0:00:02 > 0:00:06MUSIC: FLOG IT! THEME TUNE ON CHURCH ORGAN
0:00:06 > 0:00:09Today, we're in Guildford, pulling out all the stops.
0:00:09 > 0:00:12I've been practising my skills on the organ.
0:00:13 > 0:00:16Well, I nearly got away with it!
0:00:21 > 0:00:23Well done! Welcome to Flog It!
0:00:44 > 0:00:48The venue for today's valuation is Guildford Cathedral,
0:00:48 > 0:00:53one of the most dominating structures on the Surrey skyline.
0:00:53 > 0:00:54It opened in 1961,
0:00:54 > 0:00:58after being completed with the help of the local congregation.
0:00:58 > 0:01:02And those same people are out in force today, hunting high
0:01:02 > 0:01:05and low for antiques and collectibles
0:01:05 > 0:01:09and our experts will be looking out for quality and craftsmanship,
0:01:09 > 0:01:12but there's only one question on this lot's lips - which is?
0:01:12 > 0:01:15ALL: What's it worth?
0:01:15 > 0:01:18We've got the crowd, they've got their items.
0:01:18 > 0:01:23- All we need now are our experts. And we've got James Lewis.- It's dire!
0:01:23 > 0:01:26It's not!
0:01:26 > 0:01:30That's the hand of the artist. To me, no. it's more than the image.
0:01:30 > 0:01:34It's so much... That's amazing, I think.
0:01:34 > 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 > 0:01:45Oh, your lunch.
0:01:45 > 0:01:49- And my tea.- Would you like that valued?- Yes, please!
0:01:50 > 0:01:53So, as everyone makes their way inside,
0:01:53 > 0:01:56here's what's coming up in the next 45 minutes.
0:01:56 > 0:02:00Today, we've got woodwork, glasswork and artwork.
0:02:00 > 0:02:02But which will do the best at auction?
0:02:02 > 0:02:06Will it be this decorative tribal staff?
0:02:06 > 0:02:09Or the picture that James disliked in the queue?
0:02:09 > 0:02:13Or this classic Lalique vase? Find out later.
0:02:13 > 0:02:16Now, here's a little bit of information for you.
0:02:16 > 0:02:20This iconic building was built by the architect Edward Maufe.
0:02:20 > 0:02:23It was built at the top of Stag Hill,
0:02:23 > 0:02:27which was donated by local nobleman, the 5th Earl of Onslow.
0:02:27 > 0:02:30And right here, where this little brass stag is,
0:02:30 > 0:02:34marks the pinnacle, the very top of the hill.
0:02:34 > 0:02:38Now, we're right behind James Lewis' filming table.
0:02:38 > 0:02:41He's our first expert who has found a real gem.
0:02:41 > 0:02:45So let's now catch up with James and see what he's got to say about this.
0:02:47 > 0:02:52Karen, let me take you back 400 years, to the time of King James.
0:02:52 > 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 > 0:03:07Spices, tea, tobacco, silks.
0:03:07 > 0:03:10And tea became the major product.
0:03:10 > 0:03:12In the 18th century,
0:03:12 > 0:03:16tea was more expensive per pound than gold or silver.
0:03:16 > 0:03:20So you had to have a container that you locked it up in.
0:03:20 > 0:03:23And if we open this up, we've got two compartments -
0:03:23 > 0:03:29one for black tea, one for green tea, and outside, this
0:03:29 > 0:03:34simulated casket, to represent the value of what is contained within.
0:03:34 > 0:03:39So, valued, but obviously not by you because it's here.
0:03:39 > 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 > 0:03:53she gave it to him as a present and he brought it home and gave it to me.
0:03:53 > 0:03:56In other words, she didn't want it, he didn't want it, gave it to you!
0:03:56 > 0:03:58What have you done with it?
0:03:58 > 0:04:01Well, it was out on display for a few years
0:04:01 > 0:04:04and then it's been in the loft for about the last eight years.
0:04:04 > 0:04:07Let's hope that someday, somebody at the auction might want it.
0:04:07 > 0:04:11But we wondered what this is on top cos I don't think it is brass.
0:04:11 > 0:04:14It is brass, but it could well have been gold plated at the time.
0:04:14 > 0:04:18It would have been made to look like ormolu, which is gold plated bronze.
0:04:18 > 0:04:22And then here on the top, we have a little polished stone,
0:04:22 > 0:04:25and this is banded agate.
0:04:25 > 0:04:28So it's a little section of agate on the top.
0:04:28 > 0:04:32In the 19th century, they're sometimes divided inside by a
0:04:32 > 0:04:36little circular aperture, which would contain a bowl.
0:04:36 > 0:04:40It used to be said that this was for blending the green with
0:04:40 > 0:04:41the black tea.
0:04:41 > 0:04:46But of course, it was for sugar. The tea was taken very, very sweet.
0:04:46 > 0:04:48And the idea of this...
0:04:48 > 0:04:52Tea wasn't taken in the way it is today, it was a ceremony,
0:04:52 > 0:04:55totally separate, wasn't drunk at the dinner table,
0:04:55 > 0:04:58you would be on a separate tea table and the lady of the house would wear
0:04:58 > 0:05:00the key around her neck,
0:05:00 > 0:05:04she would call a servant to take the 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 > 0:05:11and send the tea caddy away. So 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 > 0:05:20- Is that all right for you?- Yes, yes. - Well, it'll buy you a bit of coffee.
0:05:20 > 0:05:22OK, yes! Thank you.
0:05:22 > 0:05:24All right.
0:05:24 > 0:05:27Let's hope that tea caddy can brew up a good result
0:05:27 > 0:05:29later on in the programme.
0:05:29 > 0:05:33Time now to see what Mark Stacey's got for his first item.
0:05:33 > 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 > 0:05:42They're fantastic. I love them. Do you know much about them?
0:05:42 > 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 in her
0:05:47 > 0:05:50corner 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 > 0:05:58- They're very, very Victorian. - Oh, I suppose so.
0:05:58 > 0:06:00They've got a date mark on the back. The triangle.
0:06:00 > 0:06:04- But I've never found out. - Well, we can tell you that.- Can you?
0:06:04 > 0:06:09- Yes.- Oh.- They're made, of course, by one of the oldest...- Minton.
0:06:09 > 0:06:11..factories in the country, Minton,
0:06:11 > 0:06:14- who were founded in the late 18th century.- Right.- And this...
0:06:14 > 0:06:17As soon as you see this type of colour and decoration,
0:06:17 > 0:06:20- it can only be one thing - Majolica. - Yeah.
0:06:20 > 0:06:24They took the inspiration from much earlier Italian designers
0:06:24 > 0:06:28and they put a sort of Victorian twist on it,
0:06:28 > 0:06:31- so you get these very vivid turquoises and greens.- I know.
0:06:31 > 0:06:35- That's a lovely colour. - It's a really deep colour.
0:06:35 > 0:06:39And you can get bright pinks and bright yellows
0:06:39 > 0:06:42and reds, and these are perfect for Christmas,
0:06:42 > 0:06:47for putting sugared almonds or something like that in on the table.
0:06:47 > 0:06:49And they're realistically modelled.
