Penzance

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0:00:02 > 0:00:07If you want beautiful scenery, mild weather and a stunning coastline, you can't beat Cornwall.

0:00:07 > 0:00:13It's a pleasure for me to come back to this county, where I grew up, and I get to stay with my mum.

0:00:13 > 0:00:16Welcome to Penzance and welcome to Flog It!

0:00:46 > 0:00:51Penzance lies ten miles from Land's End in the shelter of Mounts Bay

0:00:51 > 0:00:55and enjoys some of the mildest weather in the British Isles.

0:00:55 > 0:01:00But is it mild enough to bring out the crowds to St John's Hall for Flog It? Of course it is.

0:01:00 > 0:01:04I thought I'd sneak out early and meet everybody in this massive queue

0:01:04 > 0:01:10- before the experts snap up the best antiques.- You'll have to get up earlier than that, Paul!

0:01:10 > 0:01:12Grrrrrrr!

0:01:12 > 0:01:16Philip Serrell and Jethro Marles may have beaten me to it this time,

0:01:16 > 0:01:18but I've got something up my sleeve.

0:01:18 > 0:01:20Let's get the show on the road.

0:01:20 > 0:01:24Christine, you've brought in a lovely little pendant here

0:01:24 > 0:01:28set with pearls and other gems. Tell me what you know about it.

0:01:28 > 0:01:32I know very little about it. It belonged to my aunt

0:01:32 > 0:01:34and when she died, it came to me.

0:01:34 > 0:01:39I would like to know more about it - especially I would like to know

0:01:39 > 0:01:44about the little blue snake that's in the centre.

0:01:44 > 0:01:47- Have you worn it?- No, I haven't. - It doesn't appeal to you?

0:01:47 > 0:01:51No, it's the snake, it puts me off wearing it a little bit.

0:01:51 > 0:01:55- Do you not like snakes? - Not in jewellery, no.- OK.

0:01:55 > 0:01:59First of all, we've got this frame of half pearls, or split pearls,

0:01:59 > 0:02:03and these are natural pearls, not cultured. I know that

0:02:03 > 0:02:06from the age of the piece itself.

0:02:06 > 0:02:09These are natural pearls that came from an oyster

0:02:09 > 0:02:12that have then been cut in half and each half would have been,

0:02:12 > 0:02:16if it was done properly, put on either side of the frame

0:02:16 > 0:02:20to that they matched in pairs all the way around, so that the frame looked completely symmetrical.

0:02:20 > 0:02:24At the centre you have...a diamond.

0:02:24 > 0:02:28You'll notice the way the facets are at the top of the diamond.

0:02:28 > 0:02:32It's cut like a thin sliver with facets on the top.

0:02:32 > 0:02:36It's what is known as a rose-cut diamond -

0:02:36 > 0:02:41when you look down on the surface, it's like the petals of a rose.

0:02:41 > 0:02:44Then you've got the little baroque pearl drop -

0:02:44 > 0:02:48called baroque because it's basically misshapen.

0:02:48 > 0:02:51And then the little snake that you don't like.

0:02:51 > 0:02:56He's decorated with a turquoise enamel, which is powdered glass

0:02:56 > 0:03:00fired at high temperatures so the glass melts all over the gold,

0:03:00 > 0:03:03and he's got beautiful little eyes.

0:03:03 > 0:03:06The snake, of course, is very symbolic.

0:03:06 > 0:03:12It's symbolic of a lot of things, but a snake forming a complete circle is representative of

0:03:12 > 0:03:14- eternal love.- Oh, right!

0:03:14 > 0:03:18A snake bites onto its tail, forming that perfect circle,

0:03:18 > 0:03:23and it's the early form of eternity ring, showing eternal love.

0:03:23 > 0:03:27But if we turn it over, have a look at it from the back...

0:03:27 > 0:03:32you can see that there is a maker's stamp just here.

0:03:32 > 0:03:35- I noticed that.- It is a little daisy, a little flower,

0:03:35 > 0:03:38with the initials C and C.

0:03:38 > 0:03:42And that is for Walter and Harold Child...

0:03:42 > 0:03:46trading under the name of Child and Child.

0:03:46 > 0:03:50- Really?- It's a sweet name, isn't it? Child and Child.

0:03:50 > 0:03:55They were jewellers producing jewellery in the latter part of the 19th, early 20th centuries.

0:03:55 > 0:03:59- Right.- So that confirms the date of the piece.

0:03:59 > 0:04:03They hand-made pieces, basically. This was a hand-made piece.

0:04:03 > 0:04:07You will find pieces by Child and Child that are similar,

0:04:07 > 0:04:11but not exactly the same. The only thing that concerns me a little bit

0:04:11 > 0:04:14is that rose diamond in the centre.

0:04:14 > 0:04:19I'm not 100% certain that that is the original gem that went in the middle.

0:04:19 > 0:04:23I'd have been happier if that had been a ruby,

0:04:23 > 0:04:27because ruby and the turquoise are the happy marriage of colours,

0:04:27 > 0:04:31- the blue against the red.- The little snake's eyes, if you look closely,

0:04:31 > 0:04:34- are red.- Exactly, and it works well.

0:04:34 > 0:04:37So perhaps it's a little more appealing now.

0:04:37 > 0:04:40Well, it's certainly much more interesting now that I know

0:04:40 > 0:04:45a little bit about it. I was sure the snake was significant.

0:04:45 > 0:04:51- But the thing we want to know is what's it worth?- Yes, I would like to know that.- Especially on Flog It!

0:04:51 > 0:04:56- I would say, in an auction, this is going to make £400-£500.- Right.

0:04:56 > 0:05:00I think we should put a reserve at 400...

0:05:00 > 0:05:05- Right.- Would you be happy with that? - Yes.- Is it about what you thought?

0:05:05 > 0:05:08It's more than I thought, but I didn't have any idea,

0:05:08 > 0:05:12- which is why I've come here today. - So would you like to sell it?- Yes. - Put it in the auction for £400?

