0:27:45 > 0:27:49haven't cluttered it up in the background by something too distracting.
0:27:49 > 0:27:52That is as good a photograph as you'll take in that situation.
0:27:52 > 0:27:55It's a really, really good photograph. Oh, thank you.
0:27:55 > 0:27:58Then you did this. Oh, yes, the chap with the raspberries.
0:27:58 > 0:28:01Now, you've turned that into black and white. I have.
0:28:01 > 0:28:02Why did you do that?
0:28:02 > 0:28:04If I'd left that in colour, your eyes would have been
0:28:04 > 0:28:07immediately drawn to the colour of the raspberries.
0:28:07 > 0:28:09Cos they're bright red at the bottom, you just look at them.
0:28:09 > 0:28:12Now you're looking at him, and that is a timeless photograph.
0:28:12 > 0:28:16Can we have a look at your landscapes and not mine because...
0:28:16 > 0:28:18We can. Mine were awful, mine were awful!
0:28:18 > 0:28:20OK. Well, your landscape wasn't your best. No.
0:28:20 > 0:28:22And the reason I say it's not your best...
0:28:22 > 0:28:25There's nothing wrong with it at all, technically it's fine,
0:28:25 > 0:28:27but you've got a white sky, which is a bit dull.
0:28:27 > 0:28:31It's a bit flat as an image. There's some good points you've got.
0:28:31 > 0:28:34You've got the slopes going down, so you can tell that it is sloped.
0:28:34 > 0:28:37There's good points to it but it certainly isn't your best. No, OK.
0:28:37 > 0:28:40Well, thank you very much for spending a bit of time with me
0:28:40 > 0:28:43and sharing some of your skills as well. I WILL remember it.
0:28:43 > 0:28:46I'll focus on my weak points and do some more landscapes,
0:28:46 > 0:28:48so thank you very much.
0:28:48 > 0:28:50It's the hardest one. Thank you very much.
0:28:52 > 0:28:55Well, there you are, look - all printed and framed up.
0:28:55 > 0:28:58I'm really happy with these. I like the portrait as well.
0:28:58 > 0:29:01I think I've captured a slice of Devon life with this one,
0:29:01 > 0:29:03and that's what it's all about.
0:29:03 > 0:29:07A camera isn't just for Christmas or for holiday snaps,
0:29:07 > 0:29:10it's a craft that you can enjoy and develop,
0:29:10 > 0:29:11so go on, give it a go!
0:29:17 > 0:29:20Welcome back to our valuation day at Exeter Cathedral.
0:29:20 > 0:29:24Not only have we taken over the inside of the cathedral,
0:29:24 > 0:29:27but it looks like hundreds of people have turned up outside
0:29:27 > 0:29:29to enjoy the sunshine and the fun.
0:29:31 > 0:29:33ALL: We love Flog It!
0:29:34 > 0:29:38Liz, it's nearly time for afternoon tea, isn't it? It certainly is.
0:29:38 > 0:29:43And wouldn't we look elegant having tea out of a tea set like this? Yes.
0:29:43 > 0:29:46It's wonderful, isn't it? It certainly is, yes.
0:29:46 > 0:29:49Now, how long have you had it? Oh, probably about 50 years. Wow!
0:29:49 > 0:29:53Was it inherited? Yes. Grandmother. Grandmother. Mm-hmm.
0:29:53 > 0:29:55I'm really excited about this
0:29:55 > 0:30:01because it's everything you want to see in a William IV tea set. Right.
0:30:01 > 0:30:05Because the style just shouts out William IV.
0:30:05 > 0:30:09You've got this lovely sort of low, melon-shaped body.
0:30:10 > 0:30:13With its wonderful casting, and its cast feet,
0:30:13 > 0:30:15with the applied sort of stylised leaves,
0:30:15 > 0:30:18this lovely finial here, which is cast separately,
0:30:18 > 0:30:22which is in the form of a sort of melon nesting on its leaves.
0:30:22 > 0:30:25The handles are nice and high and scrolled,
0:30:25 > 0:30:27you've got detailing on the spouts,
0:30:27 > 0:30:32and a lovely scalloped form on the sugar bowl and the cream jug.