0:06:49 > 0:06:54There's a sort of holly branch, with two little white birds on them.
0:06:54 > 0:06:57- They've suffered a bit though, haven't they?- Yes, they have.
0:06:57 > 0:06:59They've got the odd chip.
0:06:59 > 0:07:02Very easily restored. That's the positive.
0:07:02 > 0:07:05And collectors of Majolica are willing to overlook
0:07:05 > 0:07:08a bit of damage on interesting pieces.
0:07:08 > 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 > 0:07:17- Interesting, you have the word Minton there.- Yes, I've seen that.
0:07:17 > 0:07:20Now, after 1872, they added an S.
0:07:20 > 0:07:24- So it became Mintons. So we know it's before 1872.- Before 1872?
0:07:24 > 0:07:28- Gosh!- We've got a registration lozenge as well.
0:07:28 > 0:07:30And we've got a date letter for 1869.
0:07:30 > 0:07:34- Oh, how lovely! - What do you think of them, Michael?
0:07:34 > 0:07:37They're a little bit ornate, but otherwise...
0:07:37 > 0:07:39I suppose some people like them!
0:07:39 > 0:07:43- I don't think they're his cup of tea! - I don't think he's keen, Jane.
0:07:43 > 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 > 0:07:49Oh, yes, there are.
0:07:49 > 0:07:52Do you have any ideas yourself of what they might be worth?
0:07:52 > 0:07:55- Absolutely none. Have you?- No.- No?
0:07:55 > 0:07:59- I think we've got...- Can I make a stab?- Go on, make a stab.
0:07:59 > 0:08:02- £200, the pair? - I don't know why I'm here.
0:08:02 > 0:08:05- I don't know why I'm here! - It was a joke. - No, 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 > 0:08:17- with a fixed reserve of 200. - Yes, OK.
0:08:17 > 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 > 0:08:27- You're happy to put them in for that?- Yes! Very happy!- Great.
0:08:27 > 0:08:31- Well, I'm really pleased that we can take them to auction to see what happens.- Good.
0:08:31 > 0:08:35Earlier on, we saw Karen, who'd brought along a tea caddy to
0:08:35 > 0:08:39be valued, but it turns out it wasn't the first time that we'd met.
0:08:39 > 0:08:41Now, this could be embarrassing.
0:08:41 > 0:08:45I bumped into two ladies this morning who told me they were next-door neighbours.
0:08:45 > 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 > 0:08:55I was a little bit younger than the two of you.
0:08:55 > 0:08:59- Now, what have you brought in? You've got something to show me. - Photos.- This is embarrassing.
0:08:59 > 0:09:04- But there I am!- Yes, there you are. - Look at that! Are you there? Is that you?- Yes, that's me, there.
0:09:04 > 0:09:07- And that's my sister. - That's your sister, Ann.
0:09:07 > 0:09:11- And there you are again.- Oh, look at that! Is this your back garden?- Yes.
0:09:11 > 0:09:13Your mum and dad's.
0:09:13 > 0:09:17- Yes.- Look at that. There I am. Great shorts and with wellies.
0:09:17 > 0:09:19I was a fashion icon, even back then.
0:09:19 > 0:09:21THEY CHUCKLE
0:09:21 > 0:09:24- It's great to see you! - Yes, and you.- Can I have these?
0:09:24 > 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 > 0:09:32What memories!
0:09:32 > 0:09:35THEY LAUGH
0:09:35 > 0:09:38Well, that was a blast from the past. And now over to James Lewis,
0:09:38 > 0:09:42who's found something even older than my childhood photos.
0:09:42 > 0:09:45Patricia, this is a really unusual thing
0:09:45 > 0:09:50because we've got a short umbrella, almost parasol-like,
0:09:50 > 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 > 0:10:01Carved with parrots, yes, but little lovebirds, I find really sweet.
0:10:01 > 0:10:05It's almost as if it was given as a love token from one person to another.
0:10:05 > 0:10:09- Anybody special in your life? - Not in my life, no!
0:10:09 > 0:10:11I think probably it belonged to my grandmother.
0:10:11 > 0:10:14You're going to tell me where it came from cos I don't know.
0:10:14 > 0:10:17OK. I'll try. Yeah.
0:10:17 > 0:10:21I can see it's old and I think that's ivory, but otherwise I know nothing.
0:10:21 > 0:10:26It is. Now, the question is - is this an European umbrella in the
0:10:26 > 0:10:30Japanese style, or is it a Japanese ivory head on an 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.
0:10:45 > 0:10:49But there, look.
0:10:49 > 0:10:51Ben Cox.
0:10:51 > 0:10:52Of London.
0:10:52 > 0:10:57- Oh! I never noticed that. - Right, so he's English.
0:10:57 > 0:11:02So it's a Malacca shaft, with an ivory handle, a bamboo stem,
0:11:02 > 0:11:05ivory mounts, but made for a London retailer.
0:11:05 > 0:11:09So it's an European thing with a Japanese ivory handle.
0:11:09 > 0:11:10Right.
0:11:10 > 0:11:15The birds have got glass eyes and it was carved in Japan in this
0:11:15 > 0:11:18period that we call the Meiji period.
0:11:18 > 0:11:23So, having said all that, good news and bad news.
0:11:23 > 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 > 0:11:41In perfect condition, that's worth £100-150.
0:11:41 > 0:11:45With the head off, and re-glued, 60-100.
0:11:45 > 0:11:49- That sounds...- Is that all right? - Fine. Yes.- Sure?- Yes.
0:11:49 > 0:11:51Well, it's doing nothing for me.
0:11:51 > 0:11:55It's not raining outside, so you don't need it.
0:11:58 > 0:12:02Look at that. Hundreds of people and they're all enjoying themselves.
0:12:02 > 0:12:06We have seen a wonderful array of treasures here this morning so far.
0:12:06 > 0:12:11Our experts have been working flat out. We've found our first three items to take off to auction.
0:12:11 > 0:12:15Here's a quick recap of what we're going to put under the hammer.
0:12:15 > 0:12:18We've got the walnut and brass tea caddy, brought along by Karen.
0:12:21 > 0:12:25There's the Majolica bowls that Mark fell in love with.
0:12:26 > 0:12:29And we also have the ivory-handled umbrella.
0:12:31 > 0:12:35Today's sale, we've left Surrey and travelled a few miles south,
0:12:35 > 0:12:38to Washington in West Sussex, courtesy of Toovey's auction room.
0:12:38 > 0:12:41Now, down there is an eager crowd, waiting for our lots to go
0:12:41 > 0:12:45under the hammer, so let's get on with it and not disappoint them.
0:12:45 > 0:12:49And the man in charge of today's proceedings is Rupert Toovey.
0:12:49 > 0:12:51Coming up now, we've got a Victorian dome-lidded tea caddy,
0:12:51 > 0:12:54- belonging to Karen.- I've known her a long time as well, haven't it?
0:12:54 > 0:12:59- Well, I haven't seen you for... possibly about 40-odd years!- Yeah, that's right. Showing our age!- Yes.
0:12:59 > 0:13:03You clobbered me back at Guildford Cathedral with a little photograph.
