0:00:02 > 0:00:07Today is home sweet home for me because I grew up here in Cornwall.
0:00:38 > 0:00:43I adore this county and wherever you go in any direction,
0:00:43 > 0:00:50you're never too far away from the rugged coastline with its sweeping bays and pretty fishing villages.
0:00:50 > 0:00:52Today we are in St Austell.
0:00:52 > 0:00:56If you've never been to Cornwall, you're missing out
0:00:56 > 0:00:58because it's a special place.
0:00:58 > 0:01:05It's full of Celtic traditions, it's got tales of witchcraft, smuggling, invigorating sea air
0:01:05 > 0:01:10and I wonder what we'll find in this massive queue.
0:01:18 > 0:01:25Our venue today is Keay Theatre at Cornwall College where students learn to tread the boards,
0:01:25 > 0:01:29but all this stage atmosphere has gone to our experts' heads.
0:01:29 > 0:01:34They're waiting in the wings - Jethro Marles, Midnight Cowboy,
0:01:34 > 0:01:39and Kate Alcock who has changed her identity - you've just got married.
0:01:39 > 0:01:46- I have, so now I'm Kate Bliss. - That sounds like a stage name! Congratulations.- Thank you.
0:01:46 > 0:01:49- You go that way, I go that way.- OK.
0:01:52 > 0:01:59While everyone's unpacking their treasures, Kate wastes no time in finding her first little gem.
0:01:59 > 0:02:03This is an interesting figurine. What's its history?
0:02:03 > 0:02:05We've had it about 40 years
0:02:05 > 0:02:11and we bought it in a junky sort of antique type shop in London
0:02:11 > 0:02:16and it's been on the side ever since, different places.
0:02:16 > 0:02:23We saw you were going to be here today, so we thought we'd bring it and see what you thought of it.
0:02:23 > 0:02:28This stands in a tradition of chryselephantine figurines.
0:02:28 > 0:02:31And the term "chryselephantine"
0:02:31 > 0:02:36is used to denote the dual materials we've got here
0:02:36 > 0:02:40of bronze, of course, but also of ivory.
0:02:40 > 0:02:45And it stands in the tradition which goes back to the 19th century
0:02:45 > 0:02:48and the early 20th century.
0:02:48 > 0:02:53It was very much ladies in sporting activities or exotic dancers
0:02:53 > 0:02:55in exotic, risque costumes
0:02:55 > 0:03:00and although it's in that tradition in the materials being used,
0:03:00 > 0:03:03- the subject is very different.- Yes.
0:03:03 > 0:03:09So what we've got here, I think, is a little figure dating from the 1930s
0:03:09 > 0:03:14and it reminds me of Christopher Robin, the AA Milne character.
0:03:14 > 0:03:19- Right.- It's obviously a child and he's dressed in his oilskin.
0:03:19 > 0:03:25He's got that charming pose as if he's striding out against the elements.
0:03:25 > 0:03:30On the back we have a signature, "Campbel", spelt with one L.
0:03:30 > 0:03:36It's possible that the signature here is a pseudonym for an artist
0:03:36 > 0:03:43because artists wanted to promote themselves by producing top-notch, top-quality work
0:03:43 > 0:03:46with a striking subject matter.
0:03:46 > 0:03:50This would be considered quite paltry in comparison.
0:03:50 > 0:03:56So artists often used pseudonyms, so they're weren't underselling themselves.
0:03:56 > 0:04:02It's also reminiscent of figurines produced in porcelain in the 1920s and '30s,
0:04:02 > 0:04:07but here we've got bronze which has been beautifully patinated
0:04:07 > 0:04:10to give it that really nice toffee brown colour.
0:04:10 > 0:04:17It just looks as if it's been lovingly handled and worn which sets it off really nicely.
0:04:17 > 0:04:21It's very saleable. Have you any ideas about value?
0:04:21 > 0:04:26- Well, we hadn't really, not when we first came here.- No.- Not at all.
0:04:26 > 0:04:33- What's your gut feeling? - Well, I had hoped round about 200, something like that.
0:04:33 > 0:04:37That would be a fair estimate, £200 to £300 at auction.
0:04:37 > 0:04:42- That's lovely.- Would you be happy with that?- Yes, thank you.
0:04:42 > 0:04:47Charles, you don't look like the sort of chap that collects dolls,
0:04:47 > 0:04:53- not that I know what such a chap looks like!- I saw it in an auction
0:04:53 > 0:04:58- and thought it was a lovely doll. - You've got an eye for the dolls?
0:04:58 > 0:05:02Not really, but I just thought it was cute, interesting.
0:05:02 > 0:05:08- So when did you buy it?- A year and a half ago at an auction in Redruth.
0:05:08 > 0:05:10- How much did you pay?- £130.
0:05:10 > 0:05:15- You paid £130 for a doll that just took your fancy?- Yeah.
0:05:15 > 0:05:21Somebody else was bidding on it, so it must be worth something, I thought. But you tell me.
0:05:21 > 0:05:26Let's look at the little chap. He's unusual because he is a boy doll.
0:05:26 > 0:05:30You see girl dolls all the time. He's not a large size.
0:05:30 > 0:05:34But he's got a lovely face, a cute face.
0:05:34 > 0:05:39He's got fixed eyes. His complexion and condition are good.
0:05:39 > 0:05:44He doesn't look terribly old, but he's got this marvellous outfit.
0:05:44 > 0:05:48He looks like a character from Oliver Twist.
0:05:48 > 0:05:52So he's a very appealing little chap. I'll just take his cap off.
0:05:52 > 0:05:57- He's more baby-like now. He doesn't look so grown-up.- Not at all.
0:05:57 > 0:06:01Let's turn him over and look at the back.
0:06:02 > 0:06:05It says, "Made in Germany."
0:06:05 > 0:06:07- That's an ink stamp mark.- Right.
0:06:07 > 0:06:12That tells us it's 20th century. If it had been any earlier,
0:06:12 > 0:06:17it would have had an impressed mark impressed into the china head.
0:06:17 > 0:06:21You also mentioned that you'd put it on eBay.
0:06:21 > 0:06:24- What happened? - It was sold for £250.
0:06:24 > 0:06:31- Oh!- But in the photo, the mould mark looked like a crack in the head and she withdrew from buying it.
0:06:31 > 0:06:36- Which was the mould mark that she saw?- Around the neck, that line.
0:06:36 > 0:06:39And around its ear here.
0:06:39 > 0:06:46Anyone interested in collecting dolls should have known that what's they were, but obviously not.
0:06:46 > 0:06:51I think you've missed your chance at getting the best price
0:06:51 > 0:06:55because I don't think he's worth much more than £200, if that much.
0:06:55 > 0:06:59The amount you paid for it was the going rate.
0:06:59 > 0:07:04If we were to put it in an auction with an estimate of 140 to 180,
0:07:04 > 0:07:09- that would be a good estimate and a reserve at 140.- That's fine.
0:07:09 > 0:07:12- Are you happy with that?- I am.
0:07:12 > 0:07:17Let's see if he'll raise a few bids in the auction.
0:07:17 > 0:07:22Annie's brought an unusual drinking vessel, but Kate's seen a problem.
0:07:22 > 0:07:26Most people would be struck by the bad condition
0:07:26 > 0:07:31- cos we have got a very bad crack down the side, haven't we?- Yes.
0:07:31 > 0:07:36We've got some chips on the top and a very bad patch of staining.
0:07:36 > 0:07:40But for me, it's still a very exciting mug.
0:07:40 > 0:07:45- Where did it come from?- In the '60s, my father and mother worked
0:07:45 > 0:07:50- at Bisham Abbey in Buckinghamshire. - When it was really an abbey?- Yes.