0:30:32 > 0:30:33Gilded inside, of course,
0:30:33 > 0:30:39to help protect the silver from the acids in the sugar and milk.
0:30:39 > 0:30:43It's a jolly big sugar bowl, that, isn't it? I think so. It really is.
0:30:43 > 0:30:46You need jolly big tongs to go with it. You do.
0:30:46 > 0:30:48Well, of course, in those days,
0:30:48 > 0:30:50sugar wasn't quite as refined as we know it today,
0:30:50 > 0:30:54so they often had big lumps in there that they chiselled away,
0:30:54 > 0:30:57which is why it's rather on the large side.
0:30:57 > 0:30:59The other exciting thing about it,
0:30:59 > 0:31:01when you look at something like this,
0:31:01 > 0:31:05you just know it's going to be made by a good maker. Yes.
0:31:05 > 0:31:09And if I turn it upside down, we've got a full set of hallmarks,
0:31:09 > 0:31:12which dates to 1834. Yes.
0:31:12 > 0:31:16And you've got the makers here, which are Messrs Bahner Brothers.
0:31:16 > 0:31:20They are a very well-known maker of very good quality silverware.
0:31:20 > 0:31:23Mm-hmm. And it's just a lovely thing.
0:31:23 > 0:31:27I wish we had some scones and cucumber sandwiches to go with it.
0:31:27 > 0:31:29It would be very nice indeed, yes.
0:31:29 > 0:31:32I'd like to put an estimate of ?800-?1,200 on it... Yes.
0:31:32 > 0:31:35..with an 800 fixed reserve. Yes, that sounds fair.
0:31:35 > 0:31:38To protect it, which I think sounds fair. Yes.
0:31:38 > 0:31:42And I just hope, at the sale room, people see the quality I see in it.
0:31:42 > 0:31:45Yes. Because it is beautiful. Yes, it certainly is.
0:31:45 > 0:31:49And it might pour us a jolly good price on the day.
0:31:49 > 0:31:53That would be very nice. I'll look forward to seeing it at the auction.
0:31:53 > 0:31:55Thank you very much indeed. You're welcome, Liz.
0:31:56 > 0:31:59It's been a real privilege to spend the day amongst
0:31:59 > 0:32:02the stone and glass of Exeter Cathedral,
0:32:02 > 0:32:06a building that permeates the stories of years gone by,
0:32:06 > 0:32:09and I met a man who's well versed in its past and its future.
0:32:09 > 0:32:12Jonathan, you're the Dean here at the cathedral.
0:32:12 > 0:32:15Thank you very much for letting us... It's a great pleasure.
0:32:15 > 0:32:16..fill the house today.
0:32:16 > 0:32:19I know everybody's enjoying the atmosphere and soaking it up.
0:32:19 > 0:32:22You have two wonderful items related to the church.
0:32:22 > 0:32:25One is John Bishop's ring, which dates to the mid 1300s.
0:32:25 > 0:32:28Mm-hm. Can you tell me a little bit about this ring?
0:32:28 > 0:32:30Well, Bishop John Grandisson
0:32:30 > 0:32:34was one of the great figures in the history of Exeter Cathedral,
0:32:34 > 0:32:38and this ring was found in the mortuary chapel in the 1950s
0:32:38 > 0:32:42when they did some restoration work in there,
0:32:42 > 0:32:46but it's in fabulous condition for something
0:32:46 > 0:32:49that was made, probably, in about 1350.
0:32:49 > 0:32:51And very precious to the cathedral. Indeed.
0:32:51 > 0:32:53And something else you brought along -
0:32:53 > 0:32:56it's a roll of parchment which is a bill of quantities.
0:32:56 > 0:32:59This is from 1299/1300. Which is incredible, isn't it?
0:32:59 > 0:33:00But it does give you...
0:33:00 > 0:33:03You know, we've got so many bits of stone from the Beer Quarry
0:33:03 > 0:33:07and we've got so many people on the building working and we need,
0:33:07 > 0:33:08you know, X number of whatevers.
0:33:08 > 0:33:10And this lists everything that they did.