0:13:03 > 0:13:06We used to know each other when we were kids. Next-door neighbours.
0:13:06 > 0:13:09- Oh, my goodness! - How amazing is that?- I know.
0:13:09 > 0:13:12Right, let's talk about your walnut dome-lidded tea caddy.
0:13:12 > 0:13:15I like it because it's got that lovely gothic revival taste
0:13:15 > 0:13:17to it and I'm big on that. I love that.
0:13:17 > 0:13:20- But I agree with the valuation, James.- Good.- Right.
0:13:20 > 0:13:25Let's get on with selling antiques, shall we? Here we are. It's going under the hammer now.
0:13:25 > 0:13:29A late Victorian burr walnut dome tea caddy with Gothic revival
0:13:29 > 0:13:32applied brass strap-work mounts. It's a lovely thing.
0:13:32 > 0:13:36What shall we say for this lot? Shall we say £100? 50, then, please.
0:13:36 > 0:13:3850, I'm bid. Can I see the five?
0:13:38 > 0:13:40At £50, can I see the 55?
0:13:40 > 0:13:4255. And 60 and five.
0:13:42 > 0:13:45At £60 now. At £60 and five? With you, madam.
0:13:45 > 0:13:47At £65, and thank you.
0:13:47 > 0:13:51At £64 now in the room. It's against you all. At 65.
0:13:51 > 0:13:53And 70 now with Glen.
0:13:53 > 0:13:56And 75. He makes us jump, doesn't he? 75 and 80.
0:13:56 > 0:13:58Yes, sir.
0:13:58 > 0:14:00And five. And 90.
0:14:02 > 0:14:0590 and five. 100?
0:14:08 > 0:14:12- No, sir.- 95, it is, with the lady. At £95. Against you, Glen.
0:14:12 > 0:14:15That's right, isn't it? 95, all done. 95.
0:14:15 > 0:14:18- Sold at 95. We're happy with that. - Very pleased.
0:14:18 > 0:14:20- Very pleased with that.- Good.
0:14:20 > 0:14:24Would have liked three figures, but hey, we always want more than what we normally get, don't we?
0:14:24 > 0:14:25No, that's brilliant.
0:14:25 > 0:14:29So, Karen's going home, happy, with one less tea caddy,
0:14:29 > 0:14:32but a few extra quid. Next up, it's the pair of bowls.
0:14:32 > 0:14:34Going under the hammer right now,
0:14:34 > 0:14:37one of the great names in ceramics, Minton Majolica.
0:14:37 > 0:14:40We've got two dishes belonging to Jane and Mike and it's great to see you both.
0:14:40 > 0:14:44- I've got to say, you look very stylish.- Thank you very much.
0:14:44 > 0:14:47- Equally as stylish as the little dishes.- I love them.
0:14:47 > 0:14:49I know there's a few nibbles here,
0:14:49 > 0:14:53- but Majolica collectors will live with that.- OK, let's find out.
0:14:53 > 0:14:57They're going under the hammer right now. Good luck, both of you.
0:14:57 > 0:15:03A pair of Minton Majolica dishes, circa 1869 and 1870, of oval shape.
0:15:03 > 0:15:07And we're opening the bidding here at £180. 180. Can I see the 190?
0:15:07 > 0:15:09£180 and 190.
0:15:09 > 0:15:10200. 220.
0:15:10 > 0:15:12£200 here on commission.
0:15:12 > 0:15:15- At £200, can I see the 220? - Yes, sir.
0:15:15 > 0:15:19At 220 now online. 220 now online. Can I see the 240?
0:15:19 > 0:15:22£220. With you, Glen.
0:15:22 > 0:15:23- Any more out there?- No, sir.
0:15:23 > 0:15:26- 220 it is, with you.- 220.
0:15:26 > 0:15:29At £220 and selling. 220.
0:15:29 > 0:15:33- 220, at the lower end.- I suppose it's the market.- Just got them away.
0:15:33 > 0:15:35- Yes, good.- Was that OK? - Yes, of course it is.
0:15:35 > 0:15:37They've gone.
0:15:37 > 0:15:39So, Mark was within estimate,
0:15:39 > 0:15:41but we've got another bird-themed item now.
0:15:41 > 0:15:43It's that ivory-handled umbrella.
0:15:43 > 0:15:46Remember, there are restrictions on selling ivory,
0:15:46 > 0:15:50but this item is fine because it was made before 1947.
0:15:50 > 0:15:54It's absolutely stunning, isn't it? Made by Ben Cox of London.
0:15:54 > 0:15:56- Apparently.- Quality, quality, quality.
0:15:56 > 0:15:58- And, James, this should do well. - It should.
0:15:58 > 0:16:02It's got a bit of damage, which is why I've put it down at 60-100.
0:16:02 > 0:16:05Yes, cheeky little valuation. Why are you selling this?
0:16:05 > 0:16:08I did have it in the hall, it was gathering dust and doing nothing.
0:16:08 > 0:16:12- You thought, let's sell it. - Yeah.- Bring it along to Flog It! and see what we can do.
0:16:12 > 0:16:16Well, let's hope we get that top end. It's going under the hammer right now.
0:16:16 > 0:16:19An early 20th century ivory and Malacca handled umbrella.
0:16:19 > 0:16:23And a multitude of conflicting bids on this lovely thing.
0:16:23 > 0:16:25And we're opening at £110.
0:16:25 > 0:16:28120. 130. 140.
0:16:28 > 0:16:30150. 160.
0:16:30 > 0:16:32- Now in the room at 160.- £160.
0:16:32 > 0:16:35- £160. Are we all done?- Wonderful.
0:16:35 > 0:16:37170. 180.
0:16:37 > 0:16:39- 190.- Yes, sir.
0:16:39 > 0:16:40200.
0:16:40 > 0:16:41- 220.- Yes, sir.
0:16:41 > 0:16:43220, I have. And 240, can I say?
0:16:43 > 0:16:46And 260?
0:16:46 > 0:16:47- Are you sure?- Yeah, £260.
0:16:47 > 0:16:49- Wow!- 260 now on the net.
0:16:49 > 0:16:50And 280, can I see?
0:16:50 > 0:16:52280, I have. And 300 now?
0:16:52 > 0:16:55- Yes, sir. - 300, I have. And 320.
0:16:55 > 0:16:57Yeah? 320, I have.
0:16:57 > 0:16:59- And 340.- Yes, sir.
0:16:59 > 0:17:00And 360.
0:17:00 > 0:17:02Thank you, sir. 340, Glen, with you on the net.
0:17:02 > 0:17:06At £340. £340 online.
0:17:06 > 0:17:08£340!
0:17:08 > 0:17:10£340.
0:17:10 > 0:17:13- And the hammer's coming down. Yes! - That is a fantastic result.
0:17:13 > 0:17:16Two people obviously wanted that. The collectors are out in force!
0:17:16 > 0:17:19- Wow! - So, reactions?- Ooh, have a sit down!
0:17:19 > 0:17:22- That's amazing! - Well done to Rupert, though.
0:17:22 > 0:17:26- On the rostrum, delivering the goods for us.- Yeah, brilliant. - Great auctioneering.