0:05:12 > 0:05:16- Let's see if it goes a bit better. - OK. Thank you.

0:05:24 > 0:05:27You're in the shade, Lynne!

0:05:29 > 0:05:32Actually, it's quite nice. These are original, aren't they?

0:05:32 > 0:05:35- Hessian lampshades. Real 1970s. - Oh, yes!

0:05:35 > 0:05:41- If you can't find Troika in Cornwall, you're not going to find it anywhere, are you?- No.

0:05:41 > 0:05:45- Did you buy these recently?- We bought them in the '70s from St Ives

0:05:45 > 0:05:49- and they've been in the family ever since.- What did you pay?

0:05:49 > 0:05:51Probably around £20.

0:05:51 > 0:05:53You paid £20 each for them?

0:05:53 > 0:05:57- So if somebody offered you £30 each for them, would you take it?- No.

0:05:57 > 0:06:02What I think's incredible is that people have this thing about antiques, that you buy something

0:06:02 > 0:06:08today and it's got to be worth more, or at least what you paid for it, in five or ten years' time.

0:06:08 > 0:06:12If you buy a pair of shoes or a jacket, you buy it cos you like it

0:06:12 > 0:06:17and I can never understand why the investment isn't in enjoyment rather than money.

0:06:17 > 0:06:20- Am I talking rubbish here?- No, you're talking quite right.

0:06:20 > 0:06:25But my tastes have changed. They probably wouldn't have been my choice.

0:06:25 > 0:06:29The style is very much 1970s.

0:06:29 > 0:06:34Look at the base - we can see the Troika mark and the artist's mark. We've got Cornwall written there.

0:06:34 > 0:06:39We can spin them round and see that on each different face

0:06:39 > 0:06:43we've got a reflection or a mirror image of the other one

0:06:43 > 0:06:47in terms of colour, and we can easily say in terms of value

0:06:47 > 0:06:53that we'll put them in an auction, £200 to £400, and I'd be really surprised if they didn't sell.

0:06:53 > 0:06:55- Mmm.- But it just...

0:06:55 > 0:07:00It's the fashion of the thing, isn't it? Troika's just gone like that.

0:07:00 > 0:07:04Do you think it's going to keep going like that?

0:07:04 > 0:07:08It would be nice to think it'd go higher.

0:07:08 > 0:07:12I think Troika's come from nowhere and it's become really collectable,

0:07:12 > 0:07:17so the graph goes like that, and my experience in life is that anything that goes like that, goes like that.

0:07:17 > 0:07:21They're a nice design statement, but I just can't see it

0:07:21 > 0:07:27- and I think they're a pure thing of fashion. Why are you selling them? - They're in the top of the wardrobe.

0:07:27 > 0:07:32- Clearly they're important in your life!- Yes...- So they're going to go?

0:07:32 > 0:07:37- Yes.- They're gone, history, auction, sold.- No problem.- Done deal.

0:07:44 > 0:07:47Now, Neville, every now and again

0:07:47 > 0:07:51somebody brings something along that's a bit unusual and intriguing,

0:07:51 > 0:07:55and you've done that today. Tell us what it is you've brought along.

0:07:55 > 0:07:57We've got a bar of Cornish tin

0:07:57 > 0:08:01and it was produced a long time ago

0:08:01 > 0:08:07from the Wheal Vor tin mine, as you can see written along here...

0:08:07 > 0:08:09What does that actually mean?

0:08:09 > 0:08:12Wheal is the Cornish word for a mine

0:08:12 > 0:08:16and Wheal Vor is not very far from here,

0:08:16 > 0:08:20and the House is the place where it was eventually done.

0:08:20 > 0:08:24On the end is the Cornish lamb and flag, which is a sign

0:08:24 > 0:08:27of purity of Cornish tin.

0:08:27 > 0:08:30So like we would have a lion on Sterling silver

0:08:30 > 0:08:33or Britannia on Britannia-standard silver, sheep with...

0:08:33 > 0:08:36- The lamb and flag.- The lamb and flag.

0:08:36 > 0:08:40You know about this sort of thing. What business were you in?

0:08:40 > 0:08:44I'm a mining engineer - retired now, but I've been mining for a while.

0:08:44 > 0:08:47- So why did you buy this? - I didn't buy it.

0:08:47 > 0:08:52It was an old friend of mine who was a bit of a historian

0:08:52 > 0:08:56and when he discovered that I was at the South Crofty mine

0:08:56 > 0:09:01and had an interest in things mining, he gave it to me, which was very nice.

0:09:01 > 0:09:06- I find the history of it fascinating. There are people who collect such things.- Oh, yes.

0:09:06 > 0:09:11A bit like people who collect the insurance marks that go on walls,

0:09:11 > 0:09:15the lead marks or the sun marks for the insurance company,

0:09:15 > 0:09:20and people that collect things to do with mining would be quite interested in buying this.

0:09:20 > 0:09:24It's probably worth somewhere between...£70-90.

0:09:24 > 0:09:28- Yes.- Does that figure in with what you thought?- Fine.

0:09:28 > 0:09:31So shall we put it in an auction with a reserve at 70?

0:09:31 > 0:09:35- That would be very nice, yeah. - Jolly good.

0:09:40 > 0:09:43Delia, earlier on this morning, before I came to the venue

0:09:43 > 0:09:48we were doing some filming just on the quay, by the rocks,

0:09:48 > 0:09:52and it was really calm, but I was thinking, although it's beautiful

0:09:52 > 0:09:55at night-time or in a storm it could be pretty treacherous.

0:09:56 > 0:09:59Is this Cornwall, I wonder?

0:09:59 > 0:10:03- I wonder!- Is it a shipwreck off Cornwall?- It is. Handsome, isn't it?

0:10:03 > 0:10:08- How did you come by this? - I bought it in an Oxfam shop in...

0:10:08 > 0:10:11- 1965...- As you do!- As one does!