0:33:10 > 0:33:14I mean, it's a fantastic piece. It's a great document, it really is.
0:33:14 > 0:33:16And not all of them are yet translated.
0:33:16 > 0:33:17Well, good luck with that. Thank you.
0:33:17 > 0:33:20And thank you once again. It's a great pleasure.
0:33:20 > 0:33:22There's a couple of modern additions, isn't there?
0:33:22 > 0:33:25There are. Which I've just noticed, looking over your shoulder.
0:33:25 > 0:33:28Yes, they look a bit fuzzy from here cos we need 3-D glasses.
0:33:28 > 0:33:31Oh, is that what they are? It's a 3D installation.
0:33:31 > 0:33:34These are all bits of carving from within the cathedral
0:33:34 > 0:33:35or on some of the monuments,
0:33:35 > 0:33:38and it's part of celebrating 900 years of this building.
0:33:38 > 0:33:41It's quite astonishing to think that we're here,
0:33:41 > 0:33:44walking around a cathedral built in the 12th century,
0:33:44 > 0:33:47walking around with 3-D glasses. It's fantastic.
0:33:49 > 0:33:52Back at the tables, Mark's found something to make his eyes light up.
0:33:54 > 0:33:56Hello, Lorraine. Hello, Mark.
0:33:56 > 0:33:58Now, are you an Exeter girl? Sort of. Sort of.
0:33:58 > 0:34:01So you've been to the cathedral many times? Oh, yes. Yes.
0:34:01 > 0:34:03Beautiful spot, isn't it?
0:34:03 > 0:34:05I went to a convent school in Exeter
0:34:05 > 0:34:07so we often used to come to the cathedral.
0:34:07 > 0:34:08Oh, I'm sure you did, yes.
0:34:08 > 0:34:11Now, you've brought a bit of gold in to show us today. I have, yes.
0:34:11 > 0:34:14Is it family pieces? It's pieces that came from my godmother.
0:34:14 > 0:34:17But I don't know anything of the history, other than that,
0:34:17 > 0:34:20except that one wedding ring was hers - the small one -
0:34:20 > 0:34:22and the larger one was her mother's.
0:34:22 > 0:34:26Well, Lorraine, I must admit, you're not short of a ring or two, are you?
0:34:26 > 0:34:28No, no. I mean, let's have a look.
0:34:28 > 0:34:30I mean, you're like a Christmas tree, dear!
0:34:30 > 0:34:32Oh, I don't know about that!
0:34:32 > 0:34:33THEY LAUGH
0:34:33 > 0:34:37The interesting thing with wedding rings, I think, up until a certain point,
0:34:37 > 0:34:41people used to buy second-hand wedding rings, particularly back,
0:34:41 > 0:34:44you know, before the Second World War where money was a lot tighter.
0:34:44 > 0:34:46That's it. Yes, yes.
0:34:46 > 0:34:49And people would often buy a second-hand wedding ring.
0:34:49 > 0:34:51It's sad, really, isn't it, to think...
0:34:51 > 0:34:54I mean, these pieces have been around for quite a long time. Yes.
0:34:54 > 0:34:58But they will probably end up being melted down... I expect so, yes.
0:34:58 > 0:35:00..to be made into something new. Yes.
0:35:00 > 0:35:04So, really, these are quite simple things to value.
0:35:04 > 0:35:07We've got two 22 carat gold wedding bands
0:35:07 > 0:35:12and a nine carat gold hollow link bracelet with a padlock.
0:35:12 > 0:35:14Yes. Is it because of the nine carat
0:35:14 > 0:35:17and the 22 that they're different colours?
0:35:17 > 0:35:19Yes, it is. It is a slightly rose gold as well
0:35:19 > 0:35:22because there's been a little bit of copper put into it... Oh!
0:35:22 > 0:35:24..to make it a rose gold. Yes.
0:35:24 > 0:35:27And nine carat, obviously, has less gold content. Yes, yes.
0:35:27 > 0:35:3122 carat is almost pure gold. Yes, I understand that.
0:35:31 > 0:35:35So you've got a much nicer, mellower yellow colour to that. Yes, yes.
