Falmouth 17 Flog It!

Well, it's considered to be

one of the finest natural harbours in the world.

Dame Ellen MacArthur set sail from here

on her solo record-breaking voyage around the world.

And I also come from here. So, where are we?

-CROWD:

-Falmouth!

-Yes!

Cornwall boasts the longest coastline in Great Britain

and has a rich seafaring heritage.

One town where that's most apparent is here in Falmouth.

So much so, it's home to the National Maritime Museum Cornwall.

The county's maritime heritage is kept here

and today, it's the setting for our valuation day.

Hundreds of people have turned out.

In fact, the whole town has turned up,

laden with antiques and collectables,

all hoping to see our experts to get a great valuation.

And if you're happy with that valuation,

-what are you going to do? CROWD:

-Flog it!

-Is it something you're thinking of selling?

-Yes, I could do.

Charles Hanson is new to "Flog It!",

although he's keeping his job options open.

What's a local Cornish trade down here?

What would I be doing down here if I was living down here?

-Making pasties.

-Making pasties?

-Yes, pasties.

And Caroline Hawley is on the lookout for something that has legs.

Oh, she's pretty, isn't she?

Look, she can do the cancan, can't she? Whoo!

While everyone makes their way through the museum,

let's take a quick look at what's coming up.

It's time to give this old boat a new lease of life.

-Last time you sailed it?

-Oh, 18.

Just before I went in the National Service.

-That long ago?

-That long ago.

-It's been in your loft since then?

-Which is a bit sad, isn't it?

-Oh, crikey!

-Find somebody to use it.

-Absolutely.

And a twist on an old "Flog It!" favourite

is the unusual piece of Clarice Cliff.

But will it live up to expectations?

And today, I'll be delving into the vaults of Falmouth Art Gallery

to share with you a unique collection by a late-19th-century Cornish artist

whose choice of subject matter turned him into a controversial figure.

Well, there's a real buzz here in the museum -

the most wonderful atmosphere -

and we are literally surrounded by boats of all shapes and sizes.

And I've already picked out some of my favourites,

and that is one of them -

a Brazilian fishing raft known as a jangada.

Well, our experts are already hard at work,

so let's now catch up with them and see what they've spotted.

-Marjorie.

-Hello.

I saw this mascot glint out of your bag earlier on today.

And, of course, that motorcar,

of which this mascot came off, was the Riley Alpine six-cylinder?

-No, the Kestrel.

-Oh, was it the Kestrel?

-Yes. The Riley Kestrel.

-Wonderful. Wonderful.

-Of around 1930?

-1938.

-Wonderful.

Wonderful. Tell me how you acquired it.

We had the car that went with it.

Unfortunately, we divorced

-and my ex-husband had the car...

-Yes.

..and could not find this

-and I found it about a year later...

-Yes.

-..in the loft.

-Oh, right.

-Um, so, I've had it still, which is about 28 years.

-Yes.

-So, he might want it back?

-No.

-No. OK.

-No.

-Well, that's good to hear.

-He can't have it back.

-THEY LAUGH

-Fine.

It almost captures high living

at a time when the Depression was happening

-of the late 1930s...

-When there wasn't very much.

..when the war was just beginning

and this wonderful mascot was very much alive and firing.

We worry often about reproductions, but we can tell from your story,

first and foremost, it has good pedigree

and it has good provenance.

It would be a chrome plate or a nickel plate.

There's a huge market. Collectables.

Particularly the new generation, they love buying objects

which capture the history of skiing as well.

And this certainly does that, doesn't it?

Yes, it does, definitely.

-And I would like to estimate it at between 200 and 300.

-Yes.

Have a fixed reserve at £200 and I really hope...

Sometimes, with a market, you need to ignite it.

-I'd rather get bidders competing together...

-Yes.

..and hopefully giving her a good send-off downhill...

-Yes.

-..or uphill...

-That sounds good.

-..in bidding.

-Is she going, going, gone?

-Yes, I think so.

-Fine.

-Between £200 and £300.

-Yeah, that's lovely.

-Can't wait.

-OK.

-See you at the auction.

-Thank you very much for your help.

-Pleasure.

Well, let's hope it's not an uphill climb.

-Anyone here from Falmouth?

-Yeah!

-Yes!

-Penryn?

-Yes!

-Oh, only the one?

Hey, do you know, we used to play rugby against Penryn.

I went to Falmouth School and, gosh, those tackles went in hard.

I used to go home with some bruises. What about Truro?

PEOPLE CHEER Yes! Flushing?

St Mawes?

-Did you get the ferry across?

-Playing Place!

-Playing Place.

Budock Water! And it just goes on and on and on.

Well, somewhere in this building is Caroline,

and we're going to catch up with her right now

because I know she is looking at a real treasure.

-Chris, Sue.

-Hi.

-Tell me...

First of all, I spotted you in the queue,

-didn't I, with your waistcoat?

-Yeah.

-I adore it.

Tell me about it. It's not Scottish tartan, is it?

No, this is the Cornish national tartan, it's called.

Is it really?

And did you buy that here, then, or have you had it made?

-Um, it was a present from Sue, actually.

-I had it made for him.

-Yeah.

-Did you?

-He has to have...

He's a bit portly around the middle, so...

-THEY LAUGH

-He looks great in it.

-He does.

-Now, we need to talk a little bit about this.

-We do.

Now, Newlyn School, as you know, set up in 1890.

Still going today. Some wonderful copper makers.

This is a pomegranate pattern.

It was one of the things that appealed to me

because it wasn't the usual marine sort of theme which you get.

No, it's not. It's not at all.

And it's generally in very good condition.

However, you have been rather overzealous with your polishing.

No, it wasn't me.

-It was whoever had it before.

-"It wasn't me!" Was it Chris?

-Wasn't me, no.

-It wasn't me. I didn't do it.

I don't want to start a domestic.

But copper is a very, very soft metal, as you know,

and with too much polishing, you can wear through.

-And here, you've got a hole, so that does affect the value.

-Yes.

But there are two pluses, which is good.

One is it's stamped Newlyn under here,

and two is the size. It's humongous.

-It is.

-It's wonderful and I think it's very, very pretty.

Do you use it or have you displayed it?

We've had it on display,

but it was a bit of a whimsical buy on my part at an auction

and, really, I need the funds now more than I need the tray, so...