0:10:11 > 0:10:15- For a pound.- Oh, well, I think that was a jolly good buy.

0:10:15 > 0:10:19It was rolled up with two other prints, very cottagey prints,

0:10:19 > 0:10:21like Helen Allingham type stuff.

0:10:21 > 0:10:24Because I was strapped for cash, I sold the two prints

0:10:24 > 0:10:28to get enough money to have this framed,

0:10:28 > 0:10:30and it's hung on the wall ever since.

0:10:30 > 0:10:33For one pound, what a bargain. It still all is out there.

0:10:33 > 0:10:36You've just got to get up early.

0:10:36 > 0:10:41It's signed Edward Duncan, down in the corner there, and it's dated.

0:10:41 > 0:10:45He was a London-born artist and he specialised in maritime works.

0:10:45 > 0:10:49- He's in the book. I looked him up. - Good.- In our art index guide,

0:10:49 > 0:10:56which is a big volume on every single artist that's had work exhibited in very good exhibitions

0:10:56 > 0:10:59and sold at auction. He's done both.

0:10:59 > 0:11:03He's had 40 of his works sold through the Royal Academy

0:11:03 > 0:11:05- where he's exhibited.- Really?- Yes.

0:11:05 > 0:11:08He was a noted artist of some repute, you'll be pleased to know,

0:11:08 > 0:11:12- so it's worth more than a quid. - That's good. I'm so pleased.

0:11:12 > 0:11:17He did specialise in maritime works and this is a tea clipper.

0:11:17 > 0:11:21It's a lovely vessel. It's hit the rocks.

0:11:21 > 0:11:24I'd love to think it's Cornwall. I don't think it is.

0:11:24 > 0:11:27- I don't think it is.- No. But isn't that lovely?

0:11:27 > 0:11:30A lovely washed pen and ink.

0:11:30 > 0:11:34It's done with a brush, but it's got touches of chalk, as well,

0:11:34 > 0:11:39which just soften those waves, make them foam up.

0:11:39 > 0:11:42I think it's smashing. Have you any idea

0:11:42 > 0:11:45how much this pound is worth now?

0:11:45 > 0:11:50- Oh, I'd hate to make a guess.- Do you have a gut feeling?- Yes, I do.

0:11:50 > 0:11:53If I'd got the money...

0:11:54 > 0:11:57..£500 at least, I think.

0:11:57 > 0:12:01It's so well painted. The longer I've owned it,

0:12:01 > 0:12:03the more I've thought it good.

0:12:03 > 0:12:05Yes.

0:12:05 > 0:12:09I think you've hit the nail right on the head,

0:12:09 > 0:12:14because I would like to have said to you, let's put an estimate of £400-£600 on it.

0:12:14 > 0:12:20- I think it's going to sell for 500 quite easily.- Can we put a reserve on it?- Definitely.- Definitely.

0:12:20 > 0:12:23A definite fixed reserve of £400.

0:12:23 > 0:12:26Yeah.

0:12:26 > 0:12:31- All right.- What do you think? You're thinking a bit more, aren't you?

0:12:31 > 0:12:34- Just...- You want to keep it. - No, no, no.

0:12:34 > 0:12:38Just a... Just a tad. Just a tad.

0:12:38 > 0:12:43OK. A fixed reserve of £450.

0:12:43 > 0:12:45OK. Yeah.

0:12:45 > 0:12:49- All right.- We've done some bartering. - OK.

0:12:51 > 0:12:55It's time to see if our experts really know their stuff.

0:12:55 > 0:13:01Jethro fell for Christine's pendant, but will the bidders have love or money on their minds?

0:13:01 > 0:13:03And Philip's not turned on by Troika

0:13:03 > 0:13:07but I bet these iconic '70s lamps still shine.

0:13:07 > 0:13:10We'll need serious collectors to see the worth of the tin ingot,

0:13:10 > 0:13:13this little piece of local history,

0:13:13 > 0:13:18and finally the Cornish bidders will surely be lured to this gorgeous pen and ink drawing.

0:13:19 > 0:13:25For our action today, we've left Penzance and travelled back up the A30 to Lostwithiel,

0:13:25 > 0:13:28to Jefferys Auction Room, and our man with all the local knowledge,

0:13:28 > 0:13:31the man with the gavel, is Ian Morris.

0:13:31 > 0:13:33Fingers crossed we've got it right.

0:13:36 > 0:13:40Christine, the pearl pendant is just about to go under the hammer.

0:13:40 > 0:13:44You're flogging this because you don't like the snake on there.

0:13:44 > 0:13:48- That's correct.- We're looking for about £500. Hopefully we'll get it.

0:13:48 > 0:13:51- That would be wonderful.- Fingers crossed.- The reserve's 400.

0:13:51 > 0:13:55- I know.- And we mustn't say this too loud. There is some damage,

0:13:55 > 0:14:00which I didn't point out totally to you. Some chips to the enamel.

0:14:00 > 0:14:04And we do know that that centre stone is a replacement.

0:14:04 > 0:14:07- Those things...- They may hold it back.- Might hold it back,

0:14:07 > 0:14:10- but everything else is in its favour.- Right.

0:14:10 > 0:14:14- Were you happy with the valuation? - Yes.- Did you think, "That's good"?

0:14:14 > 0:14:18- It was more than I expected. - That's what we want to hear.

0:14:18 > 0:14:21Lot 476 is a fine teardrop-shaped pendant,

0:14:21 > 0:14:24set with pearls, a diamond mount.

0:14:24 > 0:14:26Shall I say £300 away?

0:14:26 > 0:14:29£200 to start me. £200 I'm bid.

0:14:29 > 0:14:32- We're in at 200.- At 220. At 240.

0:14:32 > 0:14:34At 260. At 280. 300.

0:14:34 > 0:14:37320. 340. 360.

0:14:37 > 0:14:39- 380.- It's going up.- 400. At 400.

0:14:39 > 0:14:41This is good.

