0:00:02 > 0:00:03Well, it's considered to be
0:00:03 > 0:00:06one of the finest natural harbours in the world.
0:00:06 > 0:00:09Dame Ellen MacArthur set sail from here
0:00:09 > 0:00:13on her solo record-breaking voyage around the world.
0:00:13 > 0:00:16And I also come from here. So, where are we?
0:00:16 > 0:00:18- CROWD:- Falmouth!- Yes!
0:00:42 > 0:00:45Cornwall boasts the longest coastline in Great Britain
0:00:45 > 0:00:47and has a rich seafaring heritage.
0:00:47 > 0:00:51One town where that's most apparent is here in Falmouth.
0:00:51 > 0:00:55So much so, it's home to the National Maritime Museum Cornwall.
0:00:56 > 0:00:58The county's maritime heritage is kept here
0:00:58 > 0:01:01and today, it's the setting for our valuation day.
0:01:04 > 0:01:06Hundreds of people have turned out.
0:01:06 > 0:01:07In fact, the whole town has turned up,
0:01:07 > 0:01:10laden with antiques and collectables,
0:01:10 > 0:01:13all hoping to see our experts to get a great valuation.
0:01:13 > 0:01:15And if you're happy with that valuation,
0:01:15 > 0:01:17- what are you going to do? CROWD:- Flog it!
0:01:19 > 0:01:22- Is it something you're thinking of selling?- Yes, I could do.
0:01:22 > 0:01:24Charles Hanson is new to "Flog It!",
0:01:24 > 0:01:26although he's keeping his job options open.
0:01:28 > 0:01:29What's a local Cornish trade down here?
0:01:29 > 0:01:32What would I be doing down here if I was living down here?
0:01:32 > 0:01:34- Making pasties.- Making pasties? - Yes, pasties.
0:01:34 > 0:01:38And Caroline Hawley is on the lookout for something that has legs.
0:01:38 > 0:01:40Oh, she's pretty, isn't she?
0:01:40 > 0:01:43Look, she can do the cancan, can't she? Whoo!
0:01:43 > 0:01:45While everyone makes their way through the museum,
0:01:45 > 0:01:48let's take a quick look at what's coming up.
0:01:50 > 0:01:54It's time to give this old boat a new lease of life.
0:01:54 > 0:01:56- Last time you sailed it?- Oh, 18.
0:01:56 > 0:01:58Just before I went in the National Service.
0:01:58 > 0:02:01- That long ago?- That long ago. - It's been in your loft since then?
0:02:01 > 0:02:03- Which is a bit sad, isn't it? - Oh, crikey!
0:02:03 > 0:02:05- Find somebody to use it.- Absolutely.
0:02:05 > 0:02:07And a twist on an old "Flog It!" favourite
0:02:07 > 0:02:09is the unusual piece of Clarice Cliff.
0:02:10 > 0:02:13But will it live up to expectations?
0:02:14 > 0:02:17And today, I'll be delving into the vaults of Falmouth Art Gallery
0:02:17 > 0:02:22to share with you a unique collection by a late-19th-century Cornish artist
0:02:22 > 0:02:26whose choice of subject matter turned him into a controversial figure.
0:02:28 > 0:02:30Well, there's a real buzz here in the museum -
0:02:30 > 0:02:32the most wonderful atmosphere -
0:02:32 > 0:02:36and we are literally surrounded by boats of all shapes and sizes.
0:02:36 > 0:02:38And I've already picked out some of my favourites,
0:02:38 > 0:02:40and that is one of them -
0:02:40 > 0:02:43a Brazilian fishing raft known as a jangada.
0:02:43 > 0:02:45Well, our experts are already hard at work,
0:02:45 > 0:02:48so let's now catch up with them and see what they've spotted.
0:02:50 > 0:02:51- Marjorie.- Hello.
0:02:51 > 0:02:57I saw this mascot glint out of your bag earlier on today.
0:02:57 > 0:02:59And, of course, that motorcar,
0:02:59 > 0:03:04of which this mascot came off, was the Riley Alpine six-cylinder?
0:03:04 > 0:03:05- No, the Kestrel. - Oh, was it the Kestrel?
0:03:05 > 0:03:07- Yes. The Riley Kestrel. - Wonderful. Wonderful.
0:03:07 > 0:03:11- Of around 1930?- 1938.- Wonderful.
0:03:11 > 0:03:13Wonderful. Tell me how you acquired it.
0:03:13 > 0:03:16We had the car that went with it.
0:03:16 > 0:03:18Unfortunately, we divorced
0:03:18 > 0:03:22- and my ex-husband had the car...- Yes.
0:03:22 > 0:03:24..and could not find this
0:03:24 > 0:03:29- and I found it about a year later... - Yes.- ..in the loft.- Oh, right.
0:03:29 > 0:03:34- Um, so, I've had it still, which is about 28 years.- Yes.
0:03:34 > 0:03:36- So, he might want it back? - No.- No. OK.- No.
0:03:36 > 0:03:38- Well, that's good to hear. - He can't have it back.
0:03:38 > 0:03:41- THEY LAUGH - Fine.
0:03:41 > 0:03:44It almost captures high living
0:03:44 > 0:03:47at a time when the Depression was happening
0:03:47 > 0:03:50- of the late 1930s... - When there wasn't very much.
0:03:50 > 0:03:52..when the war was just beginning
0:03:52 > 0:03:57and this wonderful mascot was very much alive and firing.
0:03:57 > 0:04:03We worry often about reproductions, but we can tell from your story,
0:04:03 > 0:04:06first and foremost, it has good pedigree
0:04:06 > 0:04:07and it has good provenance.
0:04:07 > 0:04:10It would be a chrome plate or a nickel plate.
0:04:10 > 0:04:13There's a huge market. Collectables.
0:04:13 > 0:04:17Particularly the new generation, they love buying objects
0:04:17 > 0:04:20which capture the history of skiing as well.
0:04:20 > 0:04:21And this certainly does that, doesn't it?
0:04:21 > 0:04:23Yes, it does, definitely.
0:04:23 > 0:04:27- And I would like to estimate it at between 200 and 300.- Yes.
0:04:27 > 0:04:31Have a fixed reserve at £200 and I really hope...
0:04:31 > 0:04:34Sometimes, with a market, you need to ignite it.
0:04:34 > 0:04:37- I'd rather get bidders competing together...- Yes.
0:04:37 > 0:04:40..and hopefully giving her a good sendoff downhill...
0:04:40 > 0:04:43- Yes.- ..or uphill... - That sounds good.- ..in bidding.
0:04:43 > 0:04:46- Is she going, going, gone? - Yes, I think so.- Fine.
0:04:46 > 0:04:48- Between £200 and £300. - Yeah, that's lovely.- Can't wait.
0:04:48 > 0:04:50- OK.- See you at the auction.
0:04:50 > 0:04:52- Thank you very much for your help.- Pleasure.
0:04:52 > 0:04:54Well, let's hope it's not an uphill climb.
0:04:59 > 0:05:02- Anyone here from Falmouth? - Yeah!- Yes!
0:05:02 > 0:05:05- Penryn?- Yes!- Oh, only the one?
0:05:05 > 0:05:07Hey, do you know, we used to play rugby against Penryn.
0:05:07 > 0:05:10I went to Falmouth School and, gosh, those tackles went in hard.
0:05:10 > 0:05:12I used to go home with some bruises. What about Truro?
0:05:12 > 0:05:15PEOPLE CHEER Yes! Flushing?
0:05:15 > 0:05:16St Mawes?
0:05:16 > 0:05:19- Did you get the ferry across? - Playing Place!- Playing Place.
0:05:19 > 0:05:21Budock Water! And it just goes on and on and on.
0:05:21 > 0:05:23Well, somewhere in this building is Caroline,
0:05:23 > 0:05:25and we're going to catch up with her right now
0:05:25 > 0:05:28because I know she is looking at a real treasure.
0:05:30 > 0:05:32- Chris, Sue.- Hi.- Tell me...
0:05:32 > 0:05:34First of all, I spotted you in the queue,
0:05:34 > 0:05:38- didn't I, with your waistcoat? - Yeah.- I adore it.