Right. Well, I don't know what you paid for it,

-but I'll tell you a sort of value...

-Yeah.

..that I would put on it now is 80 to 120...

-Yeah.

-..which would be a safe value.

-Yeah.

And tell me now, what did you pay for it?

-150.

-150?

-We've all done it.

-We have.

I've had lots of them, I tell you. But that is gorgeous.

Thank you so much, both of you, for bringing it along...

-Thanks for looking.

-..and we'll see you soon.

-OK.

-Right, thanks.

-Bye.

It's nice to see some local antiques

and another local trade here in Falmouth is -

I'm sure you've guessed it - sailing.

How do you know your port from your starboard?

That's one of the most basic navigational terms.

Well, port is left because left has four letters in it

and port has four letters in it.

Starboard is right. That's the easy way to remember it.

Back at the valuation tables, it's all hands on deck,

and I wonder if Charles knows his port from his starboard.

Alan, I was hoping to set sail today

and find something with a maritime flavour here in Falmouth,

-and you hit it on the right spot.

-Lovely.

-Tell me how long you've had it for, Alan.

-Since I was 16.

-16?

-16.

-Goodness!

-In the 1950s, yeah.

And is it something, I suppose, as a young man, you played with?

-It was a boys' toys...?

-Yes.

Used to take it on the bus to the local pond and sail it.

-Did you really?

-In London, yes.

-Yeah? Yeah?

-And it came from London originally?

-It came from London.

The name is Highgate Model Yacht Club...

-Oh, wonderful.

-..which is where I used to take it back and sail it.

-Did you really?

-Yeah.

-Yeah?

And it would be, what, 1920s originally?

-Originally 1920s.

-Fine. OK.

There's a date in the hatch here - a rebuilding date -

which tells us it was rebuilt in 1949.

-The last time any work was done on it.

-Wonderful.

I can see in here it says fitted out by a firm in Highgate.

-Yes.

-It's wonderful. So, my ignorance, Alan -

as a young boy, when you were floating this on water,

would you just judge the wind speed and let it sail?

Yeah, you'd look at the wind pattern on the pond

and then set all these different things up

and it was self-steer.

But if you got it right, it'd come back to you.

-If not, you had to run before it got to the other bank.

-Really?

-Fascinating.

-It's handmade, of course.

-Absolutely handmade.

You can see the studded...

-There's little screws there.

-Absolutely.

The deck's in good condition.

Remarkably, Alan, what I like about it

is the condition is so, so good.

What's that note on the end there, Alan?

-That's the original receipt from the owner.

-Really?

You'll see that my father paid three pounds for it.

"Received - sum of three pounds

-"in agreement of the Ten R..."

-Ten Racer.

-"..Ten Racer yacht."

-And this is a receipt from, yes, 1953...

-Yeah, '53.

-'53,

-when your father bought it in a coronation year.

-Yes.

-Well done.

So, for Queen and country, you set sail.

-You're now 75?

-77.

-77.

-Last time you sailed it?

-Oh, 18.

Just before I went in the National Service.

-That long ago?

-That long ago.

-It's been in your loft since then?

-Which is a bit sad, isn't it?

-Oh, crikey!

-Time somebody used it.

-Absolutely. What's it worth?

No idea. Not now.

No, no, I'd be quite cautious in saying to you

-I would like to put it into the sale with a guide price of 100...

-Yes.

-..to £150.

-OK, yes.

-And I feel that's realistic.

-Yeah.

-It's the sort of thing, on a bad day, could make 60.

-Yes.

On a good day, it could make £200.

-Excellent.

-We're going to flog it.

-Thank you.

-Are you sure?

-Yeah.

-Can't wait. Going, going, gone.

-Excellent.

Charles is right.

If someone falls in love with it, the model yacht could sail away.

Now, Caroline has managed to find

something with no connection to the sea!

-Hello, Anne.

-Hello, Caroline.

Thank you for coming and bringing your lovely bowl!

-You've had it forever, haven't you?

-Yes.

-So tell me...

-My christening.

-Who gave it to you?

-Godmother.

-Aw, and did you use it, then, as a child?

-Oh, yes!

I'm afraid it has been used.

How it never got broken, I have no idea.

Well, you were a good girl, that's why!

THEY LAUGH

Well, it's lovely. Do you know anything about it?

-Haven't got a clue.

-Now, I think it dates from the 1930s.

-Does that tie in?

-Yes.

-I don't want to be indelicate.

I was born in 1937.

-Were you?

-Yes!

-Well, that's spot-on, isn't it? So far, so good.

-And it's beautifully illustrated by Mabel Lucie Attwell...

-Yeah.

..and this is so iconic of the '30s,

and she based these designs on her daughter Peggy.

-Oh, really?

-Can you see Peggy poking out of a house there?

-Yeah.

But I think you've scraped your spoon a bit, haven't you?

-Yeah.

-You've been scraping up that porridge.

-That's it!

-Did you use it every day?

-Yes.

It's great and it's got a great maker. It's made by Shelley.

-Oh, is it?

-Which is lovely.

So if we have a look at the back, here.

-Shelley...

-Right.

-..and it's not damaged at all.

As I say, the only wear is

-where you've rubbed your spoon.

-It's a bit worn.

But I like it, and other people like things like this.

-Do they collect them, then?

-Yes, they do,

but the collectors, they really like them in mint condition,

which I think's sad. I think it's nicer to have one has been used.

-Well, you can see it's been loved.

-You can see it's been loved.

It brings me to put a value on it.

It was a very generous present when it was given.

-Was it?

-Yes, they weren't cheap,

and I think now, it would get £20-£40.

-Right.

-I think, to be certain of it selling...

-Yeah.

-..if we put a reserve of £15, a fixed reserve.

-Right?

-And see where it goes from there.

-Fine.

-Would you be happy with that?

-Yeah.

-It's only in the cupboard doing nothing.

-Aw!

And then you'll come to the auction and see it? It'll be very exciting.

-Yeah, I'd love to.

-Aw, well, thank you very much.

-It's a pleasure to meet you, Anne.

-Thank you very much for choosing it!

Thank you!

Before we head off to auction,

there's something I'd like to show you.

In 1972, a family from Falmouth hit the news headlines

when they were rescued from near death at sea.

Film crews captured the moment they were safely brought to shore.

