Guildford 9 Flog It!

I'm here in West Sussex at a site dedicated to the

conservation of historic buildings and later on in the programme,

I'll be getting hands-on restoring an 18th century house.

Now, the bad news is it involves animal dung.

So I better find some gloves.

Welcome to "Flog It!"

We'll be back in Sussex later on in the show.

Today's valuations are taking place in the county town of Surrey,

at Guildford Cathedral.

It's one of only a very few cathedrals

built in the 20th century.

Construction started in the 1930s

and the building eventually opened its doors in 1961.

Some critics believed that building the cathedral away from the

town centre, on the top of a hill,

would be a crazy idea

but soon they were proved wrong and the cathedral attracted

large congregations and today it's still very much

at the heart of the community here.

And hundreds of people have turned up,

clutching bags and boxes full of antiques and collectibles.

And there's one question on your lips, which is?

CROWD: What's it worth?

And they're going to find out and so are you.

And the two people with the answer to that question are the

"Flog It!" experts and today they are the devilish Mark Stacey

and the angelic Catherine Southon.

Competition between them will be high, or should I say low?

-Oh, that's pathetic.

-There we are.

-You've got to give it a bit of oomph.

-Well, you have a go.

-All right, go on, then. I don't want to break it.

Come on. Oh, I'd love to see you fall over, Catherine Southon.

Oh!

That was awful, Catherine.

So as the people of Guildford make their way inside,

our experts prepare for a busy day of valuations.

And here's what's coming up on today's programme.

See if you can guess which of these items will do best

when they go under the hammer later on in the show.

Will it be this wooden shoe-shaped snuff holder?

Or this Moorcroft bowl?

Or this music box?

All will be revealed later on in the show.

Well, everyone is now safely seated inside the cathedral

and this is what I love to see, hundreds of happy faces.

Are you all having a good time?

CROWD: Yes!

And they're all hoping they're one of the lucky ones who've got

something that's worth a small fortune.

They've come from miles away, hundreds of them!

Which means thousands of antiques to look at

and this is where all the action's taking place.

Look, it's lights, camera, action right here.

Let's now catch up with Catherine Southon who has spotted

a real classy gem and I love it.

Anne, this is absolutely super. I love it in every shape or form.

-It's a piece of WMF.

-Yes.

-Do you know what WMF stands for?

-Well, I can't pronounce it.

-Oh, go on.

-It's always a giggle when we try.

-No!

You'd have to help me.

Well, it's something along the lines of

Wuttembergische Metallwarenfabrik, but don't quote me on that.

Anyway, we've got something here which is rather charming.

-It's something like a visitor's card tray.

-A butler's tray, maybe.

And it's stamped right on the back, quite clearly, WMF.

-It's got the number here, 369, now that would be the shape.

-OK.

But what I love about it is the little doggie, the little dachshund.

And I love the way he's looking down at the lizard crawling across.

It's just divine.

Where did you get it from, Anne?

Well, I'm not exactly sure but there is a German connection.

My brother lived in Germany

and I assume he bought it in an antiques shop out there.

-Yeah.

-And gave it to my mother.

-Right.

And I've...then passed to my sister and she then passed it onto me

because she wasn't all that keen on it.

So, you think that your brother probably bought it in Germany?

In Germany, yes.

-Well, it's 1900 in date.

-Is it?

They made pieces in pewter and silver plate.

This is definitely silver plate.

The very early pieces had like an ostrich stamp on them

but this is clearly marked with the initials WMF.

But I really think it's around 1900...

-Oh, I thought it would be later...

-..in date.

-..than that.

I mean, it is quite typical of WMF because of the style of the time.

The Art Nouveau, the Jugendstil, these kind of lines

and these curves.

But it's just the lizard for me.

The way he's looking down, it's just really, really nice.

A really special thing.

And I think today,

I could see antique dealers fighting for this at an auction.

Oh, that would be good.

And perhaps putting that in their shop,

just to put their business cards on. I mean, I'd love to have that.

If I was a dealer, I would love to put...

-That's good.

-Display it in my shop.

-Do you have any idea of value on this?

-Not really.

-I'm going to put £100 to £150 on.

-That's good.

-Is that good?

-Yes.

Reserve of £90?

£90 to £100?

-To £100?

-Yes.

-Oh, all right, then. You want £100 fixed on it?

That would be nice.

OK, as it's a family piece, we'll put £100 fixed, £100 to £150.

-Lovely.

-Coming along to the auction?

-Of course.

Let's watch it fly.

Yes, I've always wanted to go to an auction so...that would be great.

-It'll be great fun. Thanks very much, Anne.

-OK.

-Thank you.

So, let's hope Anne's first trip to an auction room is a successful one.

But not everyone who comes along is laden with antiques.

-What have you brought in today?

-Ourselves.

-Yourselves!

OK, are you after a valuation?

Back to Mark, who's also talking to some glamorous ladies.

-Hello, Shirley, Susan.

-Hello.

-Hello there.

Thank you so much for coming in.

Looking very glamorous there in your outfits and the necklace.

-Thank you very much.

-Now, tell me about these watercolours.

These watercolours, I bought them about...nearly 40 years ago,

off of a friend and I've had them ever since.

And you've liked them all that time?

-My husband loved them.

-Did he?

-Mm-hm.

And why have you decided now to bring them along to sell?

Well, I've got some other pictures and we're changing all

the decoration and things like that

so we thought we'd just bring these along.

-You've got too many pictures really, haven't you?

-Well, quite a lot!

-Well, they're by quite a well-known artist. F J Aldridge.

-I never knew.

Yes, he specialised in sort of marine scapes.

Obviously these are Dutch marine scapes and you can see

the windmill and the Dutch type houses in the background there.

-Often painted in pairs.

-Right.

He died in 1933, born in 1850 and actually

-he lived just up the road from where I live.

-Oh, really?

I live in Brighton, he lived in Worthing.

-That's how you knew right away?

-Well, I've had his work before.

-Oh, I see.

-Sneakily, I knew that.

-Right.

And they're in quite nice frames actually.

They suit the picture very well.

Yes, they've been in those frames all the time I've had them.

They probably need rebacking. You see where the backing has faded.

Yes, I did.

And there's been a little, slight bit of fading around the pictures.

I think they're charming, I think

-they're very pleasant looking pictures.

-Yes.

The only downside, I suppose,

-is the market is a bit more realistic for these.

-Right, OK.

