Guildford 23 Flog It!


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MUSIC: FLOG IT! THEME TUNE ON CHURCH ORGAN

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Today, we're in Guildford, pulling out all the stops.

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I've been practising my skills on the organ.

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Well, I nearly got away with it!

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Well done! Welcome to Flog It!

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The venue for today's valuation is Guildford Cathedral,

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one of the most dominating structures on the Surrey skyline.

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It opened in 1961,

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after being completed with the help of the local congregation.

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And those same people are out in force today, hunting high

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and low for antiques and collectibles

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and our experts will be looking out for quality and craftsmanship,

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but there's only one question on this lot's lips - which is?

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ALL: What's it worth?

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We've got the crowd, they've got their items.

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-All we need now are our experts. And we've got James Lewis.

-It's dire!

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It's not!

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That's the hand of the artist. To me, no. it's more than the image.

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It's so much... That's amazing, I think.

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I'm so glad you're that side of the camera!

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And we've also got Mark Stacey.

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-What have you got in your shopping basket here?

-I've got my lunch.

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Oh, your lunch.

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-And my tea.

-Would you like that valued?

-Yes, please!

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So, as everyone makes their way inside,

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here's what's coming up in the next 45 minutes.

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Today, we've got woodwork, glasswork and artwork.

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But which will do the best at auction?

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Will it be this decorative tribal staff?

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Or the picture that James disliked in the queue?

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Or this classic Lalique vase? Find out later.

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Now, here's a little bit of information for you.

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This iconic building was built by the architect Edward Maufe.

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It was built at the top of Stag Hill,

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which was donated by local nobleman, the 5th Earl of Onslow.

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And right here, where this little brass stag is,

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marks the pinnacle, the very top of the hill.

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Now, we're right behind James Lewis' filming table.

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He's our first expert who has found a real gem.

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So let's now catch up with James and see what he's got to say about this.

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Karen, let me take you back 400 years, to the time of King James.

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In 1601, the English East India Company was formed to try

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and bring spices and exotic products to Europe from the Far East.

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Spices, tea, tobacco, silks.

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And tea became the major product.

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In the 18th century,

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tea was more expensive per pound than gold or silver.

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So you had to have a container that you locked it up in.

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And if we open this up, we've got two compartments -

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one for black tea, one for green tea, and outside, this

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simulated casket, to represent the value of what is contained within.

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So, valued, but obviously not by you because it's here.

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-So, is this a family piece? Are you a collector? A tea drinker?

-No.

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It was given to my husband.

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He was working for a lady in London about 15 years ago now and

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she gave it to him as a present and he brought it home and gave it to me.

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In other words, she didn't want it, he didn't want it, gave it to you!

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What have you done with it?

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Well, it was out on display for a few years

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and then it's been in the loft for about the last eight years.

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Let's hope that someday, somebody at the auction might want it.

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But we wondered what this is on top cos I don't think it is brass.

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It is brass, but it could well have been gold plated at the time.

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It would have been made to look like ormolu, which is gold plated bronze.

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And then here on the top, we have a little polished stone,

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and this is banded agate.

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So it's a little section of agate on the top.

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In the 19th century, they're sometimes divided inside by a

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little circular aperture, which would contain a bowl.

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It used to be said that this was for blending the green with

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the black tea.

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But of course, it was for sugar. The tea was taken very, very sweet.

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And the idea of this...

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Tea wasn't taken in the way it is today, it was a ceremony,

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totally separate, wasn't drunk at the dinner table,

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you would be on a separate tea table and the lady of the house would wear

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the key around her neck,

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she would call a servant to take the tea caddy from the sideboard,

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she would bring it, unlock it, blend the tea, lock it again

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and send the tea caddy away. So it was very much a ceremony.

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-Date is about 1860. And a value, £60 to £100.

-Right, OK.

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-Is that all right for you?

-Yes, yes.

-Well, it'll buy you a bit of coffee.

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OK, yes! Thank you.

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All right.

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Let's hope that tea caddy can brew up a good result

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later on in the programme.

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Time now to see what Mark Stacey's got for his first item.

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-Jane, Michael.

-Hello.

-You've brought a lovely pair of dishes in for me.

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I know. They're rather sweet.

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They're fantastic. I love them. Do you know much about them?

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I know they belonged to my grandmother.

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I think I remember seeing them when I was about this high in her

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corner cupboard, which I've actually got now in my kitchen.

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And then my mother had them, and then I had them from my mother.

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-They're very, very Victorian.

-Oh, I suppose so.

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They've got a date mark on the back. The triangle.

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-But I've never found out.

-Well, we can tell you that.

-Can you?

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-Yes.

-Oh.

-They're made, of course, by one of the oldest...

-Minton.

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..factories in the country, Minton,

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-who were founded in the late 18th century.

-Right.

-And this...

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As soon as you see this type of colour and decoration,

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-it can only be one thing - Majolica.

-Yeah.

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They took the inspiration from much earlier Italian designers

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and they put a sort of Victorian twist on it,

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-so you get these very vivid turquoises and greens.

-I know.

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-That's a lovely colour.

-It's a really deep colour.

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And you can get bright pinks and bright yellows

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and reds, and these are perfect for Christmas,

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for putting sugared almonds or something like that in on the table.

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And they're realistically modelled.

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There's a sort of holly branch, with two little white birds on them.

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-They've suffered a bit though, haven't they?

-Yes, they have.

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They've got the odd chip.

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Very easily restored. That's the positive.

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And collectors of Majolica are willing to overlook

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a bit of damage on interesting pieces.

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If we look at the marks, they're fully marked underneath.

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-You have the shape number.

-Right.

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-Interesting, you have the word Minton there.

-Yes, I've seen that.

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Now, after 1872, they added an S.

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-So it became Mintons. So we know it's before 1872.

-Before 1872?

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-Gosh!

-We've got a registration lozenge as well.

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And we've got a date letter for 1869.

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-Oh, how lovely!

-What do you think of them, Michael?

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They're a little bit ornate, but otherwise...

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I suppose some people like them!