0:14:41 > 0:14:44At £400. 420? At £400.

0:14:44 > 0:14:47Yes. The hammer's gone down. £400.

0:14:47 > 0:14:51- That's super.- Gosh, you had to concentrate. He was so quiet.

0:14:51 > 0:14:55- Are you happy with that?- Yes. - What's £400 gonna go towards?

0:14:55 > 0:14:58I'm going to see my grandson who lives in Norway.

0:14:58 > 0:15:02- I've actually brought a photograph. - Oh, look at that! He's gorgeous.

0:15:02 > 0:15:06- Fred he's called.- Fred. And where does he live?- Norway.

0:15:06 > 0:15:11- In Norway.- My son lives and works in Norway. His family are there. - Oh, little Fred.

0:15:15 > 0:15:19Troika normally lights up a saleroom and this lot is gonna do that

0:15:19 > 0:15:21cos it's a pair of Troika lamps belonging to Lynne.

0:15:21 > 0:15:26We've got a valuation of £200-400 put on by our expert Philip here.

0:15:26 > 0:15:29There's a lot of Troika in the room today but I think these'll do well.

0:15:29 > 0:15:32- I think they're a nice pair. - Good pair. Good pair.

0:15:32 > 0:15:35Why are you flogging them?

0:15:35 > 0:15:38- Good question.- And that is the big, all-important question.

0:15:38 > 0:15:41- They don't fit in my house. - Don't they? Not at all?- No.

0:15:41 > 0:15:43- They've proved to be a very good investment.- Mmm.

0:15:43 > 0:15:48- Shades, Paul.- Original shades as well, yes. Hessian shades. That's brilliant.

0:15:48 > 0:15:50- That is so '70s.- Great shades.

0:15:50 > 0:15:54Great shades. It's up there with Mary Quant and Biba.

0:15:54 > 0:15:55This is it. Good luck.

0:15:55 > 0:15:57193 there.

0:15:57 > 0:16:00Pair of Troika table lamp bases

0:16:00 > 0:16:02with geometric patterns - lot 193.

0:16:02 > 0:16:05Can I say £200 the pair, please? Lot 193.

0:16:05 > 0:16:07£200? £200 I'm bid.

0:16:07 > 0:16:09At £200 in the room. 210 with me.

0:16:09 > 0:16:11At 210, 220, 230.

0:16:11 > 0:16:13At 230, the bid is with me.

0:16:13 > 0:16:15At 230, 240,

0:16:15 > 0:16:17250, 260...

0:16:17 > 0:16:19260, my bid's out. At 260.

0:16:19 > 0:16:21At 260, 270.

0:16:21 > 0:16:24At 270 to my right. At 270. 280 now.

0:16:24 > 0:16:25At 270, 280 not.

0:16:25 > 0:16:29- We're done, I'm selling at £270. - The hammer's going down - £270.

0:16:29 > 0:16:33- Good stuff.- Mid-estimate. That's not bad at all.- Excellent.

0:16:33 > 0:16:34How much did they cost? 20?

0:16:34 > 0:16:36- Yeah.- Somewhere around there.- Yeah.

0:16:36 > 0:16:39What are you gonna do with the money? What'll you put that towards?

0:16:39 > 0:16:43Bit of commission, mind you. But what's it going to?

0:16:43 > 0:16:47- Oh, probably treat my son. - And yourself!

0:16:53 > 0:16:57A bit of Cornwall's heritage is about to go under the hammer.

0:16:57 > 0:16:59It's an ingot and it belongs to Neville.

0:16:59 > 0:17:03This is part of your social history and mine - I grew up in Cornwall.

0:17:03 > 0:17:08- It is hard to put a value on it. - Yes.- It's a tactile piece.

0:17:08 > 0:17:11- We're gonna keep our fingers crossed.- Yes, see how it goes.

0:17:11 > 0:17:14And hope we've got some Kernow, patriotic Cornish people here

0:17:14 > 0:17:18that are gonna want a little bit of Cornwall to take home with them.

0:17:18 > 0:17:21- Yes.- OK? It's going under the hammer now.- Here we go.

0:17:21 > 0:17:23Lot 650 - it's an ingot

0:17:23 > 0:17:26with lamb and flag engraving. Lot 650.

0:17:26 > 0:17:30What do you say for that? £50 away? £30 away?

0:17:30 > 0:17:32£20 to start me, surely?

0:17:32 > 0:17:33£20, thank you.

0:17:33 > 0:17:37At 25, at 25. 30? 30, 35...

0:17:38 > 0:17:41At £35 I'm bid. 40 or not? We're done at 35.

0:17:41 > 0:17:43Can't let it go at that, I'm afraid.

0:17:43 > 0:17:48No, he's putting the hammer down at £35. It's all he's got in the room.

0:17:48 > 0:17:51That's a shame. Neville, I think it's got to go home.

0:17:51 > 0:17:54Hang onto it, be proud of it.

0:17:54 > 0:17:56- Well, I am proud of it and I'll hang onto it.- Good.

0:17:56 > 0:18:00Spoken like a true Cornishman - a Trelawneyman.

0:18:07 > 0:18:13I've been joined by Delia with my favourite item of the whole show - that pen and ink wash.

0:18:13 > 0:18:16- That is gorgeous. Edward Duncan. - Mmm.

0:18:16 > 0:18:21- Shipwrecks, dated. It is stunning. We've got £450-600 on this.- Mmm.

0:18:21 > 0:18:24There's a spelling error in the catalogue.

0:18:24 > 0:18:29There's a spelling error in the catalogue. They spelled it Dunkin and it should be "can".

0:18:29 > 0:18:34- Yes.- And my man is an RA. - And that's not in the catalogue. - It's not in the catalogue.

0:18:34 > 0:18:39- I wonder if that's mis-represented on the website. I haven't checked. - Don't know.

0:18:39 > 0:18:44Still, it only cost me a pound, so it doesn't really matter if it doesn't sell.