0:17:26 > 0:17:29Well, that just goes to show you can never tell what's going to
0:17:29 > 0:17:33happen at auction when they catch the bidders' attention.
0:17:33 > 0:17:37There you are. That's the end of our first visit to the auction today.
0:17:37 > 0:17:41Fast and furious. We are coming back here later on in the programme. Don't go away.
0:17:41 > 0:17:45Now, music has played a very important in the history of our religion over the years.
0:17:45 > 0:17:49Two instruments in particular, associated with the church.
0:17:49 > 0:17:53I went back to Guildford Cathedral to find out more. Take a look at this.
0:18:01 > 0:18:03When you think of music in the church,
0:18:03 > 0:18:06this is probably the first thing that springs to mind -
0:18:06 > 0:18:09the calm and soothing sound of the choir.
0:18:09 > 0:18:12I'm going to be having a go at something a little bit louder,
0:18:12 > 0:18:16assuming I've got the energy after climbing all these stairs.
0:18:18 > 0:18:21BELLS RING
0:18:21 > 0:18:26The history of bell ringing in churches can trace its roots back
0:18:26 > 0:18:31to around 400 AD when the Bishop of Campania, in Italy, introduced it.
0:18:31 > 0:18:35The art of bell ringing, or campanology,
0:18:35 > 0:18:40takes its name from that region and is still used 1,600 years later.
0:18:40 > 0:18:43I'm here to meet some modern day campanologists.
0:18:43 > 0:18:45Finally at the top!
0:18:45 > 0:18:48And these are some of the bell ringers here at the cathedral.
0:18:48 > 0:18:52We've got Justina, Maurice, David and Chris.
0:18:52 > 0:18:53I can't wait to have a go myself.
0:18:53 > 0:18:57I'm a complete novice, but hopefully, I can join in with you.
0:18:57 > 0:19:01- David, can you show me a few things? - Yes, come along here and we'll have a look.- Do I need to take my coat off?
0:19:01 > 0:19:04- Yes, take your coat off, please. - OK.
0:19:04 > 0:19:07'It takes a lot of practice to become an expert bell ringer,
0:19:07 > 0:19:10'which is why I'm being closely supervised.
0:19:10 > 0:19:13'If I get it wrong, I could damage the bells.'
0:19:13 > 0:19:18So if you'd like to take that rope, with your right hand on the bottom, left hand on the top.
0:19:18 > 0:19:20But your arms out straight, don't bend your body.
0:19:20 > 0:19:23Now, we're going to pull the bell off.
0:19:23 > 0:19:27The rope will go up to the roof, you're going to go up with it,
0:19:27 > 0:19:31keep your arms straight, and then pull your arm straight down again.
0:19:31 > 0:19:34- OK. You're not going to let go. - No, I'm not going to let go.
0:19:34 > 0:19:36I'm going to go up with you.
0:19:36 > 0:19:39That's right and look forward, straightforward. OK, here we go.
0:19:41 > 0:19:46BELL RINGS
0:19:46 > 0:19:50Right, OK. I can see it... I can feel the weight of the bell now.
0:19:51 > 0:19:54Oh, I didn't go right up there, did I?
0:19:54 > 0:19:56Oh, it's not for the faint-hearted, is it?
0:19:56 > 0:19:59That's for sure! Great form of exercise.
0:20:00 > 0:20:04And what's the weight of the bell up there? Is that a big one?
0:20:04 > 0:20:07- That would be five or six... Six or seven hundredweight, I think.- OK.
0:20:07 > 0:20:10Do you know what? It's starting to feel good now.
0:20:10 > 0:20:14It's feeling really good and I'm sure after an hour you could let go.
0:20:14 > 0:20:17We are not going to chance it right now. Thank you very much.
0:20:17 > 0:20:21- I did enjoy that.- OK. Good.- It makes you feel good as well, doesn't it?
0:20:21 > 0:20:23- It's good for your stomach muscles. - Absolutely.
0:20:23 > 0:20:25Good for the brain, good for the stomach.
0:20:25 > 0:20:27Well, I'll let you all carry on.
0:20:27 > 0:20:30I'm going to leave you now but can you play me out as I walk out?
0:20:30 > 0:20:32Thank you. Thank you. And cheerio.
0:20:35 > 0:20:38Look two, trebles going. She's gone.
0:20:38 > 0:20:40BELLS PEAL
0:20:40 > 0:20:43And it's not just music that bells have been used for.
0:20:43 > 0:20:46They were initially used as a call to prayer
0:20:46 > 0:20:49but they've also been rung to warn of impending invasions
0:20:49 > 0:20:53by foreign armies and pass messages from village to village.
0:20:53 > 0:20:55Well, ding-dong!
0:20:55 > 0:21:00That was brilliant fun and now for something a little more soothing.
0:21:00 > 0:21:03Bells may be a great way to make a loud noise
0:21:03 > 0:21:05but they're not good to sing hymns to
0:21:05 > 0:21:09but that's exactly what this next instrument was designed for.
0:21:09 > 0:21:14It's believed this organ was originally built around 1866
0:21:14 > 0:21:18and spent the early part of its history at a church in Yorkshire.
0:21:18 > 0:21:22It was moved here and installed before the cathedral opened in 1961.
0:21:24 > 0:21:26Katherine Deanish Williams is the organist
0:21:26 > 0:21:29and master of choristers here at the cathedral.
0:21:30 > 0:21:34Why are organs so synonymous with cathedrals and churches?
0:21:34 > 0:21:37Well, effectively because they make a lot of noise.
0:21:37 > 0:21:41- Any other instrument would get lost, wouldn't it?- It really would.
0:21:41 > 0:21:43Although we do have bagpipes here once a year.
0:21:43 > 0:21:46One of the schools comes and brings a piper so that could be similar.
0:21:46 > 0:21:49- But same principle.- Same principle. Where do you start to learn?
0:21:49 > 0:21:51Obviously, on the keyboards, on a piano.
0:21:51 > 0:21:54- You've got to learn to play the piano.- That's right.
0:21:54 > 0:21:56You've got to have a fundamental level of keyboard skill,
0:21:56 > 0:21:59really, to start, and then the worst thing
0:21:59 > 0:22:03when you start is kind of your left hand and feet coordination.
0:22:03 > 0:22:06- It just feels odd, you know? You feel slightly one-sided.- Sure.
0:22:06 > 0:22:08- A bit tipsy, almost.- Yeah.
0:22:08 > 0:22:11Then, you know, you've got to find your balance and it works.
0:22:11 > 0:22:14It's very sort of centralising somehow.
0:22:14 > 0:22:16So the hands are playing exactly what you would play
0:22:16 > 0:22:19on a standard piano or keyboard
0:22:19 > 0:22:23and the feet are enhancing something with more of a swelling noise, or...
0:22:23 > 0:22:27Slightly different to that actually, Paul, because you've got,
0:22:27 > 0:22:29down here, with your feet, you've got a complete keyboard in itself.
0:22:29 > 0:22:32So you could play with just your feet only?
0:22:32 > 0:22:34You can play with just your feet. Exactly so.
