0:00:02 > 0:00:05MUSIC: "FLOG IT!" THEME TUNE ON CHURCH ORGAN
0:00:05 > 0:00:09Today, we're in Guildford, pulling out all the stops.
0:00:09 > 0:00:11I've been practising my skills on the organ.
0:00:11 > 0:00:12PAUL CHUCKLES
0:00:13 > 0:00:15Well, I nearly got away with it!
0:00:20 > 0:00:23- HE CHUCKLES - Well done! Welcome to "Flog It!"
0:00:45 > 0:00:48The venue for today's valuations is Guildford Cathedral,
0:00:48 > 0:00:52one of the most dominating structures on the Surrey skyline.
0:00:52 > 0:00:54It opened in 1961,
0:00:54 > 0:00:58after being completed with the help of the local congregation.
0:00:59 > 0:01:02And those same people are out in force today, hunting high and low
0:01:02 > 0:01:04for antiques and collectibles,
0:01:04 > 0:01:08and our experts will be looking out for quality and craftsmanship,
0:01:08 > 0:01:11but there's only one question on this lot's lips - which is?
0:01:11 > 0:01:13ALL: What's it worth? HE LAUGHS
0:01:15 > 0:01:18We've got the crowd, they've got their items.
0:01:18 > 0:01:21All we need now are our experts. And we've got James Lewis.
0:01:21 > 0:01:23It's dire!
0:01:23 > 0:01:25No, it's not! >
0:01:25 > 0:01:30That's the hand of the artist. To me, no, it's more than the image.
0:01:30 > 0:01:33- There's so much... That's amazing, I think.- I...
0:01:33 > 0:01:37I'm so glad you're that side of the camera!
0:01:38 > 0:01:40And we've also got Mark Stacey.
0:01:40 > 0:01:43- What have you got in your shopping basket here?- I've got my lunch.
0:01:43 > 0:01:44Oh, your lunch.
0:01:44 > 0:01:48- And my tea.- Would you like that valued?- Yes, please!
0:01:50 > 0:01:52So, as everyone makes their way inside,
0:01:52 > 0:01:54here's what's coming up...
0:01:56 > 0:01:59Today, we've got woodwork, glasswork and artwork.
0:01:59 > 0:02:01But which will do the best at auction?
0:02:01 > 0:02:04Will it be this decorative tribal staff?
0:02:05 > 0:02:08Or the picture that James disliked in the queue?
0:02:09 > 0:02:11Or this classic Lalique vase?
0:02:11 > 0:02:13Find out later.
0:02:13 > 0:02:15Now, here's a little bit of information for you...
0:02:15 > 0:02:19This iconic building was built by the architect Edward Maufe.
0:02:19 > 0:02:22It was built at the top of Stag Hill,
0:02:22 > 0:02:26which was donated by local nobleman, the 5th Earl of Onslow.
0:02:26 > 0:02:30And right here, where this little brass stag is,
0:02:30 > 0:02:33marks the pinnacle, the very top of the hill.
0:02:33 > 0:02:37Now, we're right behind James Lewis' filming table.
0:02:37 > 0:02:40He's our first expert who has found a real gem.
0:02:40 > 0:02:44So let's now catch up with James and see what he's got to say about this.
0:02:47 > 0:02:50Karen, let me take you back 400 years,
0:02:50 > 0:02:51to the time of King James.
0:02:51 > 0:02:57In 1601, the English East India Company was formed to try
0:02:57 > 0:03:02and bring spices and exotic products to Europe from the Far East.
0:03:02 > 0:03:06Spices, tea, tobacco, silks.
0:03:06 > 0:03:10And tea became the major product.
0:03:10 > 0:03:12In the 18th century,
0:03:12 > 0:03:15tea was more expensive per pound than gold or silver.
0:03:15 > 0:03:19So you had to have a container that you locked it up in.
0:03:19 > 0:03:22And if we open this up, we've got two compartments -
0:03:22 > 0:03:27one for black tea, one for green tea, and outside,
0:03:27 > 0:03:30this simulated casket,
0:03:30 > 0:03:34to represent the value of what is contained within.
0:03:34 > 0:03:38So, valued, but obviously not by you because it's here.
0:03:38 > 0:03:44- So, is this a family piece? Are you a collector? A tea drinker?- No.
0:03:44 > 0:03:45It was given to my husband.
0:03:45 > 0:03:49He was working for a lady in London about 15 years ago now and
0:03:49 > 0:03:52she gave it to him as a present, and he brought it home and gave it to me.
0:03:52 > 0:03:55In other words, she didn't want it, he didn't want it, gave it to you!
0:03:55 > 0:03:57What have you done with it?
0:03:57 > 0:04:00Well, it was out on display for a few years
0:04:00 > 0:04:03and then it's been in the loft for about the last eight years.
0:04:03 > 0:04:07Let's hope that someday, somebody at the auction might want it.
0:04:07 > 0:04:10But we wondered what this is on top cos I don't think it is brass.
0:04:10 > 0:04:14It is brass, but it could well have been gold plated at the time.
0:04:14 > 0:04:17It would have been made to look like ormolu, which is gold plated bronze.
0:04:17 > 0:04:22And then here, on the top, we have a little polished stone,
0:04:22 > 0:04:24and this is banded agate.
0:04:24 > 0:04:27So there's a little section of agate on the top.
0:04:27 > 0:04:32In the 19th century, they're sometimes divided inside by
0:04:32 > 0:04:36a little circular aperture, which would contain a bowl.
0:04:36 > 0:04:39It used to be said that this was for blending the green
0:04:39 > 0:04:41with the black tea...
0:04:41 > 0:04:43But of course, it was for sugar.
0:04:43 > 0:04:46The tea was taken very, very sweet.
0:04:46 > 0:04:47And the idea of this...
0:04:47 > 0:04:52Tea wasn't taken in the way it is today, it was a ceremony,
0:04:52 > 0:04:54totally separate, wasn't drunk at the dinner table,
0:04:54 > 0:04:59you would be on a separate tea table and the lady of the house would wear
0:04:59 > 0:05:00the key around her neck,
0:05:00 > 0:05:04she would call the servant to take this tea caddy from the sideboard,
0:05:04 > 0:05:07she would bring it, unlock it, blend the tea, lock it again
0:05:07 > 0:05:09and send the tea caddy away.
0:05:09 > 0:05:11So it was very much a ceremony.
0:05:11 > 0:05:16- Date is about 1860. And a value, £60 to £100.- Right, OK.
0:05:16 > 0:05:19- Is that all right for you?- Yes, yes. - Well, it'll buy you a bit of coffee.
0:05:19 > 0:05:22OK, yes! Thank you.
0:05:22 > 0:05:23All right.
0:05:23 > 0:05:27Let's hope that tea caddy can brew up a good result
0:05:27 > 0:05:28later on in the programme.
0:05:28 > 0:05:32Time now to see what Mark Stacey's got for his first item.
0:05:32 > 0:05:36- Jane, Michael.- Hello.- You've brought a lovely pair of dishes in for me.
0:05:36 > 0:05:38I know. They're rather sweet.
0:05:38 > 0:05:41They're fantastic. I love them. Do you know much about them?
0:05:41 > 0:05:44I know they belonged to my grandmother.
0:05:44 > 0:05:47I think I remember seeing them when I was about this high
0:05:47 > 0:05:50in her corner cupboard, which I've actually got now in my kitchen.
0:05:50 > 0:05:54And then my mother had them, and then I had them from my mother.
0:05:54 > 0:05:57- They're very, very Victorian. - Oh, I suppose so.
0:05:57 > 0:06:00They've got a date mark on the back. The triangle.
0:06:00 > 0:06:03- But I've never found out. - Well, we can tell you that.- Can you?
0:06:03 > 0:06:08- Yes.- Oh.- They're made, of course, by one of the oldest...- Minton.
0:06:08 > 0:06:10..factories in the country, Minton,
0:06:10 > 0:06:13- who were founded in the late 18th century.- Right.- And this...
0:06:13 > 0:06:16As soon as you see this type of colour and decoration,
0:06:16 > 0:06:19- it can only be one thing - Majolica. - Yeah.
0:06:19 > 0:06:24They took the inspiration from much earlier Italian designers
0:06:24 > 0:06:27and they put a sort of Victorian twist on it,
0:06:27 > 0:06:31- so you get these very vivid turquoises and greens.- I know.
0:06:31 > 0:06:34- That's a lovely colour. - It's a really deep colour.
0:06:34 > 0:06:37And you can get bright pinks and bright yellows
0:06:37 > 0:06:41and reds, and these are perfect for Christmas,
0:06:41 > 0:06:46for putting sugared almonds or something like that in on the table.
0:06:46 > 0:06:48And they're realistically modelled.
0:06:48 > 0:06:54There's a sort of holly branch, with two little white birds on them.
0:06:54 > 0:06:56- They've suffered a bit though, haven't they?- Yes, they have.
0:06:56 > 0:06:58They've got the odd chip.
0:06:58 > 0:07:01Very easily restored. That's the positive.
0:07:01 > 0:07:04And collectors of Majolica are willing to overlook
0:07:04 > 0:07:07a bit of damage on interesting pieces.
0:07:07 > 0:07:11If we look at the marks, they're fully marked underneath.
0:07:11 > 0:07:13- You have the shape number.- Right.
0:07:13 > 0:07:16- Interesting, you have the word Minton there.- Yes, I've seen that.
0:07:16 > 0:07:19Now, after 1872, they added an S.
0:07:19 > 0:07:24- So it became Mintons. So we know it's before 1872.- Before 1872?
0:07:24 > 0:07:27- Gosh!- We've got a registration lozenge as well.
0:07:27 > 0:07:30And we've got a date letter for 1869.
0:07:30 > 0:07:33- Oh, how lovely! - What do you think of them, Michael?
0:07:33 > 0:07:37They're a little bit ornate, but otherwise...
0:07:37 > 0:07:39I suppose some people like them!
0:07:39 > 0:07:42- I don't think they're his cup of tea!- I don't think he's keen, Jane.
0:07:42 > 0:07:44No, he's very polite.
0:07:44 > 0:07:47- But there are collectors still out there for them.- Are there?
0:07:47 > 0:07:48Oh, yes, there are.
0:07:48 > 0:07:51Do you have any ideas yourself of what they might be worth?
0:07:51 > 0:07:55- Absolutely none. Have you?- No.- No?