Some people might consider them a little bit old-fashioned these days.

Right, OK.

I mean, although they're beautifully painted, and also I think the

younger market, they're looking for things with a bit more cutting edge,

-a little bit cleaner line.

-Yes, yes.

Susan, what do you think about them?

I mean, I do think they're lovely and my dad always used to say,

"Oh, I think these will be worth something".

But I haven't got the room for them.

I mean, houses are getting smaller and...

-Have you thought about the value?

-No, that's why I came here.

And do you remember what you paid for them, then? All those years ago?

-About £50.

-£50 for the pair? Well, that's not bad, is it, really?

I suspect actually that ten years or

so ago they would been worth a little bit more than they are now.

Right.

I mean, as a pair of pictures now,

we would estimate them at something like £200 to £300.

-Right.

-Something in that order.

-Yes.

-We'd have to think of a reserve, of course.

-OK.

Because we wouldn't want to put them into auction without a reserve.

-No, no. OK.

-I would suggest you to be a bit on the realistic side.

-OK.

And maybe put a fixed reserve of £150.

-So we don't sell them below that figure.

-OK.

-Yes.

-How would you feel about?

-I'd feel fine, yes, that's OK.

-Is that all right?

-Yes, fine.

And you're not going to put the money to more paintings, are you?

-No more paintings!

-No!

-No more paintings.

-You don't want any more paintings at home, do you?

-Definitely not.

Well, that's lovely.

We'll sail along to the auction together

and let's hope we get a good result.

-Thank you.

-Thank you very much indeed.

Let's go back to Catherine Southon who's up on high

for her next valuation.

Elizabeth, we come to the cathedral to hear the sounds of the organ

and the sounds of the choir,

but also to hear the sounds of this beautiful musical box.

As soon as I just see the lid of it,

I know that that's actually a special musical box there.

The detail of that marquetry is something very special.

It's not just a bog-standard boxwood stringing or a transfer on the top.

The marquetry is superb.

Where did you get this little gem from?

I had another musical box and it needed some work doing to it

and I couldn't afford to get it done and somebody said

"Well, I'll swap you for the old musical box for this musical box."

So I have this one but it doesn't have the sentimental value for me.

-So that's why I'm...

-Right.

-..going to let it go.

But it's very expensive to have something like that restored.

-Well, can we take a little peek inside?

-Please do.

Well, it is a cylinder musical box and what we see straightaway

when we open the lid is the

magical name of Nicole Freres,

who was like the Rolls-Royce of musical boxes and it tells us

Nicole Freres, Geneva.

This was made in Switzerland.

Now, there's two different types of cylinder boxes which is

essentially what this is, a cylinder musical box.

There's the ones that are made with a lever wind

and they are late 19th century.

They're about 1880s,

1890s and then there's the earlier ones which are worked with a key.

Now this one is worked with a key.

So that means we can date it to about 1860, 1865.

You would put this key in the side here.

And turn that round and that is how it would work.

Now this one is in fantastic condition, it really is

because quite often these teeth get damaged

and they need to be replaced and as you say,

they're expensive to do, but it's just absolutely pristine.

Yes, I mean, when you say the pins got damaged,

-I think the other one was a bit squeaky in places...

-Was it?

..so that would indicate that the pins had been broken.

-Do you have any idea on value?

-No, not really, no.

The market was stronger a while ago but now

I would say a very conservative price would be £700 to £1,000.

You might get a bit more, which would be nice.

I think we should fix the reserve of £600, how does that sound to you?

Yes, that's fine, thank you.

But really, we have to have a listen, don't we?

-Oh, it's beautiful.

-We have to see what this really sounds like.

So, I'm going to give it a wind up.

MUSIC BOX PLAYS

Away from the valuation tables, I've found a very different piece of art.

Although this cathedral is relatively young,

it's still full of historic and interesting items.

Take this carpet, for instance,

which lies between the oak altar rails and the altar itself.

It depicts two angels supporting the diocese of Guildford.

And there above here, a stag, which represents Stag Hill,

the site which this cathedral's built on.

Not only is this carpet famous for its symbolism

but also for its historic content.

It was made by the world famous Wilton factory in 1957

and it's believed to be the last handmade carpet they ever made.

# Not your stepping stone... #

A fascinating piece of brass work there.

Over to Catherine Southon,

who's found something that's a long way from home.

Karen, I love your silver purse.

Your Russian silver purse, I should say.

That little mark down on the bottom,

that tells us that it's a Russian silver purse.

It's so slim and elegant.

There's not a huge amount to it, but I just think it's so stylish.

Where did you get this from?

I just found it in a box in the attic when we were clearing out one day.

No idea where it came from. Must have been lurking.

-So, a family piece?

-Possibly, possibly. I don't really know.

How can something like this,

something as precious, something as beautiful, just be lurking?

I don't know. It was very grubby when I found it.

-Oh, really?

-It wasn't nice and shiny.

I never find anything lurking like this.

Silk lined, really fine quality.

So often these are frayed or dirty or damaged.

The date of this is 1900.

You can imagine this lovely slender shape, this is what I love -

a lady putting this into her bag when she goes off,

perhaps to the opera or something like that.

I mean, it's quality in every single sense.

It's not something that you would just leave in a box.

It's something you'd probably want to shout about.

I think you'd be quite proud to open it.

I love the way that it's been engraved on the outside.

Beautiful pattern here.

And you've got a rather stylish cabochon jewel there,

an amethyst jewel.

-Karen, have you ever used it?

-Never.

-No? It's not really practical, is it?

-Definitely not.

-You couldn't get your credit cards in it today, could you?

-You're right there.

And to be honest,

you couldn't get an awful lot of coinage in there, could you?

You'd probably get a few little pennies in there

and that's not going to buy you an awful lot today.

-The value of it, I would suggest, £150 to £250.

-OK.

-How does that sound to you?

-That sounds great, yes.

-Would you be happy to sell it at that price?

-Would be, yes.

-Shall we say £130 reserve?

-OK, OK.

And 150 to 250 in the estimate.

-Right.

-And see what happens.

-Yes.

-Now, I understand you can't make it to the auction?

-That's true.

-I've just booked a holiday.

-Oh, well.

-Never mind.

That's quite exciting.

I will do my very best for you

-and try and get a good price for you at the auction.

-Thank you.

-Thanks very much, Karen.

-Thank you.

-Super piece.

-Lovely, thank you.

-And it won't lurk at the auction.