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-I don't think they're his cup of tea!

-I don't think he's keen, Jane.

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No, he's very polite.

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-But there are collectors still out there for them.

-Are there?

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Oh, yes, there are.

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Do you have any ideas yourself of what they might be worth?

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-Absolutely none. Have you?

-No.

-No?

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-I think we've got...

-Can I make a stab?

-Go on, make a stab.

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-£200, the pair?

-I don't know why I'm here.

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-I don't know why I'm here!

-It was a joke.

-No, you're absolutely right.

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-I was going to say because of the slight damage, I think we've got to be realistic.

-Yes.

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And if we put an estimate of £200-300 on them,

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-with a fixed reserve of 200.

-Yes, OK.

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I do hope that on the day because they're so humorous

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and they're so nicely done...

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-Like Tweedle Dum and Tweedle Dee.

-Exactly.

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-You're happy to put them in for that?

-Yes! Very happy!

-Great.

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-Well, I'm really pleased that we can take them to auction to see what happens.

-Good.

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Earlier on, we saw Karen, who'd brought along a tea caddy to

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be valued, but it turns out it wasn't the first time that we'd met.

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Now, this could be embarrassing.

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I bumped into two ladies this morning who told me they were next-door neighbours.

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-We used to live in the same little town, didn't we?

-Yes.

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-Inglesham.

-Inglesham.

-And you knew my older sister. You're Karen and you're Janet.

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I was a little bit younger than the two of you.

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-Now, what have you brought in? You've got something to show me.

-Photos.

-This is embarrassing.

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-But there I am!

-Yes, there you are.

-Look at that! Are you there? Is that you?

-Yes, that's me, there.

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-And that's my sister.

-That's your sister, Ann.

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-And there you are again.

-Oh, look at that! Is this your back garden?

-Yes.

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Your mum and dad's.

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-Yes.

-Look at that. There I am. Great shorts and with wellies.

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I was a fashion icon, even back then.

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THEY CHUCKLE

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-It's great to see you!

-Yes, and you.

-Can I have these?

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-Yes, you can take those.

-Thank you.

-They're for you.

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-Aw! I'll show my sister. Well, it's good to see you.

-And you.

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What memories!

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THEY LAUGH

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Well, that was a blast from the past. And now over to James Lewis,

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who's found something even older than my childhood photos.

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Patricia, this is a really unusual thing

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because we've got a short umbrella, almost parasol-like,

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but the handle is carved with lovebirds

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and I've never seen a little handle like this.

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Carved with parrots, yes, but little lovebirds, I find really sweet.

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It's almost as if it was given as a love token from one person to another.

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-Anybody special in your life?

-Not in my life, no!

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I think probably it belonged to my grandmother.

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You're going to tell me where it came from cos I don't know.

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OK. I'll try. Yeah.

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I can see it's old and I think that's ivory, but otherwise I know nothing.

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It is. Now, the question is - is this an European umbrella in the

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Japanese style, or is it a Japanese ivory head on an European umbrella?

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Let's have a look.

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First thing to do... The terminals here are ivory.

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The piece at the section here

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is bamboo.

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But there, look.

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Ben Cox.

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Of London.

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-Oh! I never noticed that.

-Right, so he's English.

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So it's a Malacca shaft, with an ivory handle, a bamboo stem,

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ivory mounts, but made for a London retailer.

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So it's an European thing with a Japanese ivory handle.

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Right.

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The birds have got glass eyes and it was carved in Japan in this

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period that we call the Meiji period.

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So, having said all that, good news and bad news.

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There are collectors for umbrellas,

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but there are far more collectors for walking sticks.

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-This one also has the tip off the head.

-Yes.

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So that's going to make a bit of a difference.

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In perfect condition, that's worth £100-150.

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With the head off, and re-glued, 60-100.

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-That sounds...

-Is that all right?

-Fine. Yes.

-Sure?

-Yes.

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Well, it's doing nothing for me.

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It's not raining outside, so you don't need it.

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Look at that. Hundreds of people and they're all enjoying themselves.

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We have seen a wonderful array of treasures here this morning so far.

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Our experts have been working flat out. We've found our first three items to take off to auction.

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Here's a quick recap of what we're going to put under the hammer.

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We've got the walnut and brass tea caddy, brought along by Karen.

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There's the Majolica bowls that Mark fell in love with.

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And we also have the ivory-handled umbrella.

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Today's sale, we've left Surrey and travelled a few miles south,

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to Washington in West Sussex, courtesy of Toovey's auction room.

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Now, down there is an eager crowd, waiting for our lots to go

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under the hammer, so let's get on with it and not disappoint them.

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And the man in charge of today's proceedings is Rupert Toovey.

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Coming up now, we've got a Victorian dome-lidded tea caddy,

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-belonging to Karen.

-I've known her a long time as well, haven't it?

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-Well, I haven't seen you for... possibly about 40-odd years!

-Yeah, that's right. Showing our age!

-Yes.

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You clobbered me back at Guildford Cathedral with a little photograph.

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We used to know each other when we were kids. Next-door neighbours.

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-Oh, my goodness!

-How amazing is that?

-I know.

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Right, let's talk about your walnut dome-lidded tea caddy.

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I like it because it's got that lovely gothic revival taste

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to it and I'm big on that. I love that.

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-But I agree with the valuation, James.

-Good.

-Right.

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Let's get on with selling antiques, shall we? Here we are. It's going under the hammer now.

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A late Victorian burr walnut dome tea caddy with Gothic revival

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applied brass strap-work mounts. It's a lovely thing.

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What shall we say for this lot? Shall we say £100? 50, then, please.

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50, I'm bid. Can I see the five?

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At £50, can I see the 55?

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55. And 60 and five.

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At £60 now. At £60 and five? With you, madam.

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At £65, and thank you.

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At £64 now in the room. It's against you all. At 65.

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And 70 now with Glen.

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And 75. He makes us jump, doesn't he? 75 and 80.

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Yes, sir.

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And five. And 90.

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90 and five. 100?

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-No, sir.