0:05:38 > 0:05:40Tell me about it. It's not Scottish tartan, is it?
0:05:40 > 0:05:44No, this is the Cornish national tartan, it's called.
0:05:44 > 0:05:45Is it really?
0:05:45 > 0:05:48And did you buy that here, then, or have you had it made?
0:05:48 > 0:05:51- Um, it was a present from Sue, actually.- I had it made for him.
0:05:51 > 0:05:53- Yeah.- Did you?- He has to have...
0:05:53 > 0:05:55He's a bit portly around the middle, so...
0:05:55 > 0:05:58- THEY LAUGH - He looks great in it.- He does.
0:05:58 > 0:06:01- Now, we need to talk a little bit about this.- We do.
0:06:01 > 0:06:06Now, Newlyn School, as you know, set up in 1890.
0:06:06 > 0:06:09Still going today. Some wonderful copper makers.
0:06:09 > 0:06:12This is a pomegranate pattern.
0:06:12 > 0:06:14It was one of the things that appealed to me
0:06:14 > 0:06:18because it wasn't the usual marine sort of theme which you get.
0:06:18 > 0:06:20No, it's not. It's not at all.
0:06:20 > 0:06:24And it's generally in very good condition.
0:06:24 > 0:06:27However, you have been rather overzealous with your polishing.
0:06:27 > 0:06:28No, it wasn't me.
0:06:28 > 0:06:30- It was whoever had it before. - "It wasn't me!" Was it Chris?
0:06:30 > 0:06:32- Wasn't me, no. - It wasn't me. I didn't do it.
0:06:32 > 0:06:34I don't want to start a domestic.
0:06:34 > 0:06:37But copper is a very, very soft metal, as you know,
0:06:37 > 0:06:40and with too much polishing, you can wear through.
0:06:40 > 0:06:45- And here, you've got a hole, so that does affect the value.- Yes.
0:06:45 > 0:06:47But there are two pluses, which is good.
0:06:47 > 0:06:50One is it's stamped Newlyn under here,
0:06:50 > 0:06:53and two is the size. It's humongous.
0:06:53 > 0:06:57- It is.- It's wonderful and I think it's very, very pretty.
0:06:57 > 0:07:00Do you use it or have you displayed it?
0:07:00 > 0:07:01We've had it on display,
0:07:01 > 0:07:07but it was a bit of a whimsical buy on my part at an auction
0:07:07 > 0:07:11and, really, I need the funds now more than I need the tray, so...
0:07:11 > 0:07:15Right. Well, I don't know what you paid for it,
0:07:15 > 0:07:18- but I'll tell you a sort of value...- Yeah.
0:07:18 > 0:07:23..that I would put on it now is 80 to 120...
0:07:23 > 0:07:26- Yeah.- ..which would be a safe value.- Yeah.
0:07:26 > 0:07:28And tell me now, what did you pay for it?
0:07:28 > 0:07:30- 150.- 150?
0:07:30 > 0:07:32- We've all done it.- We have.
0:07:32 > 0:07:35I've had lots of them, I tell you. But that is gorgeous.
0:07:35 > 0:07:38Thank you so much, both of you, for bringing it along...
0:07:38 > 0:07:40- Thanks for looking. - ..and we'll see you soon.
0:07:40 > 0:07:42- OK.- Right, thanks.- Bye.
0:07:42 > 0:07:45It's nice to see some local antiques
0:07:45 > 0:07:48and another local trade here in Falmouth is -
0:07:48 > 0:07:51I'm sure you've guessed it - sailing.
0:07:51 > 0:07:56This particular exhibit is where you can get to hone your sailing skills.
0:07:56 > 0:07:58I've picked the pink one. My daughter would love that.
0:07:58 > 0:08:01She really would. She'd gravitate to this.
0:08:01 > 0:08:02But if we put that in, you can see it...
0:08:04 > 0:08:06You can see it work in the wind. There's a breeze.
0:08:06 > 0:08:10There's this artificial breeze blowing this yacht about.
0:08:10 > 0:08:12How do you know your port from your starboard?
0:08:12 > 0:08:15That's one of the most basic navigational terms.
0:08:15 > 0:08:18Well, port is left because left has four letters in it
0:08:18 > 0:08:19and port has four letters in it.
0:08:19 > 0:08:22Starboard is right. That's the easy way to remember it.
0:08:25 > 0:08:28Back at the valuation tables, it's all hands on deck,
0:08:28 > 0:08:32and I wonder if Charles knows his port from his starboard.
0:08:33 > 0:08:36Alan, I was hoping to set sail today
0:08:36 > 0:08:39and find something with a maritime flavour here in Falmouth,
0:08:39 > 0:08:42- and you hit it on the right spot.- Lovely.
0:08:42 > 0:08:45- Tell me how long you've had it for, Alan.- Since I was 16.
0:08:45 > 0:08:48- 16?- 16.- Goodness! - In the 1950s, yeah.
0:08:48 > 0:08:51And is it something, I suppose, as a young man, you played with?
0:08:51 > 0:08:52- It was a boys' toys...?- Yes.
0:08:52 > 0:08:55Used to take it on the bus to the local pond and sail it.
0:08:55 > 0:08:57- Did you really?- In London, yes. - Yeah? Yeah?
0:08:57 > 0:09:00- And it came from London originally? - It came from London.
0:09:00 > 0:09:02The name is Highgate Model Yacht Club...
0:09:02 > 0:09:05- Oh, wonderful.- ..which is where I used to take it back and sail it.
0:09:05 > 0:09:06- Did you really?- Yeah.- Yeah?
0:09:06 > 0:09:08And it would be, what, 1920s originally?
0:09:08 > 0:09:10- Originally 1920s.- Fine. OK.
0:09:10 > 0:09:14There's a date in the hatch here - a rebuilding date -
0:09:14 > 0:09:17which tells us it was rebuilt in 1949.
0:09:17 > 0:09:20- The last time any work was done on it.- Wonderful.
0:09:20 > 0:09:24I can see in here it says fitted out by a firm in Highgate.
0:09:24 > 0:09:28- Yes.- It's wonderful. So, my ignorance, Alan -
0:09:28 > 0:09:31as a young boy, when you were floating this on water,
0:09:31 > 0:09:34would you just judge the wind speed and let it sail?
0:09:34 > 0:09:37Yeah, you'd look at the wind pattern on the pond
0:09:37 > 0:09:39and then set all these different things up
0:09:39 > 0:09:41and it was self-steer.
0:09:41 > 0:09:43But if you got it right, it'd come back to you.
0:09:43 > 0:09:46- If not, you had to run before it got to the other bank.- Really?
0:09:46 > 0:09:49- Fascinating.- It's handmade, of course.- Absolutely handmade.
0:09:49 > 0:09:50You can see the studded...
0:09:50 > 0:09:52- There's little screws there. - Absolutely.
0:09:52 > 0:09:54The deck's in good condition.
0:09:54 > 0:09:56Remarkably, Alan, what I like about it
0:09:56 > 0:09:59is the condition is so, so good.
0:09:59 > 0:10:01What's that note on the end there, Alan?
0:10:01 > 0:10:04- That's the original receipt from the owner.- Really?
0:10:04 > 0:10:07You'll see that my father paid three pounds for it.
0:10:07 > 0:10:09"Received - sum of three pounds
0:10:09 > 0:10:13- "in agreement of the Ten R..." - Ten Rater.- "..Ten Rater yacht."
0:10:13 > 0:10:19- And this is a receipt from, yes, 1953...- Yeah, '53.- '53,
0:10:19 > 0:10:23- when your father bought it in a coronation year.- Yes.- Well done.
0:10:23 > 0:10:26So, for Queen and country, you set sail.
0:10:26 > 0:10:29- You're now 75?- 77.- 77.
0:10:29 > 0:10:31- Last time you sailed it?- Oh, 18.
0:10:31 > 0:10:33Just before I went in the National Service.
0:10:33 > 0:10:35- That long ago?- That long ago. - It's been in your loft since then?
0:10:35 > 0:10:37- Which is a bit sad, isn't it? - Oh, crikey!
0:10:37 > 0:10:41- Time somebody used it. - Absolutely. What's it worth?
0:10:41 > 0:10:42No idea. Not now.