0:07:50 > 0:07:56When my father and mother left, my father was given this mug.
0:07:56 > 0:08:01- And you think that this mug came from the abbey?- Yes, it did.
0:08:01 > 0:08:06- And what do you like about it? - I just love the creamy colour.
0:08:06 > 0:08:12- I just love the beauty of it really. - It's a really rich colour.
0:08:12 > 0:08:16In fact, that's exactly what gives it its name
0:08:16 > 0:08:21because this type of pottery is called Creamware,
0:08:21 > 0:08:25because of its lovely, rich cream glaze and colour.
0:08:25 > 0:08:30- Yes.- And it was introduced by Wedgwood in the 18th century,
0:08:30 > 0:08:33so we're talking a long time ago.
0:08:33 > 0:08:38- No wonder it's been through the wars!- It's amazing it's survived.
0:08:38 > 0:08:41And Wedgwood introduced this type of Creamware
0:08:41 > 0:08:46to rival the porcelain that was being made at the time
0:08:46 > 0:08:52and the hand-painted decoration on it is very English in style
0:08:52 > 0:08:57whereas a lot of pieces in the 18th century were Chinese-inspired.
0:08:57 > 0:09:02"Chinoiserie" was the term - landscapes and pagoda buildings,
0:09:02 > 0:09:06whereas this looks like a little English cottage.
0:09:06 > 0:09:12It's only the trellis fence which is a throwback to the Chinese decoration.
0:09:12 > 0:09:19It's difficult to pinpoint an exact factory. A lot was made in the Leeds potteries.
0:09:19 > 0:09:23This possibly could be Staffordshire.
0:09:23 > 0:09:26- I think it's a cider mug. - Do you?- Hmm.
0:09:26 > 0:09:30You could put an awful lot of cider in there.
0:09:30 > 0:09:37- Why do you want to get rid of it? - I'm reluctant to get rid of it because it's very special.
0:09:37 > 0:09:41- But I've got too many things. - You need to de-clutter?- I do.
0:09:41 > 0:09:45- So what about value? - I have no idea.
0:09:45 > 0:09:51The condition will make a difference, but collectors will go for this.
0:09:51 > 0:09:55It's a nice bit of Creamware, a good sized piece.
0:09:55 > 0:10:00I think at auction we're going to be looking at 200 to 300 certainly,
0:10:00 > 0:10:04but we could put a reserve, if you like, at 250.
0:10:04 > 0:10:07- How does that sound?- It sounds OK.
0:10:12 > 0:10:18Ken, when I saw this in the queue, I thought, "It's Georg Jensen!"
0:10:18 > 0:10:21- Do you know what this is?- I don't.
0:10:21 > 0:10:25I was told it was a drinking bowl, but I don't know.
0:10:25 > 0:10:29It's modelled on an early Georgian posset pot.
0:10:29 > 0:10:34They normally had two handles, but this is one made with one handle,
0:10:34 > 0:10:39posset pots being pots for people with leprosy and things like that -
0:10:39 > 0:10:45couldn't hold a drinking vessel properly, so they used two hands.
0:10:45 > 0:10:49It's not Georg Jensen, but it is pretty damn rare.
0:10:49 > 0:10:54I want you to tell me where you got it from and what you know about it.
0:10:54 > 0:10:58I got it from my wife's parents. It was a hand-down.
0:10:58 > 0:11:02We've had it for about eight, nine years,
0:11:02 > 0:11:05just hanging around doing nothing
0:11:05 > 0:11:09and I thought I'd bring it along today and see what it is.
0:11:09 > 0:11:15It's very stylised, very evocative of the Arts and Crafts movement.
0:11:15 > 0:11:19It would be worth more with two handles. We've got green agate,
0:11:19 > 0:11:22which is a natural stone.
0:11:22 > 0:11:24It's just been polished.
0:11:24 > 0:11:31They said it was morally reprehensible to facet their stones for the Arts and Crafts movement.
0:11:31 > 0:11:36It's stamped "Guild of Handicrafts, CR Ashby".
0:11:36 > 0:11:39Here we've got some assay marks.
0:11:39 > 0:11:44There's the lion passant which says it's Sterling Silver.
0:11:44 > 0:11:50The leopard's head tells us it's London and that stylised "G" tells me it's 1902.
0:11:50 > 0:11:54- As old as that?- Yes, that correlates with the Guild of Craftsmen.
0:11:54 > 0:11:59I'm not an expert on these, but I do love this type of thing.
0:11:59 > 0:12:02It's a gorgeous piece of workmanship.
0:12:02 > 0:12:07It's an innovative industrial design for its day.
0:12:07 > 0:12:10There's a bit of damage. Did you do that?
0:12:10 > 0:12:15- No, it was like that when we received it.- It can be sorted out.
0:12:15 > 0:12:19It's two little dents - one there and there.
0:12:19 > 0:12:24- OK, value, what do you think it's worth?- You tell me.
0:12:24 > 0:12:29OK, little bit of damage, I think we could put this into auction
0:12:29 > 0:12:33with an estimate, a "come and buy me" estimate,
0:12:33 > 0:12:36of £800 to £1,200.
0:12:36 > 0:12:40On a good day with two people fighting for it, hopefully £1,500.
0:12:40 > 0:12:44But on an average day, £800 to £1,200.
0:12:44 > 0:12:46- Do you want to sell it? - Yes, please.
0:12:46 > 0:12:51Joy, you've brought in this nice watch and chain. Tell me about it.
0:12:51 > 0:12:56- It belonged to my father. - He gave it to you how long ago?
0:12:56 > 0:13:00When he died 20 years ago, and it's been passed down.
0:13:00 > 0:13:06- There's something special about this watch. - It tells the quarter of an hour.
0:13:06 > 0:13:11It's a quarter repeater pocket watch. I'll do it now. Just listen.
0:13:11 > 0:13:16- CHIMES - One, two, three. One, two, three.
0:13:16 > 0:13:22Those distinctive chimes, even without opening the watch, tell me it has passed three hours -
0:13:22 > 0:13:28ping, ping, ping, and three-quarters - da-dum, da-dum, da-dum.
0:13:28 > 0:13:33So you could keep that watch in your pocket, press the button,
0:13:33 > 0:13:39- and you knew what time it was to the quarter of an hour.- Yeah. - So, quite an ingenious thing.
0:13:39 > 0:13:44It's in a nice, plain case, so it hasn't been personalised.
0:13:45 > 0:13:50We flick that button open and we've just gone a quarter to four,
0:13:50 > 0:13:52so that's what the chimes told us.
0:13:52 > 0:13:57The case of the watch is hallmarked nine-carat gold...
0:13:57 > 0:14:02- with import marks for London 1920.- Right.
0:14:02 > 0:14:05Let's have a look at the movement.
0:14:05 > 0:14:09You can actually see all of the movement here,
0:14:09 > 0:14:13then you've got these two metal bars around the outside.
0:14:13 > 0:14:20When we press the button, the little hammer flicks up against the metal strip
0:14:20 > 0:14:24and it sounds like a bell, so we'll do it one more time.
0:14:24 > 0:14:28- CHIMES - One, two, three. One, two, three.
0:14:28 > 0:14:33That's the special thing about this watch and it's in very good order.
0:14:33 > 0:14:37- Good.- I think this is going to make over £400.
0:14:39 > 0:14:44- I think it should make maybe £500. - Lovely.
0:14:44 > 0:14:50I think if we put an estimate of £400 to £600 as a wide estimate with the reserve at £400?
0:14:50 > 0:14:57- Yes, that's fine.- We won't sell it for less than 400.- No, no. - OK, let's flog it.