-95, it is, with the lady. At £95. Against you, Glen.

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That's right, isn't it? 95, all done. 95.

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-Sold at 95. We're happy with that.

-Very pleased.

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-Very pleased with that.

-Good.

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Would have liked three figures, but hey, we always want more than what we normally get, don't we?

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No, that's brilliant.

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So, Karen's going home, happy, with one less tea caddy,

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but a few extra quid. Next up, it's the pair of bowls.

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Going under the hammer right now,

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one of the great names in ceramics, Minton Majolica.

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We've got two dishes belonging to Jane and Mike and it's great to see you both.

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-I've got to say, you look very stylish.

-Thank you very much.

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-Equally as stylish as the little dishes.

-I love them.

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I know there's a few nibbles here,

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-but Majolica collectors will live with that.

-OK, let's find out.

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They're going under the hammer right now. Good luck, both of you.

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A pair of Minton Majolica dishes, circa 1869 and 1870, of oval shape.

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And we're opening the bidding here at £180. 180. Can I see the 190?

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£180 and 190.

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200. 220.

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£200 here on commission.

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-At £200, can I see the 220?

-Yes, sir.

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At 220 now online. 220 now online. Can I see the 240?

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£220. With you, Glen.

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-Any more out there?

-No, sir.

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-220 it is, with you.

-220.

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At £220 and selling. 220.

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-220, at the lower end.

-I suppose it's the market.

-Just got them away.

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-Yes, good.

-Was that OK?

-Yes, of course it is.

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They've gone.

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So, Mark was within estimate,

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but we've got another bird-themed item now.

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It's that ivory-handled umbrella.

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Remember, there are restrictions on selling ivory,

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but this item is fine because it was made before 1947.

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It's absolutely stunning, isn't it? Made by Ben Cox of London.

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-Apparently.

-Quality, quality, quality.

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-And, James, this should do well.

-It should.

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It's got a bit of damage, which is why I've put it down at 60-100.

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Yes, cheeky little valuation. Why are you selling this?

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I did have it in the hall, it was gathering dust and doing nothing.

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-You thought, let's sell it.

-Yeah.

-Bring it along to Flog It! and see what we can do.

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Well, let's hope we get that top end. It's going under the hammer right now.

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An early 20th century ivory and Malacca handled umbrella.

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And a multitude of conflicting bids on this lovely thing.

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And we're opening at £110.

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120. 130. 140.

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150. 160.

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-Now in the room at 160.

-£160.

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-£160. Are we all done?

-Wonderful.

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170. 180.

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-190.

-Yes, sir.

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200.

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-220.

-Yes, sir.

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220, I have. And 240, can I say?

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And 260?

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-Are you sure?

-Yeah, £260.

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-Wow!

-260 now on the net.

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And 280, can I see?

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280, I have. And 300 now?

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-Yes, sir.

-300, I have. And 320.

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Yeah? 320, I have.

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-And 340.

-Yes, sir.

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And 360.

0:16:590:17:00

Thank you, sir. 340, Glen, with you on the net.

0:17:000:17:02

At £340. £340 online.

0:17:020:17:06

£340!

0:17:060:17:08

£340.

0:17:080:17:10

-And the hammer's coming down. Yes!

-That is a fantastic result.

0:17:100:17:13

Two people obviously wanted that. The collectors are out in force!

0:17:130:17:16

-Wow!

-So, reactions?

-Ooh, have a sit down!

0:17:160:17:19

-That's amazing!

-Well done to Rupert, though.

0:17:190:17:22

-On the rostrum, delivering the goods for us.

-Yeah, brilliant.

-Great auctioneering.

0:17:220:17:26

Well, that just goes to show you can never tell what's going to

0:17:260:17:29

happen at auction when they catch the bidders' attention.

0:17:290:17:33

There you are. That's the end of our first visit to the auction today.

0:17:330:17:37

Fast and furious. We are coming back here later on in the programme. Don't go away.

0:17:370:17:41

Now, music has played a very important in the history of our religion over the years.

0:17:410:17:45

Two instruments in particular, associated with the church.

0:17:450:17:49

I went back to Guildford Cathedral to find out more. Take a look at this.

0:17:490:17:53

When you think of music in the church,

0:18:010:18:03

this is probably the first thing that springs to mind -

0:18:030:18:06

the calm and soothing sound of the choir.

0:18:060:18:09

I'm going to be having a go at something a little bit louder,

0:18:090:18:12

assuming I've got the energy after climbing all these stairs.

0:18:120:18:16

BELLS RING

0:18:180:18:21

The history of bell ringing in churches can trace its roots back

0:18:210:18:26

to around 400 AD when the Bishop of Campania, in Italy, introduced it.

0:18:260:18:31

The art of bell ringing, or campanology,

0:18:310:18:35

takes its name from that region and is still used 1,600 years later.

0:18:350:18:40

I'm here to meet some modern day campanologists.

0:18:400:18:43

Finally at the top!

0:18:430:18:45

And these are some of the bell ringers here at the cathedral.

0:18:450:18:48

We've got Justina, Maurice, David and Chris.

0:18:480:18:52

I can't wait to have a go myself.

0:18:520:18:53

I'm a complete novice, but hopefully, I can join in with you.

0:18:530:18:57

-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?

0:18:570:19:01

-Yes, take your coat off, please.

-OK.

0:19:010:19:04

'It takes a lot of practice to become an expert bell ringer,

0:19:040:19:07

'which is why I'm being closely supervised.

0:19:070:19:10

'If I get it wrong, I could damage the bells.'

0:19:100:19:13

So if you'd like to take that rope, with your right hand on the bottom, left hand on the top.

0:19:130:19:18

But your arms out straight, don't bend your body.

0:19:180:19:20

Now, we're going to pull the bell off.

0:19:200:19:23

The rope will go up to the roof, you're going to go up with it,

0:19:230:19:27

keep your arms straight, and then pull your arm straight down again.

0:19:270:19:31

-OK. You're not going to let go.

-No, I'm not going to let go.

0:19:310:19:34

I'm going to go up with you.