0:18:44 > 0:18:47- A good buy in 1965. It looks fantastic.- It does look rather good.

0:18:47 > 0:18:49Good luck, it's going under the hammer.

0:18:49 > 0:18:53- Oh, gosh!- Yeah, it's frightening. - I think it's gonna bomb.

0:18:53 > 0:18:54I don't.

0:18:54 > 0:18:59Lot 776. What do you say for that? Quite nice painting there.

0:18:59 > 0:19:00Can I say £500?

0:19:00 > 0:19:02£400 away?

0:19:02 > 0:19:04400? I've got 350 on the book.

0:19:04 > 0:19:07At 350, at 350, the bid is with me.

0:19:07 > 0:19:09At 350, 380, 400,

0:19:09 > 0:19:11420...

0:19:11 > 0:19:15- 450.- Come on.- At 450, the bid's with me. At 450, at 450.

0:19:15 > 0:19:16480...

0:19:16 > 0:19:19At 480. 500? At 500.

0:19:19 > 0:19:22At 500. 520 now. At 500.

0:19:22 > 0:19:25At 500. 520, not. We're done at £500.

0:19:25 > 0:19:29- 500.- Not bad for a pound outlay.

0:19:29 > 0:19:32Mid-estimate. Not bad. A good outlay -

0:19:32 > 0:19:37- £1. Mind you, over a period of time, 1965...- Yep.

0:19:37 > 0:19:41Yep, it's been stuck on the attic wall in various houses

0:19:41 > 0:19:44and now another one's up there now. So, you know...

0:19:44 > 0:19:48- And you're off travelling.- Yes, it's going into the travel fund.

0:19:48 > 0:19:52- It'll help to sail me down the Nile. - How exciting is that!

0:19:52 > 0:19:55- Mmm.- I'm envious. Really envious.

0:19:56 > 0:19:59Well, we're getting some good results today and Delia's drawing

0:19:59 > 0:20:02has inspired me to explore Cornwall's artistic past.

0:20:08 > 0:20:11Artists have been attracted to the town of St Ives

0:20:11 > 0:20:15which is situated on the north coast of Cornwall for well over 100 years.

0:20:15 > 0:20:19Indeed, both Turner and Whistler were early visitors here.

0:20:19 > 0:20:22And it's easy to see the attraction, with the picturesque cottages

0:20:22 > 0:20:25all dotted about in a higgledy-piggledy fashion.

0:20:25 > 0:20:29And of course, the spectacular views of the sea.

0:20:29 > 0:20:33During the war, sculptor Barbara Hepworth and her artist husband Ben Nicholson

0:20:33 > 0:20:39moved to St Ives and before long the town became a centre for a new generation of avant-garde artists.

0:20:40 > 0:20:44The importance of the St Ives' colony grew and strengthened.

0:20:44 > 0:20:46And it was finally recognised in 1993

0:20:46 > 0:20:51when the Tate Gallery - this spectacular building behind me - was built.

0:20:51 > 0:20:53We're gonna take a look in there in a moment.

0:20:53 > 0:20:59But back to those early days. The artists started off in much more humble surroundings.

0:20:59 > 0:21:04Like many of the buildings on this beach, these were originally net lofts

0:21:04 > 0:21:06where fishermen could mend and store their nets

0:21:06 > 0:21:10until an American painter - Howard Russell Butler -

0:21:10 > 0:21:14made his studio here in 1886.

0:21:14 > 0:21:17Fishermen still use the cellars for storage here today.

0:21:17 > 0:21:21But these spectacular, breathtaking views

0:21:21 > 0:21:26have given dozens of artists inspiration for well over 100 years.

0:21:26 > 0:21:30People like Ben Nicholson, Patrick Heron and Francis Bacon,

0:21:30 > 0:21:35and the great thing is, artists today are using the studio for exactly the same purpose.

0:21:40 > 0:21:45More and more artists and sculptors were drawn to St Ives in the post-War years,

0:21:45 > 0:21:49producing work that was heavily influenced by the local landscape

0:21:49 > 0:21:53but which must have seemed bizarre and experimental to the locals at the time.

0:21:53 > 0:21:58Cornishman Norman Pollard, who works at the Tate, has seen it all.

0:21:58 > 0:22:03Norman, what is it that brings so many artists to St Ives?

0:22:03 > 0:22:06They always talk about the quality of the light down here, obviously.

0:22:06 > 0:22:12It's supposed to be so clear. And also when you look around us, you see all the landscape...

0:22:12 > 0:22:16- Stunning.- ..the sea. For the artists it must have been a wonderful place to come.

0:22:16 > 0:22:19Obviously, they liked it here, apart from the light and everything.

0:22:19 > 0:22:22- They must have liked the place. - They must've done. Yeah.

0:22:22 > 0:22:25What was it like with Ben Nicholson wandering around

0:22:25 > 0:22:30and Patrick Heron? What did the local people think of these, well, superstars, really?

0:22:30 > 0:22:34- I think at the time, they didn't realise they were superstars.- No.

0:22:34 > 0:22:37So, you gotta think, in them days St Ives was a working town

0:22:37 > 0:22:43and so the artists were working the same as the people. So they weren't looked upon as anything different

0:22:43 > 0:22:48- to the people living here.- Yeah. - They were trying to make a living a little bit like us.

0:22:48 > 0:22:53- So people never thought of them as superstars.- No.- They were just part of the community.

0:22:53 > 0:22:56- Did they mix with the community? - Very much so.

0:22:56 > 0:22:59A lot of the people knew them and was always friendly with them,

0:22:59 > 0:23:04- but never really got into their art a lot.- No, couldn't understand it.

0:23:04 > 0:23:07- That's right.- Well, they were forward-thinkers, weren't they?

0:23:07 > 0:23:09- Very much so.- Geniuses.

0:23:09 > 0:23:13Tell me about the Tate. How did that come about?

0:23:13 > 0:23:18Cos I was a young lad living in Cornwall, and I remember Prince Charles opening this as well.