0:15:02 > 0:15:08We're about halfway through our day and our experts have been working flat-out.
0:15:08 > 0:15:13It's time to put those valuations to the test at the auction room.
0:15:13 > 0:15:17Here's a recap of the things we're taking with us.
0:15:17 > 0:15:21The bronze figure reminds Kate of Christopher Robin
0:15:21 > 0:15:23and she thinks it will sell well.
0:15:23 > 0:15:29Boy dolls are rare, but will that push up the price in the saleroom?
0:15:29 > 0:15:32Annie's Creamware mug is badly damaged,
0:15:32 > 0:15:36but let's hope the quality shines through.
0:15:36 > 0:15:40I love the craftsmanship of this drinking vessel.
0:15:40 > 0:15:42It's sure to catch someone's eye.
0:15:42 > 0:15:47Jethro is confident the time is right to sell Joy's pocket watch,
0:15:47 > 0:15:50so fingers crossed on our items.
0:15:50 > 0:15:55Our travels have brought us from the valuation day in St Austell
0:15:55 > 0:15:58to Lostwithiel on the River Fowey.
0:15:58 > 0:16:04It's a thriving centre for antiques and this is home for our auction today.
0:16:05 > 0:16:13We're at Jefferys Saleroom where I catch up with Ian Morris to see what he thinks of our antiques.
0:16:13 > 0:16:15This Staffs mug belongs to Annie.
0:16:15 > 0:16:20She got very emotional because she's got to say goodbye to it.
0:16:20 > 0:16:26Our expert Kate valued this at £250 to £350, lovely bit of Creamware.
0:16:26 > 0:16:32Oscar Wilde said, "Drinking is a mug's game. The bigger the mug, the better."
0:16:32 > 0:16:36It's a cracking sized mug and it's a lovely decorated mug.
0:16:36 > 0:16:40The damage worries me. There's a chip to the rim
0:16:40 > 0:16:46and a crack through the middle of the body. This might stop it selling.
0:16:46 > 0:16:50So 250 to 350 is a good valuation for one in perfect condition?
0:16:50 > 0:16:56- In perfect condition, that would be cheap. - What would a perfect one go for?
0:16:56 > 0:17:01- Nearer £400 to £600. - Well, fingers crossed on this one.
0:17:01 > 0:17:06First to go under the hammer is John and Pat's figurine.
0:17:06 > 0:17:13Kate and I have been joined by John and Pat. That lovely bronze figure is about to go under the hammer.
0:17:13 > 0:17:19- You got this in a junk shop in London?- Yes.- How much did you pay?
0:17:19 > 0:17:23- Not a lot in them days. - £10 or something like that?
0:17:23 > 0:17:26He's got a Christopher Robin pose.
0:17:26 > 0:17:33- It's a lovely thing.- Yes. - Fingers crossed. It's going under the hammer now. Good luck.
0:17:33 > 0:17:38Bronze and ivory figure there, depicting a boy in a sou'wester.
0:17:38 > 0:17:43I've got two bids at £300 and that's where I'll start. £300. 320.
0:17:43 > 0:17:48At 320, the bid's at the back. 340 now? Both my bids are out.
0:17:48 > 0:17:52340? No, we're done, selling at £320...
0:17:53 > 0:17:57Short and sweet, straight in at 300, sold for 320.
0:17:57 > 0:18:02I'll thank my dad for that. He was on the phone. No, it's a joke!
0:18:09 > 0:18:12Let's see if we can get Charlie his money back.
0:18:12 > 0:18:16- He bought this doll in Redruth for 130 quid?- Yes.
0:18:16 > 0:18:20We've got a valuation of £140, maybe £180 on this.
0:18:20 > 0:18:27It's quite unusual because it's a bisque head doll, but it's of a boy, not a girl.
0:18:27 > 0:18:32- Too many girls.- Hopefully, the collectors will clamber after this.
0:18:32 > 0:18:37- Let's hope so. I'm no expert on dolls.- Nor am I.- Nor am I.
0:18:37 > 0:18:41So none of us have got any knowledge about dolls,
0:18:41 > 0:18:45but we think it's worth this sort of money.
0:18:45 > 0:18:50Lot 361, doll figure there. £150 away? £100 to start me?
0:18:50 > 0:18:53£100? £80 I'm bid. At £80.
0:18:53 > 0:18:56I'll take 90 now. At £80. At 90.
0:18:56 > 0:18:59100. 110. At £110 I'm bid.
0:18:59 > 0:19:03I'll take 120 to get on. At £110 I'm bid.
0:19:03 > 0:19:07120 on the phone. At 120. 130.
0:19:07 > 0:19:10At 130. Is it 140...? 140.
0:19:10 > 0:19:13At 140. At 140. 150 now?
0:19:13 > 0:19:17At 140, the bid's on the phone. Are we done at £140?
0:19:17 > 0:19:20I'm selling then at £140...
0:19:21 > 0:19:27- Yes, 140! Close.- I told you I was an expert on dolls(!)- Not bad.
0:19:30 > 0:19:35This is one of my favourite lots that we've sold on Flog It.
0:19:35 > 0:19:40It belongs to Ken, not for much longer, a silver drinking vessel,
0:19:40 > 0:19:43CR Ashby, Guild of Handicrafts.
0:19:43 > 0:19:46I put £800 to £1,200 on this.
0:19:46 > 0:19:50- The money is going towards your bathroom, isn't it?- Yeah.
0:19:50 > 0:19:55We're redesigning it and it'll all help towards it.
0:19:55 > 0:20:00Very nicely designed drinking bowl. Shall we say £800 away?
0:20:00 > 0:20:05£500 to start? £500 I'm bid. At £500. I'll take 20 to get on.
0:20:05 > 0:20:08At 500. 520. 550 now?
0:20:08 > 0:20:10550. 580. 600.
0:20:10 > 0:20:13- 650.- Gosh!- 700? 700.
0:20:13 > 0:20:15750. 800.
0:20:15 > 0:20:18850. 900. 950.
0:20:18 > 0:20:211,000. 1,000 in the middle there.
0:20:21 > 0:20:23At 1,000. Is it 50 now?
0:20:23 > 0:20:27At 1,000. Are we done at 1,000...?
0:20:27 > 0:20:31- That wasn't bad, mid-estimate. - Yeah, that was good.
0:20:31 > 0:20:38- I was a bit worried that it might just sell for 800. - Thank you very much, Paul.
0:20:42 > 0:20:47I've been joined by Annie and Kate. We're about to flog the lovely mug.
0:20:47 > 0:20:52The big one! £250 to £350 we've got on this.
0:20:52 > 0:20:54I had a chat to the auctioneer
0:20:54 > 0:20:58and he said, in good condition, £600 to £800,
0:20:58 > 0:21:02but the condition is gonna put a lot of people off
0:21:02 > 0:21:04and he thinks it might not sell.
0:21:04 > 0:21:11- Annie told me she'd be delighted if it doesn't sell, so we can't lose, can we?- No.
0:21:11 > 0:21:14Why were you tempted to flog it?
0:21:14 > 0:21:18I've got so much stuff. Everyone says the same thing.
0:21:18 > 0:21:22- You're de-cluttering. - That's the only reason.
0:21:22 > 0:21:29- Well, Annie from Truro, good luck. I hope you get the top end.- Thanks. - It's going under the hammer now.
0:21:29 > 0:21:34This is an 18th century Creamware tankard with blue glaze decoration.
0:21:34 > 0:21:39A crack to the bottom and chips to the rim, but it can be restored.
0:21:39 > 0:21:43Can I say 250 away? Can I say £200 away? £200 I've got.
0:21:43 > 0:21:46At £200. I'll take 210.