0:19:340:19:36

That's right and look forward, straightforward. OK, here we go.

0:19:360:19:39

BELL RINGS

0:19:410:19:46

Right, OK. I can see it... I can feel the weight of the bell now.

0:19:460:19:50

Oh, I didn't go right up there, did I?

0:19:510:19:54

Oh, it's not for the faint-hearted, is it?

0:19:540:19:56

That's for sure! Great form of exercise.

0:19:560:19:59

And what's the weight of the bell up there? Is that a big one?

0:20:000:20:04

-That would be five or six... Six or seven hundredweight, I think.

-OK.

0:20:040:20:07

Do you know what? It's starting to feel good now.

0:20:070:20:10

It's feeling really good and I'm sure after an hour you could let go.

0:20:100:20:14

We are not going to chance it right now. Thank you very much.

0:20:140:20:17

-I did enjoy that.

-OK. Good.

-It makes you feel good as well, doesn't it?

0:20:170:20:21

-It's good for your stomach muscles.

-Absolutely.

0:20:210:20:23

Good for the brain, good for the stomach.

0:20:230:20:25

Well, I'll let you all carry on.

0:20:250:20:27

I'm going to leave you now but can you play me out as I walk out?

0:20:270:20:30

Thank you. Thank you. And cheerio.

0:20:300:20:32

Look two, trebles going. She's gone.

0:20:350:20:38

BELLS PEAL

0:20:380:20:40

And it's not just music that bells have been used for.

0:20:400:20:43

They were initially used as a call to prayer

0:20:430:20:46

but they've also been rung to warn of impending invasions

0:20:460:20:49

by foreign armies and pass messages from village to village.

0:20:490:20:53

Well, ding-dong!

0:20:530:20:55

That was brilliant fun and now for something a little more soothing.

0:20:550:21:00

Bells may be a great way to make a loud noise

0:21:000:21:03

but they're not good to sing hymns to

0:21:030:21:05

but that's exactly what this next instrument was designed for.

0:21:050:21:09

It's believed this organ was originally built around 1866

0:21:090:21:14

and spent the early part of its history at a church in Yorkshire.

0:21:140:21:18

It was moved here and installed before the cathedral opened in 1961.

0:21:180:21:22

Katherine Deanish Williams is the organist

0:21:240:21:26

and master of choristers here at the cathedral.

0:21:260:21:29

Why are organs so synonymous with cathedrals and churches?

0:21:300:21:34

Well, effectively because they make a lot of noise.

0:21:340:21:37

-Any other instrument would get lost, wouldn't it?

-It really would.

0:21:370:21:41

Although we do have bagpipes here once a year.

0:21:410:21:43

One of the schools comes and brings a piper so that could be similar.

0:21:430:21:46

-But same principle.

-Same principle. Where do you start to learn?

0:21:460:21:49

Obviously, on the keyboards, on a piano.

0:21:490:21:51

-You've got to learn to play the piano.

-That's right.

0:21:510:21:54

You've got to have a fundamental level of keyboard skill,

0:21:540:21:56

really, to start, and then the worst thing

0:21:560:21:59

when you start is kind of your left hand and feet coordination.

0:21:590:22:03

-It just feels odd, you know? You feel slightly one-sided.

-Sure.

0:22:030:22:06

-A bit tipsy, almost.

-Yeah.

0:22:060:22:08

Then, you know, you've got to find your balance and it works.

0:22:080:22:11

It's very sort of centralising somehow.

0:22:110:22:14

So the hands are playing exactly what you would play

0:22:140:22:16

on a standard piano or keyboard

0:22:160:22:19

and the feet are enhancing something with more of a swelling noise, or...

0:22:190:22:23

Slightly different to that actually, Paul, because you've got,

0:22:230:22:27

down here, with your feet, you've got a complete keyboard in itself.

0:22:270:22:29

So you could play with just your feet only?

0:22:290:22:32

You can play with just your feet. Exactly so.

0:22:320:22:34

But, I mean, in order to play anything

0:22:340:22:37

you've got to draw a stop to make a sound

0:22:370:22:39

so if I was to play something, one of these keys right now,

0:22:390:22:42

you can't hear anything.

0:22:420:22:44

So in order to hear something you have to draw a stop somewhere

0:22:440:22:47

so if I put down one chord at what we would call normal pitch,

0:22:470:22:51

I can add an octave above it, eight notes higher,

0:22:510:22:54

and more pipes are sounding.

0:22:540:22:56

Two octaves above it, higher still. I'm still playing three notes

0:22:560:22:59

-but there's more than three notes sounding.

-Yeah. Wow!

0:22:590:23:02

And the way the instrument has developed is very much in line

0:23:020:23:05

with the expansion of the orchestra.

0:23:050:23:07

How long did it take you to learn to pull out the right stops?

0:23:070:23:09

I mean, there are so many buttons...

0:23:090:23:11

The complicated thing is every single instrument is different.

0:23:110:23:16

So what's over here on an instrument

0:23:160:23:18

might be over here on another instrument.

0:23:180:23:20

-So there is no standard organ?

-There's no standard organ.

0:23:200:23:22

And that's part of the challenge as a player

0:23:220:23:25

is to familiarise yourself with the instrument.

0:23:250:23:28

What connects these keyboards to the pipes over there?

0:23:280:23:32

Lots and lots of cabling.

0:23:330:23:35

So under the chancel floor, just beneath us,

0:23:350:23:37

-there's 30 miles of wiring in total.

-Wow!

0:23:370:23:41

You have pipes which are sitting on top of a wind chest

0:23:410:23:44

and when a palette is removed, the air goes through and the pipe sounds.

0:23:440:23:48

Times that by the fact that we've got, here, 4,398 pipes.

0:23:480:23:54

-A lot.

-So it's a massive piece of equipment.

0:23:540:23:56

Well, we've heard how highly complex this is and I can see it is.

0:23:560:24:00

Can I actually see what it can do

0:24:000:24:02

in the hands of a great professional like you?

0:24:020:24:05

-Go on, pull out all the stops.