0:07:55 > 0:07:58- I think we've got...- Can I make a stab?- Go on, make a stab.
0:07:58 > 0:08:01- £200, the pair? - I don't know why I'm here.
0:08:01 > 0:08:04- I don't know why I'm here! - It was a joke.
0:08:04 > 0:08:05No, you're absolutely right.
0:08:05 > 0:08:10- I was going to say because of the slight damage, I think we've got to be realistic.- Yes.
0:08:10 > 0:08:13And if we put an estimate of £200-£300 on them,
0:08:13 > 0:08:16- with a fixed reserve of 200... - Yes, OK.
0:08:16 > 0:08:20I do hope that on the day, because they're so humorous
0:08:20 > 0:08:22and they're so nicely done...
0:08:22 > 0:08:24- Like Tweedle Dum and Tweedle Dee. - Exactly.
0:08:24 > 0:08:26- You're happy to put them in for that?- Yes! Very happy!- Great.
0:08:26 > 0:08:31- Well, I'm really pleased that we can take them to auction to see what happens.- Good.
0:08:31 > 0:08:34Earlier on, we saw Karen, who brought along a tea caddy
0:08:34 > 0:08:39to be valued, but it turns out it wasn't the first time that we'd met.
0:08:39 > 0:08:40Now, this could be embarrassing.
0:08:40 > 0:08:44I bumped into two ladies this morning who told me they were next-door neighbours.
0:08:44 > 0:08:48- We used to live in the same little town, didn't we?- Yes.
0:08:48 > 0:08:52- Inglesham.- Inglesham. - And you knew my older sister. You're Karen and you're Janet.
0:08:52 > 0:08:54I was a little bit younger than the two of you.
0:08:54 > 0:08:59- Now, what have you brought in? You've got something to show me. - Photos.- This is embarrassing.
0:08:59 > 0:09:03- But there I am!- Yes, there you are. - Look at that! Are you there? Is that you?- Yes, that's me, there.
0:09:03 > 0:09:06- And that's my sister. - That's your sister, Ann.
0:09:06 > 0:09:11- And there you are again.- Oh, look at that! Is this your back garden?- Yes.
0:09:11 > 0:09:13- Your mum and dad's.- Yes.
0:09:13 > 0:09:17Look at that. There I am. Great shorts and with wellies.
0:09:17 > 0:09:20I was a fashion icon, even back then.
0:09:20 > 0:09:23ALL CHUCKLE
0:09:23 > 0:09:25- It's great to see you!- Yes, and you. - Can I have these?
0:09:25 > 0:09:27- Yes, you can take those.- Thank you. - They're for you.
0:09:27 > 0:09:31- Aw! I'll show my sister. Well, it's good to see you.- And you.
0:09:31 > 0:09:34- What memories! - ALL LAUGH
0:09:34 > 0:09:38Well, that was a blast from the past. And now over to James Lewis,
0:09:38 > 0:09:41who's found something even older than my childhood photos.
0:09:42 > 0:09:45Patricia, this is a really unusual thing
0:09:45 > 0:09:49because we've got a short umbrella, almost parasol-like,
0:09:49 > 0:09:54but the handle is carved with lovebirds
0:09:54 > 0:09:57and I've never seen a little handle like this.
0:09:57 > 0:10:00Carved with parrots, yes, but little lovebirds, I find really sweet.
0:10:00 > 0:10:03It's almost as if it was given as a love token
0:10:03 > 0:10:05from one person to another.
0:10:05 > 0:10:08- Anybody special in your life? - Not in my life, no!
0:10:08 > 0:10:11I think probably it belonged to my grandmother.
0:10:11 > 0:10:13You're going to tell me where it came from cos I don't know.
0:10:13 > 0:10:15OK. I'll try. Yeah.
0:10:15 > 0:10:21I can see it's old and I think that's ivory, but otherwise I know nothing.
0:10:21 > 0:10:25It is. Now, the question is - is this a European umbrella
0:10:25 > 0:10:27in the Japanese style,
0:10:27 > 0:10:30or is it a Japanese ivory head on a European umbrella?
0:10:30 > 0:10:32Let's have a look.
0:10:32 > 0:10:37First thing to do... The terminals here are ivory.
0:10:37 > 0:10:42The piece at the section here...
0:10:42 > 0:10:45is bamboo.
0:10:46 > 0:10:49But there, look.
0:10:49 > 0:10:50Ben Cox.
0:10:50 > 0:10:53- Of London.- Oh! I never noticed that.
0:10:53 > 0:10:55Right, so he's English. Um...
0:10:55 > 0:11:01So it's a Malacca shaft, with an ivory handle, a bamboo stem,
0:11:01 > 0:11:05ivory mounts, but made for a London retailer.
0:11:05 > 0:11:09So, it's a European thing with a Japanese ivory handle.
0:11:09 > 0:11:10Right.
0:11:10 > 0:11:14The birds have got glass eyes and it was carved in Japan,
0:11:14 > 0:11:18and in this period that we called the Meiji period.
0:11:18 > 0:11:22So, having said all that, good news and bad news.
0:11:22 > 0:11:25There are collectors for umbrellas,
0:11:25 > 0:11:29but there are far more collectors for walking sticks.
0:11:29 > 0:11:34- This one also has the tip off the head.- Yes.
0:11:34 > 0:11:37So that's going to make a bit of a difference.
0:11:37 > 0:11:40In perfect condition, that's worth £100-£150.
0:11:40 > 0:11:45With the head off, and re-glued, 60-100.
0:11:45 > 0:11:47- That sounds...- Is that all right?
0:11:47 > 0:11:49- ..fun. Yes.- Sure?- Yes.
0:11:49 > 0:11:52- Well, it's doing nothing for me. - Well, it's not raining outside!
0:11:54 > 0:11:56Over to Mark Stacey...
0:11:58 > 0:12:01- Jane, this is a heck of lump, isn't it?- It certainly is.
0:12:01 > 0:12:03Tell me the history of it, please.
0:12:03 > 0:12:07I think my mother bought it from an auction house back in the '50s.
0:12:07 > 0:12:10I remember it a long, long time.
0:12:10 > 0:12:14She used to keep it in the cloakroom, full of umbrellas and walking sticks.
0:12:14 > 0:12:17- Wow! Well, it's big enough for that, isn't it?- It is.
0:12:17 > 0:12:21- In the '50s, I suppose, this was considered out of fashion.- Yes.
0:12:21 > 0:12:24People wanted the more modern designs, you know,
0:12:24 > 0:12:25the straight lines and things.
0:12:25 > 0:12:28But as soon as you see this type of pottery,
0:12:28 > 0:12:32with this very distinctive pink-y interior and these lovely
0:12:32 > 0:12:36subtle colours, there is only one factory you think of, really.
0:12:36 > 0:12:38- Yes.- Poole Pottery.- Absolutely.
0:12:38 > 0:12:40- Based in Dorset.- Yes.
0:12:40 > 0:12:44It's beautifully decorated with these stylised flowers.
0:12:44 > 0:12:48- Such a lovely range of colours in there.- It's a nice shape.
0:12:48 > 0:12:52It would take quite a lot to fire this. A big lump like this.
0:12:52 > 0:12:54If we have a look underneath...
0:12:54 > 0:12:56we've got a lovely set of marks there.
0:12:56 > 0:13:01We've got the marks for Carter, Stabler, Adams - Poole.
0:13:01 > 0:13:04- Which is the early mark, the 1920s-30s mark.- Yes.
0:13:04 > 0:13:06So that fits in.
0:13:06 > 0:13:09They kept reducing these designs and sometimes you just see them
0:13:09 > 0:13:12- with "Poole Pottery," and they are slightly later.- Later.
0:13:12 > 0:13:15But it's a really, really good piece.
0:13:15 > 0:13:17There's a little bit of damage, isn't there?
0:13:17 > 0:13:20- Yes, there is a slight chip. - Which could easily be restored.
0:13:20 > 0:13:22Yes, that's always been there, I'm afraid.
0:13:22 > 0:13:25I think it really is a lovely object.
0:13:25 > 0:13:30- Why have you decided to sell it now? - We've got six grandchildren now.
0:13:30 > 0:13:33And they love charging around.
0:13:33 > 0:13:36It was in the lounge and we have a new rescue dog as well,
0:13:36 > 0:13:37who plays with a ball.
0:13:37 > 0:13:40And I thought, "It's going to get smashed."
0:13:40 > 0:13:42It's such a shame if it got smashed beyond repair.
0:13:42 > 0:13:46You need the right space for it as well, don't you? Aesthetically.
0:13:46 > 0:13:47It's not going to be safe, I'm afraid.
0:13:47 > 0:13:51I must say, I must be honest with you, Jane, I think
0:13:51 > 0:13:54- a few years ago, this would have been worth a lot more money.- I know.
0:13:54 > 0:13:58I think if it was absolutely perfect,
0:13:58 > 0:14:02- we would easily expect to get the £500 mark for it.- Yes.
0:14:02 > 0:14:06I think we've got to take into account the small chip on it.
0:14:06 > 0:14:09- Yeah.- And the fact that Poole isn't...- It's not as popular.
0:14:09 > 0:14:10..quite as fashionable as it was.
0:14:10 > 0:14:14- I would probably suggest an estimate of £300-£500.- Yes.
0:14:14 > 0:14:17- I'd be happy with that.- And to put a reserve on it of 300.- Yes.
0:14:17 > 0:14:19- So it protects you.- No, that's fine.
0:14:19 > 0:14:23I really mean it, I love it and it's the most impressive
0:14:23 > 0:14:26- piece of Poole I've seen for quite a long time.- Lovely, thank you.
0:14:29 > 0:14:30While everyone's busy here,
0:14:30 > 0:14:33I'm off to do something completely different.
0:14:39 > 0:14:43The Royal Botanic Gardens at Kew houses one of the most famous
0:14:43 > 0:14:45collections of plants in the world.
0:14:45 > 0:14:48And it attracts well over a million visitors each year.
0:14:51 > 0:14:54The curvaceous lines and perfect symmetry of Kew's Palm House,
0:14:54 > 0:14:57designed by architect Decimus Burton, has long been
0:14:57 > 0:15:00an instantly recognisable icon here at the gardens.
0:15:00 > 0:15:02And quite rightly so.
0:15:02 > 0:15:06But today I've come here to explore a much more modest building,
0:15:06 > 0:15:09one that I believe to be a hidden gem.
0:15:12 > 0:15:14And there it is, look, a Victorian pavilion.