0:22:34 > 0:22:37But, I mean, in order to play anything
0:22:37 > 0:22:39you've got to draw a stop to make a sound
0:22:39 > 0:22:42so if I was to play something, one of these keys right now,
0:22:42 > 0:22:44you can't hear anything.
0:22:44 > 0:22:47So in order to hear something you have to draw a stop somewhere
0:22:47 > 0:22:51so if I put down one chord at what we would call normal pitch,
0:22:51 > 0:22:54I can add an octave above it, eight notes higher,
0:22:54 > 0:22:56and more pipes are sounding.
0:22:56 > 0:22:59Two octaves above it, higher still. I'm still playing three notes
0:22:59 > 0:23:02- but there's more than three notes sounding.- Yeah. Wow!
0:23:02 > 0:23:05And the way the instrument has developed is very much in line
0:23:05 > 0:23:07with the expansion of the orchestra.
0:23:07 > 0:23:09How long did it take you to learn to pull out the right stops?
0:23:09 > 0:23:11I mean, there are so many buttons...
0:23:11 > 0:23:16The complicated thing is every single instrument is different.
0:23:16 > 0:23:18So what's over here on an instrument
0:23:18 > 0:23:20might be over here on another instrument.
0:23:20 > 0:23:22- So there is no standard organ? - There's no standard organ.
0:23:22 > 0:23:25And that's part of the challenge as a player
0:23:25 > 0:23:28is to familiarise yourself with the instrument.
0:23:28 > 0:23:32What connects these keyboards to the pipes over there?
0:23:33 > 0:23:35Lots and lots of cabling.
0:23:35 > 0:23:37So under the chancel floor, just beneath us,
0:23:37 > 0:23:41- there's 30 miles of wiring in total. - Wow!
0:23:41 > 0:23:44You have pipes which are sitting on top of a wind chest
0:23:44 > 0:23:48and when a palette is removed, the air goes through and the pipe sounds.
0:23:48 > 0:23:54Times that by the fact that we've got, here, 4,398 pipes.
0:23:54 > 0:23:56- A lot.- So it's a massive piece of equipment.
0:23:56 > 0:24:00Well, we've heard how highly complex this is and I can see it is.
0:24:00 > 0:24:02Can I actually see what it can do
0:24:02 > 0:24:05in the hands of a great professional like you?
0:24:05 > 0:24:07- Go on, pull out all the stops. - Right. Give it something!
0:24:07 > 0:24:11- All the stops!- Yeah.- OK. Here we go. This is Widor's Toccata.
0:24:11 > 0:24:13Quite a famous piece.
0:24:13 > 0:24:16MUSIC: "Toccata" by Charles-Marie Widor
0:24:21 > 0:24:25- So there's a lot of sound going on. - Mm.
0:24:34 > 0:24:37- And so on and so on.- That's fantastic. Absolutely fantastic.
0:24:37 > 0:24:39- Thank you so much.- You're welcome.
0:24:39 > 0:24:42- It's really moving, isn't it, when you hear it played properly.- It is.
0:24:42 > 0:24:44It is. Why don't you have a try?
0:24:44 > 0:24:46- Oh, no! - HE LAUGHS
0:24:46 > 0:24:49- Maybe when the cameras have gone. - OK. You're welcome.
0:24:52 > 0:24:56Music plays a huge part in religious worship in most faiths.
0:24:56 > 0:25:00In fact, it's the main way that people have been introduced
0:25:00 > 0:25:02to music throughout history.
0:25:03 > 0:25:06Some of the tunes we hear today remain unchanged
0:25:06 > 0:25:08since they were composed centuries ago.
0:25:08 > 0:25:10It's a great way of keeping history alive
0:25:10 > 0:25:12and a real connection with the past.
0:25:21 > 0:25:24And that connection to the past is well and truly alive
0:25:24 > 0:25:28at our valuation day, where the Guildford Cathedral choir
0:25:28 > 0:25:32are rehearsing for their next big performance.
0:25:34 > 0:25:37MUSIC: "Dear Lord And Father Of Mankind" to Repton by Hubert H. Parry
0:26:11 > 0:26:15APPLAUSE
0:26:20 > 0:26:22Well, from vocals to valuables now.
0:26:22 > 0:26:24We need to find some more antiques and collectables
0:26:24 > 0:26:26to take off to auction and the best people to do that
0:26:26 > 0:26:30are our team of experts so let's catch up with them.
0:26:34 > 0:26:38- Kevin, Kevin.- Mark.- Where on earth did you get this thing from?
0:26:38 > 0:26:41I found this in the back of my garage when I was cleaning out
0:26:41 > 0:26:45after first moving in and it was under a layer of dust.
0:26:45 > 0:26:48- Pulled this out, wiped it off... - This is what you got.
0:26:48 > 0:26:53- Yeah, it's lovely.- I mean, it is the most ridiculous item.
0:26:53 > 0:26:57We've looked at it and there are several possibilities.
0:26:57 > 0:26:59- It's obviously not English.- No.
0:26:59 > 0:27:03I think it's something tribal but it's got this lovely,
0:27:03 > 0:27:06- painted decoration on it, hasn't it?- Beautiful.
0:27:06 > 0:27:08Now, there are some marks on the top
0:27:08 > 0:27:11- and the bottom which might imply it was some sort of bow.- Oh, I see.
0:27:11 > 0:27:14I don't know how flexible it is.
0:27:14 > 0:27:17There is a bit of movement but I don't think it is.
0:27:17 > 0:27:21The other thing is it might be just a decorative staff
0:27:21 > 0:27:25- to show your authority or whatever. - Ceremonial maybe.- A ceremonial thing.
0:27:25 > 0:27:30- But I adore it because I love the decoration.- Yes, lovely.- You know.
0:27:30 > 0:27:34Erm...and I think it's got a bit of age to it.
0:27:34 > 0:27:37- I think it's certainly 19th century.- Right.
0:27:37 > 0:27:39If not a tad earlier.
0:27:39 > 0:27:42But where it's come from, to be honest with you,
0:27:42 > 0:27:46- or exactly how old it is, I'm really not sure...- No.
0:27:46 > 0:27:50If I'm being frank with you. I just think it's a very appealing object.
0:27:50 > 0:27:52- Yeah.- It's different.
0:27:52 > 0:27:56- In salerooms, people like seeing interesting objects.- Yeah.
0:27:56 > 0:27:59And there will be people out there who will know what it is
0:27:59 > 0:28:01and think, "I must have this."
0:28:01 > 0:28:04But even from a sort of interior designer's point of view,
0:28:04 > 0:28:08it's just a great thing to have propped up, mounted up on the wall.
0:28:08 > 0:28:11This is where I had it, in the entrance hall, originally.
0:28:11 > 0:28:13And you got it for nothing, really.
0:28:13 > 0:28:16- It was just in the garage of a house you bought.- That's right. Lovely.
0:28:16 > 0:28:20- What do you think it's worth? - A couple of million?
0:28:20 > 0:28:22- A couple of million? - Yeah, I would be happy with that.
0:28:22 > 0:28:26Well, if we were talking in Turkish lira then we would probably
0:28:26 > 0:28:30- be on cos a couple of million Turkish lira is about a fiver.- Yeah.