0:21:46 > 0:21:49- At 200. 210. 220. - He's got a bid on the book.
0:21:49 > 0:21:53- Yeah, we've done it. It's sold. - ..260. 270. 280.
0:21:53 > 0:21:56At 280, the bid's with me. 290?
0:21:56 > 0:22:00At 280. We're done at £280...
0:22:01 > 0:22:06- Yes!- Fantastic!- £280. You don't know whether to be happy or sad.
0:22:06 > 0:22:11I'm torn really, but my dad would be happy, he'd be thrilled.
0:22:15 > 0:22:20Joy's feeling ecstatic. Her lot's going under the hammer.
0:22:20 > 0:22:25- Lovely quarter repeater pocket watch valued at 400 to 600.- Yes.
0:22:25 > 0:22:29- It was Dad's, but it's been in a drawer.- 20 years.
0:22:29 > 0:22:34- Happy with the valuation?- Yes. - Let's hope we get the top end.
0:22:34 > 0:22:40- Let's ask the man in charge. - £400 to £600, I think that's good.
0:22:40 > 0:22:43Time's ticking away and it's up!
0:22:43 > 0:22:48It's a nine-carat gold case, pocket watch with white enamel dial.
0:22:48 > 0:22:53It's got a nice chiming movement. I have two bids. I'll start at £400.
0:22:53 > 0:22:57At £400, the bid's with me. £400. 420.
0:22:57 > 0:23:00450. 480. 500.
0:23:00 > 0:23:02520, the bid's right there. At 520.
0:23:02 > 0:23:06- Joy!- 550. 580. 600. 620.
0:23:06 > 0:23:08650. 680. 700.
0:23:08 > 0:23:11720. 720 to my left.
0:23:11 > 0:23:15At 720. 750? £720...
0:23:15 > 0:23:21- 720, the hammer went down. - Oh, marvellous!- It's a good price!
0:23:21 > 0:23:25- Heavens!- How about that? - Wonderful. I can't believe it.
0:23:25 > 0:23:30- £400 to £600, good estimate, and 720, couldn't be better.- Superb!
0:23:30 > 0:23:33Everyone's happy. It's a Joy moment!
0:23:38 > 0:23:42Once upon a time, there was an artist
0:23:42 > 0:23:46who had the vision to create a Gothic mansion
0:23:46 > 0:23:49on the edge of Bodmin Moor.
0:23:50 > 0:23:55OK, don't be that melodramatic. It's not that kind of Gothic.
0:23:55 > 0:24:00It's a contemporary house designed with elements from a bygone age,
0:24:00 > 0:24:04several bygone ages, owned by artist Graham Ovenden.
0:24:04 > 0:24:10Graham is a renowned artist who retreated to Cornwall from London more than 30 years ago
0:24:10 > 0:24:14to create another work of art - his house.
0:24:14 > 0:24:21He took inspiration from the high art of the Victorian Gothic revival and built his house himself.
0:24:21 > 0:24:25I can't believe it. How long has it taken?
0:24:25 > 0:24:30Well, I started it 31 years ago and we're still...
0:24:30 > 0:24:38There's another 30 years to go, but my son has taken over now. I've become old and fatter.
0:24:39 > 0:24:43- So it's basically one big DIY job? - Absolutely.
0:24:43 > 0:24:48A lot of the best buildings ever built are DIY jobs, aren't they?
0:24:48 > 0:24:52You sum up the true Arts and Crafts ethos.
0:24:52 > 0:24:56If you're gonna do it, do it yourself with your own hands.
0:24:56 > 0:25:03- I admire the William Morrises and the Pugins immensely because they were immensely capable.- Yes.
0:25:03 > 0:25:06When Morris, say, started tapestry,
0:25:06 > 0:25:11he went out and dyed his own threads and wove his first tapestry.
0:25:11 > 0:25:15So he understood the nature of the beast.
0:25:17 > 0:25:22I like this. It's very abstract. Is that symbolic of something?
0:25:22 > 0:25:28My father was an aeronautical engineer and I love the idea of flight. Here we have a crossbow.
0:25:28 > 0:25:32- Oh, yes. - And two crossbow bolts either side.
0:25:32 > 0:25:37That's one way of looking at it, but they could be abstract flowers.
0:25:37 > 0:25:41I love the idea of going up towards the sky,
0:25:41 > 0:25:46- so we have a black star. - Like a black hole of infinity.
0:25:46 > 0:25:52That's exactly what it is, the idea of looking towards the sky to infinity
0:25:52 > 0:25:55or it can be enclosing, a prison almost.
0:25:55 > 0:25:58- It sums up the 20th century.- Yes.
0:25:58 > 0:26:04We have greater freedoms, but we made ourselves total slaves in the process.
0:26:09 > 0:26:13I like the sound of the water, the energy that creates.
0:26:13 > 0:26:20Oh, yes. When the wind blows as well, the leaves pick up the sound and echo it.
0:26:20 > 0:26:24- It's a great symphony of wonderful natural sounds.- Yeah.
0:26:27 > 0:26:31I think, in fact, the further man removes himself from nature,
0:26:31 > 0:26:35the more problems we make for ourselves
0:26:35 > 0:26:39and that's why I'm such a supporter of the Victorians
0:26:39 > 0:26:43in terms of the philosophy behind their design.
0:26:43 > 0:26:48I'm talking about high Victorian design, not curly Victorian.
0:26:48 > 0:26:51Let's go inside and have a look at some more.
0:26:56 > 0:27:02Inside, Graham's house is as much a homage to Victorian designers as the outside
0:27:02 > 0:27:08and examples of their exquisite decorative detail can be seen in every corner.
0:27:21 > 0:27:27Outside in the garden, you mentioned some of your influences, the Puginesque things.
0:27:27 > 0:27:30What other influences are there?
0:27:30 > 0:27:34I think ornamentation in the broadest field is something
0:27:34 > 0:27:38which has intrigued and delighted me all my adult life.
0:27:38 > 0:27:42Now, this is the Grammar Of Ornament by Owen Jones.
0:27:42 > 0:27:47It's a book that probably was in every major art institution
0:27:47 > 0:27:53in this country by the middle 1860s and also in France and Germany, Europe in general.
0:27:53 > 0:27:58And what it is, it's a brief survey
0:27:58 > 0:28:02of all the traditions of ornamentation,
0:28:02 > 0:28:06really from the savage tribes, as he says at the beginning,
0:28:06 > 0:28:11and covering across all stratas of architectural ornamentation.
0:28:11 > 0:28:16Lovely geometric patterns. They're totally different, but still work.
0:28:16 > 0:28:21This is partly Owen Jones' genius. The whole page is wonderful.
0:28:21 > 0:28:25If you look through the hundred plates in this book,
0:28:25 > 0:28:29there's not a bum page anywhere in it. It's quite remarkable.
0:28:29 > 0:28:32Here's a particularly beautiful page.
0:28:32 > 0:28:39This is slightly more home-grown in terms of culture, which is the Celtic.
0:28:39 > 0:28:45These are early examples of the 6th, 7th, 8th, 9th centuries,
0:28:45 > 0:28:50the Book of Kells, the Book of Durrow, the Lindisfarne Gospels,
0:28:50 > 0:28:53the great masterpieces of illumination.
0:28:53 > 0:29:00- You see these templates being used on many fine buildings and works of art.- Indeed.
0:29:00 > 0:29:07In its own small, modest way, Jones, by placing it together here for our delight and instruction,
0:29:07 > 0:29:09is making a contribution.
0:29:09 > 0:29:16Another of your influences is Dr Christopher Dresser, another great industrial designer,
0:29:16 > 0:29:20and you've got something of Christopher Dresser's here.