0:10:42 > 0:10:45No, no, I'd be quite cautious in saying to you
0:10:45 > 0:10:49- I would like to put it into the sale with a guide price of 100...- Yes.
0:10:49 > 0:10:54- ..to £150.- OK, yes. - And I feel that's realistic.- Yeah.
0:10:54 > 0:10:57- It's the sort of thing, on a bad day, could make 60.- Yes.
0:10:57 > 0:11:00On a good day, it could make £200.
0:11:00 > 0:11:02- Excellent. - We're going to flog it.- Thank you.
0:11:02 > 0:11:05- Are you sure?- Yeah.- Can't wait. Going, going, gone.- Excellent.
0:11:05 > 0:11:07Charles is right.
0:11:07 > 0:11:10If someone falls in love with it, the model yacht could sail away.
0:11:10 > 0:11:12Well, I don't know about you,
0:11:12 > 0:11:14but I think there's some real gems there.
0:11:14 > 0:11:16Our experts have worked tremendously hard
0:11:16 > 0:11:19and now they're going to put those valuations to the test.
0:11:19 > 0:11:21We're making our way over to the saleroom
0:11:21 > 0:11:25and here's a quick recap of all the items we're taking with us.
0:11:25 > 0:11:28It would be great to see this Art Deco car mascot
0:11:28 > 0:11:31take pride of place on a car bonnet once again.
0:11:33 > 0:11:35It's local and stamped Newlyn,
0:11:35 > 0:11:39which could see this copper tray getting a few nods at the auction.
0:11:41 > 0:11:43And someone will surely push the boat out
0:11:43 > 0:11:46for this lovely sailing yacht.
0:11:51 > 0:11:54We're heading the short distance northeast to Lostwithiel
0:11:54 > 0:11:56for our auction today.
0:11:56 > 0:11:59700 years ago, Lostwithiel was the capital of Cornwall.
0:12:01 > 0:12:03Today, it's a quieter and more peaceful town,
0:12:03 > 0:12:07except when Jefferys auction rooms are in full swing.
0:12:10 > 0:12:13Remember, if you do want to buy or sell something at auction,
0:12:13 > 0:12:15there is commission to pay.
0:12:15 > 0:12:19Here, it's 15% plus VAT, but do check with the auctioneer
0:12:19 > 0:12:21or look at the printed details in the catalogue
0:12:21 > 0:12:24because it varies from saleroom to saleroom,
0:12:24 > 0:12:25and then you won't get caught out.
0:12:28 > 0:12:30And auctioneer Ian Morris is on the rostrum.
0:12:34 > 0:12:36Going under the hammer now. I've just been joined by Marjorie
0:12:36 > 0:12:39and we've got that Art Deco car mascot
0:12:39 > 0:12:41from that 1938 Riley Kestrel.
0:12:41 > 0:12:43- What a car and what a mascot. - Yes, it's lovely.
0:12:43 > 0:12:45- You haven't got the car any more, have you?- No.
0:12:45 > 0:12:48- But you've got the mascot! Next best thing, isn't it?- Yeah.
0:12:48 > 0:12:51Why have you decided to sell this now?
0:12:51 > 0:12:55Um, well, I've had it 27 years in a drawer.
0:12:55 > 0:12:57- I see.- And there really is no point,
0:12:57 > 0:12:59and I don't want it to start to deteriorate
0:12:59 > 0:13:02- because it's in such good condition at the moment.- OK. OK.
0:13:02 > 0:13:04- This is going to go to a car collector, isn't it?- Yeah.
0:13:04 > 0:13:06I mean, for sure.
0:13:06 > 0:13:09I think, Paul, it just captures high living from a high time.
0:13:09 > 0:13:12- High society. Hopefully a high price.- Yeah.
0:13:12 > 0:13:14- OK, ready for this? - Yes, I am.- Hold tight.
0:13:14 > 0:13:16- Hold tight.- Let's go. - Let's see what it's worth.
0:13:16 > 0:13:21The chrome-plated car mascot off a 1938 Riley.
0:13:21 > 0:13:25It's all downhill from here. Can I say £200 to start? 200?
0:13:25 > 0:13:29150, I'm bid. At 150. 160. 170. 180.
0:13:29 > 0:13:32- 180.- 190. 200. 210.
0:13:32 > 0:13:35220. 230.
0:13:35 > 0:13:37- Brilliant. - At £230, the bid's with me.
0:13:37 > 0:13:40At 230. 240. Are you sure?
0:13:40 > 0:13:43- Bid is with me at £230. - GAVEL BANGS
0:13:43 > 0:13:45Yes! Hammer's gone down. 230.
0:13:45 > 0:13:47- That's a good result. - That's OK.- I'm very happy.
0:13:47 > 0:13:50- Yes, I'm quite happy with that. - I am as well.- Yes.- Good.
0:13:50 > 0:13:52Yes, she jumped past the reserve with ease.
0:13:52 > 0:13:57Now, I wonder how the over-polishing will affect the price of this tray.
0:13:57 > 0:13:59Serving up for you right now,
0:13:59 > 0:14:00we have a wonderful Newlyn copper tray,
0:14:00 > 0:14:03and it's stamped Newlyn as well, so it's got great provenance.
0:14:03 > 0:14:06- It's a large piece.- Very large. - Chris and Sue, it's great to see you.
0:14:06 > 0:14:08Why are you selling this?
0:14:08 > 0:14:10Well, we've got a lot of things from Newlyn.
0:14:10 > 0:14:14- Newlyn's my mother's home town. - Mm-hm.- You can't collect it all.- No.
0:14:14 > 0:14:17- So, is your house bursting at the seams?- Absolutely.
0:14:17 > 0:14:20I'm a bit of a hoarder. I'm not very good at downsizing.
0:14:20 > 0:14:23- Well, good luck, both of you. - OK, thanks.- Here we are.
0:14:23 > 0:14:25Some Newlyn copper going under the hammer.
0:14:26 > 0:14:29Embossed tray there, stamped Newlyn to the rear there.
0:14:29 > 0:14:32Can I see £100 away? £50 if you say no more.
0:14:32 > 0:14:35£50, I'm bid. At £50. 55.
0:14:35 > 0:14:3960. 65. 70. 75. 80. 85.
0:14:39 > 0:14:41- 90.- Yes.- Yes! - £90, a bid to the back.
0:14:41 > 0:14:43At £90. I'll take five.
0:14:43 > 0:14:44At £90, I'm bid.
0:14:44 > 0:14:46- A fiver more?- We've just done it. - At £90, then, I'll sell.
0:14:46 > 0:14:49- At £90. - GAVEL BANGS
0:14:49 > 0:14:52- Yes!- Yes!- Got it away. We got it away.- We did.
0:14:52 > 0:14:55Despite it being over-cleaned. THEY CHUCKLE
0:14:56 > 0:14:57A fair price, I'd say.
0:14:58 > 0:15:01And let's hope it's plain sailing for Alan's yacht
0:15:01 > 0:15:03because I'm rather fond of it.
0:15:03 > 0:15:07Alan, I absolutely love your 1920s sailing yacht.
0:15:07 > 0:15:10We're standing right next to it, actually, here. Look. Showing there.
0:15:10 > 0:15:12I think it's fantastic. I really do.
0:15:12 > 0:15:15- And I know you've had much fun with it.- I have, yes.
0:15:15 > 0:15:18I think there's a lot of yacht there. I think the condition is superb.
0:15:18 > 0:15:19I really do.
0:15:19 > 0:15:22I'd love to see that do £300 to £600.
0:15:22 > 0:15:25I would love that, but I agree with your valuation.
0:15:25 > 0:15:26You've got to start really low
0:15:26 > 0:15:28- because this is a hard thing to place.- Yes.
0:15:28 > 0:15:30I know we've said it time and time again,
0:15:30 > 0:15:32but fingers crossed.
0:15:32 > 0:15:34Fingers crossed it exceeds its estimates.
0:15:34 > 0:15:36- I have high hopes for it.- So do I.
0:15:36 > 0:15:39- Ready for this?- Yes, yes. - OK, let's put it to the test.
0:15:40 > 0:15:44Edwardian 60-inch pond yacht. Nice racing yacht, it is.