0:28:30 > 0:28:33But I think we've just got to have a stab at it, if you excuse the pun.
0:28:33 > 0:28:35Lovely. That's no problem.
0:28:37 > 0:28:40- HE SIGHS - 100-150.
0:28:40 > 0:28:43- Yeah, fine.- You are happy with that, Kevin?- I am indeed, yes.
0:28:43 > 0:28:46I'm glad because you threatened to pierce me
0:28:46 > 0:28:49- with it if it wasn't the right estimate.- That's right.
0:28:49 > 0:28:52- So we are both happy. - Yes, we are.- Fantastic.- Lovely.
0:28:52 > 0:28:54- We can hope.- Yes, sir. Thank you.
0:28:54 > 0:28:57From one unusual item to another, now.
0:28:57 > 0:29:01- Over to James Lewis and that picture.- Elaine.
0:29:01 > 0:29:04Yes. THEY LAUGH
0:29:04 > 0:29:06I am just about lost for words.
0:29:08 > 0:29:12I look at this and I think it reminds me
0:29:12 > 0:29:17of a sketch that I have with a magnet stuck to my fridge
0:29:17 > 0:29:20that my four-year-old did a couple of weeks ago.
0:29:20 > 0:29:24And I look at it again and go, no.
0:29:24 > 0:29:27It hasn't got the same talent as that.
0:29:27 > 0:29:33But then my director says, "He's fabulous! He's wonderful!
0:29:33 > 0:29:35"You're underestimating this."
0:29:35 > 0:29:37Apparently, he's big.
0:29:37 > 0:29:41- Apparently so.- David... - Strigley.- Strigley.
0:29:41 > 0:29:43- AUDIENCE MEMBER:- Shrigley!
0:29:43 > 0:29:46Shrigley. See? We don't even know who he is!
0:29:46 > 0:29:48But all I know is he can't even count.
0:29:48 > 0:29:52He's put "DS 20001".
0:29:54 > 0:29:58- Yes.- Well, he really is futuristic cos that's 20,001!
0:29:58 > 0:30:01It is. THEY LAUGH
0:30:01 > 0:30:04I mean, he really... I mean, he is a big name. He's up with Damien Hirst.
0:30:04 > 0:30:06I do take the mickey a bit
0:30:06 > 0:30:09but when you see things like this
0:30:09 > 0:30:13that actually are quite important, because it's his hand,
0:30:13 > 0:30:17and the artist's hand is important in so many ways,
0:30:17 > 0:30:21if you're going to collect paintings by an artist,
0:30:21 > 0:30:25to actually have something like that is a good thing to own.
0:30:25 > 0:30:28- Yes.- Tell me about it. How did it come to be in your hands?
0:30:28 > 0:30:31- Well, in actual fact it belongs to my daughter.- Right.
0:30:31 > 0:30:34And she has trained as an art teacher
0:30:34 > 0:30:37and she did her training up at Sheffield Hallam.
0:30:37 > 0:30:41- And he was there for one of the lectures.- Yeah.
0:30:41 > 0:30:45And she had a chance to speak to him afterwards
0:30:45 > 0:30:49and she just said to him, she said, "Would you draw something for me?"
0:30:49 > 0:30:54And he said yes. And all she'd got was this little scrap of paper
0:30:54 > 0:30:58so he put his hand down, drew around it and that's what you've got.
0:31:01 > 0:31:04- Smart. Smart to ask him to do it. - Yeah.
0:31:05 > 0:31:08- The flesh and the interior. Did he write that on it?- Yes.
0:31:08 > 0:31:12- Yes.- How interesting. I wonder what that means.
0:31:12 > 0:31:15He's very much an artist that's obsessed with line, isn't he?
0:31:15 > 0:31:19You look at his cartoons and his sketches,
0:31:19 > 0:31:24it's very little shading, very little three-dimension.
0:31:24 > 0:31:27- It's all about a flat, cartoon-type drawing.- Yes.
0:31:27 > 0:31:32And that's very much in his style. OK.
0:31:34 > 0:31:38I mean, this guy has got works in very important collections
0:31:38 > 0:31:40- all over the world. - Mm-hmm.
0:31:40 > 0:31:42Erm...
0:31:43 > 0:31:45It's so difficult though,
0:31:45 > 0:31:48because it is just a very silly sketch of a hand.
0:31:50 > 0:31:53Let's say 300 to £500.
0:31:55 > 0:31:59- Now you're surprised! - HE LAUGHS
0:31:59 > 0:32:02- OK! - Because, you know, we laugh at it,
0:32:02 > 0:32:06I laugh at it and in a way it's very naughty
0:32:06 > 0:32:10because art only has to be a few people that appreciate it.
0:32:10 > 0:32:16- Of course it does.- And Turner, way back in the 1820s, wasn't respected.
0:32:16 > 0:32:20- No.- Manet, Monet, they were laughed at.
0:32:20 > 0:32:22But it is a crazy thing.
0:32:22 > 0:32:25It's the worst thing I've ever seen on "Flog It!"
0:32:25 > 0:32:28Thank you so much for bringing it in!
0:32:28 > 0:32:31SHE LAUGHS Thank you!
0:32:33 > 0:32:36Well, that's two items found. One more and we're off to auction.
0:32:36 > 0:32:38I wonder what it's going to be.
0:32:43 > 0:32:45- Mark. Nice to meet you. - Nice to meet you too.
0:32:45 > 0:32:48And you've brought something in I've been dying to do for ages,
0:32:48 > 0:32:50- a piece of Lalique.- Yes indeed.
0:32:50 > 0:32:53- Where do you get it from? - I bought it at a car-boot sale.
0:32:53 > 0:32:57- No! Don't tell me that you paid nothing for it!- Five pounds.
0:32:57 > 0:32:59- Five pounds!- Five pounds.
0:32:59 > 0:33:02Did you know what it was the minute you saw it?
0:33:04 > 0:33:07I had an indication as to the colour of the glass etc
0:33:07 > 0:33:10but naturally, it wasn't until I picked it up,
0:33:10 > 0:33:13looked underneath and nearly fell over...
0:33:13 > 0:33:15- And you couldn't get... - Tried not to drop it.
0:33:15 > 0:33:18- You couldn't get the fiver out quick enough!- Exactly.
0:33:18 > 0:33:21- I didn't believe it! - And I didn't even bid them down.
0:33:21 > 0:33:23I should hope not, at five pounds!
0:33:23 > 0:33:27I mean, it is... As soon as you see it you know that it's OK.
0:33:27 > 0:33:31From a Lalique point of view, it's not the most exciting vase.
0:33:31 > 0:33:35It's not full of naked women or interesting fish or animals
0:33:35 > 0:33:38but it's interesting to me for two reasons.
0:33:38 > 0:33:43It's very Art Deco. Of course, that slightly conical form.
0:33:43 > 0:33:47You've got the etched leaves decoration going around it
0:33:47 > 0:33:51- and then it's been sepia stained in that sort of brown colour.- I see.
0:33:51 > 0:33:53And it's opalescent as well.