0:29:20 > 0:29:27Dresser is the first modern designer in that he hired his designing abilities out to manufacturers
0:29:27 > 0:29:33and his Studies In Design, the book we're looking at, is really his masterpiece.
0:29:33 > 0:29:38His ornamentation is based on a profound knowledge of nature
0:29:38 > 0:29:41and the structure of nature.
0:29:41 > 0:29:45His great predecessor Pugin says the same thing,
0:29:45 > 0:29:50"One must go back to nature and understand the structure of nature
0:29:50 > 0:29:53"before one can do good ornamentation."
0:29:53 > 0:29:58If you read his text in here, he actually talks about ornamentation
0:29:58 > 0:30:04as a major art form and it's not subservient to the fine arts, to painting.
0:30:04 > 0:30:09This is pure Dresser. Notice the use of colour, which is remarkable.
0:30:09 > 0:30:14A lot of Victorians seemed to be masters of using very rich colours
0:30:14 > 0:30:18which remain quite harmonic within the process.
0:30:18 > 0:30:23This is probably the most famous design of the 19th century
0:30:23 > 0:30:27and it's based on ice crystals on a window.
0:30:27 > 0:30:34Looking into this, you realise the 19th century is the great storehouse of advanced thought in design.
0:30:34 > 0:30:39We tend to think of the 19th century in Victoriana
0:30:39 > 0:30:43and high Victorian design is incredibly exciting.
0:30:43 > 0:30:51Dresser worked obviously on metals, on canvas, in fabric. Where would he have used this design?
0:30:51 > 0:30:56This would have been to decorate and, in fact, Dresser tells us.
0:30:56 > 0:31:00- What does it read there? - Wallpaper!- Yes.
0:31:00 > 0:31:05The wonderful quality about the Victorians is the high thought
0:31:05 > 0:31:09that goes into the creation, but the modesty of the use of it.
0:31:09 > 0:31:12Graham, thank you very much.
0:31:16 > 0:31:20Back at the valuation day, Kate's getting enthusiastic
0:31:20 > 0:31:26about some artistic decoration on a piece of Moorcroft.
0:31:26 > 0:31:31This is a very smart-looking vase. What do you know about it?
0:31:31 > 0:31:37I think it was a wedding present to my mother and father when they married in 1930
0:31:37 > 0:31:42- and it's been handed down by my mother.- Do you know the factory?
0:31:42 > 0:31:47Yes, it's come from the Moorcroft factory. It's a Pomegranate design.
0:31:47 > 0:31:52- You know all about it.- I did a bit of research.- It's a lovely piece.
0:31:52 > 0:31:58The Pomegranate pattern is a fairly common pattern, but still a very commercial one
0:31:58 > 0:32:02because Moorcroft, as you might have heard,
0:32:02 > 0:32:06has very much gone up in value over the last few years.
0:32:06 > 0:32:11There's been a surge in popularity and it's doing very well at auction
0:32:11 > 0:32:16- and it's still very buoyant in price.- Oh, good.
0:32:16 > 0:32:22It's semi-baluster in shape with this lovely flared rim, a shape used a lot by the factory.
0:32:22 > 0:32:27And the palette on the dark blue glaze is again very attractive
0:32:27 > 0:32:29and used quite a lot.
0:32:29 > 0:32:33So, the thing that's special about it
0:32:33 > 0:32:38is it is a piece of art pottery and it's got the Moorcroft stamp.
0:32:38 > 0:32:43William Moorcroft, in fact, joined the Staffordshire firm of MacIntyre
0:32:43 > 0:32:48in about 1898 and it was at the beginning of the 20th century
0:32:48 > 0:32:54that he brought these art forms with trailing slip decoration which you can feel here.
0:32:54 > 0:33:00- It feels lovely.- And these very naturalistic patterns and shapes.
0:33:00 > 0:33:02So what about value?
0:33:03 > 0:33:07Perhaps between £200 and £300 possibly.
0:33:07 > 0:33:10Right. What do you base that on?
0:33:10 > 0:33:15Well, I have to admit that in 1994 I got a valuation
0:33:15 > 0:33:19- from London...- Right.- ..valuers.
0:33:19 > 0:33:24You're probably bang on with price. I would say 200 to 300 at auction.
0:33:24 > 0:33:28I could see it making midway between there,
0:33:28 > 0:33:31but not much more than 300.
0:33:31 > 0:33:36We could say 250 to 300 if you like with a reserve around the 250 mark,
0:33:36 > 0:33:42but 300 is probably its limit as it's a fairly common pattern.
0:33:42 > 0:33:47Mike, now, books come in all sorts of shapes and sizes.
0:33:47 > 0:33:51This is a fairly impressive book. It's big and quite old.
0:33:51 > 0:33:55And you're a bit of an authority on this.
0:33:55 > 0:34:00I don't know about that, but it's a wonderful book.
0:34:00 > 0:34:03It's a one-off, it's a first edition.
0:34:03 > 0:34:07It's Smeaton's original book that he wrote
0:34:07 > 0:34:11about building the Eddystone Lighthouse in Plymouth.
0:34:11 > 0:34:16- Smeaton was the architect, the engineer and the builder?- He was.
0:34:16 > 0:34:21- Where's the Eddystone Lighthouse? - 12 miles off the port of Plymouth.
0:34:21 > 0:34:27And it's the first rock lighthouse in Europe.
0:34:27 > 0:34:29He built the lighthouse in stone,
0:34:29 > 0:34:34a revolutionary design which became the blueprint of all lighthouses.
0:34:34 > 0:34:38On the outside it doesn't tell us anything,
0:34:38 > 0:34:45except these names and it says, "Smeaton's Account of Eddystone Lighthouse." What are these names?
0:34:45 > 0:34:51This edition was owned by Darwin's father, so it was the library of Darwin.
0:34:51 > 0:34:56Certain gentlemen were allowed to use it and these are their names.
0:34:56 > 0:35:00How do you know this was Darwin's copy?
0:35:00 > 0:35:06- My friend gave me the book, Robert Lenkiewicz.- That rings a bell. - He was a painter in Plymouth.
0:35:06 > 0:35:12And because he knew I was researching my own book,
0:35:12 > 0:35:17he bought this for me and he told me he knew it was Darwin's father's.
0:35:17 > 0:35:22It's magnificent. Why are you thinking of selling it?
0:35:22 > 0:35:26It's basically too good for me. It needs to have a proper home.
0:35:26 > 0:35:33I've enjoyed it, but, as Robert would say, we only loan things. We don't keep them for ever.
0:35:33 > 0:35:38If I can sell this, I'd like to buy a painting of Robert's.
0:35:38 > 0:35:44I'm gonna let you do the turning of the pages. How old is this book?
0:35:44 > 0:35:48- 1791.- And look at that fantastic image there!
0:35:48 > 0:35:50Wonderful.
0:35:50 > 0:35:55The Eddystone Lighthouse was rebuilt on several occasions.
0:35:55 > 0:35:59- Yes, it was. - How many times?- Four times.
0:35:59 > 0:36:05We had Henry Winstanley, John Rudyerd, John Smeaton and James Douglass.
0:36:05 > 0:36:08The James Douglass is still out there.
0:36:08 > 0:36:13- Smeaton's tower is on the Plymouth Hoe.- We can see it today?- Yes.
0:36:13 > 0:36:17And that's the outside of Smeaton's tower.
0:36:17 > 0:36:19And this is the interior.
0:36:19 > 0:36:25This shows a cross-section of the lighthouse and the compartments?
0:36:25 > 0:36:31Yeah, they were the living quarters, the rooms where the provisions were kept
0:36:31 > 0:36:33and where the keepers lived.
0:36:33 > 0:36:39They were out on a rock for six months and that's where they stayed.