-Good, I'm pleased about that.

While everyone's busy here,

I'm off to do something completely different.

The year was 1907. Edward VII was on the throne.

Number Ten was occupied

by the little-known Henry Campbell Bannerman

and the upper classes of Great Britain had a new obsession -

motorsport.

-COMMENTARY:

-'Here come the cars.

'And he wins the race!'

I'm here at what was

the world's first purpose-built motor racing circuit, Brooklands.

It opened in the very same year, 1907,

and for the next 30 years it was the venue for hundreds of races

and the track was absolutely huge - 2.75 miles in length,

100 feet in width and in sections it was banked, as you can see,

30 feet in the air to allow the drivers

to take these bends at even greater speeds.

Scary stuff.

The track's golden years were in the 1920s and '30s,

when thousands of spectators would gather to watch

the fastest cars of the day break record after record.

'The track is now home to a museum

'and I'm going to meet its director, Allan Winn.'

So, why was Brooklands built and who came up with the idea?

It was Hugh Locke King who actually owned this land,

a very wealthy landowner who was a very keen motorist himself.

He went to the Coppa Florio race in Sicily in 1905

and he found there were no British cars competing, no British drivers.

When he asked the question, it was simply that

there was nowhere in the UK

where you could legally develop and operate a fast motor car.

So, he came back with the idea if he built a test track,

the manufacturers could then develop fast cars capable of more than 20mph,

which was the national speed limit at the time, and this was

real ground-breaking stuff -

running motor racing on a closed circuit.

This was the first place in the world where it happened.

So, they had to learn everything from scratch.

And in fact, when they set up motor racing here,

because there was no role model,

they based everything on the rules of horse racing,

which is why to this day you still have a clerk of the course

in charge of a motor racing circuit

and the cars get assembled in the paddock before they go out.

-That all came direct from horse racing.

-Gosh, I never knew that.

And, indeed, before 1914,

all the drivers wore their own coloured silks.

You know, it proved to be a very inaccurate way of identifying

cars going at high speed

so they very quickly adopted big racing numbers as well.

Back in its heyday you're looking at cars going round that track,

I would say bombing around that track, at over 100mph,

no power steering, no helmets, absolutely nothing.

Dangerous stuff, surely? Lots of accidents?

There were quite a few accidents,

but over the 32 years that the track was open in total,

there were about 15 people killed at the track.

It was dangerous. It was bumpy. The cars were very fast.

This car here, for instance,

lapped at an average speed of 143mph in 1935.

-Now, that is seriously fast.

-Serious motoring.

So, if you had a big accident, you would get seriously hurt or killed

if you hit something going at that sort of speed.

But it wasn't just the men

who risked life and limb pushing the limits.

The circuit was about to play

another major part in the history of motorsport.

A group of female drivers decided they, too,

wanted a piece of the high-speed action

and the Belles of Brooklands were born.

Away from the track, the suffragette movement were campaigning

for the right for women to vote, while here at Brooklands,

the female drivers were finding it hard

to be accepted behind the steering wheel.

One male official commented, "Well, you don't see lady jockeys

"so it would be wrong to see a lady behind a steering wheel."

But despite all this, they carried on competing,

although they were kept apart from their male counterparts.

This is the ladies' reading room,

and it's where they would prepare before races and relax between them.

These comfy surroundings are a huge contrast to the girls

who used these rooms, often covered in grease and dirt after a day's racing,

like Kay Petre,

one of the most successful female drivers of the era.

She actually broke the lap speed record here at Brooklands three times.

The Brooklands Belles were later banned from racing

by the governing body at the racetrack.

But that didn't stop them from taking part in the sport they loved.

Undeterred, the Belles bypassed the ban

by racing at other unofficial meetings.

Their determination would eventually pay off

and a whole new chapter of female motorsport would begin.

By 1932, the Belles were reinstated and officially recognised.

Not only were they back on track but this time,

they were competing against the men.

But despite all this, all eyes were on one competition -

who could be crowned the queen of speed?

By 1935, Kay Petre and her rival Gwenda Hawkes

were both hardened drivers and seasoned racers.

Both drove powerful machines

and in a tit-for-tat battle to be the fastest,

they each broke the speed record a number of times

before Hawkes finally reached 135.95mph and won the title.

It's a track record that still stands today.

Unfortunately, that would be

one of the last great battles to take place on the track.

In 1939, World War II came along

and an aircraft factory was built right on the finishing straight.

As you can see, it's still here today.

This is the finishing straight.

Over the years, much of the track has been built over

and it's really disappeared.

But there are sections that are still open

and I'm going to experience it today with a very special driver.

She started racing go-karts aged just nine.

She got her professional racing licence aged 13.

And now, aged 19, she's a professional driver.

This is Zoe Wenham,

and she's one of the best female motor racers in the country.

Thanks for meeting up with me here today.

It's such a historic place of motorsport.

-Look at this! What does it feel like for you?

-It's incredible.

In ten years of motorsport, I haven't been and visited yet.

-I've read loads about it in the books.

-So this is a first?

Absolutely. It's great to stand on the ground.

We've heard about the Brooklands Belles.

Has their story inspired you?

Yeah, they raced cars and their ABS traction control was very basic,

and in skirts and silk tops.

It's just incredible and it's such an inspiration with our modern-day cars.

Well, we have a car from that era -

a 1932 MG M-type Midget, and it feels warm.

You've taken this out for a ride already, haven't you?

-Just a little bit of practice.

-What was it like?

-It was incredible.

Well, can we have a go around some of these bends? Do you mind?

-We can try.

-It's a two-seater.

-We can try.

-Let's go!

Wow!

Zoe currently competes in the GT Championship

and this is a very different type of car to the one she's used to.

She was given a lot of instruction earlier on

and she got to grips with it in no time.

So, what do you normally drive every day?

-I've got the Volkswagen Polo.

-Have you? Right, OK.

And what do you normally race with?

I've got a Ginetta G50, which is a modern-day car,

3.7 litre V6 engine.

Wow, that's big. That's totally different to this.

Is motorsport still considered a man's world?

Slightly, yes.

The mainstream people don't actually class it as a female sport.

-So, how do you feel about that?

-They treat us all the same, to be honest.

What do you hope to achieve in your career?

-Love to take part in Le Mans 24-hour race.

-Wow, gritty stuff!

-Yeah, lots of professional motorsport.

-Well, good luck.

There you are.