0:23:18 > 0:23:22- In 1985, they had a very large show of this St Ives' group...- Yeah.

0:23:22 > 0:23:27- ..at the Tate Gallery in London. - Yeah.- And that kick-started the idea

0:23:27 > 0:23:32- that we could have a gallery here. So the impact when it first came was tremendous.- Oh, yes.

0:23:32 > 0:23:35People just turned up from everywhere and...

0:23:35 > 0:23:38It is astonishingly beautiful here, isn't it?

0:23:38 > 0:23:41It's no wonder they gravitated from all over the country

0:23:41 > 0:23:44- just to come to St Ives. - That's right.- It's gorgeous.

0:23:44 > 0:23:48- Even today it's lovely.- Yes! But there's something about it, something wild

0:23:48 > 0:23:52- and sort of makes you feel sort of tense and excited.- Yeah.

0:23:52 > 0:23:55- Every day is different.- Yes. Yes, that's what it's all about.

0:23:55 > 0:23:59- Shall we go in and have a look? - That's a very good idea. - Come on, then.

0:24:07 > 0:24:11Here we are, Paul. This is what I call the St Ives' Room.

0:24:11 > 0:24:14This is the group of artists that this gallery was built for.

0:24:14 > 0:24:16Yes, I can see it instantly.

0:24:16 > 0:24:19It's so progressive, very avant-garde

0:24:19 > 0:24:23considering they live in picturesque England.

0:24:23 > 0:24:25- Country cottages by the sea. - That's right.

0:24:25 > 0:24:28Yet they're painting something...uh!

0:24:28 > 0:24:32- ..worlds apart from that.- Yes, even though St Ives was well known

0:24:32 > 0:24:35for more traditional work in the early days,

0:24:35 > 0:24:40and then this group of artists came here and painted

0:24:40 > 0:24:44- the same scenery but in a different way.- Yeah, I can see Terry Frost's work here.

0:24:44 > 0:24:46Yes, the sort of concentric circles,

0:24:46 > 0:24:50- lots of spirals.- That's right. The famous red, black and white colours.

0:24:50 > 0:24:52- Yeah, he really is a legend.- Yes.

0:25:01 > 0:25:05These were the leading names, the major players, weren't they?

0:25:05 > 0:25:09- That's right.- Barbara Hepworth, Ben Nicholson, Alfred Wallace

0:25:09 > 0:25:11- and of course, Sir Terry Frost. - They were, yes.

0:25:11 > 0:25:14You can see this beautiful Hepworth here.

0:25:14 > 0:25:19Beautiful finish to them. It's one of the things I love - the finish to the sculptures.

0:25:19 > 0:25:23- Yes.- Yes.- I can see some of your favourites over here -

0:25:23 > 0:25:28- Alfred Wallaces.- Oh, yes, the Wallaces. Everyone likes to come in and see the Wallaces.

0:25:28 > 0:25:32They're one of the most popular things in the gallery.

0:25:37 > 0:25:40Well, I could stay and look around here all day,

0:25:40 > 0:25:42but unfortunately I'm running out of time.

0:25:42 > 0:25:46If you're ever in St Ives, please come and visit the Tate Gallery,

0:25:46 > 0:25:47it's well worth it.

0:25:47 > 0:25:50Right, it's time for me to pop back to the valuation day

0:25:50 > 0:25:53and catch up with our very own avant-garde experts.

0:26:08 > 0:26:12Mark, you're a bit of a collector of these prints, are you?

0:26:12 > 0:26:16Not really, my grandfather passed them onto me.

0:26:16 > 0:26:19I never met him cos he died before I was born.

0:26:19 > 0:26:22He left them for me and I've always had an interest in birds and animals

0:26:22 > 0:26:24so they were passed down to me.

0:26:24 > 0:26:28- Have you had them on a wall?- No, they've lived in a plastic bag...

0:26:28 > 0:26:31- My mum reckons since 1930, they've been in a bag.- Oh, no!

0:26:31 > 0:26:34They come out occasionally and have been admired.

0:26:34 > 0:26:39- How did he get hold of them? - He was a lithographic artist

0:26:39 > 0:26:42and he was working in a printer's when he was...early in his career.

0:26:42 > 0:26:48They were a set of proofs that were sent off to the artist and returned

0:26:48 > 0:26:50and then they would've been scrapped,

0:26:50 > 0:26:52- so he collected them, took them home. - Right.

0:26:52 > 0:26:57- These are the plates that would've been part of the run.- Mmm.

0:26:57 > 0:27:00There would've been hundreds, if not thousands of these produced.

0:27:00 > 0:27:04- They were then put in folios or books...- Yeah.- ..and used as an educational tool.

0:27:04 > 0:27:09- Mmm.- Then lots of people buy those folios and then pull them apart

0:27:09 > 0:27:13- and mount them into pictures and put them on the wall.- Right.

0:27:13 > 0:27:16Archibald Thorburn, the artist, is very well known as a watercolourist

0:27:16 > 0:27:18of the early 20th century -

0:27:18 > 0:27:24predominantly, you think of game birds like pheasants, grouse on heathland or moorland.

0:27:24 > 0:27:26That sort of thing.

0:27:26 > 0:27:28You don't so often come across these

0:27:28 > 0:27:31natural history studies that he's done here.

0:27:31 > 0:27:36And you've got some really wonderful, wonderful plates.

0:27:36 > 0:27:39- I love this image of the bats.- Mmm.

0:27:39 > 0:27:41This is Leisler's bat.

0:27:41 > 0:27:43I'm no bat expert. It says so here.

0:27:44 > 0:27:48And of course you've got Archibald Thorburn, 1920 on this one.

0:27:50 > 0:27:52That's probably my favourite plate.

0:27:52 > 0:27:54- Is it? I picked that one out, didn't I?- Yeah.