0:33:53 > 0:33:56And actually, when you see it under the light like this,
0:33:56 > 0:33:59you see that lovely combination,
0:33:59 > 0:34:01- that milky opalescence with the brown.- Yes.
0:34:02 > 0:34:05Date-wise I suppose what we are looking at is sort of 1925,
0:34:05 > 0:34:09- 1930, that sort of thing.- I didn't realise it was as early as that.
0:34:09 > 0:34:12I think it's quite a nice early piece, actually.
0:34:12 > 0:34:15It's fully signed underneath, of course, R Lalique.
0:34:15 > 0:34:18When we turn it upside down you have to look in the light
0:34:18 > 0:34:23- but you can see R Lalique in a stencil mark.- Right.
0:34:23 > 0:34:25But I love Lalique. I've got several pieces at home,
0:34:25 > 0:34:28- I'm pleased to say. - Oh, right. Right.
0:34:29 > 0:34:32And it's all in very, very good condition.
0:34:32 > 0:34:35I think it's really wonderful, actually.
0:34:35 > 0:34:38It's a nice, fresh piece as well. Lots of collectors and dealers,
0:34:38 > 0:34:40of course, are looking for Lalique vases.
0:34:40 > 0:34:44They're a good thing to collect because they're decorative.
0:34:44 > 0:34:47Some of the shallow bowls or plates are not as easy
0:34:47 > 0:34:50to display as a vase.
0:34:50 > 0:34:52What's your fiver worth at auction, do you think?
0:34:53 > 0:34:58I would... One would hope three figures but I just don't know.
0:34:58 > 0:35:01- Oh, so 5.99? - HE LAUGHS
0:35:01 > 0:35:06- That's three figures! - No, would one move the point, please?
0:35:06 > 0:35:09Well, we'd like to. I think we've got to be realistic.
0:35:09 > 0:35:12It is a lovely piece but, you know, some of the vases can make
0:35:12 > 0:35:16many thousands of pounds for the bigger examples in bright,
0:35:16 > 0:35:18vivid colours.
0:35:18 > 0:35:21I mean, I think I would be happy
0:35:21 > 0:35:25- putting something like 300 to 400 on it.- My goodness!
0:35:25 > 0:35:27I think that should be achievable, actually.
0:35:27 > 0:35:29The thing is you don't want to give it away.
0:35:29 > 0:35:31You don't want it to sell too cheaply.
0:35:31 > 0:35:35- We'd have to put a reserve on it. - I would like a reserve if possible.
0:35:35 > 0:35:38- And I would put the reserve, say, at 280.- Would that be a fixed reserve?
0:35:38 > 0:35:42- A fixed reserve for 280.- That's amazing!- If you're happy with that,
0:35:42 > 0:35:45- I'm really looking forward to the auction.- That would be brilliant.
0:35:45 > 0:35:48- Thank you very much indeed. - We are both a couple of happy Marks.
0:35:48 > 0:35:50We are indeed. We are indeed.
0:35:53 > 0:35:55Well, that's it.
0:35:55 > 0:35:57Our experts have now found their final items to take off to auction
0:35:57 > 0:36:00so it's time to say goodbye to Guildford Cathedral,
0:36:00 > 0:36:02our magnificent host location today.
0:36:02 > 0:36:05As we head off to the saleroom here's a quick recap just to
0:36:05 > 0:36:08jog your memory of all the items we're taking with us.
0:36:09 > 0:36:12There's that staff or bow which fascinated Mark.
0:36:15 > 0:36:19Will the bidders appreciate this piece of art by David Shrigley?
0:36:20 > 0:36:22And there's that "Flog It!" favourite,
0:36:22 > 0:36:24a piece of Lalique glassware.
0:36:27 > 0:36:29We're heading back to Washington in West Sussex
0:36:29 > 0:36:32where today's sale is taking place.
0:36:32 > 0:36:35Before the auction started I had a chat with auctioneer
0:36:35 > 0:36:39Rupert Toovey and we took a closer look at that piece of artwork.
0:36:39 > 0:36:42- Isn't it an extraordinary thing? - It is. What do you think of it?
0:36:42 > 0:36:45I think it's rather marvellous but there's a great deal
0:36:45 > 0:36:47of that sort of post modern irony going on here, isn't there?
0:36:47 > 0:36:50Eileen brought it in and it was her daughter's.
0:36:50 > 0:36:52He attended a lecture and drew around his hand,
0:36:52 > 0:36:54- which I think is absolutely wonderful.- Wow! Wow!
0:36:54 > 0:36:56That's very intimate, isn't it?
0:36:56 > 0:36:58If that was my hand, I would be keeping this.
0:36:58 > 0:37:01But we're only custodians of these things, aren't we?
0:37:01 > 0:37:04Although I'd like to be a custodian for at least 40 or 50 years
0:37:04 > 0:37:07of something like this, not just 15 or 12 years or something.
0:37:07 > 0:37:12- We've got 300 to £500 on this. - I think 300 to 500 is about right.
0:37:12 > 0:37:15Because it's not exactly what the artist is well known for.
0:37:15 > 0:37:19- No, it's more the cartoon work.- Very ironic, modern humour, isn't it?
0:37:19 > 0:37:22But how wonderful to see how work develops
0:37:22 > 0:37:25- so important for that reason, don't you think?- I think so, yes.
0:37:25 > 0:37:27And I'm with you. I think 300-500 is spot on.
0:37:27 > 0:37:29I'd like to see it at the top end but I...
0:37:29 > 0:37:32- I think it might be nearer the lower, actually.- Yes.
0:37:32 > 0:37:35- Good luck. That's down to you. - I'll do my best.
0:37:35 > 0:37:37We'll come to that later but first,
0:37:37 > 0:37:40we've finally got an answer about one of Mark's items.
0:37:40 > 0:37:45Next up, our mystery object. Is it a bow or is it a ceremonial staff?
0:37:45 > 0:37:49In the catalogue it's catalogued as Indian ceremonial staff
0:37:49 > 0:37:54so fingers crossed that's worth an awful lot more than a spear.
0:37:54 > 0:37:57- And you know what it's good for? It's a good decorative piece.- Yes.
0:37:57 > 0:38:00- We like that.- Yes, we do.- Thank you.
0:38:00 > 0:38:03- Ethnographica, they call it, don't they?- Have you been reading again?
0:38:03 > 0:38:06- I learned that from Michael Baggott! - THEY LAUGH
0:38:06 > 0:38:08Tribal art.
0:38:08 > 0:38:10Let's put it to the test, shall we? Here we go.
0:38:12 > 0:38:17A 19th-century Indian polychrome painted ceremonial staff.
0:38:17 > 0:38:20Very interesting thing. I'm opening the bidding here at £75. £75.
0:38:20 > 0:38:22Do I see 80? £75.
0:38:22 > 0:38:25- Come on, we need 100, don't we? - We do, yes.
0:38:25 > 0:38:2880. And five. 90, sir?
0:38:28 > 0:38:31- A bidder in the room now.- 90, madam? 90. And five.
0:38:31 > 0:38:33100, madam? 95, I have.
0:38:33 > 0:38:36- We've got it. Come on.- 100, then?
0:38:37 > 0:38:40At £95. 100, can I see?