Although racing here at Brooklands has since long gone,

its spirit still remains,

and the achievements of drivers from the past

still continue to inspire a new generation to go faster and faster.

And right now, I need to get back to Guildford Cathedral

to join up with our experts

to see what else can we find to take off to auction.

-Any chance of a lift, Zoe?

-Absolutely.

-Let's go there in style!

What a fabulous time we're having here at Guildford Cathedral.

Hundreds of people have come through the doors

to have their antiques and collectibles valued.

But right now we are going to up the tempo.

This is where it gets exciting, we're putting our first

batch of antiques to the test in the saleroom.

Don't go away, anything can happen

and here's a quick recap of what we're taking with us.

There's Anne's German silver plate.

We've got that Russian plate brought along by Karen.

A pair of watercolours.

And let's hope the music box hits the right note at auction.

We're in the neighbouring county of West Sussex for today's auction.

And in charge of proceedings is auctioneer Rupert Toovey.

At £350...

Well, our next item has certainly been passed around the family

-a few times, am I right, Anne?

-Yes, that's right.

-It was your brother's,

-then your sister's and now yours.

-That's right.

We're talking about that little tray, the WMF tray with the dog

on it looking at a lizard, and I'm so pleased you had

a go at pronouncing it because I cannot pronounce it.

-I just say WMF.

-Oh, WMF, yes.

-It's really difficult, isn't it?

-It is, you say it very quickly.

-I won't put you through it.

You did it once, didn't you? You're very brave.

But it is quality, it's absolute quality.

It's beautiful. I just think the way that that little dog is

looking down at the lizard... love it.

Fingers crossed. It's going under the hammer right now.

We're opening the bidding on this lot at £70. £70 here.

£75, can I see?

At £70 here. £75, can I see? £75.

And 80. And 5, sir, centre?

And 90, and 5, sir?

95, and 100, sir. 110.

110 now with you, sir, in the room.

£110 centre now. £110.

Is there any advance on £110?

It's fair warning. 110.

-110.

-Just over.

-Just over!

-Well...

-They were sitting on their hands, weren't they, for that one?

-Yes.

-Thanks for bringing that in, anyway.

-Thank you.

-It's quality,

-again you see that...

-It's been a great day.

-..quality always sells.

So, despite a slow start,

that silver plate now has a new home and Anne was happy with the result.

Let's see if those watercolours float the bidders' boat.

Susan, Shirley, great to see you again. Fingers crossed.

This is your moment. Let's hope we get the top end of that estimate.

We're talking about those two framed watercolours,

the sailing barges by Aldridge.

-Wonderful, with little windmills in the background as well.

-Yes.

Gilt frames. You paid quite a lot of money for these, didn't you?

-£50, quite a long time ago.

-Yes.

-Long time ago.

That was a lot of money long time ago.

-It was, but the market was better for them.

-Yes.

The market for these types of watercolours is very...

Never the less, never the less, it's a pair.

-It's always nice to have something original on the wall.

-It is.

-And these aren't a lot of money really.

-They're not.

And the interior decorators like pairs a lot because they match up.

-Yes.

-And they make the room symmetrical which is nice.

Well, let's hope they sail away and they're going under the hammer

right now. This is it!

The Frederick James Aldridge,

a pair of watercolours, both signed.

Lovely, lovely things those and bids to match.

We're opening the bidding on this lot at £250.

-250 is the lowest we've got.

-That's good.

-On commission at 250.

250 here. 280, can I see?

At £250. At £250, on commission at £250.

250.

-That's strange.

-Blink and you'll miss it. £250, gone.

-Fantastic.

You've enjoyed them on the wall, haven't you? For quite a few years.

-Somebody else can enjoy them.

-Thank you very much.

Going under the hammer right now

we've got a Russian silver purse belonging to Karen.

Unfortunately, she cannot make it to the auction today,

but we do have Catherine Southon, our expert, and of course,

that lovely silver purse with stylised foliate decoration.

I mean, it's a nice piece. £150 to £250.

It's lovely.

It's beautiful, it's elegant, but it's not practical, is it?

You can't get your cards in there today, Paul!

No, no, but will we sell it, do you think?

I hope so. I want to give her some really good news.

OK, we're going to find out right now - it's going under the hammer.

We have a multitude of conflicting bids

and the lowest we can start here is £170.

-We sold it.

-We've sold it.

£170? 180.

190. 200?

190 here. £190.

190!

£190, on commission at £190, and against the room. Fair warning.

£190.

-Great, it's gone. Karen will be so happy.

-She will be really pleased.

-£190.

-She will be very pleased.

I'm glad we sold it because I was a bit worried. But I'm very pleased.

Job done.

Next we've got that music box.

Right, we're going to hit the high notes right now with this

Swiss music box belonging to Elizabeth.

It's got six airs, it's absolute quality

-and I had a chat to Rupert before the sale started.

-Oh, did you?

We both went quality, quality, quality. Great maker. Nicole Freres.

I mean, it doesn't get any better than that. Key wound,

the inlay on the box, everything was divine about it.

So, we're confident.

There are plenty of collectors out there and we've seen them

time and time again on "Flog It!" and I've interviewed quite

a lot of them and they really are passionate about things like this.

Anyway, let's put it to the test. Here we go.

Late 19th century Swiss music box

by Nicole Freres playing six airs.

Beautifully inlaid case with honeysuckle sprays

and opening the bidding here at £550.

-550 here, can I see the 600?

-Oh, come on, we need 600.

We need a bit more than that.

550 here. Can I see the 600?

£550 here. 600, can I see?

At £550. Is there any advance on 550?

And 600 now. £600.

Can I see the 650? At £600 and selling!

At £600.

600.

-It's gone! You didn't want to take it home, did you?

-I didn't, no.

-Thank goodness, it's too heavy.

-Yeah, it's very heavy. Oh, well done.

-Thank you very much.

-That's OK.

-Thank you.

Auction rooms are great places to pick up items that you can admire

and preserve to look after for future generations to enjoy.

Now while we were in the area filming,

I visited a museum where preservation is a key part of their

work, but we're not talking about looking after paintings or

furniture or porcelain.

We're talking about looking after buildings.

Take a look at this.

The Weald & Downland Open Air Museum is located in the idyllic

South Downs National Park.

The museum originally opened in 1970

and now it's home to around 50 traditional buildings which

have been saved from destruction, carefully restored and rebuilt

to bring back to life the story of the people who lived in them.