0:15:14 > 0:15:16The Marianne North Gallery,
0:15:16 > 0:15:20tucked demurely away on the corner of the east side of the gardens.
0:15:20 > 0:15:23The question is, who was Marianne North?
0:15:25 > 0:15:27She was born in 1830 in Hastings,
0:15:27 > 0:15:30which is just a short distance from today's auction.
0:15:30 > 0:15:31Her parents were wealthy
0:15:31 > 0:15:34and she travelled abroad with her father, who was an MP.
0:15:34 > 0:15:38That wanderlust combined with the love of exotic plants,
0:15:38 > 0:15:41which she had seen here at Kew, would shape the rest of her life.
0:15:42 > 0:15:46At the age of 40 she began her astonishing trips around the world.
0:15:46 > 0:15:49She was very close to her father, and when he died in 1869,
0:15:49 > 0:15:52she decided to travel as a way of filling up her life
0:15:52 > 0:15:54and learning to live without him.
0:15:54 > 0:15:56And boy, did she globe-trot!
0:15:56 > 0:16:01Between the years of 1871 and 1885, she visited
0:16:01 > 0:16:07America, Canada, Jamaica, Brazil, Tenerife, Japan, Singapore,
0:16:07 > 0:16:12Sarawak, Java, Sri Lanka, India, Australia, New Zealand,
0:16:12 > 0:16:15South Africa, the Seychelles and Chile.
0:16:15 > 0:16:17Everywhere she went, she would paint.
0:16:17 > 0:16:21In total, she brought back 832 paintings.
0:16:21 > 0:16:24A snapshot of the world's flora and fauna in situ.
0:16:26 > 0:16:29She really was unlike most women of the Victorian era.
0:16:29 > 0:16:31She shunned marriage
0:16:31 > 0:16:33and travelled the world to follow her artistic passion.
0:16:35 > 0:16:38I can't wait to see inside now the restoration is complete.
0:16:38 > 0:16:40'I'm meeting up with author Laura Ponsonby,
0:16:40 > 0:16:43'who has written a biography about Marianne.
0:16:43 > 0:16:45'And we are going to take a closer look at her work.'
0:16:45 > 0:16:48- I'll get the door for you. - Thank you very much.
0:16:49 > 0:16:53Come in. Come in and have a look.
0:16:53 > 0:16:55- Gosh!- Isn't it amazing?
0:16:55 > 0:16:58It's very overwhelming. It's full of colour!
0:16:58 > 0:17:01- Have you ever seen anything like it before?- No, I haven't. I have not.
0:17:01 > 0:17:03And I tell you something,
0:17:03 > 0:17:06my first feeling is there is not an inch of wall space.
0:17:06 > 0:17:08I think you are more or less right.
0:17:08 > 0:17:12And everybody who comes in, goes, "Wow! I never knew this was here."
0:17:16 > 0:17:19First thoughts when you actually focus on the artwork,
0:17:19 > 0:17:21they don't look like the sort of
0:17:21 > 0:17:23botanical, scientific paintings you would expect.
0:17:23 > 0:17:26- You know, the ones done in watercolour.- Yes.
0:17:26 > 0:17:29- No, they are not that at all. You see, they are oils.- And very rich.
0:17:29 > 0:17:33Oil on paper. And she absolutely adored colour.
0:17:33 > 0:17:35She started painting in oils when she was in her 30s.
0:17:35 > 0:17:37Before that time, she painted in watercolour.
0:17:37 > 0:17:42- Her basic thing was to show a plant in its habitat.- It is in situ, yes.
0:17:42 > 0:17:45That's exactly how you'd expect to see it, isn't it, really?
0:17:45 > 0:17:47It's a snapshot. It's a little photograph.
0:17:47 > 0:17:50- Where is this? I think I've been there.- Yes, you have.
0:17:50 > 0:17:52- That's in Sri Lanka. - Yeah, I have been there.
0:17:52 > 0:17:54That's in the Kandy Botanic Garden.
0:17:54 > 0:17:57And this is, in fact, a jackfruit tree.
0:17:57 > 0:18:00And, like Kew, it's got a river going round it as well.
0:18:00 > 0:18:04Just look at the work! You can see the countries where she's been.
0:18:04 > 0:18:06Australia. You can see Jamaica, America.
0:18:06 > 0:18:11- She was an adventurous, tough woman. - She was an adventurous, tough woman.
0:18:11 > 0:18:14But she spent months in some countries without servants,
0:18:14 > 0:18:15without any help.
0:18:15 > 0:18:20She did. In India, for instance, she spent nearly 15 months, I suppose.
0:18:20 > 0:18:23She had letters of introduction. She knew someone...
0:18:23 > 0:18:25Sure, and her father was well-connected.
0:18:25 > 0:18:28Yes, you are absolutely right. So she went all over the place.
0:18:28 > 0:18:30What does it tell you about her, really?
0:18:30 > 0:18:32That she was really determined?
0:18:32 > 0:18:35She was determined, she was very adventurous
0:18:35 > 0:18:37and wanted her own way, I think.
0:18:37 > 0:18:41- The sort of lady you'd love to meet, I bet.- Yes, I would like to...
0:18:41 > 0:18:44I think she was amusing. She could be quite difficult sometimes,
0:18:44 > 0:18:45but a good sense of humour.
0:18:45 > 0:18:49And had known a lot of interesting people. Very determined.
0:18:50 > 0:18:53She showed that determination when she convinced
0:18:53 > 0:18:57the director of Kew to allow her to build this gallery in the grounds.
0:18:57 > 0:19:00Not only did she pay for it,
0:19:00 > 0:19:04but she took a year away from painting to arrange the pictures.
0:19:04 > 0:19:08It's probably a daft question, but do you have a favourite?
0:19:08 > 0:19:10Well, I mean, there is one
0:19:10 > 0:19:13in the little annexe at the back that I really like.
0:19:13 > 0:19:15- And it's interesting, too.- OK.- Yes.
0:19:15 > 0:19:17You know, it's not just scientific detail.
0:19:17 > 0:19:19As you walk past some of these images,
0:19:19 > 0:19:22you can see little river snakes and the eyes of crocodiles
0:19:22 > 0:19:24poking their heads above the surface of the water.
0:19:24 > 0:19:27Which you can easily miss, but they are there.
0:19:27 > 0:19:29Anyway, it's in here. It's just in the corner.
0:19:31 > 0:19:32This one.
0:19:32 > 0:19:36It's a plant which is called Northia. It actually named after Marianne.
0:19:36 > 0:19:38The first name, the genus name.
0:19:38 > 0:19:41She did it when she was in the Seychelles.
0:19:41 > 0:19:43- It's a lovely image, isn't it? - Yes, it is nice.
0:19:43 > 0:19:46- You can see it's got a little bird in it.- Yes, I've just spotted that.
0:19:46 > 0:19:48A couple of fruits. I think she brought that back...
0:19:48 > 0:19:49You have to look hard,
0:19:49 > 0:19:51cos some of these little animals are camouflaged.
0:19:51 > 0:19:54Yes, she hides them away. It's quite interesting, isn't it?
0:19:54 > 0:19:58Suddenly you see a monkey or a bird, or something of that nature.
0:20:03 > 0:20:06How would you sum up Marianne's legacy?
0:20:06 > 0:20:08I think it's unique, really. I don't think there is anybody else
0:20:08 > 0:20:11who has done anything quite like that.
0:20:11 > 0:20:13And of course, it's so interesting where she has been
0:20:13 > 0:20:16and all her experiences, and I think people enjoy that,
0:20:16 > 0:20:19looking at the places perhaps they've been to on holiday
0:20:19 > 0:20:22and they come and see what Marianne painted.
0:20:22 > 0:20:25- It's very interesting.- I think so. It's most fascinating.
0:20:25 > 0:20:27I think this place is well worth a visit.
0:20:27 > 0:20:29I'm going to come and spend a few more hours in here.
0:20:29 > 0:20:32- Yes, you certainly could.- Thank you so much for showing me around...
0:20:32 > 0:20:34- Not at all. - ..and being my guide today.- Good.
0:20:35 > 0:20:37'Marianne often ventured to places
0:20:37 > 0:20:39'that were virtually unknown to Europeans.
0:20:39 > 0:20:43'And some of her paintings showed plants that were new to science,
0:20:43 > 0:20:46'helping to advance our knowledge of the natural world.
0:20:46 > 0:20:49'But the years of exhausting travel took their toll,
0:20:49 > 0:20:52'and she retired to Gloucestershire, still surrounded by flowers.
0:20:54 > 0:20:56'She died there in 1890,
0:20:56 > 0:20:59'a long way from the exotic locations that she loved.'
0:21:01 > 0:21:04Marianne North, the intrepid traveller, has provided us
0:21:04 > 0:21:06with an exquisite Victorian set piece,
0:21:06 > 0:21:09tucked away in this corner of Kew Gardens.
0:21:09 > 0:21:14And inside, the most extraordinary collection of botanical paintings.
0:21:14 > 0:21:17Although not classical, they are all the richer for it.
0:21:17 > 0:21:21I think we can safely say Marianne North and her gallery
0:21:21 > 0:21:23are definitely one-offs.
0:21:28 > 0:21:32And now a quick reminder of what's going off to auction.
0:21:32 > 0:21:36We've got the walnut and brass tea caddy, brought along by Karen.
0:21:38 > 0:21:41There's the Majolica bowls that Mark fell in love with.
0:21:45 > 0:21:47There's that huge ceramic vase.
0:21:50 > 0:21:52And we also have
0:21:52 > 0:21:53the ivory-handled umbrella.
0:21:56 > 0:22:00Today's sale, we've left Surrey and travelled a few miles south,
0:22:00 > 0:22:03to Washington in West Sussex, courtesy of Toovey's auction room.
0:22:03 > 0:22:06Now, down there is an eager crowd, waiting for our lots to go
0:22:06 > 0:22:09under the hammer, so let's get on with it and not disappoint them.
0:22:09 > 0:22:13And the man in charge of today's proceedings is Rupert Toovey.
0:22:13 > 0:22:15Going under the hammer right now, another "Flog It!" favourite -
0:22:15 > 0:22:16a bit of Poole Pottery.
0:22:16 > 0:22:19I remember my days when I went down to the factory
0:22:19 > 0:22:20down in Dorset, before they closed down.