0:15:44 > 0:15:48- Bids on the books means I'm going to start at £200.- Oh, wow.- Good.
0:15:48 > 0:15:50- Nice.- At £200. 220 now.
0:15:50 > 0:15:54At 220. 240. 260. 280. 300. 320.
0:15:54 > 0:15:59- 340. 360. 380. Your bid at £380. - Wow.- 380 in the room.
0:15:59 > 0:16:00At 380. 400.
0:16:00 > 0:16:03- 420.- Yes. This is a good one. - Wow!- 440.
0:16:03 > 0:16:07460. 480. 500. 520.
0:16:08 > 0:16:09520 there. Is it 550?
0:16:11 > 0:16:14550. 580. 600?
0:16:15 > 0:16:17600. 620. 650.
0:16:17 > 0:16:19- Gracious!- This is more like it. This is more like it.
0:16:19 > 0:16:21- It is sailing away.- 700?
0:16:23 > 0:16:26- 680 in the room.- You were being a little mean, I think, Richard.
0:16:26 > 0:16:29- I'm mean and keen. Mean and keen. - 700. New bidder.
0:16:29 > 0:16:33- At 700. 720. 750. - Here you go.- OK, Captain.
0:16:33 > 0:16:34750 down the alleyway.
0:16:34 > 0:16:38- At £750, I'm bid. - Somebody wants it.- 780 now?
0:16:38 > 0:16:41- At £750.- £750.- At £750.
0:16:41 > 0:16:44Yes! Ever so pleased.
0:16:44 > 0:16:46- That made its right money. - Somebody wants it.
0:16:46 > 0:16:48- Yes.- They'll look after it cos that's the point.
0:16:48 > 0:16:51- And they will cherish it, yes. - That's the main thing.- Yeah.
0:16:51 > 0:16:53Alan's right. Now it's out of the loft,
0:16:53 > 0:16:56let's hope the new owners will have some fun with it.
0:16:57 > 0:17:01Well, that's our first visit to the auction room done and dusted today
0:17:01 > 0:17:03and some brilliant results and happy owners,
0:17:03 > 0:17:05and that's what it's all about.
0:17:05 > 0:17:08We're coming back here later on in the programme, so don't go away.
0:17:08 > 0:17:12Now, as you know, I love my art. And from my home town of Falmouth,
0:17:12 > 0:17:14there was an artist that I very much admired,
0:17:14 > 0:17:16but his work was controversial.
0:17:16 > 0:17:20He exhibited at the Royal Academy and at the Tate,
0:17:20 > 0:17:24but it was the subject matter of his nudes that raised a few eyebrows.
0:17:32 > 0:17:36For centuries, Cornwall has inspired some of Britain's greatest artists.
0:17:36 > 0:17:38The likes of Constable and Turner
0:17:38 > 0:17:42painted life along this coastline on land and at sea.
0:17:44 > 0:17:48The 1880s saw a new school of artists emerge in the UK.
0:17:48 > 0:17:52Inspired by the French Impressionists like Monet and Renoir,
0:17:52 > 0:17:55they were keen to capture everyday life in rural Britain
0:17:55 > 0:17:57and were drawn to places like Newlyn
0:17:57 > 0:18:00and this picturesque corner of Falmouth.
0:18:01 > 0:18:03Being back here on home turf in Falmouth
0:18:03 > 0:18:06finally gives me a chance to tell you about my favourite
0:18:06 > 0:18:08of this new breed of painters,
0:18:08 > 0:18:13a man whose legacy lies with his use of light, colour and human form.
0:18:13 > 0:18:16I'm talking about Henry Scott Tuke.
0:18:18 > 0:18:23Born in 1858, Henry Scott Tuke's first taste of Falmouth
0:18:23 > 0:18:27was at the tender age of two when his parents moved from York.
0:18:27 > 0:18:29He showed early signs of talent
0:18:29 > 0:18:31and by the age of 16, he had been enrolled
0:18:31 > 0:18:34in the prestigious Slade School of Art in London.
0:18:36 > 0:18:37Then he travelled,
0:18:37 > 0:18:40absorbing the latest European painting techniques
0:18:40 > 0:18:43and, whilst in Paris, was encouraged to paint plein air.
0:18:46 > 0:18:49You've probably heard our experts talking at the valuation days
0:18:49 > 0:18:51when they're looking at a work of art and they say,
0:18:51 > 0:18:53"Well, it was painted en plein air."
0:18:53 > 0:18:58Plein air is a French expression which means painted while outdoors,
0:18:58 > 0:19:02and it was a technique which shaped Tuke's work throughout his life.
0:19:02 > 0:19:04Now, I've got a wonderful example of that.
0:19:04 > 0:19:05It's called Quay Scamps.
0:19:05 > 0:19:09It's a watercolour and it's here and it is absolutely divine.
0:19:09 > 0:19:10Just look at this.
0:19:10 > 0:19:12You can imagine the scene -
0:19:12 > 0:19:15all the young children just jumping off the harbour wall here.
0:19:15 > 0:19:17And I've done it myself.
0:19:17 > 0:19:20Now, this was painted in 1896
0:19:20 > 0:19:22and you can see the technique that he's used.
0:19:22 > 0:19:26It is literally, 90% of it, painted while outdoors.
0:19:26 > 0:19:28There's a sense of urgency about it.
0:19:28 > 0:19:30He really captures a moment
0:19:30 > 0:19:35and he captures the way the light plays tricks with colour.
0:19:35 > 0:19:37Falmouth, being on the south coast,
0:19:37 > 0:19:41it's constantly bathed in sunshine, if the weather's good,
0:19:41 > 0:19:42so it's perfect for painting.
0:19:46 > 0:19:49Tuke was lured back to Falmouth in 1885.
0:19:49 > 0:19:54Later, he would express his fondness for the non-industrialised town
0:19:54 > 0:19:55in an art magazine.
0:19:57 > 0:20:00"It is something to be thankful for to know of a place in England
0:20:00 > 0:20:05"where yet may be found some glamour of the old days of sailing ships
0:20:05 > 0:20:08"bringing rich cargoes from strange lands.
0:20:08 > 0:20:11"That such a place does exist will be readily admitted
0:20:11 > 0:20:14"by anyone who will undertake the troublesome journey
0:20:14 > 0:20:18"from London to the south-west corner of our island
0:20:18 > 0:20:19"and bring up at Falmouth."
0:20:20 > 0:20:24Here, he'd be able to combine his love of painting
0:20:24 > 0:20:25with his passion for sailing
0:20:25 > 0:20:29and eventually produced a substantial body of work.
0:20:31 > 0:20:34More than 270 of Tuke's paintings remain here,
0:20:34 > 0:20:36in his home town of Falmouth.
0:20:36 > 0:20:39Now, whilst none are currently on display,
0:20:39 > 0:20:42I've been given special access to a few
0:20:42 > 0:20:45that have been stored in the vaults of the Falmouth Art Gallery.
0:20:51 > 0:20:53In keeping with Tuke's plein air style,
0:20:53 > 0:20:56he acquired a number of boats - all shapes and sizes -
0:20:56 > 0:20:59which he would use sometimes as a floating studio
0:20:59 > 0:21:02or a backdrop for some of his paintings,
0:21:02 > 0:21:04where he used local people as models.
0:21:04 > 0:21:08Now, here, if I pull rack out - number 10A -
0:21:08 > 0:21:09all the way to the end here...
0:21:09 > 0:21:11This is the fun bit about being in a vault.
0:21:14 > 0:21:17I can show you one of Tuke's images.
0:21:17 > 0:21:19This is Jack, one of his most popular models,
0:21:19 > 0:21:24painted on his Quay Punt Lily in 1886.
0:21:24 > 0:21:25And here we are. Look.
0:21:25 > 0:21:27What Tuke apparently liked about Jack
0:21:27 > 0:21:28was his lack of self-consciousness.
0:21:28 > 0:21:32You know, this was a young guy who grew up by the waterside.
0:21:32 > 0:21:36I mean, he was at home on a boat and he looked natural on a boat.
0:21:36 > 0:21:38He was the ideal model.