0:36:39 > 0:36:41I've done a bit of research myself
0:36:41 > 0:36:48and I can tell you that a second edition of this book was sold not that long ago
0:36:48 > 0:36:51for just under £900.
0:36:51 > 0:36:54This is a first edition
0:36:54 > 0:36:59and my feeling is that it ought to be worth perhaps £1,500.
0:36:59 > 0:37:05Would you like to put it into auction with a £1,500 reserve?
0:37:05 > 0:37:08As long as it wasn't less than 1,500.
0:37:08 > 0:37:12Firm reserve £1,500, estimate 1,500 to 1,800.
0:37:12 > 0:37:16- OK.- Let's see what washes in. - Absolutely.
0:37:19 > 0:37:24- What have you brought for us today? - I've brought this little box.
0:37:24 > 0:37:28It's a clinometer with all the instructions.
0:37:28 > 0:37:32I'm glad it's got the instructions and its original box
0:37:32 > 0:37:38because when it comes to scientific instruments, my brain isn't very scientific,
0:37:38 > 0:37:44but I have seen one of these before and it is a clinometer. What is it used for?
0:37:44 > 0:37:48I imagine it's used for gauging heights and levels.
0:37:48 > 0:37:51That's exactly right, yes.
0:37:51 > 0:37:57And I think we can see in the instructions which are original that we have inside...
0:37:57 > 0:38:01"The clinometer - its description and uses.
0:38:01 > 0:38:06"A clinometer is an instrument for observing the heights and widths
0:38:06 > 0:38:10"of objects at a known distance from the observer."
0:38:10 > 0:38:13It looks rather like a surveyor's tool.
0:38:13 > 0:38:18And in fact, this section opens up to an angle
0:38:18 > 0:38:23and then we have sights on the top here which flip open.
0:38:23 > 0:38:27In fact, you can measure the angle off the little dial here.
0:38:27 > 0:38:31That helps you calculate the height.
0:38:31 > 0:38:35We have a spirit level to make sure you're keeping it level,
0:38:35 > 0:38:41but we also have a little compass which swivels, so you can keep it horizontal.
0:38:41 > 0:38:45- It's very neat, isn't it? - Very well made.
0:38:45 > 0:38:49- What's it made of? - Not oak, is it?- No.
0:38:49 > 0:38:53It's boxwood which was used a lot in rules
0:38:53 > 0:38:56and little instruments, little pocket tools,
0:38:56 > 0:39:03but the thing that really caught my eye was the maker's name in the centre of the compass.
0:39:03 > 0:39:06"Negretti and Zambra, London."
0:39:06 > 0:39:12Negretti and Zambra were specialists in making barometers.
0:39:12 > 0:39:15If you see their name on an antique barometer,
0:39:15 > 0:39:21it pushes the price up because it is a sign of very good quality.
0:39:21 > 0:39:26That's what we've got here. The workmanship is quite superb.
0:39:26 > 0:39:30- It really is, yeah. - So where did it come from?
0:39:30 > 0:39:33- My grandfather had it. - Did he use it?
0:39:33 > 0:39:37- What business was he in? - The china clay industry,
0:39:37 > 0:39:42- but whether he used it, I don't know.- It looks like it hasn't been used at all.
0:39:42 > 0:39:49I have seen little clinometers sell at auction without their boxes
0:39:49 > 0:39:52for round about the £50 to £70 mark,
0:39:52 > 0:39:57but because this one has the box and the instructions,
0:39:57 > 0:40:01it's in such lovely condition and it has that important name,
0:40:01 > 0:40:06I'd say 100 to 150 at auction with a reserve of just below 100.
0:40:06 > 0:40:10- Right, fine.- Will that be OK?- Yeah.
0:40:10 > 0:40:14It's a treat to see it today and I hope we get you a good price.
0:40:14 > 0:40:17I hope you will too!
0:40:22 > 0:40:28Gina, Steve, you've brought in a pretty little gem of a vase.
0:40:28 > 0:40:32I think it's gorgeous. What do you know about it?
0:40:32 > 0:40:38We bought it ten years ago from a car boot sale in Leeds for 20p.
0:40:38 > 0:40:40- 20p?- 20p.
0:40:40 > 0:40:45- Which one of you has got the eye? - I bought it because it was pretty.
0:40:45 > 0:40:50- We didn't know if it was worth anything.- It was my 20p!- Your 20p?
0:40:50 > 0:40:54- So do you own it? - No, it's a present.
0:40:54 > 0:40:56What have you found out about it?
0:40:56 > 0:41:00We recently moved house and I was given an antiques book.
0:41:00 > 0:41:03I saw a picture that was similar.
0:41:03 > 0:41:08- What was similar about it?- It was the identical shape and size.
0:41:08 > 0:41:11It said it might belong to the Tiffany family.
0:41:11 > 0:41:16- We weren't sure. - Well, you're absolutely right.
0:41:16 > 0:41:21The person who really made this style of work famous was Tiffany.
0:41:21 > 0:41:27And he was subsequently copied by Loetz and a number of other makers.
0:41:27 > 0:41:32When you look at this vase, do you know when they were made?
0:41:32 > 0:41:37- 1920s, 1930s?- Yeah, absolutely right, early 20th century.
0:41:37 > 0:41:41You can tell this from the Art Nouveau styling you've got here.
0:41:41 > 0:41:44Now, if we just turn it around,
0:41:44 > 0:41:49you can see this iridescence on the surface.
0:41:50 > 0:41:55And this iridescence is the hallmark, if you like,
0:41:55 > 0:41:58of these pieces of art glass.
0:41:58 > 0:42:04And when we turn it up, as you have to, to look on the base,
0:42:04 > 0:42:08- what does it say on the base? - Aurene.- Aurene.
0:42:08 > 0:42:14I have not come across this particular name on the base of a piece of glass like this.
0:42:14 > 0:42:20Now, the word "aur", A-U-R, possibly for "gold".
0:42:20 > 0:42:23You know, the gold colours.
0:42:23 > 0:42:28From what I can see at the moment, I think it's just a very nice vase
0:42:28 > 0:42:34made in the 1920s period, maybe the 1930s period, in the Tiffany style.
0:42:34 > 0:42:39If that's the case, it's probably worth £200 to £250.
0:42:39 > 0:42:44- It's worth giving a go for that. - Yeah.- I wouldn't sell it for less.
0:42:44 > 0:42:48- I think 20p up to £200 isn't bad, is it?- Not bad.
0:42:48 > 0:42:53If we felt it was definitely Tiffany, and I don't think it is,
0:42:53 > 0:42:58then its value could be £300 or £400.
0:43:02 > 0:43:07We've already seen Graham Ovenden's original take on house design,
0:43:07 > 0:43:10but his main occupation is as an artist
0:43:10 > 0:43:15and he's got his own original take on landscape painting too.
0:43:15 > 0:43:20In 1975, a group of young artists formed the Brotherhood of Ruralists
0:43:20 > 0:43:25and were following in the footsteps of the Pre-Raphaelites,
0:43:25 > 0:43:30pursuing a romantic dream to find inspiration from an unspoilt time.
0:43:30 > 0:43:35The original group was Peter Blake, Jann Haworth and David Inshaw,
0:43:35 > 0:43:39Graham and Ann Arnold and Graham and Annie Ovenden.
0:43:39 > 0:43:44They decided to escape the rat race and live in deepest rural England
0:43:44 > 0:43:50where they could draw all their inspiration from the world that surrounded them.
0:43:52 > 0:43:59Graham, how important is it to your work to be surrounded by such rural beauty?