0:27:54 > 0:27:57So we like the same one. But the detail,

0:27:57 > 0:28:00- you can see the transparency of the wing, can't you?- Yeah.

0:28:00 > 0:28:03You get the image of the sky coming through somewhat.

0:28:03 > 0:28:05That's a beautiful image. They're wonderful.

0:28:05 > 0:28:07They really are wonderful.

0:28:07 > 0:28:10A lot of these are of birds, and that's fine,

0:28:10 > 0:28:13- but the more interesting ones are of the mammals.- Right.

0:28:13 > 0:28:17- Yeah.- They have a certain charm about them.- Mmm.

0:28:17 > 0:28:19- Look at this little fellow here. - Yeah.

0:28:19 > 0:28:22- They look that cute, don't they?- Mm.

0:28:22 > 0:28:25How could anyone do anything nasty to a seal?

0:28:25 > 0:28:27Anyway, what are they worth?

0:28:27 > 0:28:31If we worked on £5, £8 a plate...

0:28:31 > 0:28:36- Mmm.- ..em, I think you're looking at £150-200.

0:28:36 > 0:28:39- OK, brilliant.- How does that sound?

0:28:39 > 0:28:42- Sounds good. Yeah.- You'd be happy with that?- Yeah. All right.

0:28:42 > 0:28:45- Let's see what we can get for you. - Thanks very much.

0:28:52 > 0:28:55- Good luck with those!- Thank you.

0:28:55 > 0:28:58Liz, this is a fabulous collection of jewellery.

0:28:58 > 0:28:59Why do you want to sell it?

0:28:59 > 0:29:03It's my aunt's, and she wasn't somebody I knew particularly well,

0:29:03 > 0:29:05so it's not very sentimental for me.

0:29:05 > 0:29:08And I have some nice jewellery from my mother,

0:29:08 > 0:29:10and I could use the money.

0:29:10 > 0:29:14He is one of the great... I won't ask you what for, not yet.

0:29:14 > 0:29:17We've got one of the great 20th century designers,

0:29:17 > 0:29:22who opened up in Copenhagen in 1904, Georg Jensen.

0:29:22 > 0:29:25I mean, that's just a name to conjure with.

0:29:25 > 0:29:29He's an interesting man. He had an exhibition in America in the 1920s,

0:29:29 > 0:29:33and Randolph Hearst, the wealthy American industrialist, bought the whole lot.

0:29:33 > 0:29:38He must have had a fairly interesting private life, cos he was married five times!

0:29:38 > 0:29:40This is just a lovely collection.

0:29:40 > 0:29:43If we start off with the first little brooch at the end there,

0:29:43 > 0:29:46it's got all the right marks on the back of it.

0:29:46 > 0:29:49It's marked up for 1954.

0:29:49 > 0:29:51And I think that we need to estimate this

0:29:51 > 0:29:55at £120-£180,

0:29:55 > 0:29:57fixed reserve £100.

0:29:57 > 0:30:00We're going to sell all these as separate lots.

0:30:00 > 0:30:04We move on to this lovely little bird brooch, and again,

0:30:04 > 0:30:08all the right marks on the back. 1955.

0:30:08 > 0:30:11Um, and again, £100 fixed reserve,

0:30:11 > 0:30:14and it'll make estimate £120-£180.

0:30:14 > 0:30:16I love this one.

0:30:16 > 0:30:20This is this little snail, and it's quite an unusual design,

0:30:20 > 0:30:22this snail. 1952.

0:30:22 > 0:30:25Again, all fully marked up.

0:30:25 > 0:30:29Estimate £120-£180, fixed reserve £100.

0:30:29 > 0:30:32And that's the first one with the box.

0:30:32 > 0:30:35Then we go on to these sort of amoebic designs,

0:30:35 > 0:30:39which were designed by Henning Koppel in the 1950s.

0:30:39 > 0:30:44And this one, I think we can put an estimate of £120 to £180 again,

0:30:44 > 0:30:46with a reserve of £100.

0:30:46 > 0:30:48And again, we've got the box there.

0:30:48 > 0:30:51And this slightly larger amoebic design,

0:30:51 > 0:30:56I think we can put £150 to £250 on that, reserve £120.

0:30:56 > 0:31:00- So, Liz, we could potentially have here £500 to £1,000.- Mm-hm.

0:31:00 > 0:31:06- What are you going to do with the money?- I've got some home improvements.- Home improvements?

0:31:06 > 0:31:10I've been doing some work at home and quite a few things are going wrong.

0:31:10 > 0:31:15They can stay wrong! I'd keep all this lot. What we have to ensure

0:31:15 > 0:31:22is that the auctioneers, if possible, get a photograph done. These have to go on the internet,

0:31:22 > 0:31:26because I think we'll go to the auction, and Paul will say those magic words,

0:31:26 > 0:31:30"Liz, your lot's coming up now", and I wouldn't be at all surprised

0:31:30 > 0:31:34to find telephone bids and all sorts going on.

0:31:34 > 0:31:39Your problem is not are they gonna sell or not - it's how much will they make?

0:31:39 > 0:31:44- So I think it's fabulous, really exciting. Roll on the auction. Are you happy with that?- Very much so.

0:31:51 > 0:31:54- So, Jim, it's nice to have you on a day out today.- Thank you.

0:31:54 > 0:31:58- Nice to see you fit and well, yeah? - Oh, yes, fighting fit.

0:31:58 > 0:32:02Absolutely. And you've brought along three different family timepieces.

0:32:02 > 0:32:04They have a personal history to you.

0:32:04 > 0:32:08Tell me about this one first of all - this travelling clock.

0:32:08 > 0:32:14It belonged to a cousin of mine, who was a major in the Queen Alexandra's.

0:32:14 > 0:32:18And she served in France in the '14 war,

0:32:18 > 0:32:23and that clock can be seen...in her cubicle.

0:32:23 > 0:32:28- So it's seen a bit of action? - I expect so, yes.- Absolutely.