-Right. Give it something!

0:24:050:24:07

-All the stops!

-Yeah.

-OK. Here we go. This is Widor's Toccata.

0:24:070:24:11

Quite a famous piece.

0:24:110:24:13

MUSIC: "Toccata" by Charles-Marie Widor

0:24:130:24:16

-So there's a lot of sound going on.

-Mm.

0:24:210:24:25

-And so on and so on.

-That's fantastic. Absolutely fantastic.

0:24:340:24:37

-Thank you so much.

-You're welcome.

0:24:370:24:39

-It's really moving, isn't it, when you hear it played properly.

-It is.

0:24:390:24:42

It is. Why don't you have a try?

0:24:420:24:44

-Oh, no!

-HE LAUGHS

0:24:440:24:46

-Maybe when the cameras have gone.

-OK. You're welcome.

0:24:460:24:49

Music plays a huge part in religious worship in most faiths.

0:24:520:24:56

In fact, it's the main way that people have been introduced

0:24:560:25:00

to music throughout history.

0:25:000:25:02

Some of the tunes we hear today remain unchanged

0:25:030:25:06

since they were composed centuries ago.

0:25:060:25:08

It's a great way of keeping history alive

0:25:080:25:10

and a real connection with the past.

0:25:100:25:12

And that connection to the past is well and truly alive

0:25:210:25:24

at our valuation day, where the Guildford Cathedral choir

0:25:240:25:28

are rehearsing for their next big performance.

0:25:280:25:32

MUSIC: "Dear Lord And Father Of Mankind" to Repton by Hubert H. Parry

0:25:340:25:37

APPLAUSE

0:26:110:26:15

Well, from vocals to valuables now.

0:26:200:26:22

We need to find some more antiques and collectables

0:26:220:26:24

to take off to auction and the best people to do that

0:26:240:26:26

are our team of experts so let's catch up with them.

0:26:260:26:30

-Kevin, Kevin.

-Mark.

-Where on earth did you get this thing from?

0:26:340:26:38

I found this in the back of my garage when I was cleaning out

0:26:380:26:41

after first moving in and it was under a layer of dust.

0:26:410:26:45

-Pulled this out, wiped it off...

-This is what you got.

0:26:450:26:48

-Yeah, it's lovely.

-I mean, it is the most ridiculous item.

0:26:480:26:53

We've looked at it and there are several possibilities.

0:26:530:26:57

-It's obviously not English.

-No.

0:26:570:26:59

I think it's something tribal but it's got this lovely,

0:26:590:27:03

-painted decoration on it, hasn't it?

-Beautiful.

0:27:030:27:06

Now, there are some marks on the top

0:27:060:27:08

-and the bottom which might imply it was some sort of bow.

-Oh, I see.

0:27:080:27:11

I don't know how flexible it is.

0:27:110:27:14

There is a bit of movement but I don't think it is.

0:27:140:27:17

The other thing is it might be just a decorative staff

0:27:170:27:21

-to show your authority or whatever.

-Ceremonial maybe.

-A ceremonial thing.

0:27:210:27:25

-But I adore it because I love the decoration.

-Yes, lovely.

-You know.

0:27:250:27:30

Erm...and I think it's got a bit of age to it.

0:27:300:27:34

-I think it's certainly 19th century.

-Right.

0:27:340:27:37

If not a tad earlier.

0:27:370:27:39

But where it's come from, to be honest with you,

0:27:390:27:42

-or exactly how old it is, I'm really not sure...

-No.

0:27:420:27:46

If I'm being frank with you. I just think it's a very appealing object.

0:27:460:27:50

-Yeah.

-It's different.

0:27:500:27:52

-In salerooms, people like seeing interesting objects.

-Yeah.

0:27:520:27:56

And there will be people out there who will know what it is

0:27:560:27:59

and think, "I must have this."

0:27:590:28:01

But even from a sort of interior designer's point of view,

0:28:010:28:04

it's just a great thing to have propped up, mounted up on the wall.

0:28:040:28:08

This is where I had it, in the entrance hall, originally.

0:28:080:28:11

And you got it for nothing, really.

0:28:110:28:13

-It was just in the garage of a house you bought.

-That's right. Lovely.

0:28:130:28:16

-What do you think it's worth?

-A couple of million?

0:28:160:28:20

-A couple of million?

-Yeah, I would be happy with that.

0:28:200:28:22

Well, if we were talking in Turkish lira then we would probably

0:28:220:28:26

-be on cos a couple of million Turkish lira is about a fiver.

-Yeah.

0:28:260:28:30

But I think we've just got to have a stab at it, if you excuse the pun.

0:28:300:28:33

Lovely. That's no problem.

0:28:330:28:35

-HE SIGHS

-100-150.

0:28:370:28:40

-Yeah, fine.

-You are happy with that, Kevin?

-I am indeed, yes.

0:28:400:28:43

I'm glad because you threatened to pierce me

0:28:430:28:46

-with it if it wasn't the right estimate.

-That's right.

0:28:460:28:49

-So we are both happy.

-Yes, we are.

-Fantastic.

-Lovely.

0:28:490:28:52

-We can hope.

-Yes, sir. Thank you.

0:28:520:28:54

From one unusual item to another, now.

0:28:540:28:57

-Over to James Lewis and that picture.

-Elaine.

0:28:570:29:01

Yes. THEY LAUGH

0:29:010:29:04

I am just about lost for words.

0:29:040:29:06

I look at this and I think it reminds me

0:29:080:29:12

of a sketch that I have with a magnet stuck to my fridge

0:29:120:29:17

that my four-year-old did a couple of weeks ago.

0:29:170:29:20

And I look at it again and go, no.

0:29:200:29:24

It hasn't got the same talent as that.

0:29:240:29:27

But then my director says, "He's fabulous! He's wonderful!

0:29:270:29:33

"You're underestimating this."

0:29:330:29:35

Apparently, he's big.

0:29:350:29:37

-Apparently so.

-David...

-Strigley.

-Strigley.

0:29:370:29:41

-AUDIENCE MEMBER:

-Shrigley!