0:43:59 > 0:44:02Well, obviously, rather paramount
0:44:02 > 0:44:08because as a painter of nature and landscape,
0:44:08 > 0:44:12and I hope in the great English pastoral tradition,
0:44:12 > 0:44:15the environment is pretty seminal.
0:44:15 > 0:44:22The British Isles has some of the most varied and most beautiful landscape in the world.
0:44:22 > 0:44:29If you think from the earliest English poetry to the great Gothic cathedrals right on until Constable,
0:44:29 > 0:44:33nature has meant an immense amount to us.
0:44:57 > 0:44:59Graham, can I interrupt you there?
0:44:59 > 0:45:06- Yeah.- You spent time in the city and started out taking photographs of the streets of London.
0:45:06 > 0:45:11How did you make that quantum leap to painting landscapes and when?
0:45:11 > 0:45:16I must have been aged about 12 when I started my tracking to London
0:45:16 > 0:45:19to take the East End photographs,
0:45:19 > 0:45:23by which time I was a serious painter as well.
0:45:26 > 0:45:31If you actually think of it, the actual light and the romance
0:45:31 > 0:45:37of those great long parallels of terraced streets is not so dissimilar to the country.
0:45:37 > 0:45:42You still deal with light and shade and the mystery of dark corners.
0:45:42 > 0:45:45You've got a lot more imagination than I have!
0:45:45 > 0:45:51I can see your skills in photography show in your perspective
0:45:51 > 0:45:54and in your proportion.
0:45:54 > 0:45:56On both sides of the coin there,
0:45:56 > 0:46:03the techniques and structure of painting and of photography are not dissimilar.
0:46:03 > 0:46:06One must have an understanding of light
0:46:06 > 0:46:11and the very nature of photography is the use of light.
0:46:11 > 0:46:15Exactly. Talk me through some of your technique.
0:46:15 > 0:46:18It looks so air-brushed, if you don't mind me saying!
0:46:18 > 0:46:21I've never used an air brush ever!
0:46:21 > 0:46:26If you look at areas like this, paint's been put on with my hands
0:46:26 > 0:46:32and I suppose I use a very traditional process of using semi-transparent glazes.
0:46:32 > 0:46:35- To create more depth?- Yes.
0:46:35 > 0:46:40- Say I painted in here the yellows and the greens...- On the leaves.
0:46:40 > 0:46:45This will have another transparent colour glazed over it,
0:46:45 > 0:46:47so it unifies and gives harmony,
0:46:47 > 0:46:51then will be built up and drawn into again,
0:46:51 > 0:46:58the result being you can build up levels of luminosity and that's the crucial part for me.
0:47:01 > 0:47:07It's following the structure of nature which is layer upon layer upon layer.
0:47:07 > 0:47:11It sounds very labour-intense. How long will this painting take?
0:47:11 > 0:47:15Well, you can't be absolutely specific,
0:47:15 > 0:47:21but I would seldom paint a landscape painting inside six to eight months.
0:47:21 > 0:47:27And quite often on the larger paintings, I'll work on them for three or four years.
0:47:27 > 0:47:32- But I often paint six or seven paintings together.- At a time.- Yes.
0:47:32 > 0:47:37Otherwise I really would be in the gutters with my begging bowl.
0:47:37 > 0:47:42I'm a professional painter and that's how I earn my keep, you see.
0:47:42 > 0:47:48One can't be sentimental about it. One has to work to live.
0:47:58 > 0:48:04How important was it for you to be part of the Brotherhood of Ruralists,
0:48:04 > 0:48:07as opposed to going it alone?
0:48:07 > 0:48:12The support of one's comrades obviously means a very great deal
0:48:12 > 0:48:18and it has to all artists, whatever their discipline, since the beginning of time.
0:48:18 > 0:48:23To have that sort of moral support is obviously a huge bonus.
0:48:23 > 0:48:29And remember, perhaps being at the sharp end of art, it's not the easiest world to exist in.
0:48:29 > 0:48:36- People are terribly unkind, particularly the people who write about art.- Yeah, your critics.
0:48:36 > 0:48:41I think they have an in-built envy, in fact, and covetousness
0:48:41 > 0:48:46to those of us who can physically do, rather than just talk about it.
0:48:46 > 0:48:50I write books as well, so I do a bit of both.
0:48:58 > 0:49:04Well, that's certainly given me lots of inspiration in keeping my dreams alive.
0:49:04 > 0:49:06Thanks a lot to Graham for that.
0:49:06 > 0:49:12From the embrace of nature, over to the hustle and bustle of the saleroom.
0:49:12 > 0:49:15Here's a reminder of our items.
0:49:15 > 0:49:17Moorcroft usually sells well
0:49:17 > 0:49:22and Kate thinks Martin's vase will tempt the dealers.
0:49:22 > 0:49:25The lighthouse book is a piece of history,
0:49:25 > 0:49:28but will it attract the bidders?
0:49:28 > 0:49:34Len's clinometer should definitely be helped by its famous name.
0:49:34 > 0:49:39And last, but not least, it's Gina and Steve's tiny vase.
0:49:39 > 0:49:41But is it or isn't it Tiffany?
0:49:43 > 0:49:45Now it's the magic of Moorcroft.
0:49:45 > 0:49:50We're always saying invest in antiques with good makers' names.
0:49:50 > 0:49:54This lot belongs to Martin. It's a lovely Moorcroft vase.
0:49:54 > 0:49:59Kate's put £200 to £300 on this. Why do you want to flog it?
0:49:59 > 0:50:04The computer at home did a nasty crash, so I need to replace it.
0:50:04 > 0:50:10- You need a new hard drive. - Afraid so.- I'd keep the Moorcroft. - Yeah, I think I would.
0:50:10 > 0:50:14In this saleroom we've got a lot of late Moorcroft,
0:50:14 > 0:50:19so this early example will shine and collectors will go for that.
0:50:19 > 0:50:26- I hope so.- We've got a packed saleroom. It's going under the hammer now. Good luck.- Thanks.
0:50:26 > 0:50:29Lot 106 there, a Moorcroft vase,
0:50:29 > 0:50:32decorated pomegranates on deep blue ground.
0:50:32 > 0:50:36Can I say 250 away? £200 away? 150 I'm bid.
0:50:36 > 0:50:39160. 170. 180. 190.
0:50:39 > 0:50:41200. At £200. 210. 220.
0:50:41 > 0:50:45- 230. 240.- They like it. - 250. 260. 270.
0:50:45 > 0:50:50270 there. 280 behind. 290. 300? 300.
0:50:50 > 0:50:53My wife will be pleased. Over 300 now!
0:50:53 > 0:50:57320 at the front here. 340. 340 in the third row.
0:50:57 > 0:51:00- At 340...- What a great result!
0:51:00 > 0:51:03Selling at £340...
0:51:03 > 0:51:08- £340!- Fantastic.- A bit of change for you to treat the wife with.
0:51:08 > 0:51:14- Yeah, thank you very much. - Thank you. Good result, Kate. - Yeah, a fair price.
0:51:19 > 0:51:24For me, this is the big one. I went up Smeaton Tower two years ago.
0:51:24 > 0:51:31This is a book relating to the experiences of building it and it belongs to Mike here
0:51:31 > 0:51:33who's looking for £1,500 to £1,800.
0:51:33 > 0:51:38It has a lot of content and history and the condition is fantastic.
0:51:38 > 0:51:43- Beautiful book.- Jethro was enthralled when you saw that.
0:51:43 > 0:51:49- It's a wonderful piece of history. - We're in the right place, we're not far from Plymouth.
0:51:49 > 0:51:53Let's let the bidders of Lostwithiel decide for us.
0:51:53 > 0:51:59- Hopefully, there's a few phone bids from London and the big collectors. - Let's hope so.- Good luck.