0:21:38 > 0:21:42Tuke's sister described Jack as a lovable young barbarian
0:21:42 > 0:21:46who could look like an angel and behave like a demon.
0:21:46 > 0:21:48Out of the 20 works that Tuke recorded
0:21:48 > 0:21:52the following year in 1887, Jack featured in 13 of them.
0:21:57 > 0:21:59As well as studying Tuke's subject matter,
0:21:59 > 0:22:01it's worth noting his style of painting as well.
0:22:01 > 0:22:04This is typical of an Impressionist brush stroke.
0:22:04 > 0:22:07You can see it's quite loose and it's thick and it's quite coarse.
0:22:07 > 0:22:10You have to remember, at the time, other artists were painting
0:22:10 > 0:22:12with a more smooth, polished finish.
0:22:12 > 0:22:16So, this was completely different. Avant-garde, if you like.
0:22:16 > 0:22:18It was the start of Impressionism.
0:22:18 > 0:22:23And what we have here is The Missionary Boat, painted in 1894.
0:22:23 > 0:22:26Now, can you guess which one the missionary boat is?
0:22:26 > 0:22:29I would guess the large one - the three-masted barque.
0:22:29 > 0:22:32But I'd be wrong because the missionary boat
0:22:32 > 0:22:34is this tiny little one. And that is the missionary -
0:22:34 > 0:22:38a Mr Badger from Falmouth -
0:22:38 > 0:22:43going out to this large vessel anchored in the harbour.
0:22:43 > 0:22:46But it's the attention to detail of anything nautical
0:22:46 > 0:22:49that has really grabbed me when I'm up close looking at a Tuke,
0:22:49 > 0:22:52a man who obviously loved sailing.
0:22:53 > 0:22:56He really was a wonderful maritime artist.
0:23:00 > 0:23:03But as well as ships, portraits and landscapes,
0:23:03 > 0:23:06Tuke is also remembered for his paintings
0:23:06 > 0:23:09of naked young men out in the open.
0:23:09 > 0:23:13Over the years, this has caused critics to question his sexuality
0:23:13 > 0:23:15and even his morality.
0:23:16 > 0:23:18Today's society may question a painter
0:23:18 > 0:23:23who focuses so frequently on young, adolescent boys naked on the beach,
0:23:23 > 0:23:27but Victorian society gave Tuke the benefit of the doubt.
0:23:27 > 0:23:30And quite honestly, you can see why when you look at this, can't you?
0:23:30 > 0:23:31It's not at all sexual.
0:23:31 > 0:23:35It is sensual and that's what he wanted to capture.
0:23:35 > 0:23:39For me, I think this is a play on history paintings.
0:23:39 > 0:23:41When you see Greek gods sort of bathed
0:23:41 > 0:23:45in all that wonderful sunlight coming through,
0:23:45 > 0:23:47turning the skin pigments different shades,
0:23:47 > 0:23:49this is what Tuke is capturing.
0:23:49 > 0:23:52Now, these lads became his familiar crew
0:23:52 > 0:23:55and they earned a lot of extra pocket money doing this.
0:23:55 > 0:23:58It was hard to get female models, I mean, let alone in the studio -
0:23:58 > 0:24:00that would cost an awful lot more money -
0:24:00 > 0:24:03but to get them outside in all weather conditions,
0:24:03 > 0:24:05well, I don't think that was possible.
0:24:05 > 0:24:08He got to know all of these boys and their parents.
0:24:08 > 0:24:10He asked their parents for permission,
0:24:10 > 0:24:14they gladly gave it and these guys were paid quite well.
0:24:14 > 0:24:18I mean, a lot of people may question his sexuality.
0:24:18 > 0:24:19Was he gay?
0:24:19 > 0:24:22Well, personally, I think he was, but do you know what?
0:24:22 > 0:24:25He kept it to himself. It was no-one else's business.
0:24:25 > 0:24:28It had no reflection of what was going on here.
0:24:28 > 0:24:31Tuke let his paintings do the talking.
0:24:35 > 0:24:39Controversy aside, there is a poignancy to Tuke's nudes.
0:24:39 > 0:24:41These young men were painted at the turn of the 20th century
0:24:41 > 0:24:43and they represented youth and innocence.
0:24:43 > 0:24:46Nobody could have foreseen what was to happen on the horizon -
0:24:46 > 0:24:49the brutality and the horror of the First World War -
0:24:49 > 0:24:53and the lives of these young men would be changed forever.
0:24:56 > 0:24:59Many of Tuke's young models were called up to fight.
0:24:59 > 0:25:02And tragically, some met their death on the battlefield.
0:25:04 > 0:25:07Sadly, by the time of Tuke's death in 1929,
0:25:07 > 0:25:10his work was seen as unfashionable.
0:25:10 > 0:25:12Interest had shifted to Post-Impressionism
0:25:12 > 0:25:15with the likes of van Gogh and Augustus John,
0:25:15 > 0:25:17although there are artists around today
0:25:17 > 0:25:20who still look to Tuke for inspiration,
0:25:20 > 0:25:21and I don't blame them.
0:25:21 > 0:25:24I've come to meet one - a local painter, Andrew Tozer -
0:25:24 > 0:25:28who has a strong affinity with those early Impressionist artists.
0:25:32 > 0:25:34- Andrew!- Hi.- Hi.
0:25:34 > 0:25:37- It's looking good...- Thank you. - ..despite the conditions.- Yeah.
0:25:37 > 0:25:40Plein air - I mean, it sounds wonderful in the summer months,
0:25:40 > 0:25:42but, gosh, on a day like today...
0:25:42 > 0:25:44But you've captured something.
0:25:44 > 0:25:48You've captured that wonderful essence of what's happening now.
0:25:48 > 0:25:50You've got the boat there. You've got the greys.
0:25:50 > 0:25:54You've got all those different tones. And it's there. I can see it.
0:25:54 > 0:25:56What do you enjoy about painting outdoors?
0:25:56 > 0:26:00Well, my favourite thing, I find, is actually looking at the colours,
0:26:00 > 0:26:02mixing them exactly, then putting them down.
0:26:02 > 0:26:04And when you've done it, it's a sort of...
0:26:04 > 0:26:05Something magical happens
0:26:05 > 0:26:07and it feels like you've seized the part of the day.
0:26:07 > 0:26:10- Those colours couldn't have been taken in a photograph.- No.
0:26:10 > 0:26:13It's very specific. These are January colours.
0:26:13 > 0:26:16- You wouldn't get these colours in... - No.- ..February or November.
0:26:16 > 0:26:18They're of the moment,
0:26:18 > 0:26:22and that is the most addictive thing to doing it.
0:26:22 > 0:26:25And you've been influenced by Tuke's work.
0:26:25 > 0:26:26I have been really, yeah.
0:26:26 > 0:26:27One of my favourite paintings of Tuke's
0:26:27 > 0:26:31was this little, small watercolour that he did called Quay Scamps
0:26:31 > 0:26:34- of the children jumping... - I've just been talking about it.
0:26:34 > 0:26:37- I had the pleasure of holding it. - Oh, did you? Oh, wow.- Yes.
0:26:37 > 0:26:39Yeah, very interesting painting
0:26:39 > 0:26:41because it's almost as if time has stood still.
0:26:41 > 0:26:43You can still go and see the children jumping off the quays
0:26:43 > 0:26:46around where I live down in Flushing and Falmouth.
0:26:46 > 0:26:47It just seems...
0:26:47 > 0:26:50It's a painting that's probably over 100 years old,
0:26:50 > 0:26:53but just it seems to be very modern as well.
0:26:53 > 0:26:55That's what I like.
0:26:59 > 0:27:00Although Tuke's life
0:27:00 > 0:27:02and society's appreciation of his work
0:27:02 > 0:27:04wasn't always plain sailing,
0:27:04 > 0:27:06I believe he will always be remembered
0:27:06 > 0:27:09as one of the early great British Impressionists
0:27:09 > 0:27:13who took good advantage of his surroundings here in Falmouth
0:27:13 > 0:27:17and managed to passionately capture a wonderful moment in time
0:27:17 > 0:27:19in this Cornish seaside town.
0:27:28 > 0:27:30Back at the National Maritime Museum Cornwall,
0:27:30 > 0:27:34the room is rich with antiques and the stories behind them.