0:29:410:29:43

Shrigley. See? We don't even know who he is!

0:29:430:29:46

But all I know is he can't even count.

0:29:460:29:48

He's put "DS 20001".

0:29:480:29:52

-Yes.

-Well, he really is futuristic cos that's 20,001!

0:29:540:29:58

It is. THEY LAUGH

0:29:580:30:01

I mean, he really... I mean, he is a big name. He's up with Damien Hirst.

0:30:010:30:04

I do take the mickey a bit

0:30:040:30:06

but when you see things like this

0:30:060:30:09

that actually are quite important, because it's his hand,

0:30:090:30:13

and the artist's hand is important in so many ways,

0:30:130:30:17

if you're going to collect paintings by an artist,

0:30:170:30:21

to actually have something like that is a good thing to own.

0:30:210:30:25

-Yes.

-Tell me about it. How did it come to be in your hands?

0:30:250:30:28

-Well, in actual fact it belongs to my daughter.

-Right.

0:30:280:30:31

And she has trained as an art teacher

0:30:310:30:34

and she did her training up at Sheffield Hallam.

0:30:340:30:37

-And he was there for one of the lectures.

-Yeah.

0:30:370:30:41

And she had a chance to speak to him afterwards

0:30:410:30:45

and she just said to him, she said, "Would you draw something for me?"

0:30:450:30:49

And he said yes. And all she'd got was this little scrap of paper

0:30:490:30:54

so he put his hand down, drew around it and that's what you've got.

0:30:540:30:58

-Smart. Smart to ask him to do it.

-Yeah.

0:31:010:31:04

-The flesh and the interior. Did he write that on it?

-Yes.

0:31:050:31:08

-Yes.

-How interesting. I wonder what that means.

0:31:080:31:12

He's very much an artist that's obsessed with line, isn't he?

0:31:120:31:15

You look at his cartoons and his sketches,

0:31:150:31:19

it's very little shading, very little three-dimension.

0:31:190:31:24

-It's all about a flat, cartoon-type drawing.

-Yes.

0:31:240:31:27

And that's very much in his style. OK.

0:31:270:31:32

I mean, this guy has got works in very important collections

0:31:340:31:38

-all over the world.

-Mm-hmm.

0:31:380:31:40

Erm...

0:31:400:31:42

It's so difficult though,

0:31:430:31:45

because it is just a very silly sketch of a hand.

0:31:450:31:48

Let's say 300 to £500.

0:31:500:31:53

-Now you're surprised!

-HE LAUGHS

0:31:550:31:59

-OK!

-Because, you know, we laugh at it,

0:31:590:32:02

I laugh at it and in a way it's very naughty

0:32:020:32:06

because art only has to be a few people that appreciate it.

0:32:060:32:10

-Of course it does.

-And Turner, way back in the 1820s, wasn't respected.

0:32:100:32:16

-No.

-Manet, Monet, they were laughed at.

0:32:160:32:20

But it is a crazy thing.

0:32:200:32:22

It's the worst thing I've ever seen on "Flog It!"

0:32:220:32:25

Thank you so much for bringing it in!

0:32:250:32:28

SHE LAUGHS Thank you!

0:32:280:32:31

Well, that's two items found. One more and we're off to auction.

0:32:330:32:36

I wonder what it's going to be.

0:32:360:32:38

-Mark. Nice to meet you.

-Nice to meet you too.

0:32:430:32:45

And you've brought something in I've been dying to do for ages,

0:32:450:32:48

-a piece of Lalique.

-Yes indeed.

0:32:480:32:50

-Where do you get it from?

-I bought it at a car-boot sale.

0:32:500:32:53

-No! Don't tell me that you paid nothing for it!

-Five pounds.

0:32:530:32:57

-Five pounds!

-Five pounds.

0:32:570:32:59

Did you know what it was the minute you saw it?

0:32:590:33:02

I had an indication as to the colour of the glass etc

0:33:040:33:07

but naturally, it wasn't until I picked it up,

0:33:070:33:10

looked underneath and nearly fell over...

0:33:100:33:13

-And you couldn't get...

-Tried not to drop it.

0:33:130:33:15

-You couldn't get the fiver out quick enough!

-Exactly.

0:33:150:33:18

-I didn't believe it!

-And I didn't even bid them down.

0:33:180:33:21

I should hope not, at five pounds!

0:33:210:33:23

I mean, it is... As soon as you see it you know that it's OK.

0:33:230:33:27

From a Lalique point of view, it's not the most exciting vase.

0:33:270:33:31

It's not full of naked women or interesting fish or animals

0:33:310:33:35

but it's interesting to me for two reasons.

0:33:350:33:38

It's very Art Deco. Of course, that slightly conical form.

0:33:380:33:43

You've got the etched leaves decoration going around it

0:33:430:33:47

-and then it's been sepia stained in that sort of brown colour.

-I see.

0:33:470:33:51

And it's opalescent as well.

0:33:510:33:53

And actually, when you see it under the light like this,

0:33:530:33:56

you see that lovely combination,

0:33:560:33:59

-that milky opalescence with the brown.

-Yes.

0:33:590:34:01

Date-wise I suppose what we are looking at is sort of 1925,

0:34:020:34:05

-1930, that sort of thing.

-I didn't realise it was as early as that.

0:34:050:34:09

I think it's quite a nice early piece, actually.

0:34:090:34:12

It's fully signed underneath, of course, R Lalique.

0:34:120:34:15

When we turn it upside down you have to look in the light

0:34:150:34:18

-but you can see R Lalique in a stencil mark.

-Right.

0:34:180:34:23

But I love Lalique. I've got several pieces at home,

0:34:230:34:25

-I'm pleased to say.

-Oh, right. Right.

0:34:250:34:28

And it's all in very, very good condition.

0:34:290:34:32

I think it's really wonderful, actually.

0:34:320:34:35

It's a nice, fresh piece as well. Lots of collectors and dealers,

0:34:350:34:38

of course, are looking for Lalique vases.

0:34:380:34:40

They're a good thing to collect because they're decorative.