The museum owes its existence to the devotion of one man,

its founder Roy Armstrong.

And as a local historian, Roy had an increasing

passion in the conservation of buildings from the past.

The eruption of modern housing estates threatened many

traditional homes and buildings with demolition.

Roy Armstrong feared that many historic buildings in the area

were being destroyed as a consequence, even listed buildings.

And he feared that without such structures, people's links

to the past would be lost forever, so something had to be done

and this place was born.

The rescued buildings had been carefully dismantled

and conserved but now the process of reassembling them could begin.

And in 1969, the first building was erected on the site.

In the first month of opening, thousands of visitors

came through the door. The museum was officially a success.

And some 40 years later, it's still a thriving visitor attraction.

Now I'm here today to meet the museum's director,

Richard Pailthorpe, to find out more about the work that's being

done to continue Roy's vision for the museum.

Richard, why is it so important to have a museum like this?

Well, I think we have to put the clock back, sort of 40, 50 years.

Back to the sort of 1950s, '60s,

post-war Britain, where overnight, literally,

these traditional buildings, barns, farm houses, etc were disappearing.

-And being replaced by, you know, sorts of glass and steel...

-Yes.

..and everything else, you know.

So, conservation is key to what you do here.

How much work is involved in actually maintaining

-the buildings once they're here on site?

-Right.

Well, like all buildings, they need to be, you know, conserved...

-Bit of TLC.

-..and TLC, etc.

And that's what we're having to do increasingly much more of.

Thatched roofs, for example, are a major issue.

Got a barn down there desperately in need now of having new thatch

and so we'll be doing that this year.

Now I hear you've got a cottage which is being

-constructed at the moment or reconstructed I should say.

-Yes.

-Is it something I can get involved in and help?

-Oh, very much so.

-You've come at a, you know, just at the right time!

-Wonderful!

-Is that is over there?

-Just over there.

We're at the stage where we're about to do some wattle and daubing.

-Here is...that's an opportunity for you to...

-To get mucky!

Absolutely, that's right.

Thank you very much for talking to me, Richard.

Shall I make my way down that path to the cottage?

-That's right, there you are. Just down there.

-OK.

-Cheerio!

Tindalls cottage was originally built in the early 18th century,

probably as the home of a labourer.

It remained in its original position in East Sussex until 1974

when the construction of a reservoir threatened its survival.

Rescued by the museum,

the timber frame has been in storage ever since.

But now it's in the process of being restored back to its former glory.

And the man responsible for this precious restoration is

carpenter in residence, Joe Thompson.

Joe, you've got your work cut out.

Yeah, we've got a bit to do but it's good you're here.

It's essentially a timber frame building, isn't it?

Apart from the brick fireplace and obviously the chimney breast.

Once you get that working, you're going to keep warm.

That's right, it'll be wonderful. You've got all mod cons here,

there's a bread oven out the back,

there's a copper and a furnace to brew beer through there

so you can bake your bread, drink your beer, you've got your

warm kitchen, hall in here and your storeroom's out the back.

Today on a timber frame building with these oak uprights it'll all

be dry lined with plasterboard,

but obviously we're not going to do that, are we?

No, this is wattle and daub.

We're going back to the old ways, tried and tested.

Yeah, talk me through the ingredients. You've got some buckets here.

This is loam from the vicinity where the cottage came from.

Then we've got the straw, a little bit of dung and we've got the water.

So, we're going to basically mix them all together.

Just looking at the little pot of poo, there.

-What's that? Cow or horse?

-That's cow.

-Or pig?

Traditionally it all would've been trodden by the cows.

Well, I guess I need some gloves really, don't I?

-Who's got the gloves?

-Here we go, Paul.

-Look at that, thank you.

Here's our bucket of loam.

We've got a bit of the cow dung, mixed in.

Well, that's quite dry.

-Yeah, this is some stuff I put aside the other week.

-Right, OK.

-Then mixing in the water.

-But you could literally pick fresh stuff up,

-couldn't you?

-Yes, you could.

-So, we've got to get this well mixed.

-Well, it's certainly

-doing the trick, look, it's sticking to your wellies.

-Oh, yes.

So if it sticks to those, it's definitely going to stick to this.

That's right.

If you wouldn't mind chucking bits and pieces of that in as we go.

Lovely.

Keeps you fit.

I'm going to ask you to help me.

We're going to unload this and we're going to put it into the bucket.

-Look at that. What a sausage.

-Yeah.

Right, we've got a bucket full of it, Joe.

-Let's put it on the wall.

-Yeah, come on, then. Let's throw it on.

Let's start at face height. Where would you normally start then?

At the bottom and work up or...

I think we'll start at the top and work our way down.

I'd like to do this without gloves on.

I think I'd like to feel it going in. I can't feel anything.

-Do you mind if I take these off?

-Please do.

-They're quite tight.

-I feel like I need to feel the material.

-Excellent.

Yeah, exactly. It's that sort of thing.

I'm going to get myself what we call a cat.

-So it's a piece about the size of an apple.

-OK.

-I'm going to squeeze it once or twice in my hands.

-Yeah.

-And then, we're going to slap it on the wall.

-OK.

So I've got about the right amount.

-That's it, you've got yourself a cat there.

-Gosh, that's sticky.

-Yeah.

So, push it on there and with your fingers,

push it into there.

-It wants to go through the gaps.

-Yeah.

That's perfect. Yeah, that's coming along nicely.

Ah, do you know what? It makes you feel like a kid again,

it makes you feel like playing with mud.

It's so satisfying because at the end of the day,

it's just clay really, isn't it?

-Look at that. Look how sticky that is.

-It's good fun.

And what I'd do, after a couple of days,

I'd come back and I'd give that another rub up just to

sort of smooth out any little lumps and bumps.

It's all pretty wet and sticky now. Let it go off for a bit.

Come back again.

And I guess with the air blowing through this building

-because there are no windows or doors...

-It'll dry nice and quickly.

It's great. That's very satisfying. Joe, I'll shake your hand.

-Thank you very much.

-Thank you.

-You're doing a great job.

-I'm going to leave you to do the rest, I think.

-That's great.

Only one problem, have you got the sink fitted yet?

No.

Well, I've got great admiration for the work they're doing here today.

Not only are they taking the responsibility of the preservation

of these buildings through sheer hard work and determination but

also they're using them to educate and inform us about our past.

And that's what's so important. And who knows?