0:27:35 > 0:27:37And Caroline loves to hear a tale.
0:27:39 > 0:27:43- Ellen, hello.- Hello. - I am so excited.
0:27:43 > 0:27:45- Yeah.- Bijoux Christian Dior.- Yeah.
0:27:45 > 0:27:49So, tell me how they came into your being.
0:27:49 > 0:27:52Well, when I was a little girl, I had two aunties -
0:27:52 > 0:27:54one who was very rich...
0:27:54 > 0:27:56- She married a millionaire.- How nice.
0:27:56 > 0:27:59- Although he did lose it all. - Oh. Oh, not quite so nice.
0:27:59 > 0:28:03And one who was very poor and didn't have any money at all.
0:28:03 > 0:28:06So, every year, the rich auntie who lived in London
0:28:06 > 0:28:10would buy totally inappropriate gifts for the poor auntie.
0:28:10 > 0:28:13Um, and every year, Auntie Ellen would say,
0:28:13 > 0:28:16"Well, I don't know what I'm going to do with these.
0:28:16 > 0:28:17- "I'd rather have the money."- Yes.
0:28:17 > 0:28:20So, these presents accumulated in a drawer,
0:28:20 > 0:28:22and I used to play with these ones when I was a little girl.
0:28:22 > 0:28:26They were never worn. And then when Auntie Ellen died,
0:28:26 > 0:28:28I got these. And I've had them ever since,
0:28:28 > 0:28:29and they've just sat there.
0:28:29 > 0:28:31So I thought I'd bring them along to see...
0:28:31 > 0:28:33- Well, shall we have a look inside?- Yeah.
0:28:33 > 0:28:38Beautiful box and this one is my favourite.
0:28:38 > 0:28:40- And in mint condition.- Yeah.
0:28:40 > 0:28:42- As you say, it's never been used. - No, never been used.
0:28:42 > 0:28:44They're gorgeous. Christian Dior.
0:28:44 > 0:28:48- It's just ordinary base metal... - Yeah.- ..and paste.- Yeah.
0:28:48 > 0:28:52But there's a mark on them and if you look with an eyeglass,
0:28:52 > 0:28:59we can see that they're marked, "Christian Dior, Germany '66,"
0:28:59 > 0:29:01- which means this was made in 1966. - Oh, right. OK.
0:29:01 > 0:29:03And it's wonderful.
0:29:03 > 0:29:07And this movement on it, sort of trembleuse, as is called,
0:29:07 > 0:29:09so when you're dancing or moving,
0:29:09 > 0:29:11those little pearls would move with you.
0:29:12 > 0:29:15Absolutely fantastic. And the other one.
0:29:15 > 0:29:17- This one's my favourite. - Is it?- Yeah.
0:29:17 > 0:29:23- This one's my favourite.- Yeah. - But this is gorgeous. Look at that.
0:29:23 > 0:29:26Now, the only little bit of damage on this one...
0:29:26 > 0:29:27- Can you see the tusks? - Yeah, it's worn off.
0:29:27 > 0:29:29They've been enamelled and it's worn off.
0:29:29 > 0:29:33- I bet that's you playing with it. - Probably. Yeah, probably. Sorry.
0:29:33 > 0:29:34I bet that was you playing with it.
0:29:34 > 0:29:38- Now, they're only... I say only! ..costume jewellery...- Yeah.
0:29:38 > 0:29:42..but they are made by this wonderful fashion designer,
0:29:42 > 0:29:45- Christian Dior, in the original box. - Yeah, they are.
0:29:45 > 0:29:50And I think they would easily get 200 to 300 for the two.
0:29:50 > 0:29:52- Wow.- I do, really.- Yeah.
0:29:52 > 0:29:56And, now, what about a reserve? Would you like a reserve on them?
0:29:57 > 0:30:00I think I would because I wouldn't like to sell them for pennies.
0:30:00 > 0:30:03- No, no, I would quite agree.- Yeah.
0:30:03 > 0:30:06What about if we put a fixed reserve at 150?
0:30:06 > 0:30:08OK. Yeah, that's fine.
0:30:08 > 0:30:11- And I think you might be very pleasantly surprised.- Hope so.
0:30:11 > 0:30:13- THEY LAUGH - Thank you so much.
0:30:13 > 0:30:16- You've made my day.- Very welcome. Thank you. Thank you.
0:30:20 > 0:30:22Frenchman Christian Dior
0:30:22 > 0:30:24was among the most influential fashion designers
0:30:24 > 0:30:27of the late 1940s and '50s
0:30:27 > 0:30:31and his work helped to restore the reputation of post-war Paris
0:30:31 > 0:30:32as a fashion capital.
0:30:36 > 0:30:38His exclusive haute couture collection
0:30:38 > 0:30:42screamed femininity and glamour and was worn by Hollywood stars.
0:30:45 > 0:30:49Unlike his contemporaries, Dior's costume jewellery was bold
0:30:49 > 0:30:52and designed to complement his fashion lines.
0:30:53 > 0:30:54Although it was high quality,
0:30:54 > 0:30:57affordable prices made it a must-have item.
0:31:00 > 0:31:01Now, that's glam for you.
0:31:03 > 0:31:06Now, Charles has slipped away to the top of the tower
0:31:06 > 0:31:09to look at some oriental artwork.
0:31:09 > 0:31:11- Jenny, what a wonderful place to be. - Yes, it is.
0:31:11 > 0:31:14- The lookout point here at the top of the museum.- Yes.
0:31:14 > 0:31:17- I can't believe the views. - It's incredible, isn't it?
0:31:17 > 0:31:19And it's just wonderful to see
0:31:19 > 0:31:22what keeps on coming out of these bags and boxes
0:31:22 > 0:31:25and out of your very small little case has come this.
0:31:25 > 0:31:27- Yes.- What we've got here
0:31:27 > 0:31:32are three most beautiful, very delicate drawings.
0:31:32 > 0:31:34What's their history?
0:31:34 > 0:31:36Well, I really don't know, to be honest,
0:31:36 > 0:31:39because I found them in amongst my mother's possessions
0:31:39 > 0:31:42after she died and I have no idea where they came from.
0:31:42 > 0:31:44Well, they are, Jenny, they are quite exotic,
0:31:44 > 0:31:47and I would say they're also quite well travelled.
0:31:47 > 0:31:51What I like so much about them is their vibrancy
0:31:51 > 0:31:55and they are, today, so alive, still, in colour, aren't they?
0:31:55 > 0:31:57- Yes, they are. - They really are wonderful.
0:31:57 > 0:32:00Have you any idea on country of origin?
0:32:01 > 0:32:05- Um, well, possibly Japan, do you think?- Yeah, yeah.- Yes.
0:32:05 > 0:32:08Yeah, they are probably 110 years old.
0:32:08 > 0:32:11The main geisha lady on the centre panel.
0:32:11 > 0:32:16Flanking her, these two young men looking very sprightly. They are...
0:32:17 > 0:32:18- They are on rice paper.- Mm-hm.
0:32:18 > 0:32:21And they are so fragile, you'll make out, Jenny,
0:32:21 > 0:32:25on some of the edges, where they're splitting
0:32:25 > 0:32:27and that's the nature of the rice paper.
0:32:27 > 0:32:31But the reason I like them is they are Japanese and, of course,
0:32:31 > 0:32:35following the Treaty of Edo in 1858,
0:32:35 > 0:32:40the Western world was opened up to a new generation of calligraphy,
0:32:40 > 0:32:43of Japanese artistry,
0:32:43 > 0:32:46which flooded in through merchant seamen
0:32:46 > 0:32:47and also through travellers.
0:32:47 > 0:32:51And they are just a delight.
0:32:52 > 0:32:55- What are they worth? - I haven't a clue.
0:32:55 > 0:32:56What are they worth?
0:32:56 > 0:33:00If I was going to give them a bit of swagger at auction,
0:33:00 > 0:33:07- I would suggest to you a guide price of between £40 and £60.- OK.
0:33:07 > 0:33:10- How does that sound to you? - Yes, that's fine.- Fine.- Yes.
0:33:10 > 0:33:14And I'd probably suggest to you we put a reserve on at £40...