Their father, Dougal Robertson,

described just how desperate they had been.

We heard you were hit by a whale?

Just as our schooner was sunk by an attack of killer whales...

..we sank in a very short time.

We were unable to collect any stores or water,

and had to survive from the sea for as long as we were able.

The Robertson family story all began on the 27th of January 1971.

Mum, Dad, two teenage children and 12-year-old twins

set sail from this harbour in Falmouth

on a 43-foot schooner called Lucette.

The plan was to sail around the world.

Although the trip had taken a couple of years to organise,

the family was equipped for the voyage.

Dad, Dougal Robertson, was an accomplished sailor

with some 15 years' experience at sea.

His wife, Lynn, was a practising midwife and qualified nurse,

and their children, 18-year-old Anne, 16-year-old Douglas

and young twins, Sandy and Neil, were all physically fit

from helping out on a large cattle farm for several years.

So, how did a family, prepared and trained to take on the high seas,

end up struggling for survival in a three-man dinghy

that was only nine foot long?

The epic but near fatal adventure has been documented

here at the valuation day venue, the National Maritime Museum Cornwall.

They also have the small dinghy

the family remarkably managed to survive in.

I've come to meet one of the children, Douglas Robertson,

who was a teenager at the time.

Douglas, it's really great to meet you. Welcome back to Falmouth.

-Thank you.

-PAUL LAUGHS

-Where it all started for your family!

-It is.

Why did your dad decide to set off on such an epic adventure?

-Had he done anything like it before?

-Well, he was a former sea captain

-from the Merchant Navy days.

-Right, OK.

And he wanted to educate his children in the university of life.

The plan was to sail via Portugal to the Canary Islands.

They would then travel across the Atlantic to the Caribbean

and then on to Miami, Jamaica,

and through the Panama Canal to the Galapagos Islands.

The return journey back to Britain would be via the Suez Canal.

Douglas's sister Anne decided to stay in Miami

and a new person came aboard in Panama.

We picked up a hitchhiker, Robin Williams,

who was looking for a trip to New Zealand.

He was a graduate and my dad thought that he would help with

the tutoring of the boys especially and myself, indeed,

because we'd been taken out of school to do this trip.

However, 16 months into their journey, tragedy struck.

The family were sailing to the remote island of Marquesas

when the boat was suddenly attacked by some 20 killer whales.

Talk me through the exact moment that pod of whales hit.

What were you doing?

Well, I was standing in the cockpit on deck,

my brother was at the wheel, and I saw a little

sort of darkness in the sea and next thing, bang, bang, bang, like that.

Ear-splitting, cracking sound of splintering wood.

-It was just so deep and powerful...

-Yeah.

-..that I knew that was trouble.

-Trouble.

My dad was up to his waist in water, saying "Abandon ship.

"We've got to get out." About two minutes later, the yacht had gone.

-Did you manage to grab some supplies and some charts?

-Not really.

We got the dinghy over the side, we got the life raft over the side

and we all managed to get on the raft, thank God.

-Cos it was drifting quickly.

-It was drifting away quickly.

The killer whales were in the water,

we knew the killer whales were there. I thought,

-"This is how I'm going to die. I'm going to be eaten."

-You are lucky.

At any moment, I'm going to feel those teeth come in, you know?

But I didn't.

They probably had attacked us, thinking we were a whale.

Unfortunately, the raft only lasted 17 days and all six of them

had to pile into this small 9ft dinghy.

They headed north towards the Doldrums,

in the hope of reaching the shipping routes,

but with just ten days of supplies left,

they were in imminent danger of dying.

At the same time, we talked about...

Cos we've all heard stories of getting shipwrecked and castaways

-eating each other and things like that...

-Did that cross your mind?

Yeah, it crossed our minds and we agreed with each other

and promised that we would never resort to that.

We would die together, quietly, when the time came.

And, er, luckily, it never did, you know? So...

And we wrote letters home as well and in the raft itself,

in the dinghy itself, my father carved a message

and it was really important to us at the time that,

if that dinghy was found empty, my sister would know what had happened.

And...

Because we didn't want people to think that the Lucette had

just sank because she was an old boat or something like that.

What had happened to us, nobody could have foreseen it, you know?

With just three days of supplies left,

they experienced yet another setback. A passing ship failed to spot them.

With hopes fading,

their rescue plan now turned into one of sheer survival.

But with the South American coast some 50 days' sailing away,

the family were determined not to lie down and die.

We gathered food, we gathered water.

We were thinking now about not waiting to get picked up,

but about making this voyage back home, you know,

which was a much bigger undertaking.

'Their survival now depended on finding ingenious methods

'to get water and nutrients.'

-Talk me through some of these things.

-OK.

-Well, this was the water bag, water being the critical thing.

-Yeah.

We only had some tins inside the raft of water,

ten days' supply, when we set off.

And when it rained, later when we got to the Doldrums

and it rained, we managed to fill the tins

and then we had this bag that we kept filled with water as well.

And what else? What's that? It's a bottle of oil.

This is a bottle of oil.

One of the luck elements of the trip was that

-the turtles kept coming to see what we were.

-So you could eat the...

You could catch them and eat a turtle every other day or so.

Yeah, every other day. We caught 13 turtles on our trip.

So is that turtle oil?

Yeah, this is turtle oil here that we rendered from the fat.

And the sun rendered it down into oil.

And we then put the oil in a bottle

and we were able to rub it on our sores.

Pressure sores from sitting in the dinghy.

It was amazing how our behaviour sort of centred around survival.

At one point, we ran out of water

and we only had the water that was in the bottom of the dinghy

and so we took a rung off the ladder of the raft

and made an enema tube out of it and we actually drank the water,

the dirty water that was in the bottom of the dinghy, rectally.

We took it as enemas.

And that enabled us to last until it rained later on.

-So we were quite innovative in...

-Mother skills coming in.

Mother skills, yeah.

You're probably amazed that you're still alive, I suppose.

I am.

I can only say how grateful we are

to these Japanese people who picked us up.

They probably didn't realise what you have been through.

They didn't think there was anyone in the boat and I think this

was the next to our last flare, so we were very fortunate indeed.

What a remarkable story of survival through sheer determination

and against the odds and, thankfully, a happy ending.

We're making our way over to the saleroom

and here's a quick recap of all the items we're taking with us.