0:34:400:34:44

Some of the shallow bowls or plates are not as easy

0:34:440:34:47

to display as a vase.

0:34:470:34:50

What's your fiver worth at auction, do you think?

0:34:500:34:52

I would... One would hope three figures but I just don't know.

0:34:530:34:58

-Oh, so 5.99?

-HE LAUGHS

0:34:580:35:01

-That's three figures!

-No, would one move the point, please?

0:35:010:35:06

Well, we'd like to. I think we've got to be realistic.

0:35:060:35:09

It is a lovely piece but, you know, some of the vases can make

0:35:090:35:12

many thousands of pounds for the bigger examples in bright,

0:35:120:35:16

vivid colours.

0:35:160:35:18

I mean, I think I would be happy

0:35:180:35:21

-putting something like 300 to 400 on it.

-My goodness!

0:35:210:35:25

I think that should be achievable, actually.

0:35:250:35:27

The thing is you don't want to give it away.

0:35:270:35:29

You don't want it to sell too cheaply.

0:35:290:35:31

-We'd have to put a reserve on it.

-I would like a reserve if possible.

0:35:310:35:35

-And I would put the reserve, say, at 280.

-Would that be a fixed reserve?

0:35:350:35:38

-A fixed reserve for 280.

-That's amazing!

-If you're happy with that,

0:35:380:35:42

-I'm really looking forward to the auction.

-That would be brilliant.

0:35:420:35:45

-Thank you very much indeed.

-We are both a couple of happy Marks.

0:35:450:35:48

We are indeed. We are indeed.

0:35:480:35:50

Well, that's it.

0:35:530:35:55

Our experts have now found their final items to take off to auction

0:35:550:35:57

so it's time to say goodbye to Guildford Cathedral,

0:35:570:36:00

our magnificent host location today.

0:36:000:36:02

As we head off to the saleroom here's a quick recap just to

0:36:020:36:05

jog your memory of all the items we're taking with us.

0:36:050:36:08

There's that staff or bow which fascinated Mark.

0:36:090:36:12

Will the bidders appreciate this piece of art by David Shrigley?

0:36:150:36:19

And there's that "Flog It!" favourite,

0:36:200:36:22

a piece of Lalique glassware.

0:36:220:36:24

We're heading back to Washington in West Sussex

0:36:270:36:29

where today's sale is taking place.

0:36:290:36:32

Before the auction started I had a chat with auctioneer

0:36:320:36:35

Rupert Toovey and we took a closer look at that piece of artwork.

0:36:350:36:39

-Isn't it an extraordinary thing?

-It is. What do you think of it?

0:36:390:36:42

I think it's rather marvellous but there's a great deal

0:36:420:36:45

of that sort of post modern irony going on here, isn't there?

0:36:450:36:47

Eileen brought it in and it was her daughter's.

0:36:470:36:50

He attended a lecture and drew around his hand,

0:36:500:36:52

-which I think is absolutely wonderful.

-Wow! Wow!

0:36:520:36:54

That's very intimate, isn't it?

0:36:540:36:56

If that was my hand, I would be keeping this.

0:36:560:36:58

But we're only custodians of these things, aren't we?

0:36:580:37:01

Although I'd like to be a custodian for at least 40 or 50 years

0:37:010:37:04

of something like this, not just 15 or 12 years or something.

0:37:040:37:07

-We've got 300 to £500 on this.

-I think 300 to 500 is about right.

0:37:070:37:12

Because it's not exactly what the artist is well known for.

0:37:120:37:15

-No, it's more the cartoon work.

-Very ironic, modern humour, isn't it?

0:37:150:37:19

But how wonderful to see how work develops

0:37:190:37:22

-so important for that reason, don't you think?

-I think so, yes.

0:37:220:37:25

And I'm with you. I think 300-500 is spot on.

0:37:250:37:27

I'd like to see it at the top end but I...

0:37:270:37:29

-I think it might be nearer the lower, actually.

-Yes.

0:37:290:37:32

-Good luck. That's down to you.

-I'll do my best.

0:37:320:37:35

We'll come to that later but first,

0:37:350:37:37

we've finally got an answer about one of Mark's items.

0:37:370:37:40

Next up, our mystery object. Is it a bow or is it a ceremonial staff?

0:37:400:37:45

In the catalogue it's catalogued as Indian ceremonial staff

0:37:450:37:49

so fingers crossed that's worth an awful lot more than a spear.

0:37:490:37:54

-And you know what it's good for? It's a good decorative piece.

-Yes.

0:37:540:37:57

-We like that.

-Yes, we do.

-Thank you.

0:37:570:38:00

-Ethnographica, they call it, don't they?

-Have you been reading again?

0:38:000:38:03

-I learned that from Michael Baggott!

-THEY LAUGH

0:38:030:38:06

Tribal art.

0:38:060:38:08

Let's put it to the test, shall we? Here we go.

0:38:080:38:10

A 19th-century Indian polychrome painted ceremonial staff.

0:38:120:38:17

Very interesting thing. I'm opening the bidding here at £75. £75.

0:38:170:38:20

Do I see 80? £75.

0:38:200:38:22

-Come on, we need 100, don't we?

-We do, yes.

0:38:220:38:25

80. And five. 90, sir?

0:38:250:38:28

-A bidder in the room now.

-90, madam? 90. And five.

0:38:280:38:31

100, madam? 95, I have.

0:38:310:38:33

-We've got it. Come on.

-100, then?

0:38:330:38:36

At £95. 100, can I see?

0:38:370:38:40

-Yes, sir.

-100, now online. £100.

0:38:400:38:42

-100 online. So we've sold.

-Do I see 110?

0:38:420:38:45

At £100. Is there any advance? It's against you, madam.

0:38:450:38:47

-You're sure, now? £100.

-Thought it would do a bit more, potentially.

0:38:470:38:52

It's gone for £100 and you said all the money is going to charity.

0:38:520:38:56

-Yes, it is.

-Which charity's that?

-It's Headway, Guildford, Surrey.