Maybe some of the buildings we live in today will become

exhibits of the future.

Welcome back to Guildford Cathedral.

Let's now catch up with our experts and see what other antiques

and collectibles we can find to take off to auction.

As you can see, there's still a lot of people here which means

hundreds of antiques to sift through.

Let's now catch up with Mark Stacey. He's found a real gem.

Jane, Michael. I don't have to look underneath to tell you what this is.

Because it screams Moorcroft, Moorcroft, Moorcroft, doesn't it?

-Yes.

-But I tell you what. They don't come much more impressive than this,

-do they?

-It's stunning, isn't it? I love it.

-It's absolutely amazing.

It's fabulous. I can't say any more than that. It's absolutely fabulous.

One of these ones with so much pink in the actual glazing.

-It really glows, doesn't it?

-It really does.

It really is a sort of very shepherd... What is it they say?

Red sky at night, shepherd's delight.

It's certainly Mark's delight today, I can tell you

because it's wonderful.

-How have you come to own it?

-I've inherited it.

And my husband, with courtesy of my husband,

I'm allowed to keep all these things, or I have been.

You've been very patient, have you, Michael?

Yes.

Very discreet and gentlemanly about it.

-And, Michael, what do you think of it?

-I think it's terrific, yeah.

-It's an impressive piece, isn't it?

-Oh, yes.

Now, what pattern do you think it is?

Erm...

Well, I thought it was landscape.

Well, it certainly is a landscape with those trees

but the official pattern name is Hazeldene.

-You see this pattern on vases, on other things.

-Right.

-And it's known as Hazeldene.

-Hazeldene.

-There's another one...

-Now we know.

-..called Eventide which is very similar.

-Right.

And another one called Claremont which looks like big mushrooms.

-And I love this jazzy pattern...

-That's lovely.

-..on the outside

-which, of course, helps to date it immediately.

-Yes, does it?

-Yes, because it's very Art Deco.

-Oh, right.

-So, we're looking at about 1925.

-Oh.

That would fit in with my mother's...could've been

-a wedding present.

-Oh, were they married around then?

My mother and father were married in about 1927, I think.

-Yes, so it could've been, couldn't it?

-Yes.

It's got a few flaws. There are a couple of chips on there.

-Oh, yes.

-There's a little bit of restoration.

But it is a cracking item which I think the collectors would love.

-Good.

-The damage holds it back a little bit.

I would want to put an estimate of £800 to £1,200 on it.

-Really?

-As much as that?

-That's quite a sum.

-It's more than you thought?

-Yes, it is.

-Oh, good. What did you think?

Well, I sort of thought £500 to £800, maybe.

No, I think it's a bit more impressive, even with the damage.

You know, it wouldn't surprise me if it made a bit more than that

-on the day...

-Really?

-..but we'll protect it with an £800 reserve.

-Right. Yes, I think...

-If that's all right with you.

-Yes.

-Very good.

-Perfect.

-It's fine.

-If we do get you, say...

..the top end of the estimate, £1,200,

would you put it towards anything in particular?

Erm...

-Not sure.

-Ooh.

-You've got ideas, Jane.

-I've got ideas.

-Go on, tell them.

Well, I think we'd go and have a nice holiday in France.

-Oh, wonderful!

-Don't you think?

-What a wonderful idea.

-Well, I can't think of a better idea.

-Well, there you are then.

I think that would be wonderful

-because then while you're sipping a nice bottle of red...

-Right.

..you could be thinking, "This is all on my chipped Moorcroft bowl."

Fingers crossed that bowl will deliver

when it goes under the hammer later on.

Let's catch up with Catherine who's found one of her favourite things.

Well, Juliet, it's wonderful to be up here at Guildford Cathedral

and equally exciting to see something as delicious as this.

Tell me a bit about it.

I don't know anything about it, Catherine, I'm afraid.

It came from my mother, who in turn would've got it from

her father's antique shop.

Not a family heirloom or anything like that.

So, do you think this is something that perhaps somebody

came in to sell to him one day in the antiques shop

-and perhaps he saw that and thought...

-I would say so.

-..I like that. I'm taking that home.

-Yes, a bit like you, then, Catherine.

Well, I'll tell you what.

If I saw that, if I had an antiques shop and someone brought

that in to me to sell, I would pick it up and take that straight home.

-It is, it's a nice item.

-Which is probably what he's done.

-It's very tactile.

-Absolutely,

I mean, it's a great piece essentially of treen.

-But...

-Right.

..it is a snuff box.

-They're normally the smaller ones, the pocket sized ones.

-Yes.

But this is the sort of thing that you would have had on the table

so, perhaps it would've been passed around the table

but what makes this different from others is all this inlay.

The mother of pearl and the ebony.

There's an awful lot of work that's gone into this.

It's absolutely super.

It's head and shoulders above anything else I've seen.

Well, let's have a look at this inscription and try

and clarify what it says.

A...

Present...

And then I love the way it's got the hand in mother of pearl with

the word to, so "A present to", arrow up,

"Miss C M Brae"

and we know nothing about Brae. We don't know who she is.

Nothing at all. No.

The...

sinner...sinners

because what they've done here is they've forgotten the S.

-So they've quickly studded it up the top.

-I know. Very sort of...

It's wonderful.

-That's their mistake.

-Yeah, wonderful.

The sinners...earthly...friend.

Sinners earthly friend, lovely.

Then underneath, of course, you've got the important bit to me.

-He died for me. And there's a little picture of her there.

-Yeah.

And they've got a name stamped in here of...H Lodge.

That's possibly the maker.

-Maker, would you think? I don't know.

-Maybe the owner.

What I love about it is there are all these questions over it.

Who owned it? Who was Miss Brae?

And I think that's what makes it interesting.

I know. We've always wondered.

-It's a shame we've got this split in front.

-I know.

-Have you always known it...?

-Yes, it's always been like that.

-Ever since I can remember.

-Right.

But only one piece, I think, after all those years!

I don't know, but how old is it?

-I would date it to 1860s.

-Right.

That sort of period. It's just pure class, isn't it?

-It's absolutely super.

-Thank you.

Now, the question of flogging it,

-that's what it all comes down to.

-Yeah.

I can see a lot of people getting excited about this in the same

-way that I have.

-OK.

I would like to put

a saleroom estimate on

-of £150 to £250.

-That is very nice.

-Is that good?

-Yes, that's great.

-But I wouldn't be surprised if it went very high.

-OK.