0:22:20 > 0:22:23They are now open in Stoke-on-Trent, so they're still in business,
0:22:23 > 0:22:26- but this is from the 1920s, Jane. - Yes.- A really nice piece.
0:22:26 > 0:22:28I think it was painted by a lady called Anne Hatchard as well.
0:22:28 > 0:22:32- Oh, right. I didn't know that.- Yes! - Lovely colours.
0:22:32 > 0:22:33Right, let's put this to the test.
0:22:33 > 0:22:37Carter, Stabler, Adams - Poole Pottery vase.
0:22:37 > 0:22:391920s. Painted by Anne Hatchard,
0:22:39 > 0:22:42and monogrammed with a Truda Carter patterned YT.
0:22:42 > 0:22:45It's a wonderful thing. Little chip to the foot, but lovely.
0:22:45 > 0:22:50Opening the bidding here at £220. 220 here. Can I see the 250?
0:22:50 > 0:22:56£220 here. 250? At £220. 250 can I see?
0:22:56 > 0:22:59£220. 250. 280. 300.
0:23:01 > 0:23:05300 now with the phone. At £300. Beating the book. At £300.
0:23:05 > 0:23:07At £300. Can I see 320?
0:23:07 > 0:23:12At £300. 320 can I see? £300. On the phone at £300.
0:23:12 > 0:23:14We are selling at £300.
0:23:14 > 0:23:16- Fair warning. - BANGS GAVEL
0:23:16 > 0:23:19That gavel's just gone down. £300.
0:23:19 > 0:23:22- Jane, it's gone. You've said goodbye.- Absolutely.
0:23:22 > 0:23:24- You don't have to take it home. - No. That's good.
0:23:24 > 0:23:26- Yeah. Are you happy with that? - Yes, I'm happy with that.
0:23:26 > 0:23:30'Yet again, Mark's valuation was right on the money.'
0:23:30 > 0:23:32Coming up now, we've got a Victorian dome-lidded tea caddy,
0:23:32 > 0:23:35belonging to Karen. I've known her a long time as well, haven't I?
0:23:35 > 0:23:41- Well, I haven't seen you for... possibly about 40-odd years!- Yeah, that's right. Showing our age!- Yes.
0:23:41 > 0:23:44You clobbered me back at Guildford Cathedral with a little photograph.
0:23:44 > 0:23:47We used to know each other when we were kids. Next-door neighbours.
0:23:47 > 0:23:50- Oh, my goodness! - How amazing is that?- I know.
0:23:50 > 0:23:53Right, let's talk about your walnut dome-lidded tea caddy.
0:23:53 > 0:23:57I like it because it's got that lovely gothic revival taste to it
0:23:57 > 0:23:59and I'm big on that, I love that.
0:23:59 > 0:24:02- But I agree with the valuation, James.- Good.- Right.
0:24:02 > 0:24:05Let's get on with selling antiques, shall we? Here we are. It's going under the hammer now.
0:24:07 > 0:24:10A late-Victorian burr walnut dome tea caddy with Gothic revival,
0:24:10 > 0:24:13applied brass strap-work mounts. It's a lovely thing.
0:24:13 > 0:24:17What shall we say for this lot? Shall we say £100? 50, then, please.
0:24:17 > 0:24:1950, I'm bid. Can I see the five?
0:24:19 > 0:24:21At £50, can I see the 55?
0:24:21 > 0:24:2355. And 60 and five.
0:24:23 > 0:24:26At £60 now. At £60 and five? With you, madam.
0:24:26 > 0:24:28At £65, and thank you.
0:24:28 > 0:24:32At £65 now in the room. It's against you all. At 65.
0:24:32 > 0:24:34And 70 now with Glen.
0:24:34 > 0:24:38And 75. He makes us jump, doesn't he? 75 and 80.
0:24:38 > 0:24:41- Yes, sir.- And five. And 90.
0:24:45 > 0:24:4790 and five. 100?
0:24:49 > 0:24:54- No, sir.- 95, it is, with the lady. At £95. Against you, Glen.
0:24:54 > 0:24:57That's right, isn't it? 95, all done. 95!
0:24:57 > 0:24:59- Sold at 95. We're happy with that. - Very pleased.
0:24:59 > 0:25:01- Very pleased with that.- Good.
0:25:01 > 0:25:03Would have liked three figures,
0:25:03 > 0:25:05but hey, we always want more than what we normally get, don't we?
0:25:05 > 0:25:07No, that's brilliant.
0:25:07 > 0:25:10So, Karen's going home, happy, with one less tea caddy,
0:25:10 > 0:25:11but a few extra quid.
0:25:11 > 0:25:13Next up, it's the pair of bowls.
0:25:14 > 0:25:16Going under the hammer right now,
0:25:16 > 0:25:18one of the great names in ceramics, Minton Majolica.
0:25:18 > 0:25:22We've got two dishes belonging to Jane and Mike and it's great to see you both.
0:25:22 > 0:25:25- I've got to say, you look very stylish.- Thank you very much.
0:25:25 > 0:25:29- Equally as stylish as the little dishes.- I love them.
0:25:29 > 0:25:30I know there's a few nibbles here,
0:25:30 > 0:25:34- but Majolica collectors will live with that.- OK, let's find out.
0:25:34 > 0:25:37They're going under the hammer right now. Good luck, both of you.
0:25:39 > 0:25:44A pair of Minton Majolica dishes, circa 1869 and 1870, of oval shape.
0:25:44 > 0:25:49And we're opening the bidding here at £180. 180. Can I see the 190?
0:25:49 > 0:25:50£180 and 190.
0:25:50 > 0:25:51200. 220.
0:25:51 > 0:25:54£200 here on commission.
0:25:54 > 0:25:56- At £200, can I see the 220? - Yes, sir.
0:25:56 > 0:26:00At 220 now online. 220 now online. Can I see the 240?
0:26:00 > 0:26:03£220. With you, Glen.
0:26:03 > 0:26:05- Any more out there?- No, sir.
0:26:05 > 0:26:07- 220 it is, with you.- 220.
0:26:07 > 0:26:10At £220 and selling. 220.
0:26:10 > 0:26:15- 220, at the lower end.- I suppose it's the market.- Just got them away.
0:26:15 > 0:26:16- Yes, good.- Was that OK?
0:26:16 > 0:26:18- Yes, of course it is.- They've gone.
0:26:18 > 0:26:20So, Mark was within estimate,
0:26:20 > 0:26:23but we've got another bird-themed item now.
0:26:23 > 0:26:25It's that ivory-handled umbrella.
0:26:25 > 0:26:27Remember, there are restrictions on selling ivory,
0:26:27 > 0:26:32but this item is fine because it was made before 1947.
0:26:32 > 0:26:35It's absolutely stunning, isn't it? Made by Ben Cox of London.
0:26:35 > 0:26:37- Apparently. - Quality, quality, quality.
0:26:37 > 0:26:40- And, James, this should do well. - It should.
0:26:40 > 0:26:43It's got a bit of damage, which is why I've put it down at 60-100.
0:26:43 > 0:26:46Yes, cheeky little valuation. Why are you selling this?
0:26:46 > 0:26:47I did have it in the hall,
0:26:47 > 0:26:49but it was gathering dust and doing nothing.
0:26:49 > 0:26:51- You thought, "Let's sell it."- Yeah.
0:26:51 > 0:26:53Bring it along to "Flog It!" and see what we can do.
0:26:53 > 0:26:55Well, let's hope we get that top end.
0:26:55 > 0:26:57It's going under the hammer right now.
0:26:57 > 0:27:01An early 20th century ivory and Malacca handled umbrella.
0:27:01 > 0:27:04And...a multitude of conflicting bids on this lovely thing.
0:27:04 > 0:27:06And we're opening at £110.
0:27:06 > 0:27:10- Oh!- 120. 130. 140.
0:27:10 > 0:27:11150. 160.
0:27:11 > 0:27:13- Now in the room at 160.- £160.
0:27:13 > 0:27:17- £160. Are we all done?- Wonderful.
0:27:17 > 0:27:18170. 180.
0:27:18 > 0:27:20- 190.- Yes, sir.
0:27:20 > 0:27:21200.
0:27:21 > 0:27:23- 220.- Yes, sir.
0:27:23 > 0:27:25220, I have. And 240, can I say?
0:27:25 > 0:27:27And 260?
0:27:27 > 0:27:29- Are you sure?- Yeah, £260.
0:27:29 > 0:27:31- Wow!- 260 now on the net. And 280, can I see?
0:27:31 > 0:27:33280, I have. And 300 now?
0:27:34 > 0:27:37- Yes, sir.- 300, I have. And 320.
0:27:37 > 0:27:38Yeah? 320, I have.
0:27:38 > 0:27:40- And 340.- Yes, sir.
0:27:40 > 0:27:42And 360.
0:27:42 > 0:27:44Thank you, sir. 340, Glen, with you on the net.
0:27:44 > 0:27:49- At £340. £340 online.- £340!
0:27:49 > 0:27:51£340.
0:27:51 > 0:27:55- And the hammer's going down. Yes! - That is a fantastic result.
0:27:55 > 0:27:58Two people obviously wanted that, the collectors are out in force!
0:27:58 > 0:28:00- Wow!- So, reactions?
0:28:00 > 0:28:02Ooh, I'll have a sit down! That's amazing!
0:28:02 > 0:28:04Well done to Rupert, though.
0:28:04 > 0:28:06- On the rostrum, delivering the goods for us.- Yeah, brilliant.
0:28:06 > 0:28:08Great auctioneering.
0:28:08 > 0:28:11Well, that just goes to show you can never tell what's going to
0:28:11 > 0:28:14happen at auction when they catch the bidders' attention.
0:28:15 > 0:28:18There you are. That's the end of our first visit to the auction today.
0:28:18 > 0:28:22Fast and furious. We are coming back here later on in the programme. Don't go away.
0:28:22 > 0:28:27Now, music has played a very important part in the history of our religion over the years.
0:28:27 > 0:28:30Two instruments in particular, associated with the Church.
0:28:30 > 0:28:33I went back to Guildford Cathedral to find out more.
0:28:33 > 0:28:35Take a look at this.
0:28:38 > 0:28:41CHORAL SINGING
0:28:43 > 0:28:45When you think of music in the church,
0:28:45 > 0:28:48this is probably the first thing that springs to mind -
0:28:48 > 0:28:50the calm and soothing sound of a choir.