0:35:35 > 0:35:39But I think we'd probably suggest putting it in as a little group lot.
0:35:39 > 0:35:44Yes. And we'd be looking at an estimate of something like ?300-?400.
0:35:44 > 0:35:49Oh, that sounds... Is that all right with you? Yes, that sounds good.
0:35:49 > 0:35:53We want to fix a reserve and I would probably suggest the reserve at 280.
0:35:53 > 0:35:56Yes. Fixed. Yes. So we won't sell it below that.
0:35:56 > 0:35:57Below 200, no.
0:35:57 > 0:36:00A lot of it will vary, of course, on the price of gold on the day.
0:36:00 > 0:36:01That's it, yes.
0:36:01 > 0:36:02Will you be sad to see them go?
0:36:02 > 0:36:05They've been in your possession for a while.
0:36:05 > 0:36:07They've been in a drawer and I don't look at them much,
0:36:07 > 0:36:09so I'll try to get the money.
0:36:09 > 0:36:11It's not like you can put them on a wall!
0:36:11 > 0:36:12Not really, no. You can't display them.
0:36:12 > 0:36:15You can put the money into something you want,
0:36:15 > 0:36:17a picture or a piece of porcelain or something.
0:36:17 > 0:36:19Thank you very much for coming to see us.
0:36:19 > 0:36:22Thank you very much. And we'll meet again. Yes.
0:36:23 > 0:36:26Step outside and just look what Caroline's found,
0:36:26 > 0:36:29but surely they won't fit their owner.
0:36:30 > 0:36:34Adrian, tell me, how does a man like you
0:36:34 > 0:36:38end up with five pairs of fabulous ladies' shoes?
0:36:38 > 0:36:41Well, my girlfriend Heather's at work today,
0:36:41 > 0:36:46so she told me to bring them in and see if they were worth anything.
0:36:46 > 0:36:47Well, I'm so glad you have.
0:36:47 > 0:36:49They're absolutely beautiful
0:36:49 > 0:36:53and they've caused such a stir with all the ladies around today.
0:36:54 > 0:36:57They actually come from New York,
0:36:57 > 0:37:01from a fabulous department store, Bergdorf Goodman,
0:37:01 > 0:37:05and they're all from the same store.
0:37:05 > 0:37:08They're beautifully made with leather, satin,
0:37:08 > 0:37:10little rhinestone buckles.
0:37:10 > 0:37:13They really are fabulous quality.
0:37:13 > 0:37:15And this - excuse the pun -
0:37:15 > 0:37:19but it would have to be a very well-heeled lady that bought these.
0:37:19 > 0:37:23They're not for your average lady at all.
0:37:23 > 0:37:28They're really beautiful, and they date from the 1920s, 1930s,
0:37:28 > 0:37:32and as the hemlines got shorter, from the Edwardian times,
0:37:32 > 0:37:35the length of ladies' skirts rose.
0:37:35 > 0:37:38Therefore, their ankles and feet were on show,
0:37:38 > 0:37:42so they needed to buy these beautiful shoes, and they're tiny.
0:37:42 > 0:37:45You can't help but notice how petite they are.
0:37:45 > 0:37:49They're very narrow, they're about a size 3 or 4, I would think,
0:37:49 > 0:37:52a modern size 3 or 4, but very slim.
0:37:52 > 0:37:56Price-wise, I would think, to sell them...
0:37:56 > 0:38:00Again, it's better to keep them as a collection
0:38:00 > 0:38:05and I would put an estimate of between
0:38:05 > 0:38:08150 and 250 for the collection,
0:38:08 > 0:38:13and if we put a fixed reserve of ?150, would you be happy with that?
0:38:13 > 0:38:15Yes, I think that'd be OK, yes.
0:38:15 > 0:38:18So, fingers crossed, and I'm so delighted you've brought them.
0:38:18 > 0:38:22I love them! And do thank Heather very much. I will do.
0:38:22 > 0:38:24Well, that was our last valuation.
0:38:24 > 0:38:27Our experts have now made their final choices, so it's time
0:38:27 > 0:38:31to say farewell to Exeter Cathedral, our marvellous backdrop for today.