Pure...

-..class. Thank you.

-You really do like it, don't you?

I really do like it.

-Really, really do.

-Oh, I'm really pleased. I'm glad you like it.

# Hey, I put some new shoes on and suddenly everything's right... #

I've found a quiet corner away from the valuation table to take

a closer look at one of the many interesting items in the cathedral.

Earlier on, I discovered a fascinating carpet

here in the cathedral but the whole place is full of wonderful

treasures and behind me there's another one.

A crosier.

Which resembles, as you can see here, a shepherd's staff.

Normally carried by the abbot or the bishop as a symbol of office.

Now this particular crosier was designed by one of the greatest

craftsman and designers of the Art Nouveau period,

Omar Ramsden.

Born in Sheffield, he worked designing throughout his life

on many church commissions, right up until his death in 1939.

This was made for the first bishop of Guildford, sterling silver,

it's all hallmarked with the London Assay office

with the leopard's head and the date letter telling us 1927.

I love this carved ivory ram here within the hook

but look at this wonderful, wonderful enamel work.

Something that you associate Omar Ramsden with.

Glass, coloured glass fused at high temperatures.

I particularly like this little image of the tree of life.

It works perfectly well here in this cathedral.

Sitting on a wonderful rosewood shaft.

Now, isn't that a real treasure?

And we come across Omar Ramsden's work a lot on the show

and it's a big name to look out for.

Well, right now, let's hook up with our experts

and see what else we can find to take off to auction.

Anne, where did this pocket watch come from?

Well, I inherited it through my parents

and it belonged to my great grandfather.

And I really can't tell you that much more about it.

It's for long service, it's inscribed in the back.

-I think we should really see the inscription, don't you?

-Yes.

So, it says...

For 46 years' service in 1938.

Do you know what he did for ICI?

-Well, I believe he worked in the salt mines.

-Oh, wow.

Because he always used to put loads of salt on everything.

-I can just remember him.

-So, he smothered his food with salt?

-Absolutely.

-It's that old adage, isn't it?

When you did 25 years' service as a retirement gift you got

a gold pocket watch.

I don't think they do it quite so much today.

No, well, because we don't use pocket watches like we used to.

No, nobody does.

The nice thing about it, in this case, it is actually a gold one.

A lot of gold pocket watches we see are actually only gold plated.

-But this one is hallmarked.

-Yes.

Nine carat gold and hallmarked in 1938,

so it was brand-new at the time.

But it's got a fairly straightforward movement on it.

-Right.

-And a fairly straightforward maker.

It's nice that it's got its box.

But sadly, the value lies in the fact that it is nine carat gold.

-Yeah.

-And it will probably end up being melted down

-to be made into something else.

-Yes, I expected that.

-So, you're not worried about that?

-Not at all, no.

So, it just lives in a drawer at home?

It lives in the loft with lots of other bits and bobs.

Who do I give it to? Two sons, three grandsons.

-Can't split it in three, can you?

-They don't want it,

-they'd rather have a phone.

-Of course they would.

That's absolutely right.

Now, have you got an idea of how much it's worth?

-A couple of hundred, I thought.

-I think that's probably about right.

I mean, we've weighed it as much as we can because obviously...

Without the workings.

And a sensible auction estimate is probably in the region

-of £150 to £250.

-Yeah.

And it will fluctuate, of course, because when the auction comes up,

it will be affected by the price of gold on that particular day.

But I think we should put a fixed reserve of £150 on it.

Yes, that's absolutely fine.

-And then it protects it a little bit.

-Yes.

-And it's...really not a lot more one can say about it.

-I know.

Other than it's time for it to go and be turned into something else,

-isn't it?

-Yes, I think you're absolutely right.

-Thank you, Anne.

-Time to go.

-Time to go.

Robert, I don't know about you but I do like a glass of champagne.

-Are you a champagne drinker?

-I am and always have been.

And you've brought me along a champagne swizzle stick

for dipping in your champagne,

giving a little swizzle and getting rid of your bubbles.

I don't know about you, Robert, but I like bubbles in my champagne.

I mean, that's the whole point of it, at the end of the day, isn't it?

In many ways you're right.

I agree with you, I prefer them.

But I think the ladies of the 19th and 18th century,

rather than get the champagne up their nose

or going over their dresses,

liked to disperse them somewhat and that became the style.

-Not so much now.

-Nowadays, it's just a novelty, isn't it?

-Absolutely, yes, it is.

-So, where did you get this from?

From a friend who gave it to me in 1990, roughly.

We'd rather enjoyed champagne, particularly Krug.

Ohhh!

But, of course, those were the days

when I was working reasonably successfully.

Right, OK, so you were a bit of a champagne drinker 20-odd years ago?

I was, yes.

It's a bit of fun, isn't it? It's a novelty piece, really.

It's something you could have when you've got all your friends round,

having a dinner party or a drink, cheese and wine, or what have you,

and you have a glass of champagne.

-It's a talking point, isn't it?

-Very much so.

This is nine-carat gold, as you may know.

It's stamped here. And it's quite nice quality, it's engine turned.

Quite a simple piece.

-But, at the end of the day, it's a bit of class, isn't it?

-Yeah, maybe.

-Not for you any more?

-I think not, no.

-Time to move on. Well, ish.

It must be quite sentimental to you.

Quite special as a friend gave it to you.

-Are you sure you're wanting to sell this?

-Well, yes, I think so.

It's not going to be a huge amount of money.

I'm not going to dazzle you with a big figure.

-I would say £70-£100, how's that?

-Lovely, to buy a bottle of Krug.

BOTH LAUGH

I like your answer, that's perfect! OK, let's put it in the sale.

£70-£100, with a £70 reserve because it was a gift,

so I think we need to protect it. Are you happy with that?

-I'm very happy with that.

-And I tell you what, if you get your champagne,

-can I have a glass as well?

-Well, of course you can! THEY CHUCKLE

An interesting and unusual find for Catherine there.

What a fabulous turn out we've had here today at Guildford Cathedral.

Such a memorable day. We've found some wonderful treasures as well.

We're heading off to the auction room for the very last time

so it's time for us to say goodbye to this magnificent venue

and all of these wonderful people who have turned up today.

Let's put those last valuations to the test

and here's a quick recap of what we're taking with us.

Mark was enthusiastic about the Moorcroft bowl

but will the bidders feel the same?

Time's definitely up for the gold pocket watch.

And there's that fascinating snuff shoe.