0:28:51 > 0:28:54I'm going to be having a go at something a little bit louder,
0:28:54 > 0:28:58assuming I've got the energy after climbing all these stairs.
0:29:00 > 0:29:02BELLS RING
0:29:04 > 0:29:07The history of bell ringing in churches can trace its roots back
0:29:07 > 0:29:14to around 400 AD when the Bishop of Campania, in Italy, introduced it.
0:29:14 > 0:29:16The art of bell ringing, or campanology,
0:29:16 > 0:29:21takes its name from that region and is still used 1,600 years later.
0:29:21 > 0:29:24I'm here to meet some modern-day campanologists.
0:29:24 > 0:29:27Finally at the top!
0:29:27 > 0:29:30And these are some of the bell ringers here at the cathedral.
0:29:30 > 0:29:33We've got Justina, Maurice, David and Chris.
0:29:33 > 0:29:35I can't wait to have a go myself.
0:29:35 > 0:29:39I'm a complete novice, but hopefully, I can join in with you.
0:29:39 > 0:29:42- David, can you show me a few things? - Yes, come along here and we'll have a look.
0:29:42 > 0:29:45- Do I need to take my coat off? - Yes, take your coat off, please.- OK.
0:29:45 > 0:29:48'It takes a lot of practice to become an expert bell ringer,
0:29:48 > 0:29:50'which is why I'm being closely supervised.
0:29:50 > 0:29:53'If I get it wrong, I could damage the bells.'
0:29:55 > 0:29:59So, if you'd like to take that rope, with your right hand on the bottom, left hand on the top...
0:29:59 > 0:30:02Put your arms out straight, don't bend your body.
0:30:02 > 0:30:04Now, we're going to pull the bell off.
0:30:04 > 0:30:08The rope will go up to the roof, you're going to go up with it,
0:30:08 > 0:30:12keep your arms straight, and then pull your arm straight down again.
0:30:12 > 0:30:16- OK. You're not going to let go. - No, I'm not going to let go.
0:30:16 > 0:30:17I'm going to go up with you.
0:30:17 > 0:30:20Look straight and look forward, straightforward.
0:30:20 > 0:30:21- OK, here we go.- Yes.
0:30:23 > 0:30:26BELL RINGS
0:30:28 > 0:30:32Right, OK. I can see it... I can feel the weight of the bell now.
0:30:33 > 0:30:35- Oh, I didn't go right up there, did I?- No.
0:30:35 > 0:30:38Oh, it's not for the faint-hearted, is it?
0:30:38 > 0:30:40That's for sure! Great form of exercise.
0:30:43 > 0:30:45And what's the weight of the bell up there? Is that a big one?
0:30:45 > 0:30:49- That would be five or six... Six or seven hundredweight, I think.- OK.
0:30:49 > 0:30:51Do you know what? It's starting to feel good now.
0:30:51 > 0:30:55It's feeling really good and I'm sure after an hour,
0:30:55 > 0:30:56you could let go of that...
0:30:56 > 0:30:59We are not going to chance it right now. Thank you very much.
0:30:59 > 0:31:02- I did enjoy that.- OK. Good.- It makes you feel good as well, doesn't it?
0:31:02 > 0:31:04- It's good for your stomach muscles. - Absolutely.
0:31:04 > 0:31:06Good for the brain, good for the stomach.
0:31:06 > 0:31:08Well, I'll let you all carry on.
0:31:08 > 0:31:11I'm going to leave you now, but can you play me out as I walk out?
0:31:11 > 0:31:13Thank you. Thank you. And cheerio.
0:31:17 > 0:31:21Look two, trebles going. She's gone.
0:31:21 > 0:31:22BELLS PEAL
0:31:22 > 0:31:25And it's not just music that bells have been used for.
0:31:25 > 0:31:28They were initially used as a call to prayer,
0:31:28 > 0:31:31but they've also been rung to warn of impending invasions
0:31:31 > 0:31:36by foreign armies and pass messages from village to village.
0:31:36 > 0:31:37Well, ding-dong!
0:31:37 > 0:31:42That was brilliant fun and now for something a little more soothing.
0:31:42 > 0:31:45Bells may be a great way to make a loud noise,
0:31:45 > 0:31:47but they're not good to sing hymns to,
0:31:47 > 0:31:51but that's exactly what this next instrument was designed for.
0:31:51 > 0:31:56It's believed this organ was originally built around 1866
0:31:56 > 0:31:59and spent the early part of its history at a church in Yorkshire.
0:31:59 > 0:32:05It was moved here and installed before the cathedral opened in 1961.
0:32:05 > 0:32:08Katherine Deanish Williams is the organist
0:32:08 > 0:32:11and master of choristers, here at the cathedral.
0:32:12 > 0:32:16Why are organs so synonymous with cathedrals and churches?
0:32:16 > 0:32:19Well, effectively because they make a lot of noise.
0:32:19 > 0:32:22- Any other instrument would get lost, wouldn't it?- It really would.
0:32:22 > 0:32:25Although we do have bagpipes here once a year.
0:32:25 > 0:32:28One of the schools comes and brings a piper so that could be similar.
0:32:28 > 0:32:31- But same principle.- Same principle. Where do you start to learn?
0:32:31 > 0:32:33Obviously, on the keyboards, on a piano.
0:32:33 > 0:32:35- You've got to learn to play the piano.- That's right.
0:32:35 > 0:32:38You've got to have a fundamental level of keyboard skill,
0:32:38 > 0:32:41really, to start, and then the worst thing
0:32:41 > 0:32:45when you start is kind of your left hand and feet coordination.
0:32:45 > 0:32:48- It just feels odd, you know? You feel slightly one-sided.- Sure.
0:32:48 > 0:32:49- A bit tipsy, almost.- Yeah.
0:32:49 > 0:32:53Then, you know, you've got to find your balance and it works.
0:32:53 > 0:32:55It's very sort of centralising somehow.
0:32:55 > 0:32:58So the hands are playing exactly what you would play
0:32:58 > 0:33:01on a standard piano or keyboard
0:33:01 > 0:33:05and the feet are enhancing something with more of a swelling noise, or...
0:33:05 > 0:33:08Slightly different to that actually, Paul, because what you've got
0:33:08 > 0:33:11down here, with your feet, you've got a complete keyboard in itself.
0:33:11 > 0:33:13So you could play with just your feet only?
0:33:13 > 0:33:16You can play with just your feet. Exactly so.
0:33:16 > 0:33:19But, I mean, in order to play anything
0:33:19 > 0:33:21you've got to draw a stop to make a sound.
0:33:21 > 0:33:23So if I was to play some... one of these keys right now,
0:33:23 > 0:33:26you can't hear anything.
0:33:26 > 0:33:29So, in order to hear something, you have to draw a stop somewhere.
0:33:29 > 0:33:32So if I put down one chord at what we would call normal pitch,
0:33:32 > 0:33:36and I can add an octave above it, eight notes higher,
0:33:36 > 0:33:38and more pipes are sounding...
0:33:38 > 0:33:41Two octaves above it, higher still. I'm still playing three notes,
0:33:41 > 0:33:44- but there's far more than three notes sounding.- Yeah. Wow!
0:33:44 > 0:33:47And the way the instrument has developed is very much in line
0:33:47 > 0:33:49with the expansion of the orchestra.
0:33:49 > 0:33:51How long did it take you to learn to pull out the right stops?
0:33:51 > 0:33:53I mean, there are so many buttons...
0:33:53 > 0:33:57The complicated thing is, every single instrument is different.
0:33:57 > 0:33:59So what's over here on one instrument
0:33:59 > 0:34:01might be over here on another instrument.
0:34:01 > 0:34:04- So there's no standard organ? - There's no standard organ.
0:34:04 > 0:34:07And that's part of the challenge as a player
0:34:07 > 0:34:10is to familiarise yourself with the instrument.
0:34:10 > 0:34:14What connects these keyboards to the pipes over there?
0:34:14 > 0:34:16Lots and lots of cabling.
0:34:16 > 0:34:19So under the chancel floor, just beneath us,
0:34:19 > 0:34:23- there's 30 miles of wiring in total. - Wow!
0:34:23 > 0:34:26You have pipes which are sitting on top of a wind chest
0:34:26 > 0:34:29and when a palette is removed, the air goes through and the pipe sounds.
0:34:29 > 0:34:35Times that by the fact that we've got, here, 4,398 pipes.
0:34:35 > 0:34:38- A lot.- So it's a massive piece of equipment.
0:34:38 > 0:34:42Well, we've heard how highly complex this is and I can see it is.
0:34:42 > 0:34:44Can I actually see what it can do
0:34:44 > 0:34:46in the hands of a great professional like you?
0:34:46 > 0:34:49- Go on, pull out all the stops. - Right.- Give it something!
0:34:49 > 0:34:52- All the stops!- Yeah.- OK. Here we go. This is Widor's Toccata.
0:34:52 > 0:34:54Quite a famous piece.
0:34:54 > 0:34:57MUSIC: "Toccata" by Charles-Marie Widor
0:35:02 > 0:35:05- So there's a lot of sound going on. - Mm.
0:35:15 > 0:35:18- And so on, and so on.- That's fantastic. Absolutely fantastic.
0:35:18 > 0:35:20- Thank you so much.- You're welcome.
0:35:20 > 0:35:24- It's really moving, isn't it, when you hear it played properly?- It is.
0:35:24 > 0:35:26- It is. Why don't you have a try? - Oh, no!
0:35:26 > 0:35:28HE LAUGHS If you're sure...
0:35:28 > 0:35:31- Maybe when the cameras have gone. - OK. You're welcome.
0:35:34 > 0:35:38Music plays a huge part in religious worship in most faiths.
0:35:38 > 0:35:41In fact, it's the main way that people have been introduced
0:35:41 > 0:35:43to music throughout history.
0:35:45 > 0:35:48Some of the tunes we hear today remain unchanged
0:35:48 > 0:35:50since they were composed centuries ago.
0:35:50 > 0:35:52It's a great way of keeping history alive
0:35:52 > 0:35:54and a real connection to the past.
0:36:04 > 0:36:07And that connection to the past is well and truly alive
0:36:07 > 0:36:10at our valuation day, where the Guildford Cathedral Choir
0:36:10 > 0:36:14are rehearsing for their next big performance.