It would be great to see this Art Deco car mascot

take pride of place on a car bonnet once again.

It's local and stamped Newlyn,

which could see this copper tray getting a few nods at the auction.

Will Anne's beautifully illustrated christening plate

be scooped up by the bidders?

And someone will surely push the boat out

for this lovely sailing yacht.

We're heading the short distance northeast to Lostwithiel

for our auction today.

700 years ago, Lostwithiel was the capital of Cornwall.

Today, it's a quieter and more peaceful town,

except when Jefferys auction rooms are in full swing.

Remember, if you do want to buy or sell something at auction,

there is commission to pay.

Here, it's 15% plus VAT, but do check with the auctioneer

or look at the printed details in the catalogue

because it varies from saleroom to saleroom,

and then you won't get caught out.

And auctioneer Ian Morris is on the rostrum.

Going under the hammer now. I've just been joined by Marjorie

and we've got that Art Deco car mascot

from that 1938 Riley Kestrel.

-What a car and what a mascot.

-Yes, it's lovely.

-You haven't got the car any more, have you?

-No.

-But you've got the mascot! Next best thing, isn't it?

-Yeah.

Why have you decided to sell this now?

Um, well, I've had it 27 years in a drawer.

-I see.

-And there really is no point,

and I don't want it to start to deteriorate

-because it's in such good condition at the moment.

-OK. OK.

-This is going to go to a car collector, isn't it?

-Yeah.

I mean, for sure.

I think, Paul, it just captures high living from a high time.

-High society. Hopefully a high price.

-Yeah.

-OK, ready for this?

-Yes, I am.

-Hold tight.

-Hold tight.

-Let's go.

-Let's see what it's worth.

The chrome-plated car mascot off a 1938 Riley.

It's all downhill from here. Can I say £200 to start? 200?

150, I'm bid. At 150. 160. 170. 180.

-180.

-190. 200. 210.

220. 230.

-Brilliant.

-At £230, the bid's with me.

At 230. 240. Are you sure?

-Bid is with me at £230.

-GAVEL BANGS

Yes! Hammer's gone down. £230.

-That's a good result.

-That's OK.

-I'm very happy.

-Yes, I'm quite happy with that.

-I am as well.

-Yes.

-Good.

Yes, she jumped past the reserve with ease.

Does Mabel Lucie Atwell ring a bell with you? Yes, of course it does.

It's Anne's baby bowl!

And we're joined by Anne and our wonderful expert Caroline.

-Now, you scooped your porridge out with this, didn't you?

-I sure did.

-How did that survive?

-I have no idea.

Well, look, I want it to go for 20 to 40 quid. That's what we hope.

-Wouldn't it be nice?

-Yes. Then you can treat yourself to a lunch out.

-No, it's going to my great granddaughter.

-Oh, is it?

Into her savings bank.

-Oh, that's lovely.

-Aw.

-That's lovely.

Well, let's find out what the bidders think, shall we?

It's going under the hammer right now.

Mabel Lucie Atwell. A nice little baby's plate there.

Bid's on the books. That means I've got to start at £20.

-At £20. 22. 25.

-20...28?

£30 with me. 32? 32.

I'm out on the book. £32 beats the high bid.

-£32.

-35, no? Are we all done at 32?

-Yes!

-£32, so that was worth selling, better than 15 quid.

-Lovely!

-Yeah, brilliant.

-Thank you very much.

Memories, eh? Memories. THEY LAUGH

That's what this show's all about.

Now, I wonder how the over-polishing will affect the price of this tray.

Serving up for you right now,

we have a wonderful Newlyn copper tray,

and it's stamped Newlyn as well, so it's got great provenance.

-It's a large piece.

-Very large.

-Chris and Sue, it's great to see you.

Why are you selling this?

Well, we've got a lot of things from Newlyn.

-Newlyn's my mother's home town.

-Mm-hm.

-You can't collect it all.

-No.

-So, is your house bursting at the seams?

-Absolutely.

I'm a bit of a hoarder. I'm not very good at downsizing.

-Well, good luck, both of you.

-OK, thanks.

-Here we are.

Some Newlyn copper going under the hammer.

Embossed tray there, stamped Newlyn to the rear there.

Can I see £100 away? £50 if you say no more.

£50, I'm bid. At £50. 55.

60. 65. 70. 75. 80. 85.

-90.

-Yes.

-Yes!

-£90, a bid to the back.

At £90. I'll take five.

At £90, I'm bid.

-A fiver more?

-We've just done it.

-At £90, then, I'll sell.

-At £90.

-GAVEL BANGS

-Yes!

-Yes!

-Got it away. We got it away.

-We did.

Despite it being over-cleaned. THEY CHUCKLE

A fair price, I'd say.

And let's hope it's plain sailing for Alan's yacht

because I'm rather fond of it.

Alan, I absolutely love your 1920s sailing yacht.

We're standing right next to it, actually, here. Look. Showing there.

I think it's fantastic. I really do.

-And I know you've had much fun with it.

-I have, yes.

I think there's a lot of yacht there. I think the condition is superb.

I really do.

I'd love to see that do £300 to £600.

I would love that, but I agree with your valuation.

You've got to start really low

-because this is a hard thing to place.

-Yes.

I know we've said it time and time again,

but fingers crossed.

Fingers crossed it exceeds its estimates.

-I have high hopes for it.

-So do I.

-Ready for this?

-Yes, yes.

-OK, let's put it to the test.

Edwardian 60-inch pond yacht. Nice racing yacht, it is.

-Bids on the books means I'm going to start at £200.

-Oh, wow.

-Good.

-Nice.

-At £200. 220 now.

At 220. 240. 260. 280. 300. 320.

-340. 360. 380. Your bid at £380.

-Wow.

-380 in the room.

At 380. 400.

-420.

-Yes. This is a good one.

-Wow!

-440.

460. 480. 500. 520.

520 there. Is it 550?

550. 580. 600?

600. 620. 650.

-Gracious!

-This is more like it. This is more like it.

-It is sailing away.

-700?

-680 in the room.

-You were being a little mean, I think, Richard.

-I'm mean and keen. Mean and keen.

-700. New bidder.

-At 700. 720. 750.

-Here you go.

-OK, Captain.

750 down the alleyway.

-At £750, I'm bid.

-Somebody wants it.

-780 now?

-At £750.

-£750.

-At £750.