Let's hope the champagne swizzle stick will pop some corks.

Welcome back to the auction room here in Washington.

Auctioneer Rupert Toovey is on the rostrum

and ready to sell our next item and the bidders are raring to go.

Let's hope we see lots of action.

I had a quick chat with Rupert before the auction started

and he had some reservations about one of our items.

Right, the Moorcroft bowl, the dawn landscape.

It's got some damage. It's a lovely bowl, a generous size as well.

Beautiful, that English interpretation of the Art Nouveau

is wonderful and especially in these landscape patterns with Moorcroft,

-don't you think?

-And I love that colourway as well.

-Without the damage, £2,000.

-I think you're right.

But with this restoration on the rim, I'm afraid, you know,

we might struggle to get £800, you know.

Is that because there hasn't been a lot of presale interest

or is it your gut feeling?

Huge amount of interest but real concerns about this nick on the rim.

-As soon as they see it, they go...

-Yeah.

-.."that's put me off."

Collectors are a fussy breed and I totally agree with them.

If you want to invest in something, you invest in the best.

And now it's the moment of truth for the bowl.

Jane and Mike, it's good to see you again.

-We've been talking about your large Moorcroft bowl.

-Thank you.

Oh, it's created all sorts of topic of conversation because

-of that little bit of damage around the rim...

-I know, it's a shame.

-..which has been restored.

-Yes.

-I think at the valuation day

Mark probably said to you without the damage,

you'd be looking at around £2,000.

-That's why we have a value of around £800 on this.

-That's right.

It's really knocked it down a size or two.

-Not in my time.

-Not in your time it didn't happen, no.

-It's still a lovely piece.

-Oh, it's gorgeous, isn't it?

We're going to find out right now exactly what damage matters

-to a piece of Moorcroft.

-Lovely.

-Let's see.

Large Moorcroft pottery lustre,

glazed dawn landscape patterns, circular bowl. Circa 1928.

It's beautifully decorated with a little restored chip.

But I'm opening the bidding here at £700. At £700, can I see the 720?

At £700. 720, can I see?

At £700. Can I see the 720?

Come on, we need one more hundred.

At £700. Anything online?

No, sir.

No? At £700 then, all done.

At £700 and we're passing it at 700.

-It didn't sell, Jane.

-Never mind.

-That's such a shame.

-I'm pleased you protected it with a reserve.

-Yes, I shan't mind.

Because I shall be able to...I actually took a photograph of it

-so I had it if it did sell. Oh, well.

-Sorry about that.

-Sorry.

We tried our hardest but, you know, the collectors are fussy,

-aren't they?

-Yes.

Going under the hammer right now, something from the '70s

and I wouldn't necessarily say '70s when I think of this.

It's a champagne twizzle stick, belonging to Robert.

Are you still knocking back the champagne?

-A bit, but not quite as much as I was.

-Not so much.

-Right, well, let's put it to the test, shall we?

-Absolutely.

See what it makes.

And we're opening the bidding here at...£85.

£85, can I see the 90? Conflicting bids on the books here at £85.

At £85, 90 going to see? At £85 and 90 and five for 100? 95 here?

At 95 against the room?

At 95, all done?

-At 95! 95.

-GAVEL BANGS

95 and the hammer's gone down!

-That's a good result. Are you happy with that?

-I am.

-And I'm going to enjoy a lunch on Worthing front.

-Brilliant.

-Very nice, with champagne.

-Fish and chips.

-Fish and chips and champagne.

-Now, that...that is style, isn't it?

-Yes!

So, Robert's going home happy and hopefully,

someone will be enjoying a glass or two with that swizzle stick.

Fingers crossed for our next item, it belongs to Anne.

We're selling a gold keyless wind open face pocket watch

and this is quality.

-We've got how much? £150 to £250?

-Yes.

Why are you selling this?

I have three grandsons, two sons, who do you give it to?

-Yeah.

-And they don't want it.

-No. Do you know something?

-No-one uses them, do they?

-Never.

-No.

The older they get, the more they'll want it, that's the problem.

-Too late now.

-It's too late.

-Grandma's spending the money.

-Going to spend it on yourself?

-I'm going to buy something, yes, I am.

Well, right, let's put this to the test,

let's see if we can get the top end.

A nine carat gold keyless wind, open face gentlemen's pocket watch.

Opening the bidding here with conflicting bids.

All the way up to £280.

-£280!

-£280.

£280.

All the bidding on the book at £280.

Is there any more, anywhere?

At £280.

Selling then at 280. 280.

-Good result.

-Well done.

-Top end of the estimate.

-That's marvellous.

-Fantastic.

-That's great.

Easy, wasn't it?

So, Anne's going home happy with a bit more than she expected.

Let's see if our final item can do just as well.

We've seen them on the show before but not as good as this

-and as big as this.

-No, never.

-Wow, wow, wow!

-I know, it's pretty, isn't it?

-Yes.

-Lovely.

This is a piece of social history and I think, you know,

we should easily double, if not triple what you've put on it.

-That's what I hope.

-That's what I'd like to think.

-Yes.

-I knew you would like this.

-Oh, I love it. Absolutely love it.

-It's fab.

-Yes, yes, yes. Great item of treen.

-I know.

And thank you for bringing it in, put a smile on all our faces.

-Yes.

-And I shall smile watching this as well.

-I know.

-Anyway, good luck!

-I'm excited. Thank you.

-Let's get that top end plus. Here we go.

19th century mahogany snuff box in the form of a shoe.

It's inlaid with mother of pearl and has the most wonderful

presentation inscription inside it, lovely thing.

And we're opening this lovely thing with conflicting bids at £320.

-320, commission bid.

-Straight in!

-Wow!

£320. Can I see the 350?

£320. Is there any advance?

350, 380, 400.

420. 450.

-£420 here.

-Well, I'm not surprised.

£420. Can I see the 450?

At £420 and fair warning then.

At £420.

-Wow!

-£420.

-You said so.

-I did, I told you £400 to £500, didn't I?

-Yes, you did.

-Yeah, I told Catherine that as well back at the cathedral.

Well, that's it. It's all over for our owners and what a day it's been.

I hope you've enjoyed the show and do remember

if you've got any antiques you think would do well in auction,

we would love to see you at one of our valuation days.

Details of up and coming dates and venues you can find on our

BBC website, or check the details in your local press.

We would love to see you but until then,

from West Sussex, it's goodbye.