0:38:40 > 0:38:42- Yes, sir.- 100, now online. £100.
0:38:42 > 0:38:45- 100 online. So we've sold. - Do I see 110?
0:38:45 > 0:38:47At £100. Is there any advance? It's against you, madam.
0:38:47 > 0:38:52- You're sure, now? £100.- Thought it would do a bit more, potentially.
0:38:52 > 0:38:56It's gone for £100 and you said all the money is going to charity.
0:38:56 > 0:38:59- Yes, it is.- Which charity's that? - It's Headway, Guildford, Surrey.
0:38:59 > 0:39:03- And what does that involve? - It's for people who've had brain damage through falling over,
0:39:03 > 0:39:05- being knocked over... - What a lovely idea.
0:39:05 > 0:39:09- And my partner, Sue, works for them, so...- Great cause, then.- Absolutely.
0:39:09 > 0:39:11- Every single penny. - Thank you very much.- Thank you.
0:39:11 > 0:39:15So we are off to a good start with the tribal woodwork making its estimate.
0:39:15 > 0:39:19Next up is something that really caught my eye.
0:39:21 > 0:39:24Hands up. Guess what I'm talking about right now? Yes, you've got it.
0:39:24 > 0:39:26The David Shrigley. I like this.
0:39:26 > 0:39:30- Had a chat to Rupert before the sale started. He likes it as well.- Good.
0:39:30 > 0:39:34Good investment piece. But Elaine, why is your daughter selling this?
0:39:34 > 0:39:38She doesn't really want it any more.
0:39:38 > 0:39:41- She's had it for 10 years. - And she's off skiing at the moment.
0:39:41 > 0:39:44- Yes, she is.- She's having a jolly while we're doing the hard work.
0:39:44 > 0:39:47You can get her on the phone and ring her up because I know this is going to sell.
0:39:47 > 0:39:49Had a chat with Rupert and he said it will sell.
0:39:49 > 0:39:52He's very collectable and sought-after.
0:39:52 > 0:39:54The big question is how much for?
0:39:54 > 0:39:59The David Shrigley. The outline of a hand inscribed flesh and interior.
0:39:59 > 0:40:03Pen and ink. Initial and dated 2000 and then one.
0:40:03 > 0:40:07It's a smashing thing with lovely provenance and we've a multitude
0:40:07 > 0:40:11of conflicting bids and we're opening the bidding here at £280.
0:40:11 > 0:40:13280. 300. 320.
0:40:13 > 0:40:17350. At £350 now. At £350.
0:40:18 > 0:40:24At £350 and it is fair warning. At £350.
0:40:24 > 0:40:26- Wow!- 350.
0:40:26 > 0:40:29- James didn't like it, did he? - The world's bonkers.
0:40:29 > 0:40:32- Did you like it?- Personally, no.
0:40:32 > 0:40:34- Now you admit it!- Personally.
0:40:34 > 0:40:38- You wound me up! I thought you liked it!- Personally, no.
0:40:38 > 0:40:40Thankfully for Elaine, somebody did like it
0:40:40 > 0:40:43and hopefully that image will be hanging on their wall.
0:40:43 > 0:40:46Time now for today's final item.
0:40:46 > 0:40:48Well, it was bought at a car-boot sale for five pounds
0:40:48 > 0:40:52and hopefully we can turn it into maybe 200 or £300 or a bit more.
0:40:52 > 0:40:55I absolutely love it. It belongs to Mark, who is right next to me.
0:40:55 > 0:40:57And here's our expert, Mark. I'm surrounded by Marks!
0:40:57 > 0:41:00- What a great find. - Excellent, wasn't it?
0:41:00 > 0:41:02And it's signed "R" underneath before his death,
0:41:02 > 0:41:04which is the key factor to look out for.
0:41:04 > 0:41:06I'm not a great big Lalique fan.
0:41:06 > 0:41:08I don't really like that type of glass
0:41:08 > 0:41:12but I like this because it is sepia and it's a little bit different.
0:41:12 > 0:41:14I'd like to do see this do 400.
0:41:14 > 0:41:18It is quite a small vase but it's nice and fresh to the market,
0:41:18 > 0:41:20the bidders should be out there for it.
0:41:20 > 0:41:22- Good on you.- Hopefully. - Good on you.
0:41:22 > 0:41:25Let's put it to the test. This is what it's all about.
0:41:25 > 0:41:27This is what we've been waiting for.
0:41:27 > 0:41:29An Art Deco Lalique sepia stained
0:41:29 > 0:41:32and opalescent glass patterned vase.
0:41:32 > 0:41:351930s, this one. It's lovely.
0:41:35 > 0:41:37And we are opening the bidding here at £200. At £200.
0:41:37 > 0:41:39- Can we see 220?- We've got 200.
0:41:39 > 0:41:42220, thank you. 250. 280?
0:41:42 > 0:41:45280 now, standing in the room. 300, seated.
0:41:45 > 0:41:47320. 350, sir? 380.
0:41:47 > 0:41:49400. 420.
0:41:49 > 0:41:52450. 480. 500.
0:41:52 > 0:41:54520. 550.
0:41:57 > 0:41:59520, I have.
0:41:59 > 0:42:01£520. Are we all done at 520?
0:42:01 > 0:42:06550, now. 580. 600.
0:42:08 > 0:42:11- 650, sir.- At 650, now.
0:42:11 > 0:42:14- 650.- 650, Mark.- 700, sir.
0:42:16 > 0:42:18- Yes, sir.- 700, now.
0:42:18 > 0:42:21- At 720.- The internet, again, see, Phil?
0:42:21 > 0:42:23It's because it's sepia.
0:42:23 > 0:42:25- Yes, sir.- 780.
0:42:25 > 0:42:29780, I have. And 800.
0:42:29 > 0:42:31- Yes, sir.- And 820.
0:42:33 > 0:42:36- Is this a come and buy me? - Yes, it was.
0:42:36 > 0:42:38I thought I was being realistic.
0:42:38 > 0:42:42- 850, can I see?- Yes, sir. - 850, it is.
0:42:42 > 0:42:44880?
0:42:44 > 0:42:46850, now, with Glen online.
0:42:46 > 0:42:50£850. £850 against the room. At £850.
0:42:50 > 0:42:55- Are you sure, now?- 800 and... - £850.
0:42:55 > 0:42:57- 850.- Yes!
0:42:57 > 0:43:00- The hammer has gone down at £850. - That's not bad, is it?
0:43:00 > 0:43:04We've just turned a fiver into £850, thanks to you, Mark.
0:43:04 > 0:43:07- Thank you very much indeed. Thank you, Mark.- Told you I loved it, Mark.
0:43:07 > 0:43:09Thank you for bearing with us.
0:43:09 > 0:43:15- I was saying to Mark it's hard to put a value on something when two bidders get stuck in.- Absolutely.
0:43:15 > 0:43:17- What a way to end the show. - Wonderful.
0:43:17 > 0:43:19I told you there was going to be a surprise.
0:43:19 > 0:43:22You never know what's going to happen on "Flog It!" so join us
0:43:22 > 0:43:26for many more but for now from West Sussex, it's goodbye from the Marks.