0:33:14 > 0:33:17- Oh, OK.- ..with a 10% discretion.
0:33:17 > 0:33:21So, if someone was to bid £35, £36,
0:33:21 > 0:33:23I think we'd give the auctioneer consent to sell.
0:33:23 > 0:33:26- That would be fine with me, yes. - With your blessing.
0:33:26 > 0:33:27- Absolutely, yes.- Fantastic.
0:33:27 > 0:33:31- Excellent.- Can't wait.- Thank you, Charles.- Thank you so much.
0:33:31 > 0:33:34They should catch someone's eye because they are very colourful.
0:33:43 > 0:33:45There are many exhibits here in the museum,
0:33:45 > 0:33:47but what I'm sitting on right now
0:33:47 > 0:33:50has to be my favourite vessel of all time.
0:33:50 > 0:33:52I absolutely love this boat.
0:33:52 > 0:33:54She's called the Waterlily
0:33:54 > 0:33:57and she symbolises the golden age of style and elegance
0:33:57 > 0:34:00while travelling by steam on water.
0:34:00 > 0:34:05Her lines are absolutely superb. They really are. And listen to this.
0:34:05 > 0:34:08METAL CLANGS She's got an iron hull
0:34:08 > 0:34:10which is riveted together.
0:34:10 > 0:34:12It's much stronger and more durable than a wooden hull
0:34:12 > 0:34:16and she really is one of the oldest survivors of her kind.
0:34:16 > 0:34:18The condition is absolutely immaculate.
0:34:18 > 0:34:22She was built in 1866 and used on the River Thames,
0:34:22 > 0:34:24but I could equally quite see her
0:34:24 > 0:34:27being used pottering up the River Fal to Truro,
0:34:27 > 0:34:30stopping off at the National Trust house on the way -
0:34:30 > 0:34:32Trelissick - for a cream tea.
0:34:32 > 0:34:34Now, that would be travelling in style.
0:34:34 > 0:34:35Well, before the tide turns,
0:34:35 > 0:34:39let's catch up with our experts and see what they can uncover.
0:34:40 > 0:34:43With the museum still a hive of activity,
0:34:43 > 0:34:46Caroline has spotted another "Flog It!" favourite.
0:34:47 > 0:34:50- Julia, Mark, how nice to see you. - Thank you.
0:34:50 > 0:34:53Tell me about this lovely thing that you've brought along.
0:34:53 > 0:34:55- Well, this belonged to my grandmother...- Right.
0:34:55 > 0:34:57..and I remember seeing it in a cabinet in her house,
0:34:57 > 0:35:00- but not really touched. - When you were a child?- Yes.
0:35:00 > 0:35:05And then it was passed to my mother and now it's passed down to us.
0:35:05 > 0:35:07And do you like it?
0:35:07 > 0:35:11- It's not really my style, no. - What about you, Julia?- I kind of...
0:35:11 > 0:35:13I like the colours in it,
0:35:13 > 0:35:15but it just sits in our cupboard and...
0:35:15 > 0:35:17And do you know the maker of it?
0:35:17 > 0:35:19- Well, we know it's Clar... - Clarice Cliff.
0:35:19 > 0:35:21- Clarice Cliff cos it's on the bottom.- Yes. Yeah.
0:35:21 > 0:35:24We don't really know anything else about it.
0:35:24 > 0:35:27Right. Well, it's quite an unusual shape,
0:35:27 > 0:35:31this sort of upside-down graduation to it.
0:35:31 > 0:35:33- And it's the melon pattern. - Right.- Right.
0:35:33 > 0:35:35And you can see the melons going round.
0:35:35 > 0:35:38It's a lovely, bright, bright colouring,
0:35:38 > 0:35:42- and it's part of her Fantasque range.- Right.
0:35:42 > 0:35:44It's basically in very good condition.
0:35:44 > 0:35:48There's no chips or hairlines, which is really, really important.
0:35:48 > 0:35:52And if we look, it's just got a tiny bit of paint chipped from it here.
0:35:52 > 0:35:55- Can you see?- Oh, yes, yes.- Oh, yes. - Tiny bits of paint off it,
0:35:55 > 0:35:58which matters a bit, but not hugely.
0:35:58 > 0:36:00- Right.- That's OK.- OK.
0:36:00 > 0:36:03- So, that name - as soon as you hear Clarice Cliff...- Yeah.
0:36:03 > 0:36:07- ..it rings bells.- Right. - And lots of people collect it.
0:36:07 > 0:36:09- Yeah.- And have you ever thought about the value?
0:36:09 > 0:36:13- Not really, no.- No, not really. We have no idea, to be honest.- No.
0:36:13 > 0:36:15Well, I would think...
0:36:16 > 0:36:21A fair estimate for auction would be £150 to £250.
0:36:21 > 0:36:24- Right.- Really? Right. - And if you want to put a reserve...
0:36:24 > 0:36:26Would you like a reserve as a safety net for it?
0:36:26 > 0:36:28- I think so. - Perhaps we should.- Would you?
0:36:28 > 0:36:32- And what would you like to put as a reserve?- Maybe 100?- 100?
0:36:32 > 0:36:35Um, I don't know. I'd want to go a bit higher, I think.
0:36:35 > 0:36:37- Would you? A bit higher? A bit higher for Julia?- Yes!
0:36:37 > 0:36:39What do you think, Mark? Lower? Higher?
0:36:39 > 0:36:44I mean, is it something that goes in and out of fashion or...
0:36:44 > 0:36:45- Yes.- ..is it popular all the time?
0:36:45 > 0:36:47Things always come in and out of fashion,
0:36:47 > 0:36:49but I think this piece of Clarice Cliff
0:36:49 > 0:36:52- will easily be in fashion at the moment...- OK.
0:36:52 > 0:36:55- ..and I think it will get its market price.- Right.
0:36:55 > 0:36:57- So, I think maybe if we split the difference...- Yeah.
0:36:57 > 0:37:00..and put a fixed reserve of 120...
0:37:00 > 0:37:02- Yeah.- OK, right.- Agree. - How does that grab you?
0:37:02 > 0:37:04- That's fine, yeah.- Yeah? Maybe?
0:37:04 > 0:37:06What about you? Are you still wanting it higher?
0:37:06 > 0:37:08- SHE LAUGHS - Well, I guess if it's an auction
0:37:08 > 0:37:12and there's people interested in it, it will go up anyway, won't it?
0:37:12 > 0:37:15- Yes. Yes, it will. But this stops it from going below.- Yeah.
0:37:15 > 0:37:18- I think it will well exceed that. - Yes. Yeah, OK.
0:37:18 > 0:37:20- Yeah, we'll go for that. - Brilliant.- Lovely.
0:37:20 > 0:37:22And thank you so much for bringing it along.
0:37:22 > 0:37:24I look forward very much to seeing you both
0:37:24 > 0:37:25on the day at the auction.
0:37:25 > 0:37:27- Yes, lovely.- Great. Lovely. Thank you.- OK.
0:37:27 > 0:37:30The interesting shape of this piece of Clarice
0:37:30 > 0:37:32should certainly be the making of it.
0:37:34 > 0:37:35Well, there you are.
0:37:35 > 0:37:38Our experts have found their final items to take off to auction,
0:37:38 > 0:37:43so it's time to say farewell to our magnificent host location today,
0:37:43 > 0:37:46the National Maritime Museum Cornwall.
0:37:46 > 0:37:48As we head off to the saleroom,
0:37:48 > 0:37:51here's a quick recap of all the items we're taking with us.
0:37:52 > 0:37:54These Dior brooches will certainly
0:37:54 > 0:37:56bring a sparkle to the saleroom.
0:37:57 > 0:38:00A bit of the Far East comes to the Southwest
0:38:00 > 0:38:02with these three Japanese rice paper paintings.
0:38:04 > 0:38:07And Mark and Julia's melon-patterned Clarice Cliff vase
0:38:07 > 0:38:09is sure to get a good result.
0:38:09 > 0:38:11Fingers crossed.
0:38:13 > 0:38:16We're back at Jefferys auction house in Lostwithiel
0:38:16 > 0:38:20and Ellen's lovely brooches are just about to go under the hammer.