Yes! Ever so pleased.

-That made its right money.

-Somebody wants it.

-Yes.

-They'll look after it cos that's the point.

-And they will cherish it, yes.

-That's the main thing.

-Yeah.

Alan's right. Now it's out of the loft,

let's hope the new owners will have some fun with it.

Well, that's our first visit to the auction room done and dusted today

and some brilliant results and happy owners,

and that's what it's all about.

We're coming back here later on in the programme, so don't go away.

Now, as you know, I love my art. And from my home town of Falmouth,

there was an artist that I very much admired,

but his work was controversial.

He exhibited at the Royal Academy and at the Tate,

but it was the subject matter of his nudes that raised a few eyebrows.

For centuries, Cornwall has inspired some of Britain's greatest artists.

The likes of Constable and Turner

painted life along this coastline on land and at sea.

The 1880s saw a new school of artists emerge in the UK.

Inspired by the French Impressionists like Monet and Renoir,

they were keen to capture everyday life in rural Britain

and were drawn to places like Newlyn

and this picturesque corner of Falmouth.

Being back here on home turf in Falmouth

finally gives me a chance to tell you about my favourite

of this new breed of painters,

a man whose legacy lies with his use of light, colour and human form.

I'm talking about Henry Scott Tuke.

Born in 1858, Henry Scott Tuke's first taste of Falmouth

was at the tender age of two when his parents moved from York.

He showed early signs of talent

and by the age of 16, he had been enrolled

in the prestigious Slade School of Art in London.

Then he travelled,

absorbing the latest European painting techniques

and, whilst in Paris, was encouraged to paint plein air.

You've probably heard our experts talking at the valuation days

when they're looking at a work of art and they say,

"Well, it was painted en plein air."

Plein air is a French expression which means painted while outdoors,

and it was a technique which shaped Tuke's work throughout his life.

Now, I've got a wonderful example of that.

It's called Quay Scamps.

It's a watercolour and it's here and it is absolutely divine.

Just look at this.

You can imagine the scene -

all the young children just jumping off the harbour wall here.

And I've done it myself.

Now, this was painted in 1896

and you can see the technique that he's used.

It is literally, 90% of it, painted while outdoors.

There's a sense of urgency about it.

He really captures a moment

and he captures the way the light plays tricks with colour.

Falmouth, being on the south coast,

it's constantly bathed in sunshine, if the weather's good,

so it's perfect for painting.

Tuke was lured back to Falmouth in 1885.

Later, he would express his fondness for the non-industrialised town

in an art magazine.

"It is something to be thankful for to know of a place in England

"where yet may be found some glamour of the old days of sailing ships

"bringing rich cargoes from strange lands.

"That such a place does exist will be readily admitted

"by anyone who will undertake the troublesome journey

"from London to the south-west corner of our island

"and bring up at Falmouth."

Here, he'd be able to combine his love of painting

with his passion for sailing

and eventually produced a substantial body of work.

More than 270 of Tuke's paintings remain here,

in his home town of Falmouth.

Now, whilst none are currently on display,

I've been given special access to a few

that have been stored in the vaults of the Falmouth Art Gallery.

In keeping with Tuke's plein air style,

he acquired a number of boats - all shapes and sizes -

which he would use sometimes as a floating studio

or a backdrop for some of his paintings,

where he used local people as models.

Now, here, if I pull rack out - number 10A -

all the way to the end here...

This is the fun bit about being in a vault.

I can show you one of Tuke's images.

This is Jack, one of his most popular models,

painted on his Quay Punt Lily in 1886.

And here we are. Look.

What Tuke apparently liked about Jack

was his lack of self-consciousness.

You know, this was a young guy who grew up by the waterside.

I mean, he was at home on a boat and he looked natural on a boat.

He was the ideal model.

Tuke's sister described Jack as a lovable young barbarian

who could look like an angel and behave like a demon.

Out of the 20 works that Tuke recorded

the following year in 1887, Jack featured in 13 of them.

As well as studying Tuke's subject matter,

it's worth noting his style of painting as well.

This is typical of an Impressionist brush stroke.

You can see it's quite loose and it's thick and it's quite coarse.

You have to remember, at the time, other artists were painting

with a more smooth, polished finish.

So, this was completely different. Avant-garde, if you like.

It was the start of Impressionism.

And what we have here is The Missionary Boat, painted in 1894.

Now, can you guess which one the missionary boat is?

I would guess the large one - the three-masted barque.

But I'd be wrong because the missionary boat

is this tiny little one. And that is the missionary -

a Mr Badger from Falmouth -

going out to this large vessel anchored in the harbour.

But it's the attention to detail of anything nautical

that has really grabbed me when I'm up close looking at a Tuke,

a man who obviously loved sailing.

He really was a wonderful maritime artist.

But as well as ships, portraits and landscapes,

Tuke is also remembered for his paintings

of naked young men out in the open.

Over the years, this has caused critics to question his sexuality

and even his morality.

Today's society may question a painter

who focuses so frequently on young, adolescent boys naked on the beach,

but Victorian society gave Tuke the benefit of the doubt.

And quite honestly, you can see why when you look at this, can't you?

It's not at all sexual.

It is sensual and that's what he wanted to capture.

For me, I think this is a play on history paintings.

When you see Greek gods sort of bathed

in all that wonderful sunlight coming through,

turning the skin pigments different shades,

this is what Tuke is capturing.

Now, these lads became his familiar crew

and they earned a lot of extra pocket money doing this.

It was hard to get female models, I mean, let alone in the studio -

that would cost an awful lot more money -

but to get them outside in all weather conditions,

well, I don't think that was possible.

He got to know all of these boys and their parents.

He asked their parents for permission,

they gladly gave it and these guys were paid quite well.

I mean, a lot of people may question his sexuality.

Was he gay?

Well, personally, I think he was, but do you know what?

He kept it to himself. It was no-one else's business.

It had no reflection of what was going on here.

Tuke let his paintings do the talking.

Controversy aside, there is a poignancy to Tuke's nudes.

These young men were painted at the turn of the 20th century

and they represented youth and innocence.

Nobody could have foreseen what was to happen on the horizon -

the brutality and the horror of the First World War -

and the lives of these young men would be changed forever.

Many of Tuke's young models were called up to fight.

And tragically, some met their death on the battlefield.