0:51:59 > 0:52:03Lot 741 is a narrative of the building
0:52:03 > 0:52:06of the Eddystone Lighthouse.
0:52:06 > 0:52:10Can I say £1,500? Can I say £1,000 to start?
0:52:10 > 0:52:14- £1,000 I've got. At £1,000. - We're in.
0:52:14 > 0:52:17I'll take 1,100 to get on. At £1,000.
0:52:17 > 0:52:19At 1,000.
0:52:19 > 0:52:221,100. 1,200. At £1,200.
0:52:22 > 0:52:26At £1,200. 13 now? At £1,200.
0:52:26 > 0:52:2813, no? We're done at £1,200.
0:52:28 > 0:52:32- BANGS GAVEL - That struggled.
0:52:32 > 0:52:37- Not the right day for that.- No. - That's all I can say.- Never mind.
0:52:37 > 0:52:43Get it in an auction room in Plymouth or a specialist maritime sale somewhere in London.
0:52:43 > 0:52:46- It's a beautiful book.- Stunning.
0:52:49 > 0:52:53We have Len and his clinometer coming up now
0:52:53 > 0:52:58and one of my researchers said it measures the angle of the dangle!
0:52:58 > 0:53:04- How did you come by this? - My grandfather passed it to my father who passed it to me.
0:53:04 > 0:53:08It's been in the family and no-one's got any use for it,
0:53:08 > 0:53:11so I might as well try and sell it.
0:53:11 > 0:53:17You've got the memories, now you want to flog it. Let's see if we can get £150, Kate.
0:53:17 > 0:53:21Well, it's a really finely crafted tool.
0:53:21 > 0:53:24It's gilt-lacquered, finely engraved.
0:53:24 > 0:53:28You've heard it from Kate. Let's try and flog it.
0:53:28 > 0:53:33The rule, compass and two levels, all in a nice case, lot 458.
0:53:33 > 0:53:35Can I say £80 away? £50 away?
0:53:35 > 0:53:40£50 I'm bid. I'll take 5 to get on. At £50 I'm bid. 55.
0:53:40 > 0:53:42At 60. And 5. 70.
0:53:42 > 0:53:455. 80. 5.
0:53:45 > 0:53:50At £85 at the front. At 90. And 5. 100.
0:53:50 > 0:53:52110. 120. 130. 140.
0:53:52 > 0:53:56150. 160. 170. 180.
0:53:56 > 0:53:59190. 190 on the cabinet.
0:53:59 > 0:54:01At 190. At 190. 200 or not?
0:54:01 > 0:54:04We're all done at £190...
0:54:04 > 0:54:09- That's the figures we wanted. Well done, Len.- That's made my day!
0:54:09 > 0:54:12What are you gonna put £190 towards?
0:54:12 > 0:54:16- Pay my parking fee out in the street, I think!- Oh, no!
0:54:17 > 0:54:20There's not a lot of parking here.
0:54:25 > 0:54:32Right now we'll hopefully turn 20p into £250. That's the theory on Flog It for Gina and Steve.
0:54:32 > 0:54:36You've got a lovely Tiffany-style vase in glass
0:54:36 > 0:54:41you bought for 20p in a car boot in Leeds. What were you doing there?
0:54:41 > 0:54:47We lived there and we went to the car boot on the Sunday for a look round and Gina saw this.
0:54:47 > 0:54:50- So you zoomed in on that?- Yeah.
0:54:50 > 0:54:54- I just thought it was very pretty. - What a bargain!
0:54:54 > 0:54:59Will we do it, Jethro? You've put a valuation of £200 to £250 on this.
0:54:59 > 0:55:04I didn't know anything about that name "Aurene" underneath.
0:55:04 > 0:55:09- Have you ever heard of it?- No. - The Steuben glass works in America
0:55:09 > 0:55:16invented this particular technique in the early part of the 20th century, around 1910.
0:55:16 > 0:55:21Tiffany copied this style, but the value I think is about right,
0:55:21 > 0:55:25- so 200-ish is what we're aiming for.- Sounds good to me.
0:55:25 > 0:55:28It's going under the hammer now.
0:55:28 > 0:55:33It's a Tiffany-style glass vase with decoration on an iridescent base.
0:55:33 > 0:55:35Can I say £200? 150 away?
0:55:35 > 0:55:39150? £100 I've got. I'll take 110.
0:55:39 > 0:55:41At 110. 120. 130.
0:55:41 > 0:55:43140. 150? 150.
0:55:43 > 0:55:47160. 170. 180. 190.
0:55:47 > 0:55:50190 to my left. Is it 200? 200.
0:55:50 > 0:55:54- At £200. 210 now? 210. - One more bid, come on!
0:55:54 > 0:55:57- 220. 230.- Oh, yes. - It's a nice feeling.
0:55:57 > 0:56:01240. 250? 250. 260...?
0:56:01 > 0:56:08- Gosh!- Normally at this point Jethro does a little dance.- Not yet!
0:56:08 > 0:56:12280 on the phone. 290 on the second phone? 290.
0:56:12 > 0:56:15290. 300...? 300.
0:56:15 > 0:56:17Is it 20? 320. 340, is it?
0:56:17 > 0:56:20340. 360?
0:56:20 > 0:56:22360. 380?
0:56:22 > 0:56:25380. Is it 400?
0:56:26 > 0:56:29- 400. Is it 20?- Hey!
0:56:29 > 0:56:31420. Is it 440?
0:56:31 > 0:56:35440. Is it 460...?
0:56:35 > 0:56:37460. Is it 480?
0:56:37 > 0:56:40480. Is it 500?
0:56:40 > 0:56:43- 500!- 500.
0:56:44 > 0:56:47< 520. 540? I can't believe it.
0:56:47 > 0:56:50540. 560...?
0:56:50 > 0:56:53560. Is it 580? 580 I'm bid.
0:56:53 > 0:56:55600 now?
0:56:55 > 0:56:58600. 620?
0:56:58 > 0:57:03- Whatever you do, do not adjust your sets!- We haven't stopped yet.
0:57:03 > 0:57:06650. 680...? 680.
0:57:06 > 0:57:08700...? 700.
0:57:08 > 0:57:11720...? 720.
0:57:11 > 0:57:13750?
0:57:13 > 0:57:16750. 780?
0:57:18 > 0:57:23750, we're done then. At 750. 780 seated.
0:57:23 > 0:57:25800?
0:57:26 > 0:57:30800. 820 now? Yes, 820. 850?
0:57:30 > 0:57:35820 in the room then. At 820 seated there. £820!
0:57:35 > 0:57:40- The hammer went down, £820! - Oh, my goodness!
0:57:40 > 0:57:45OK, Gina, Steve, you didn't think you would get that amount of money.
0:57:45 > 0:57:48- Not by a long way.- 250, I thought.
0:57:48 > 0:57:53Keep doing those car boot sales, especially those ones in Leeds.
0:57:53 > 0:58:00- It went for an awful lot of money. - People picked up on the Aurene word on the base of the glass.
0:58:00 > 0:58:05- And two collectors went for it. - A lovely Flog It moment!- Thank you.
0:58:10 > 0:58:17What a cracking auction we had in Lostwithiel and we've been embraced with wonderful Cornish hospitality!
0:58:17 > 0:58:22It was really pleasing to see Ken get £1,000 for his silver bowl
0:58:22 > 0:58:26and Joy was over the moon with £720 for her watch.
0:58:26 > 0:58:30Time's up. See you next time on Flog It!
0:58:51 > 0:58:55Subtitles by Subtext for Red Bee Media Ltd 2006
0:58:55 > 0:58:58Email us at subtitling@bbc.co.uk