0:38:560:38:59

-And what does that involve?

-It's for people who've had brain damage through falling over,

0:38:590:39:03

-being knocked over...

-What a lovely idea.

0:39:030:39:05

-And my partner, Sue, works for them, so...

-Great cause, then.

-Absolutely.

0:39:050:39:09

-Every single penny.

-Thank you very much.

-Thank you.

0:39:090:39:11

So we are off to a good start with the tribal woodwork making its estimate.

0:39:110:39:15

Next up is something that really caught my eye.

0:39:150:39:19

Hands up. Guess what I'm talking about right now? Yes, you've got it.

0:39:210:39:24

The David Shrigley. I like this.

0:39:240:39:26

-Had a chat to Rupert before the sale started. He likes it as well.

-Good.

0:39:260:39:30

Good investment piece. But Elaine, why is your daughter selling this?

0:39:300:39:34

She doesn't really want it any more.

0:39:340:39:38

-She's had it for 10 years.

-And she's off skiing at the moment.

0:39:380:39:41

-Yes, she is.

-She's having a jolly while we're doing the hard work.

0:39:410:39:44

You can get her on the phone and ring her up because I know this is going to sell.

0:39:440:39:47

Had a chat with Rupert and he said it will sell.

0:39:470:39:49

He's very collectable and sought-after.

0:39:490:39:52

The big question is how much for?

0:39:520:39:54

The David Shrigley. The outline of a hand inscribed flesh and interior.

0:39:540:39:59

Pen and ink. Initial and dated 2000 and then one.

0:39:590:40:03

It's a smashing thing with lovely provenance and we've a multitude

0:40:030:40:07

of conflicting bids and we're opening the bidding here at £280.

0:40:070:40:11

280. 300. 320.

0:40:110:40:13

350. At £350 now. At £350.

0:40:130:40:17

At £350 and it is fair warning. At £350.

0:40:180:40:24

-Wow!

-350.

0:40:240:40:26

-James didn't like it, did he?

-The world's bonkers.

0:40:260:40:29

-Did you like it?

-Personally, no.

0:40:290:40:32

-Now you admit it!

-Personally.

0:40:320:40:34

-You wound me up! I thought you liked it!

-Personally, no.

0:40:340:40:38

Thankfully for Elaine, somebody did like it

0:40:380:40:40

and hopefully that image will be hanging on their wall.

0:40:400:40:43

Time now for today's final item.

0:40:430:40:46

Well, it was bought at a car-boot sale for five pounds

0:40:460:40:48

and hopefully we can turn it into maybe 200 or £300 or a bit more.

0:40:480:40:52

I absolutely love it. It belongs to Mark, who is right next to me.

0:40:520:40:55

And here's our expert, Mark. I'm surrounded by Marks!

0:40:550:40:57

-What a great find.

-Excellent, wasn't it?

0:40:570:41:00

And it's signed "R" underneath before his death,

0:41:000:41:02

which is the key factor to look out for.

0:41:020:41:04

I'm not a great big Lalique fan.

0:41:040:41:06

I don't really like that type of glass

0:41:060:41:08

but I like this because it is sepia and it's a little bit different.

0:41:080:41:12

I'd like to do see this do 400.

0:41:120:41:14

It is quite a small vase but it's nice and fresh to the market,

0:41:140:41:18

the bidders should be out there for it.

0:41:180:41:20

-Good on you.

-Hopefully.

-Good on you.

0:41:200:41:22

Let's put it to the test. This is what it's all about.

0:41:220:41:25

This is what we've been waiting for.

0:41:250:41:27

An Art Deco Lalique sepia stained

0:41:270:41:29

and opalescent glass patterned vase.

0:41:290:41:32

1930s, this one. It's lovely.

0:41:320:41:35

And we are opening the bidding here at £200. At £200.

0:41:350:41:37

-Can we see 220?

-We've got 200.

0:41:370:41:39

220, thank you. 250. 280?

0:41:390:41:42

280 now, standing in the room. 300, seated.

0:41:420:41:45

320. 350, sir? 380.

0:41:450:41:47

400. 420.

0:41:470:41:49

450. 480. 500.

0:41:490:41:52

520. 550.

0:41:520:41:54

520, I have.

0:41:570:41:59

£520. Are we all done at 520?

0:41:590:42:01

550, now. 580. 600.

0:42:010:42:06

-650, sir.

-At 650, now.

0:42:080:42:11

-650.

-650, Mark.

-700, sir.

0:42:110:42:14

-Yes, sir.

-700, now.

0:42:160:42:18

-At 720.

-The internet, again, see, Phil?

0:42:180:42:21

It's because it's sepia.

0:42:210:42:23

-Yes, sir.

-780.

0:42:230:42:25

780, I have. And 800.

0:42:250:42:29

-Yes, sir.

-And 820.

0:42:290:42:31

-Is this a come and buy me?

-Yes, it was.

0:42:330:42:36

I thought I was being realistic.

0:42:360:42:38

-850, can I see?

-Yes, sir.

-850, it is.

0:42:380:42:42

880?

0:42:420:42:44

850, now, with Glen online.

0:42:440:42:46

£850. £850 against the room. At £850.

0:42:460:42:50

-Are you sure, now?

-800 and...

-£850.

0:42:500:42:55

-850.

-Yes!

0:42:550:42:57

-The hammer has gone down at £850.

-That's not bad, is it?

0:42:570:43:00

We've just turned a fiver into £850, thanks to you, Mark.

0:43:000:43:04

-Thank you very much indeed. Thank you, Mark.

-Told you I loved it, Mark.

0:43:040:43:07

Thank you for bearing with us.

0:43:070:43:09

-I was saying to Mark it's hard to put a value on something when two bidders get stuck in.

-Absolutely.

0:43:090:43:15

-What a way to end the show.

-Wonderful.

0:43:150:43:17

I told you there was going to be a surprise.

0:43:170:43:19

You never know what's going to happen on "Flog It!" so join us

0:43:190:43:22

for many more but for now from West Sussex, it's goodbye from the Marks.

0:43:220:43:26

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