Sadly, by the time of Tuke's death in 1929,

his work was seen as unfashionable.

Interest had shifted to Post-Impressionism

with the likes of van Gogh and Augustus John.

Although Tuke's life

and society's appreciation of his work

wasn't always plain sailing,

I believe he will always be remembered

as one of the early great British Impressionists

who took good advantage of his surroundings here in Falmouth

and managed to passionately capture a wonderful moment in time

in this Cornish seaside town.

Back at the National Maritime Museum Cornwall,

the room is rich with antiques and the stories behind them.

And Caroline loves to hear a tale.

-Ellen, hello.

-Hello.

-I am so excited.

-Yeah.

-Bijoux Christian Dior.

-Yeah.

So, tell me how they came into your being.

Well, when I was a little girl, I had two aunties -

one who was very rich...

-She married a millionaire.

-How nice.

-Although he did lose it all.

-Oh. Oh, not quite so nice.

And one who was very poor and didn't have any money at all.

So, every year, the rich auntie who lived in London

would buy totally inappropriate gifts for the poor auntie.

Um, and every year, Auntie Ellen would say,

"Well, I don't know what I'm going to do with these.

-"I'd rather have the money."

-Yes.

So, these presents accumulated in a drawer,

and I used to play with these ones when I was a little girl.

They were never worn. And then when Auntie Ellen died,

I got these. And I've had them ever since,

and they've just sat there.

So I thought I'd bring them along to see...

-Well, shall we have a look inside?

-Yeah.

Beautiful box and this one is my favourite.

-And in mint condition.

-Yeah.

-As you say, it's never been used.

-No, never been used.

They're gorgeous. Christian Dior.

-It's just ordinary base metal...

-Yeah.

-..and paste.

-Yeah.

But there's a mark on them and if you look with an eyeglass,

we can see that they're marked, "Christian Dior, Germany '66,"

-which means this was made in 1966.

-Oh, right. OK.

And it's wonderful.

And this movement on it, sort of trembleuse, as is called,

so when you're dancing or moving,

those little pearls would move with you.

Absolutely fantastic. And the other one.

-This one's my favourite.

-Is it?

-Yeah.

-This one's my favourite.

-Yeah.

-But this is gorgeous. Look at that.

Now, the only little bit of damage on this one...

-Can you see the tusks?

-Yeah, it's worn off.

They've been enamelled and it's worn off.

-I bet that's you playing with it.

-Probably. Yeah, probably. Sorry.

I bet that was you playing with it.

-Now, they're only... I say only! ..costume jewellery...

-Yeah.

..but they are made by this wonderful fashion designer,

-Christian Dior, in the original box.

-Yeah, they are.

And I think they would easily get 200 to 300 for the two.

-Wow.

-I do, really.

-Yeah.

And, now, what about a reserve? Would you like a reserve on them?

I think I would because I wouldn't like to sell them for pennies.

-No, no, I would quite agree.

-Yeah.

What about if we put a fixed reserve at 150?

OK. Yeah, that's fine.

-And I think you might be very pleasantly surprised.

-Hope so.

-THEY LAUGH

-Thank you so much.

-You've made my day.

-Very welcome. Thank you. Thank you.

Frenchman Christian Dior

was among the most influential fashion designers

of the late 1940s and '50s

and his work helped to restore the reputation of post-war Paris

as a fashion capital.

His exclusive haute couture collection

screamed femininity and glamour and was worn by Hollywood stars.

Unlike his contemporaries, Dior's costume jewellery was bold

and designed to complement his fashion lines.

Although it was high quality,

affordable prices made it a must-have item.

Now, that's glam for you.

Now, Charles has slipped away to the top of the tower

to look at some oriental artwork.

-Jenny, what a wonderful place to be.

-Yes, it is.

-The lookout point here at the top of the museum.

-Yes.

-I can't believe the views.

-It's incredible, isn't it?

And it's just wonderful to see

what keeps on coming out of these bags and boxes

and out of your very small little case has come this.

-Yes.

-What we've got here

are three most beautiful, very delicate drawings.

What's their history?

Well, I really don't know, to be honest,

because I found them in amongst my mother's possessions

after she died and I have no idea where they came from.

Well, they are, Jenny, they are quite exotic,

and I would say they're also quite well travelled.

What I like so much about them is their vibrancy

and they are, today, so alive, still, in colour, aren't they?

-Yes, they are.

-They really are wonderful.

Have you any idea on country of origin?

-Um, well, possibly Japan, do you think?

-Yeah, yeah.

-Yes.

Yeah, they are probably 110 years old.

The main geisha lady on the centre panel.

Flanking her, these two young men looking very sprightly. They are...

-They are on rice paper.

-Mm-hm.

And they are so fragile, you'll make out, Jenny,

on some of the edges, where they're splitting

and that's the nature of the rice paper.

But the reason I like them is they are Japanese and, of course,

following the Treaty of Edo in 1858,

the Western world was opened up to a new generation of calligraphy,

of Japanese artistry,

which flooded in through merchant seamen

and also through travellers.

And they are just a delight.

-What are they worth?

-I haven't a clue.

What are they worth?

If I was going to give them a bit of swagger at auction,

-I would suggest to you a guide price of between £40 and £60.

-OK.

-How does that sound to you?

-Yes, that's fine.

-Fine.

-Yes.

And I'd probably suggest to you we put a reserve on at £40...

-Oh, OK.

-..with a 10% discretion.

So, if someone was to bid £35, £36,

I think we'd give the auctioneer consent to sell.

-That would be fine with me, yes.

-With your blessing.

-Absolutely, yes.

-Fantastic.

-Excellent.

-Can't wait.

-Thank you, Charles.

-Thank you so much.

They should catch someone's eye because they are very colourful.

There are many exhibits here in the museum,

but what I'm sitting on right now

has to be my favourite vessel of all time.

I absolutely love this boat.

She's called the Waterlily

and she symbolises the golden age of style and elegance

while travelling by steam on water.

Her lines are absolutely superb. They really are. And listen to this.

METAL CLANGS She's got an iron hull

which is riveted together.

It's much stronger and more durable than a wooden hull

and she really is one of the oldest survivors of her kind.

The condition is absolutely immaculate.

She was built in 1866 and used on the River Thames,

but I could equally quite see her

being used pottering up the River Fal to Truro,

stopping off at the National Trust house on the way -

Trelissick - for a cream tea.