0:36:14 > 0:36:15# ..plenteous land
0:36:15 > 0:36:22# Our fathers were oppressed
0:36:22 > 0:36:28# But God Whose chosen folk they were
0:36:28 > 0:36:36# Smote those who long enslaved them there
0:36:36 > 0:36:43# And all their woes redressed
0:36:43 > 0:36:51# And all their woes redressed. #
0:37:01 > 0:37:04Well, from vocals to valuables now.
0:37:04 > 0:37:06We need to find some more antiques and collectables
0:37:06 > 0:37:09to take off to auction, and the best people to do that
0:37:09 > 0:37:10are our team of experts.
0:37:10 > 0:37:12So let's catch up with them.
0:37:16 > 0:37:20- Kevin, Kevin.- Mark.- Where on earth did you get this thing from?
0:37:20 > 0:37:23I found this in the back of my garage when I was cleaning out
0:37:23 > 0:37:26after first moving in and it was under a layer of dust.
0:37:26 > 0:37:30- Pulled this out, wiped it off... - This is what you got?
0:37:30 > 0:37:34- Yeah, it's lovely.- I mean, it is the most...ridiculous item.
0:37:34 > 0:37:39We've looked at it and there are several possibilities.
0:37:39 > 0:37:42- It's obviously not English.- No.
0:37:42 > 0:37:45I think it's something tribal, but it's got this lovely,
0:37:45 > 0:37:48- painted decoration on it, hasn't it?- Beautiful.
0:37:48 > 0:37:50Now, there are some marks on the top
0:37:50 > 0:37:54- and the bottom, which might imply it was some sort of bow.- Oh, I see.
0:37:54 > 0:37:56I don't know how flexible it is.
0:37:56 > 0:37:59There is a bit of movement, but I don't think it is.
0:37:59 > 0:38:03The other thing is it might be just a decorative staff
0:38:03 > 0:38:04to show your authority or whatever.
0:38:04 > 0:38:07- Ceremonial maybe. - A ceremonial thing.
0:38:07 > 0:38:12- But I adore it because I love the decoration.- Yes, lovely.- You know.
0:38:12 > 0:38:15Erm...and I think it's got a bit of age to it.
0:38:15 > 0:38:19- I think it's certainly 19th century.- Right.
0:38:19 > 0:38:21If not a tad earlier.
0:38:21 > 0:38:24But where it's come from, to be honest with you,
0:38:24 > 0:38:27- or exactly how old it is, I'm really not sure...- No.
0:38:27 > 0:38:29..if I'm being frank with you.
0:38:29 > 0:38:32I just think it's a very appealing object.
0:38:32 > 0:38:33- Yeah.- It's different.
0:38:33 > 0:38:38- In salerooms, people like seeing interesting objects.- Yeah.
0:38:38 > 0:38:41And there will be people out there who will know what it is
0:38:41 > 0:38:43and think, "I must have this."
0:38:43 > 0:38:46But even from a sort of interior designer's point of view,
0:38:46 > 0:38:50it's just a great thing to have propped up, mounted up on the wall.
0:38:50 > 0:38:53This is where I had it, in the entrance hall, originally.
0:38:53 > 0:38:55- And you got it for nothing, really. - That's right, yeah.
0:38:55 > 0:38:58- It was just in your garage of a house you bought.- It's lovely.
0:38:58 > 0:39:02- What do you think it's worth? - A couple of million?
0:39:02 > 0:39:04- A couple of million? - Yeah, I would be happy with that.
0:39:04 > 0:39:07Well, if we were talking sort of Turkish lira,
0:39:07 > 0:39:08then we would probably be on,
0:39:08 > 0:39:11- cos a couple of million Turkish lira is about a fiver.- Yeah.
0:39:11 > 0:39:15But I think we've just got to have a stab at it, if you excuse the pun.
0:39:15 > 0:39:17Lovely. That's no problem.
0:39:17 > 0:39:18Um...
0:39:20 > 0:39:22- HE SIGHS - 100-150...
0:39:22 > 0:39:25- Yeah, fine.- You are happy with that, Kevin?- I am indeed, yes.
0:39:25 > 0:39:28I'm glad because you threatened to pierce me with it
0:39:28 > 0:39:30- if it wasn't the right estimate. - That's right.
0:39:30 > 0:39:32- So we are both happy.- Yes, we are.
0:39:32 > 0:39:33- Fantastic.- Lovely.
0:39:33 > 0:39:36- We can hope.- Yes, sir. Thank you.
0:39:36 > 0:39:38From one unusual item to another, now.
0:39:38 > 0:39:42- Over to James Lewis and THAT picture.- Elaine.
0:39:43 > 0:39:45Yes. THEY LAUGH
0:39:45 > 0:39:48I am just about lost for words.
0:39:49 > 0:39:54I look at this and I think it reminds me
0:39:54 > 0:39:59of a sketch that I have with a magnet stuck to my fridge
0:39:59 > 0:40:02that my four-year-old did a couple of weeks ago.
0:40:02 > 0:40:05And I look at it again and go, "No".
0:40:05 > 0:40:08It hasn't got the same talent as that.
0:40:08 > 0:40:14But then, my director says, "He's fabulous! He's wonderful!
0:40:14 > 0:40:16"You're underestimating this."
0:40:16 > 0:40:19Apparently, he's big.
0:40:19 > 0:40:20- Apparently so.- David...
0:40:20 > 0:40:22- Strigley.- Strigley.
0:40:22 > 0:40:24- AUDIENCE MEMBER:- Shrigley! - Shrigley.
0:40:24 > 0:40:27See? We don't even know who he is!
0:40:27 > 0:40:30But all I know is he can't even count!
0:40:30 > 0:40:35He's put "DS 20001".
0:40:35 > 0:40:39- Yes.- Well, he really is futuristic cos that's 20,001!
0:40:39 > 0:40:42It is. THEY LAUGH
0:40:42 > 0:40:46I mean, he really... I mean, he is a big name. He's up with Damien Hirst.
0:40:46 > 0:40:49I do take the mickey a bit,
0:40:49 > 0:40:50but when you see things like this
0:40:50 > 0:40:55that actually are quite important, because it's his hand,
0:40:55 > 0:40:59and the artist's hand is important in so many ways...
0:40:59 > 0:41:03and if you're going to collect paintings by an artist,
0:41:03 > 0:41:06to actually have something like that is a good thing to own.
0:41:06 > 0:41:10- Yes.- Tell me about it. How did it come to be in your hands?
0:41:10 > 0:41:13- Well, in actual fact, it belongs to my daughter.- Right.
0:41:13 > 0:41:16- And she has trained as an art teacher...- OK.
0:41:16 > 0:41:19And she did her training up at Sheffield Hallam.
0:41:19 > 0:41:23- And he was there for one of the lectures.- Yeah.
0:41:23 > 0:41:27And she had a chance to speak to him afterwards
0:41:27 > 0:41:31and she just said to him, she said, "Would you draw something for me?"
0:41:31 > 0:41:35And he said, "Yes". And all she'd got was this little scrap of paper.
0:41:36 > 0:41:41So he put his hand down, drew around it and that's what you've got.
0:41:42 > 0:41:46- Smart. Smart to ask him to do it. - Yeah.- Yeah.
0:41:46 > 0:41:50- The flesh and the interior. Did he write that on there?- Yes.
0:41:50 > 0:41:54- Yeah.- How interesting. I wonder what that means.
0:41:54 > 0:41:57He's very much an artist that's obsessed with line, isn't he?
0:41:57 > 0:42:01You look at his cartoons and his sketches,
0:42:01 > 0:42:06it's very little shading, very little three-dimension.
0:42:06 > 0:42:10- It's all about a flat, cartoon-type drawing.- Yes.
0:42:10 > 0:42:14And that's very much in his style. OK.
0:42:16 > 0:42:20I mean, this guy has got works in very important collections
0:42:20 > 0:42:23- all over the world.- Mm-hmm.
0:42:23 > 0:42:24Erm...
0:42:25 > 0:42:27It's so difficult though,
0:42:27 > 0:42:30because it is just a very silly sketch of a hand!
0:42:32 > 0:42:35Let's say £300-£500.
0:42:37 > 0:42:40- Now you're surprised! - HE LAUGHS
0:42:40 > 0:42:44- OK! - Because, you know, we laugh at it,
0:42:44 > 0:42:48I laugh at it and, in a way, it's very naughty
0:42:48 > 0:42:52because art only has to be a few people that appreciate it.
0:42:52 > 0:42:58- Of course it does.- And Turner, way back in the 1820s, wasn't respected.
0:42:58 > 0:43:01- No.- Manet, Monet, they were laughed at.
0:43:01 > 0:43:04But it is a crazy thing.
0:43:04 > 0:43:06It's the worst thing I've ever seen on "Flog It!",
0:43:06 > 0:43:08thank you so much for bringing it in!
0:43:08 > 0:43:11BOTH LAUGH Thank you!
0:43:17 > 0:43:19Mark. Nice to meet you.
0:43:19 > 0:43:20Nice to meet you too.
0:43:20 > 0:43:23And you've brought something in I've been dying to do for ages,
0:43:23 > 0:43:24- a piece of Lalique.- Yes, indeed.
0:43:24 > 0:43:27- Where did you get it from? - I bought it at a car-boot sale.
0:43:27 > 0:43:31- No! Don't tell me... You paid nothing for it.- £5.
0:43:31 > 0:43:33- £5?!- £5.
0:43:33 > 0:43:36Did you know what it was the minute you saw it?
0:43:36 > 0:43:41I had an indication as to the colour of the glass, etc,
0:43:41 > 0:43:43because naturally, it wasn't until I picked it up,
0:43:43 > 0:43:48looked underneath and I nearly fell over...
0:43:48 > 0:43:50- And you couldn't get... - Tried not to drop it!
0:43:50 > 0:43:52- You couldn't get the fiver out quick enough!- Exactly.
0:43:52 > 0:43:55- I don't blame you, Mark! - And I didn't even bid them down.
0:43:55 > 0:43:57I should hope not at £5!
0:43:57 > 0:44:00I mean, it is... As soon as you see it, you know that it's OK.
0:44:00 > 0:44:04From a Lalique point of view, it's not the most exciting vase.
0:44:04 > 0:44:09It's not full of naked women or interesting fish, or animals,
0:44:09 > 0:44:12but it's interesting to me for two reasons.
0:44:12 > 0:44:17It's very Art Deco. Of course, that slightly conical form.
0:44:17 > 0:44:20You've got the etched leaves decoration going around it
0:44:20 > 0:44:25- and then it's been sepia stained in that sort of brown colour.- I see.