0:38:31 > 0:38:34Everybody has thoroughly enjoyed themselves
0:38:34 > 0:38:36and we've had such a diverse mix of items,
0:38:36 > 0:38:39and I can't wait to put this next lot under the hammer.
0:38:39 > 0:38:42Here's a quick recap of what we're taking with us.
0:38:42 > 0:38:45You get a lot of sugar bowl for your money with this tea set
0:38:45 > 0:38:47and it's of the finest quality.
0:38:47 > 0:38:49Will it reach the top end of the estimate?
0:38:53 > 0:38:56Vintage fashion is a hot topic at auction
0:38:56 > 0:38:59but will anybody be interested in shoes so small?
0:39:03 > 0:39:06It's all about the price of gold for this lot
0:39:06 > 0:39:10but will bullion be high or low on the day?
0:39:10 > 0:39:12Find out in a few moments' time.
0:39:12 > 0:39:14Back in the auction room,
0:39:14 > 0:39:18antiques and collectables are flying out of the door
0:39:18 > 0:39:22but will the bidders be interested in the Flog It! lot?
0:39:22 > 0:39:25Lorraine, are you here testing out the gold market? Well, sort of.
0:39:25 > 0:39:29Sort of, yeah! It's quite buoyant right now. Very.
0:39:29 > 0:39:32Gold is holding its own, silver has dropped dramatically. Has it?
0:39:32 > 0:39:34Over the last year, yeah.
0:39:34 > 0:39:37It's dropped from ?30 an ounce right down to ?18 an ounce. Mm.
0:39:37 > 0:39:40But you've got two lots of 22 carat gold and one lot of nine carat gold.
0:39:40 > 0:39:45Yes. That's right, so it just depends on the gold price today, doesn't it?
0:39:45 > 0:39:47Yes. Right, OK, let's get on with this, shall we?
0:39:47 > 0:39:49Let's see what this makes. Here we go.
0:39:49 > 0:39:55On next to lot 232 - two 22 carat gold wedding bands
0:39:55 > 0:39:57and some other gold bits and pieces there.
0:39:57 > 0:40:01And several bids, I'm bid ?390.
0:40:01 > 0:40:02Wow! Ooh!
0:40:03 > 0:40:05Wow! 400, and 10, 420,
0:40:05 > 0:40:07430, 440.
0:40:07 > 0:40:10At ?440 in the room.
0:40:11 > 0:40:15At 440? Finished, then, at ?440.
0:40:15 > 0:40:18That's a fantastic result, isn't it?
0:40:18 > 0:40:21It is, isn't it? BOTH: 440! Pow!
0:40:21 > 0:40:23That's a lot to go towards the gardening.
0:40:23 > 0:40:26It is, yes. You can spend that down the garden centre.
0:40:26 > 0:40:29I like flower arranging, so I shall grow some cut flowers as well.
0:40:29 > 0:40:30Good for you.
0:40:31 > 0:40:35The precious metal continues to climb above our estimates
0:40:35 > 0:40:37and it looks pretty good on shoes, too.
0:40:38 > 0:40:42Going under the hammer right now - five pairs of 1930s ladies' shoes,
0:40:42 > 0:40:44belonging to Heather, I should say, not Adrian,
0:40:44 > 0:40:46although we saw you at the valuation day. Yes.
0:40:46 > 0:40:48But they are your shoes. They're mine, yeah.
0:40:48 > 0:40:51And you bought these all at once. I did, yeah.
0:40:51 > 0:40:53Even though they weren't your size. Yes.
0:40:53 > 0:40:55Because you just fell in love with them. So pretty!
0:40:55 > 0:40:58Did you put them on display at home, just to admire them?
0:40:58 > 0:41:01I did, yeah. I had them in a cabinet. They look smashing.
0:41:01 > 0:41:04Bergdorf Goodman of New York, purveyors of quality.
0:41:04 > 0:41:06Let's put them to the test and, hopefully,
0:41:06 > 0:41:08there's some textile collectors here. You never know.
0:41:08 > 0:41:10We're in good company -
0:41:10 > 0:41:12there's a lot of vintage clothing here, so fingers crossed.