Now, that would be travelling in style.

Well, before the tide turns,

let's catch up with our experts and see what they can uncover.

With the museum still a hive of activity,

Caroline has spotted another "Flog It!" favourite.

-Julia, Mark, how nice to see you.

-Thank you.

Tell me about this lovely thing that you've brought along.

-Well, this belonged to my grandmother...

-Right.

..and I remember seeing it in a cabinet in her house,

-but not really touched.

-When you were a child?

-Yes.

And then it was passed to my mother and now it's passed down to us.

And do you like it?

-It's not really my style, no.

-What about you, Julia?

-I kind of...

I like the colours in it,

but it just sits in our cupboard and...

And do you know the maker of it?

-Well, we know it's Clar...

-Clarice Cliff.

-Clarice Cliff cos it's on the bottom.

-Yes. Yeah.

We don't really know anything else about it.

Right. Well, it's quite an unusual shape,

this sort of upside-down graduation to it.

-And it's the melon pattern.

-Right.

-Right.

And you can see the melons going round.

It's a lovely, bright, bright colouring,

-and it's part of her Fantasque range.

-Right.

It's basically in very good condition.

There's no chips or hairlines, which is really, really important.

And if we look, it's just got a tiny bit of paint chipped from it here.

-Can you see?

-Oh, yes, yes.

-Oh, yes.

-Tiny bits of paint off it,

which matters a bit, but not hugely.

-Right.

-That's OK.

-OK.

-So, that name - as soon as you hear Clarice Cliff...

-Yeah.

-..it rings bells.

-Right.

-And lots of people collect it.

-Yeah.

-And have you ever thought about the value?

-Not really, no.

-No, not really. We have no idea, to be honest.

-No.

Well, I would think...

A fair estimate for auction would be £150 to £250.

-Right.

-Really? Right.

-And if you want to put a reserve...

Would you like a reserve as a safety net for it?

-I think so.

-Perhaps we should.

-Would you?

-And what would you like to put as a reserve?

-Maybe 100?

-100?

Um, I don't know. I'd want to go a bit higher, I think.

-Would you? A bit higher? A bit higher for Julia?

-Yes!

What do you think, Mark? Lower? Higher?

I mean, is it something that goes in and out of fashion or...

-Yes.

-..is it popular all the time?

Things always come in and out of fashion,

but I think this piece of Clarice Cliff

-will easily be in fashion at the moment...

-OK.

-..and I think it will get its market price.

-Right.

-So, I think maybe if we split the difference...

-Yeah.

..and put a fixed reserve of 120...

-Yeah.

-OK, right.

-Agree.

-How does that grab you?

-That's fine, yeah.

-Yeah? Maybe?

What about you? Are you still wanting it higher?

-SHE LAUGHS

-Well, I guess if it's an auction

and there's people interested in it, it will go up anyway, won't it?

-Yes. Yes, it will. But this stops it from going below.

-Yeah.

-I think it will well exceed that.

-Yes. Yeah, OK.

-Yeah, we'll go for that.

-Brilliant.

-Lovely.

And thank you so much for bringing it along.

I look forward very much to seeing you both

on the day at the auction.

-Yes, lovely.

-Great. Lovely. Thank you.

-OK.

The interesting shape of this piece of Clarice

should certainly be the making of it.

Valuations are still underway

and Charles has found an unusual maritime piece.

I was just hoping today that, having come to Falmouth,

I'd unearth some objects of real maritime magic.

And this object, I could almost sit on it and shout home,

-that great maritime hero Nelson.

-Yeah.

That great man who died 21st October 1805.

And seven years before that,

for two years HMS Foundroyant

-served as his flagship vessel...

-Oh, right.

..from the years 1799 to 1801.

And apparently this stick chair

is made from timber of that very vessel.

-Yeah, that's what is says.

-Because it says so.

So two dates.

1798 was the date when this vessel was launched.

It served until 1801.

And it was quite interesting because, in that two-year period,

it attempted to rescue the Neapolitan royal family from Naples.

-And in fact, that's how Nelson met Lady Emma Hamilton...

-Really?

-..and the great affair began.

-Ah...

All right. But, of course, we've got the date here - 1897.

It was the year that this great vessel...

-..beached in Blackpool and was broken up.

-Yes.

And that was the end of this very illustrious ship.

I'm quite happy, Alison, based on the timber,

based on the uniform patination,

based on, without any inscription dating it,

it's certainly late Victorian.

So, to me, it was contemporary to when the timbers were broken up.

In that regard, I don't think it's been forged.

Tell me, how did you acquire it?

It belonged to my grandparents.

I can remember it in their flat when I was very little.

So it's been knocking around since I can remember.

And they used to keep it by the front door

and they would put things on it like the post or the newspapers.

In your house now, hopefully, it takes pride of place.

Not really, no.

-We use it to put a Scrabble board on for playing Scrabble.

-You don't!

-Really?

-Yeah.

-My biggest concern is condition.

-Yes.

And what a shame. What's happened here, I wonder?

I really don't know.

I remember it being split from when I was very young,

but I don't know how it happened.

What's it worth? Any ideas?

-I haven't the first clue.

-No.

I would estimate...

-..at probably between £200 and £300.

-Right.

-And it could make a bit more.

-OK.

The split does concern me.

But as long as we have a good footnote in the catalogue

and there are two maritime buyers in this sale,

I would hope we might have lift-off

and this chair will, for queen and country,

salute Nelson once again and make a fair price.

-Sounds good.

-How does that sound to you?

-Fantastic.

-Are we wagons roll?

-We are.

That's one chair with a lot of history.

Well, there you are.

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

so it's time to say farewell to our magnificent host location today,

the National Maritime Museum Cornwall.

As we head off to the saleroom,

here's a quick recap of all the items we're taking with us.

First into battle will be this oak chair

made from Lord Nelson's ship.

These Dior brooches will certainly

bring a sparkle to the saleroom.

A bit of the Far East comes to the Southwest

with these three Japanese rice paper paintings.

And Mark and Julia's melon-patterned Clarice Cliff vase

is sure to get a good result.

Fingers crossed.

We're back at Jefferys auction house in Lostwithiel

and Ellen's lovely brooches are just about to go under the hammer.

If you're going to buy costume jewellery,

you've got to buy these lots because there's two.