0:44:25 > 0:44:27And it's opalescent as well.
0:44:27 > 0:44:30And actually, when you see it under the light like this,
0:44:30 > 0:44:32you see that lovely combination,
0:44:32 > 0:44:36- that milky opalescence with the brown.- Yes.
0:44:36 > 0:44:39Date-wise, I suppose what we are looking at is sort of 1925,
0:44:39 > 0:44:43- 1930, that sort of period.- I didn't realise it was as early as that.
0:44:43 > 0:44:46I think it's quite a nice early piece, actually.
0:44:46 > 0:44:49It's fully signed underneath, of course, R Lalique.
0:44:49 > 0:44:53When we turn it upside down, you have to look in the light,
0:44:53 > 0:44:57- but you can see R Lalique in a stencil mark.- Right.
0:44:57 > 0:45:00But I love Lalique. I've got several pieces at home,
0:45:00 > 0:45:01- I'm pleased to say. - Oh, right. Right.
0:45:03 > 0:45:05And it's all in very, very good condition.
0:45:05 > 0:45:08I think it's really wonderful, actually.
0:45:08 > 0:45:10It's a nice, fresh piece as well.
0:45:10 > 0:45:12Lots of collectors and dealers,
0:45:12 > 0:45:14of course, are looking for Lalique vases.
0:45:14 > 0:45:17They're a good thing to collect because they're decorative.
0:45:17 > 0:45:21Some of the shallow bowls or plates are not as easy
0:45:21 > 0:45:23to display as a vase.
0:45:23 > 0:45:26What's your fiver worth at auction, do you think?
0:45:27 > 0:45:32I would... One would hope three figures, but I just don't know.
0:45:32 > 0:45:35Oh, so, £5.99?
0:45:35 > 0:45:37- HE LAUGHS - That's three figures. No...
0:45:37 > 0:45:40No, would one move the point, please?
0:45:40 > 0:45:43Well, we'd like to. I think we've got to be realistic.
0:45:43 > 0:45:46It is a lovely piece, but, you know, some of the vases can make
0:45:46 > 0:45:51many thousands of pounds for the bigger examples in bright,
0:45:51 > 0:45:52vivid colours.
0:45:52 > 0:45:54I mean, I think I would be happy
0:45:54 > 0:45:58- putting something like 300 to 400 on it.- My goodness!
0:45:58 > 0:46:01I think that should be achievable, actually.
0:46:01 > 0:46:03The thing is, you don't want to give it away.
0:46:03 > 0:46:05You don't want it to sell too cheaply.
0:46:05 > 0:46:08- We'd have to put a reserve on it. - I would like a reserve if possible.
0:46:08 > 0:46:12- And I would put the reserve, say, at 280.- Would that be a fixed reserve?
0:46:12 > 0:46:16- A fixed reserve for 280.- That's amazing!- If you're happy with that,
0:46:16 > 0:46:19- I'm really looking forward to the auction.- That would be brilliant.
0:46:19 > 0:46:20Thank you very much indeed.
0:46:20 > 0:46:23Time to see what other treasures are waiting to be found.
0:46:23 > 0:46:25Back to James Lewis.
0:46:25 > 0:46:29Lisa and Marion, let me take you back to the mid-19th century,
0:46:29 > 0:46:33before the days of TV, before even "Flog It!" had started.
0:46:33 > 0:46:38No radio, where the only music
0:46:38 > 0:46:40that you could actually entertain yourself with,
0:46:40 > 0:46:42unless someone was playing the piano or a violin,
0:46:42 > 0:46:45was something like this.
0:46:45 > 0:46:49Mechanical music started really in the late 18th century.
0:46:49 > 0:46:51By the 19th century it was in full flight.
0:46:51 > 0:46:54The best musical boxes are made in Switzerland.
0:46:54 > 0:46:57- And this one is actually a Swiss one.- Ooh!
0:46:57 > 0:47:00But having said the best were made in Switzerland,
0:47:00 > 0:47:02almost all of them were made in Switzerland.
0:47:02 > 0:47:05Also the also-rans as well.
0:47:05 > 0:47:08Swiss family or something that has been imported locally?
0:47:08 > 0:47:11No, it's a family heirloom.
0:47:11 > 0:47:16- It was my great-great uncle's.- OK. Was this on your side of the family?
0:47:16 > 0:47:18Yes, it was on my father's side of the family.
0:47:18 > 0:47:21OK, let's look outside first...
0:47:21 > 0:47:28The panel in the top here is, I think, papier-mache.
0:47:28 > 0:47:32It's quite difficult to tell without seeing the reverse side of it.
0:47:32 > 0:47:34And it's, of course, set into wood.
0:47:34 > 0:47:38The majority of these musical boxes are ebony in border,
0:47:38 > 0:47:40normally have a rosewood panel in the centre,
0:47:40 > 0:47:45with a little arrangement of musical instruments in the middle.
0:47:45 > 0:47:49I've never seen one with a mother-of-pearl inlaid
0:47:49 > 0:47:51lacquer panel before.
0:47:51 > 0:47:54But if we look at the little figures there, they are Chinese men.
0:47:54 > 0:47:56Stereotypical Chinamen.
0:47:56 > 0:48:01But very strangely, in an English or European landscape.
0:48:01 > 0:48:04Already we've got a complete mix of styles.
0:48:04 > 0:48:06Let's open it up.
0:48:07 > 0:48:09There we are.
0:48:09 > 0:48:15We've got the airs here. Ten airs. Ten musical tunes...
0:48:15 > 0:48:18Whenever you are looking at a musical box,
0:48:18 > 0:48:20the more tunes, the better. And ten is quite a good number.
0:48:20 > 0:48:23Then you also look at how complicated it is.
0:48:23 > 0:48:26Does it play on bells, on drums, on cymbals?
0:48:26 > 0:48:29This one has bells, playing on three bells.
0:48:29 > 0:48:32No drums. But a short cylinder.
0:48:32 > 0:48:35The shorter cylinders are normally the cheaper boxes.
0:48:35 > 0:48:36And if we open it up...
0:48:38 > 0:48:40We can see a steel comb here.
0:48:40 > 0:48:44And that steel comb, it's important that it is in good condition
0:48:44 > 0:48:48because every little steel tooth that is damaged
0:48:48 > 0:48:53is about £15-£20 to repair. So it soon starts to add up. There we go.
0:48:53 > 0:48:58It's not a bad quality box. But it's not great. Do you play it regularly?
0:48:58 > 0:49:00- Not regularly, no.- Not regularly.
0:49:00 > 0:49:04We go through stages where we get it out and want to listen to it again.
0:49:04 > 0:49:07Then it goes back for safekeeping.
0:49:07 > 0:49:09When it first came, we were fascinated by it.
0:49:09 > 0:49:13And it was in very poor condition. My dad spent ages cleaning it.
0:49:13 > 0:49:16I don't think we could even tell that the butterflies were coloured.
0:49:16 > 0:49:17Oh, really?!
0:49:17 > 0:49:22- And he painstakingly cleaned it all up for us.- He's done a great job.
0:49:22 > 0:49:26Really good job. OK. It will end up going to a collector, I'm sure.
0:49:26 > 0:49:32- I hope so.- Good.- Value, I should think it's going to make £200-£300.
0:49:32 > 0:49:34Something like that.
0:49:34 > 0:49:36It's in working order, I presume, is it?
0:49:36 > 0:49:39- BOTH: Yes! - Are you happy to let it go?
0:49:39 > 0:49:42Because once this starts, you've got no choice. Here we go then.
0:49:44 > 0:49:48MUSIC PLAYS
0:49:58 > 0:49:59Well, that's it.
0:49:59 > 0:50:02Our experts have now found their final items to take off to auction,
0:50:02 > 0:50:05so it's time to say goodbye to Guildford Cathedral,
0:50:05 > 0:50:07our magnificent host location today.
0:50:07 > 0:50:10As we head off to the saleroom, here's a quick recap just to
0:50:10 > 0:50:13jog your memory of all the items we're taking with us.
0:50:14 > 0:50:18There's that staff or bow which fascinated Mark.
0:50:20 > 0:50:24And let's hope the music box hits the high notes in the auction room.
0:50:25 > 0:50:29Will the bidders appreciate this piece of art by David Shrigley?
0:50:30 > 0:50:32And there's that "Flog It!" favourite -
0:50:32 > 0:50:35a piece of Lalique glassware.
0:50:37 > 0:50:40We're heading back to Washington in West Sussex,
0:50:40 > 0:50:42where today's sale is taking place.
0:50:42 > 0:50:44Before the auction started, I had a chat with auctioneer
0:50:44 > 0:50:49Rupert Toovey and we took a closer look at that piece of artwork.
0:50:49 > 0:50:53- Isn't it an extraordinary thing? - It is. What do you think of it?
0:50:53 > 0:50:55I think it's rather marvellous but there's a great deal
0:50:55 > 0:50:57of that sort of post-modern irony going on here, isn't there?
0:50:57 > 0:51:00Eileen brought this in and it was her daughter's.
0:51:00 > 0:51:02He attended the lecture and drew around his hand,
0:51:02 > 0:51:05- which I think is absolutely wonderful.- Wow! Wow!
0:51:05 > 0:51:06That's very intimate, isn't it?
0:51:06 > 0:51:08If that was my hand, I would be keeping this.
0:51:08 > 0:51:10But we're only custodians of these things, aren't we?
0:51:10 > 0:51:13Although I'd like to be a custodian for at least 40 or 50 years
0:51:13 > 0:51:17of something like this, not just 15 or 12 years, or something.
0:51:17 > 0:51:21- We've got £300-£500 on this. - I think 300 to 500 is about right.
0:51:21 > 0:51:24Because it's not exactly what the artist is well known for.
0:51:24 > 0:51:29- No, it's more the cartoon work.- Very ironic, modern humour, isn't it?
0:51:29 > 0:51:32But how wonderful to see how work develops...
0:51:32 > 0:51:34- So important for that reason, don't you think?- I think so, yes.
0:51:34 > 0:51:37And I'm with you. I think 300 to 500 is spot-on.
0:51:37 > 0:51:40I'd like to see it at the top end, but I...
0:51:40 > 0:51:42- I think it might be nearer the lower end, actually.- Yes.
0:51:43 > 0:51:45We'll come to that later...
0:51:46 > 0:51:48First up, it's that music box.
0:51:49 > 0:51:51Will it sell? That's what we want to know.