0:38:22 > 0:38:24If you're going to buy costume jewellery,
0:38:24 > 0:38:26you've got to buy these lots because there's two.
0:38:26 > 0:38:28There's a horse and an elephant brooch.
0:38:28 > 0:38:30- They sparkle like anything, don't they?- They do.
0:38:30 > 0:38:33They're so unique. When you talk about costume jewellery, you think,
0:38:33 > 0:38:35"Oh, just cheap and tacky." But this isn't.
0:38:35 > 0:38:38- I mean, it's £200 to £300.- Yeah. - Ellen, they are gorgeous.- They are.
0:38:38 > 0:38:41And you should be wearing them sparkling, you know.
0:38:41 > 0:38:43- Yes.- Yes. - You've got the face for it.
0:38:43 > 0:38:46Well, thank you, but it's not the kind of thing I would wear,
0:38:46 > 0:38:47my daughters aren't interested in it.
0:38:47 > 0:38:50- They're Christian Dior.- They are. - I know. Great name as well.
0:38:50 > 0:38:52- I think you'd wear one. - I would wear them, yes.
0:38:52 > 0:38:55I tell you what - I think 50% of the bidders in this room are ladies.
0:38:55 > 0:38:58- I'm sure we're going to find them a new home.- It's on now.
0:38:58 > 0:38:59It's going under the hammer right now.
0:38:59 > 0:39:00Yes, it's on now. This is it.
0:39:00 > 0:39:04Two brooches for the price of one. Can I say £200 away?
0:39:05 > 0:39:07150 if you start me.
0:39:07 > 0:39:10£100, I'm bid. £100. £100. 110 to get on.
0:39:10 > 0:39:15At £100. 110. 120. 130. 140.
0:39:15 > 0:39:18150. 160. 160, the bid is with me.
0:39:18 > 0:39:21- At 160.- Come on. We're a bit short.- 170 where?
0:39:21 > 0:39:25At £160, I'm bid. 170 where? At 160, then, the bid is with me.
0:39:25 > 0:39:28- At £160. - GAVEL BANGS
0:39:28 > 0:39:31- Oh, Jenny!- £160.- That's excellent.
0:39:31 > 0:39:33- We had a reserve of 150. - Really good.- Yeah.
0:39:33 > 0:39:36- Cor! You're happy anyway, aren't you? - I'm very happy, yes.
0:39:36 > 0:39:38- I always want to get the top end for our owners.- I know.
0:39:38 > 0:39:40I want you to go home with as much money as possible.
0:39:40 > 0:39:45- But, look, we sold it, OK? - Absolutely. Really happy about that.
0:39:45 > 0:39:47I think someone has gone away with a bargain there.
0:39:49 > 0:39:52Next up are these rice paper paintings.
0:39:52 > 0:39:54- Jenny, fingers crossed.- Yes. - We're just about to sell
0:39:54 > 0:39:56the Edwardian oriental rice paper paintings
0:39:56 > 0:39:58that are going under the hammer right now.
0:39:58 > 0:40:01- So, these have been in the family a long time.- Yeah.
0:40:01 > 0:40:03- Your mother had them?- Yes.
0:40:03 > 0:40:06- Where did she get them from? - I have no idea. I've no idea.
0:40:06 > 0:40:10I found them after she had died in the drawer in her dressing table,
0:40:10 > 0:40:12so I really don't know.
0:40:12 > 0:40:14I mean, popular thing during Edwardian England.
0:40:14 > 0:40:18- A lot of those paintings on rice paper came over.- Yeah.
0:40:18 > 0:40:21And I know we had them in my grandparents' family as well,
0:40:21 > 0:40:24- so you're not alone.- They may have been my grandmother's before.
0:40:24 > 0:40:27- Yeah.- Yeah.- Right, we're going to put it to the test. Ready?- Yes.
0:40:27 > 0:40:30So, good luck with it. Anyway, here we go. This is it.
0:40:31 > 0:40:34Three unframed rice paintings.
0:40:34 > 0:40:37- £50 away? £30 to start me.- Come on.
0:40:37 > 0:40:40- £20, I'm bid.- That's a tenner each. That's nothing.- At £20. £20. 25. 25.
0:40:40 > 0:40:44£30. At £30. 35. 35. £40?
0:40:45 > 0:40:51£35, I'm bid. At £35. At £35. 35.
0:40:51 > 0:40:54- GAVEL BANGS He sold.- He sold.
0:40:54 > 0:40:56- £35...- Oh, good.- ..he sold.
0:40:56 > 0:40:58- That's all right. - That's OK, isn't it?
0:40:58 > 0:41:00- Yes. Yes, absolutely.- That's OK.
0:41:00 > 0:41:03They were within 10% of the discretionary reserve
0:41:03 > 0:41:06so they have sold and Jennifer is happy.
0:41:07 > 0:41:10Now, how about this Clarice Cliff vase?
0:41:11 > 0:41:13I know I've said this 1,000 times before,
0:41:13 > 0:41:16but it wouldn't be "Flog It!" without a piece of Clarice Cliff,
0:41:16 > 0:41:18let's face it. And that's what we've got right now.
0:41:18 > 0:41:22Mark and Julia, thank you for bringing in a lovely example.
0:41:22 > 0:41:24I've not seen one of these on the show before.
0:41:24 > 0:41:26- No.- Never. But if you're going to get Clarice Cliff,
0:41:26 > 0:41:28- it's got to be a bright colour, hasn't it?- Yeah.
0:41:28 > 0:41:30- It really has. - And it's a really unusual shape.
0:41:30 > 0:41:32Extraordinary shape.
0:41:32 > 0:41:34It's not my cup of tea, I've got to admit,
0:41:34 > 0:41:35- but I do like that piece.- Yeah.
0:41:35 > 0:41:37And I think it's going to be popular.
0:41:37 > 0:41:39- Yeah, so do I. 200 to 300.- Yeah.
0:41:39 > 0:41:41Top end, 200 to 300 - that's what we like to hear.
0:41:41 > 0:41:44I know the auctioneer thinks that. He's had a lot of interest.
0:41:45 > 0:41:49- Yeah.- And there's a lot of people that love Clarice Cliff.
0:41:49 > 0:41:51We see it time and time again, and it doesn't let us down.
0:41:51 > 0:41:53Question is, will it be the lower end or the top end?
0:41:53 > 0:41:55We're going to find out right now.
0:41:56 > 0:42:01The Clarice Cliff melon-design vase. Shape number 366.
0:42:01 > 0:42:03Little rare pattern there.
0:42:03 > 0:42:06I have one, two, three, four, five, six, seven, eight bids on there.
0:42:06 > 0:42:10- Eight bids on the book.- Yes. - I've got to start at £780.- Yes!
0:42:10 > 0:42:14I'm in at 780. At 780. At 780. 800 to get on.
0:42:14 > 0:42:20At 780. At 780. 800. £800 in the room. 820 with me. 850.
0:42:20 > 0:42:22With you, I'm out. At 850 in the room.
0:42:22 > 0:42:27At 850. 880 now? At 850, I'm bid. At £850.
0:42:27 > 0:42:31- £850. The hammer's gone down. What a great result.- Amazing.
0:42:31 > 0:42:34- You see, Clarice does the business, doesn't it?- Gosh!
0:42:34 > 0:42:36I bet you wish you went out and collected some more
0:42:36 > 0:42:38- when you got that. - Yeah, I'll think about that now.
0:42:38 > 0:42:39Yeah. Wow.
0:42:39 > 0:42:42- It had everything going for it. - It did. It was iconic.
0:42:42 > 0:42:43- Yeah.- It really was just right.
0:42:43 > 0:42:45- The design, the colour, the condition.- Thank you so much.
0:42:45 > 0:42:48- Have you enjoyed your time on "Flog It!"?- Yeah!- Yes.
0:42:48 > 0:42:50What a way to end today's show as well
0:42:50 > 0:42:52with a big surprise like that here in Lostwithiel.
0:42:52 > 0:42:54- It doesn't get any better, does it?- No.
0:42:54 > 0:42:58It really doesn't. Anyway, see you soon for many more surprises.
0:42:58 > 0:43:01And if you've got something you want to sell, we want to flog it for you.