There's a horse and an elephant brooch.

-They sparkle like anything, don't they?

-They do.

They're so unique. When you talk about costume jewellery, you think,

"Oh, just cheap and tacky." But this isn't.

-I mean, it's £200 to £300.

-Yeah.

-Ellen, they are gorgeous.

-They are.

And you should be wearing them sparkling, you know.

-Yes.

-Yes.

-You've got the face for it.

Well, thank you, but it's not the kind of thing I would wear,

my daughters aren't interested in it.

-They're Christian Dior.

-They are.

-I know. Great name as well.

-I think you'd wear one.

-I would wear them, yes.

I tell you what - I think 50% of the bidders in this room are ladies.

-I'm sure we're going to find them a new home.

-It's on now.

It's going under the hammer right now.

Yes, it's on now. This is it.

Two brooches for the price of one. Can I say £200 away?

150 if you start me.

£100, I'm bid. £100. £100. 110 to get on.

At £100. 110. 120. 130. 140.

150. 160. 160, the bid is with me.

-At 160.

-Come on. We're a bit short.

At £160, I'm bid. 170 where? At 160, then, the bid is with me.

-At £160.

-GAVEL BANGS

-Oh, Jenny!

-£160.

-That's excellent.

-We had a reserve of 150.

-Really good.

-Yeah.

-Cor! You're happy anyway, aren't you?

-I'm very happy, yes.

-I always want to get the top end for our owners.

-I know.

I want you to go home with as much money as possible.

-But, look, we sold it, OK?

-Absolutely. Really happy about that.

I think someone has gone away with a bargain there.

Next up are these rice paper paintings.

-Jenny, fingers crossed.

-Yes.

-We're just about to sell

the Edwardian oriental rice paper paintings

that are going under the hammer right now.

-So, these have been in the family a long time.

-Yeah.

-Your mother had them?

-Yes.

-Where did she get them from?

-I have no idea. I've no idea.

I found them after she had died in the drawer in her dressing table,

so I really don't know.

I mean, popular thing during Edwardian England.

-A lot of those paintings on rice paper came over.

-Yeah.

And I know we had them in my grandparents' family as well,

-so you're not alone.

-They may have been my grandmother's before.

-Yeah.

-Yeah.

-Right, we're going to put it to the test. Ready?

-Yes.

So, good luck with it. Anyway, here we go. This is it.

Three unframed rice paintings.

-£50 away? £30 to start me.

-Come on.

-£20, I'm bid.

-That's a tenner each. That's nothing.

-At £20. £20. 25. 25.

£30. At £30. 35. 35. £40?

£35, I'm bid. At £35. At £35. 35.

-GAVEL BANGS He sold.

-He sold.

-£35...

-Oh, good.

-..he sold.

-That's all right.

-That's OK, isn't it?

-Yes. Yes, absolutely.

-That's OK.

They were within 10% of the discretionary reserve

so they have sold and Jennifer is happy.

Alison, good luck. Going under the hammer right now,

we have your grandparents' chair

made from the timbers of Nelson's vessel, the Foudroyant.

We expect this should do really, really well

because of the maritime connection, not the furniture design connection.

But do you know what? It's such a hard thing to sell.

I think it will go at 200 - 300 but we need three or four people

-that are Nelson fans to actually bid against each other.

-Absolutely.

-That's the crucial thing, isn't it?

-Yeah.

-Here we go. It's a tricky one.

Fingers crossed.

We have a commemorative spinning chair, there,

from the wood from Nelson's flagship.

-Bids on the books mean I've got to start at £240.

-Yes!

-Great!

-At 240, 250 down, at £240.

250 on the phone, 260...

I've got 260, 270, 280?

-280, 290, 300?

-Yes, come on, come on, come on...

-300, 320, 340?

-Brilliant. We've exceeded it.

340, 360, 380?

380, 400, 420?

Oh, Alison, this is brilliant. They've found it, haven't they?

-420, with you?

-Brilliant.

-At 420, on the phone. At 420 are we all done?

-At £420.

-GAVEL BANGS

-Yes! The auction room has done a great job there...

-Fantastic.

..letting people find it. They've done the right thing.

'There are lots of maritime collectors out there

'on the lookout for something like this.

Now, how about this Clarice Cliff vase?

I know I've said this 1,000 times before,

but it wouldn't be "Flog It!" without a piece of Clarice Cliff,

let's face it. And that's what we've got right now.

Mark and Julia, thank you for bringing in a lovely example.

I've not seen one of these on the show before.

-No.

-Never. But if you're going to get Clarice Cliff,

-it's got to be a bright colour, hasn't it?

-Yeah.

-It really has.

-And it's a really unusual shape.

Extraordinary shape.

It's not my cup of tea, I've got to admit,

-but I do like that piece.

-Yeah.

And I think it's going to be popular.

-Yeah, so do I. 200 to 300.

-Yeah.

Top end, 200 to 300 - that's what we like to hear.

I know the auctioneer thinks that. He's had a lot of interest.

-Yeah.

-And there's a lot of people that love Clarice Cliff.

We see it time and time again, and it doesn't let us down.

Question is, will it be the lower end or the top end?

We're going to find out right now.

The Clarice Cliff melon-design vase. Shape number 366.

Little rare pattern there.

I have one, two, three, four, five, six, seven, eight bids on there.

-Eight bids on the book.

-Yes.

-I've got to start at £780.

-Yes!

I'm in at 780. At 780. At 780. 800 to get on.

At 780. At 780. 800. £800 in the room. 820 with me. 850.

With you, I'm out. At 850 in the room.

At 850. 880 now? At 850, I'm bid. At £850.

-£850. The hammer's gone down. What a great result.

-Amazing.

-You see, Clarice does the business, doesn't it?

-Gosh!

I bet you wish you went out and collected some more

-when you got that.

-Yeah, I'll think about that now.

Yeah. Wow.

-It had everything going for it.

-It did. It was iconic.

-Yeah.

-It really was just right.

-The design, the colour, the condition.

-Thank you so much.

-Have you enjoyed your time on "Flog It!"?

-Yeah!

-Yes.

What a way to end today's show as well

with a big surprise like that here in Lostwithiel.

-It doesn't get any better, does it?

-No.

It really doesn't. Anyway, see you soon for many more surprises.

And if you've got something you want to sell, we want to flog it for you.