0:41:12 > 0:41:15This is it, here we go. Let's hope they run.
0:41:15 > 0:41:20Lot 352 - it's a pair of evening shoes, there's five pairs in total.
0:41:20 > 0:41:24There they are, and ?100 for those. At 110, 120.
0:41:24 > 0:41:26At ?120, 30 if you want them.
0:41:26 > 0:41:30At 120. 130, 140.
0:41:30 > 0:41:32At 140.
0:41:32 > 0:41:33150 now.
0:41:33 > 0:41:37At ?150. Against the room at 150.
0:41:37 > 0:41:41At ?150, then. Quite sure, everybody?
0:41:41 > 0:41:42At ?150.
0:41:44 > 0:41:47Sold to somebody on the phone. They're gone! Bang on the reserve.
0:41:47 > 0:41:51Bang on the reserve. You feel a bit sad, don't you, actually?
0:41:51 > 0:41:52I do, I do! I can see that.
0:41:52 > 0:41:55It's the story of us, really, those shoes, as well.
0:41:55 > 0:41:57That's how you met, is it?
0:41:57 > 0:42:00Well, we started collecting together over the years
0:42:00 > 0:42:02and then Heather fell in love with the shoes.
0:42:02 > 0:42:06I collected Bakelite radios but the pact was if the shoes go,
0:42:06 > 0:42:09then my Bakelite radios will go in the future. Ah.
0:42:09 > 0:42:14Maybe we'll see Adrian and his radios at our next valuation day.
0:42:14 > 0:42:18Going under the hammer right now, we have a whole lot of silver,
0:42:18 > 0:42:2146 ounces of it - William IV's tea set - and it belongs to Liz,
0:42:21 > 0:42:24who is selling the family silver, aren't you? I certainly am.
0:42:24 > 0:42:27Been in the family a long time, 50-odd years. Yes, 50 years.
0:42:27 > 0:42:29Good luck. Thank you very much.
0:42:29 > 0:42:31It's going under the hammer right now,
0:42:31 > 0:42:33let's find out what the bidders in Plymouth think of this.
0:42:33 > 0:42:35Next lot is lot 97.
0:42:35 > 0:42:38It's a William IV three-piece tea service by Barnards.
0:42:38 > 0:42:40Several bids for it.
0:42:40 > 0:42:42Several bids - that's good. I'm bid 850.
0:42:42 > 0:42:44Oh, straight to 850. 850?
0:42:44 > 0:42:48At ?850, 900, and 50, 1,000.
0:42:48 > 0:42:49Oh, wonderful!
0:42:50 > 0:42:52Come on, a bit more, though.
0:42:52 > 0:42:54At ?1,000. Any more in the room at 1,000?
0:42:54 > 0:42:57At 1,000, then. Bidding or no?
0:42:57 > 0:42:59At ?1,000.
0:42:59 > 0:43:02Well, that's it. All done, then, at ?1,000.
0:43:02 > 0:43:05And 50. Oh, wow! Ooh! Great!
0:43:07 > 0:43:10At ?1,100. Phone line, straight in.
0:43:10 > 0:43:12At ?1,100, I'll sell it.
0:43:12 > 0:43:14?1,100.
0:43:14 > 0:43:15BANGS GAVEL
0:43:15 > 0:43:19That was a whopping great sold sound, wasn't it? That was cracking!
0:43:19 > 0:43:20That was wonderful.
0:43:20 > 0:43:21Happy with that? Very happy. Good.
0:43:21 > 0:43:25Is this is your first auction? It is. What do you think?
0:43:25 > 0:43:27It won't be my last. It won't be your last, no!
0:43:27 > 0:43:30You've got the auction bug. And hopefully, you'll get that, too.
0:43:30 > 0:43:32What a way to end the show! Thank you so much.
0:43:32 > 0:43:34Liz is happy, Mark's happy, I'm happy.
0:43:34 > 0:43:37I hope you've enjoyed today's show as well.
0:43:37 > 0:43:40If you've got anything like that, we would love to sell it for you,
0:43:40 > 0:43:43but until then, from Plymouth, it's goodbye from all of us.