0:51:51 > 0:51:55- You're looking really doubtful! - Yeah. I am slightly doubtful.
0:51:55 > 0:51:57I want this to sell, I really want it to sell.
0:51:57 > 0:51:58But I am slightly doubtful.
0:51:58 > 0:52:01I brought the bag just in case it doesn't.
0:52:01 > 0:52:03- ALL LAUGH It's a big bag. - Got the shopping trolley.
0:52:03 > 0:52:07- ALL LAUGH - I hope it goes. I really do.
0:52:08 > 0:52:12A late 19th-century Swiss musical box, playing ten airs.
0:52:12 > 0:52:14Lovely thing there.
0:52:14 > 0:52:19Bids to match. We are opening at £250. 250 here. Can I see the 280?
0:52:19 > 0:52:24£250. 280, can I see? 280. 300. 320.
0:52:24 > 0:52:29£300 I have here with the book. At £300. Is there any advance on 300?
0:52:29 > 0:52:32£300. 300.
0:52:32 > 0:52:36Yes, the hammer's gone down! £300. Top end of the estimate.
0:52:36 > 0:52:38There you go, your record is safe.
0:52:38 > 0:52:40- James is right.- Ye of little faith.
0:52:40 > 0:52:44James is top of the pops. Well done. Thank you for bringing that in.
0:52:44 > 0:52:46- That's very good. - Gosh, I was worried.
0:52:47 > 0:52:49'It turns out my reservations were wrong and Marion
0:52:49 > 0:52:52'and Lisa are going home with smiles on their faces.'
0:52:52 > 0:52:57Next up, our mystery object. Is it a bow or is it a ceremonial staff?
0:52:57 > 0:53:01In the catalogue it's catalogued as Indian ceremonial staff,
0:53:01 > 0:53:06so fingers crossed that's worth an awful lot more than a spear.
0:53:06 > 0:53:09- And you know what it's good for? It's a good decorative piece.- Yes.
0:53:09 > 0:53:11- We like that.- Yes, we do.- Thank you.
0:53:11 > 0:53:15- Ethnographica, they call it, don't they?- Have you been reading again?
0:53:15 > 0:53:18- I learned that from Michael Baggott! - ALL LAUGH
0:53:19 > 0:53:20Tribal art.
0:53:20 > 0:53:22Let's put it to the test, shall we? Here we go.
0:53:23 > 0:53:28A 19th-century Indian polychrome painted ceremonial staff.
0:53:28 > 0:53:33Very interesting thing. I'm opening the bidding here at £75. £75.
0:53:33 > 0:53:34Do I see 80? £75...
0:53:34 > 0:53:37- Come on, we need 100, don't we? - We do, yes.
0:53:37 > 0:53:4080. And five. 90, sir?
0:53:40 > 0:53:43- A bidder in the room now. - 90, madam? 90. And five.
0:53:43 > 0:53:45100, madam? 95, I have...
0:53:45 > 0:53:47- We've got it. Come on.- 100, then?
0:53:50 > 0:53:52At £95. 100, can I see?
0:53:52 > 0:53:54- Yes, sir.- 100 now online. £100...
0:53:54 > 0:53:57- 100 online. So we've sold it. - £100, can we see the 110?
0:53:57 > 0:53:59At £100. Is there any advance? It's against you, madam.
0:53:59 > 0:54:01You're sure, now? £100.
0:54:01 > 0:54:04- This might do a bit more, potentially.- £100...
0:54:04 > 0:54:08It's gone for £100 and you said all the money is going to charity.
0:54:08 > 0:54:11- Yes, it is.- Which charity's that? - It's Headway, Guildford, Surrey.
0:54:11 > 0:54:15- And what does that involve? - It's for people who've had brain damage through falling over,
0:54:15 > 0:54:17- being knocked over by a vehicle... - What a lovely idea.
0:54:17 > 0:54:21- And my partner, Sue, works for them, so...- Great cause, then.- Absolutely.
0:54:21 > 0:54:23- Every single penny. - Thank you very much.- Thank you.
0:54:24 > 0:54:27So, we're off to a good start with the tribal woodwork making its estimate.
0:54:27 > 0:54:30Next up, it's something that really caught MY eye.
0:54:33 > 0:54:36Hands up. Guess what I'm talking about right now? Yes, you've got it.
0:54:36 > 0:54:38The David Shrigley. I like this.
0:54:38 > 0:54:42- Had a chat to Rupert before the sale started. He likes it as well.- Good.
0:54:42 > 0:54:46Good investment piece. But Elaine, why is your daughter selling this?
0:54:46 > 0:54:50She doesn't really want it any more.
0:54:50 > 0:54:53- She's had it for 10 years. - And she's off skiing at the moment.
0:54:53 > 0:54:56- Yes, she is.- She's having a jolly while we're doing the hard work.
0:54:56 > 0:54:59You can get on the phone and ring her up because I know this is going to sell.
0:54:59 > 0:55:01Had a chat to Rupert and he said it WILL sell.
0:55:01 > 0:55:03He's very collectable and sought-after.
0:55:03 > 0:55:06The big question is - how much for?
0:55:06 > 0:55:07The David Shrigley.
0:55:07 > 0:55:10The outline of a hand, inscribed flesh and interior.
0:55:10 > 0:55:15Pen and ink. Initialled and dated 2000 and then one.
0:55:15 > 0:55:19It's a smashing thing with lovely provenance and we've a multitude
0:55:19 > 0:55:22of conflicting bids and we're opening the bidding here at £280.
0:55:22 > 0:55:25280. 300. 320.
0:55:25 > 0:55:30350. At £350 now. At £350.
0:55:30 > 0:55:32At £350, and it is fair warning.
0:55:32 > 0:55:36At £350...
0:55:36 > 0:55:38- Wow!- 350.
0:55:38 > 0:55:41- James didn't like it, did you? - The world's bonkers.
0:55:41 > 0:55:42Did you like it?
0:55:42 > 0:55:43Personally, no.
0:55:43 > 0:55:46- Personally, no!- Now you admit it!
0:55:46 > 0:55:49- You wound me up! I thought you liked it!- Personally, no.
0:55:49 > 0:55:52Thankfully for Elaine, someone did like it
0:55:52 > 0:55:55and hopefully that image will be hanging on their wall.
0:55:55 > 0:55:58Time now for today's final item.
0:55:58 > 0:56:00Well, it was bought at a car-boot sale for £5
0:56:00 > 0:56:03and hopefully we can turn it into maybe £200 or £300 and a bit more.
0:56:03 > 0:56:07I absolutely love it. It belongs to Mark, who is right next to me.
0:56:07 > 0:56:09And here's our expert, Mark. I'm surrounded by Marks!
0:56:09 > 0:56:11- What a great find. - Excellent, wasn't it?
0:56:11 > 0:56:14And it's signed "R" underneath before his death,
0:56:14 > 0:56:16which is the key factor to look out for.
0:56:16 > 0:56:18I'm not a great big Lalique fan.
0:56:18 > 0:56:20I don't really like that type of glass,
0:56:20 > 0:56:25but I like this because it is sepia and it's a little bit different.
0:56:25 > 0:56:26I'd like to see this do 400.
0:56:26 > 0:56:30It is quite a small vase, but it's nice and fresh to the market,
0:56:30 > 0:56:32the bidders should be out there for it.
0:56:32 > 0:56:34- Good on you.- Hopefully.- Good on you.
0:56:34 > 0:56:37Let's put it to the test. This is what it's all about.
0:56:37 > 0:56:38This is what we've been waiting for.
0:56:38 > 0:56:41An Art Deco Lalique sepia stained
0:56:41 > 0:56:44and opalescent glass patterned vase.
0:56:44 > 0:56:461930s, this one. It's lovely.
0:56:46 > 0:56:49And we are opening the bidding here at £200. At £200.
0:56:49 > 0:56:51- Can we see the 220?- We've got 200.
0:56:51 > 0:56:54220, thank you. 250. 280?
0:56:54 > 0:56:57280 now, standing in the room. 300, seated.
0:56:57 > 0:56:59320. 350, sir? 380.
0:56:59 > 0:57:01400. 420.
0:57:01 > 0:57:04450. 480. 500.
0:57:04 > 0:57:06520. 550.
0:57:09 > 0:57:10520, I have.
0:57:10 > 0:57:14£520. Are we all done at 520?
0:57:14 > 0:57:17550 now. 580. 600.
0:57:20 > 0:57:21- 650, sir.- 650 now...
0:57:21 > 0:57:25- 650.- 650, Mark.- 700, sir.
0:57:29 > 0:57:30- Yes, sir.- 700 now.
0:57:30 > 0:57:33- And 720. - The internet again, you see, Paul?
0:57:33 > 0:57:35It's because it's sepia.
0:57:35 > 0:57:37- Yes, sir.- 780.
0:57:39 > 0:57:41780, I have. And 800.
0:57:41 > 0:57:44- Yes, sir.- And 820.
0:57:45 > 0:57:48- Was this a "come and buy me"? - Yes, it was.
0:57:48 > 0:57:50I thought I was being realistic!
0:57:50 > 0:57:52850, can I see?
0:57:52 > 0:57:54- Yes, sir.- 850, it is.
0:57:54 > 0:57:55880?
0:57:55 > 0:57:57850 now, with Glen online.
0:57:57 > 0:58:02£850. £850 against the room. At £850.
0:58:02 > 0:58:05- Are you sure, now?- 800 and...
0:58:05 > 0:58:07£850...
0:58:07 > 0:58:09850.
0:58:09 > 0:58:11- Yes! The hammer's gone down at £850. - That's not bad, is it?
0:58:11 > 0:58:14We've just turned a fiver into £850,
0:58:14 > 0:58:15thanks to you, Mark.
0:58:15 > 0:58:18Thank you very much indeed. Thank you, Mark.
0:58:18 > 0:58:21I told you I loved it, Mark. Thank you for bearing with us.
0:58:21 > 0:58:26- I was saying to Mark, it's hard to put a value on something when two bidders get stuck in.- Absolutely.
0:58:26 > 0:58:29- What a way to end the show. - Wonderful.
0:58:29 > 0:58:31I told you there was going to be a surprise.
0:58:31 > 0:58:34You never know what's going to happen on "Flog It!", so join us
0:58:34 > 0:58:36for many more, but for now, from West Sussex,
0:58:36 > 0:58:38- it's goodbye from the Marks. - THEY LAUGH