0:32:28 > 0:32:33It's not something that has a great deal of value, but the history and the family history behind it

0:32:33 > 0:32:37- doesn't mean you want to keep it? - Not particularly, no.

0:32:37 > 0:32:41- Why?- Well, I've got no-one to hand it on to. I've got no children,

0:32:41 > 0:32:44so if something happens to me, it'll be thrown aside.

0:32:44 > 0:32:48- Does it work?- No. - So it's not working.- No.

0:32:48 > 0:32:53- And I've said, "Why don't you just take it home?" and you don't want it - you just wanna sell it!- Yes.

0:32:53 > 0:32:56And the same is true with these other two watches.

0:32:56 > 0:32:59- Now these have a more personal history to you.- Yes.

0:32:59 > 0:33:03First of all, you've got this silver cased Half Hunter pocket watch.

0:33:03 > 0:33:07I carried that for years on the footplate,

0:33:07 > 0:33:11until I got made a driver, and I bought a gold one for myself.

0:33:11 > 0:33:15- So you were given this one by your father...- Yes.- ..when you first

0:33:15 > 0:33:20- got onto the footplate of an engine. - Yes.- And what were you doing then?

0:33:20 > 0:33:23- What sort of work?- I was the fire man.- You were stoking the fire?

0:33:23 > 0:33:27- Yes.- That's hard work, isn't it? - It could be, sometimes.

0:33:27 > 0:33:33- And then you've got this gold wristwatch by JW Benson.- Yes.

0:33:33 > 0:33:36- When did you buy that one?- I went to London to work, and I bought that.

0:33:36 > 0:33:41- Like a little treat to yourself? - Yes. Well, something I always wanted

0:33:41 > 0:33:44was a gold watch. So, as you say, a treat, yes.

0:33:44 > 0:33:47- As you say, it's a 9-carat gold watch.- Yes.

0:33:47 > 0:33:52It'll be hallmarked on the inside, but we don't need to look at it.

0:33:52 > 0:33:58Benson is a very well-known make. They made watches in the Victorian period, and to the admiralty,

0:33:58 > 0:34:02in the late 19th century, and then in the early 20th century,

0:34:02 > 0:34:07they continued to do that, but also making watches for commercial use,

0:34:07 > 0:34:10for everybody to buy in their shops.

0:34:10 > 0:34:14This little wristwatch is lovely. It's got a good, clear dial,

0:34:14 > 0:34:17it's got that centre seconds hand going around.

0:34:17 > 0:34:20You've got Arabic numerals as well as the markers,

0:34:20 > 0:34:24but the great thing about it is it's in such good condition.

0:34:24 > 0:34:28- You obviously didn't wear this one on the footplate!- No.- No scratches.

0:34:28 > 0:34:34So many watches were presented after 25 years' service, 50 years', however many it might be,

0:34:34 > 0:34:38and there would be an inscription on the back, and that doesn't help.

0:34:38 > 0:34:41But this one's completely plain, so that has to be good,

0:34:41 > 0:34:47- cos it's not personalised to you. And you just don't want to keep it? - Not particularly, no.

0:34:47 > 0:34:49How much was this one when you bought it, then?

0:34:49 > 0:34:52That was about £65, £68.

0:34:52 > 0:34:57- What year was that? - Ooh...'59 or '60.

0:34:57 > 0:35:01- That was a lot of money. - It WAS a lot of money then.

0:35:01 > 0:35:05- You're not going to get that sort of money.- I understand that.- Ideally,

0:35:05 > 0:35:09we would normally suggest selling this one on its own.

0:35:09 > 0:35:11But you've said to me,

0:35:11 > 0:35:15"I just want to sell all of these watches. Please get rid of them."

0:35:15 > 0:35:19And I think that for all three watches together,

0:35:19 > 0:35:24- I think we'll get something between £120 and £160.- Fine.

0:35:24 > 0:35:29- You'd be happy with that?- Yes. - Put a reserve at £120?- Yes.

0:35:29 > 0:35:35- Let's put them in the auction and let's hope they make that little bit more for you.- Fine, yes.- All right.

0:35:39 > 0:35:42Time waits for no man, and neither do auctioneers.

0:35:42 > 0:35:43We're off to the saleroom

0:35:43 > 0:35:47with Jim's timepieces - mementoes of his working life.

0:35:47 > 0:35:51We're hoping the bidders will have designs on this superb collection

0:35:51 > 0:35:54of Georg Jensen brooches. And they should be fighting

0:35:54 > 0:35:58tooth and claw to get their hands on Mark's animal prints.

0:35:58 > 0:36:02But first, I can never resist hunting around the saleroom

0:36:02 > 0:36:05in case I find something that really is going for a song.

0:36:05 > 0:36:11It's surprising how many musical instruments you come across in an antique and general auction room.

0:36:11 > 0:36:14We've seen it time and time again on a "Flog It!" -

0:36:14 > 0:36:18countless pianos, guitars, and even trombones like this one.

0:36:18 > 0:36:21And really, if you're thinking of taking up a musical instrument,

0:36:21 > 0:36:25why go to a music shop and buy a brand-new instrument for £200-£300

0:36:25 > 0:36:29when you might get fed up with practising after six months?

0:36:29 > 0:36:32Come to an auction room, pick one up for next to nothing,

0:36:32 > 0:36:37start practising, and you never know - you might get quite good at playing it.

0:36:37 > 0:36:40Let's give it a go.

0:36:42 > 0:36:44Oh, well, I don't know about me!

0:36:44 > 0:36:47But let's hope our experts hit the right note in the auction.

0:36:56 > 0:37:01Right, now we've got a collection of timepieces - a couple of watches and a travelling clock

0:37:01 > 0:37:05- belonging to Jim here. These go back a long way.- Yes.

0:37:05 > 0:37:09Why are you flogging them? Have you got a very reliable wristwatch?

0:37:09 > 0:37:12Well, I have, yes.

0:37:12 > 0:37:16- At the moment it's being repaired! - Oh, it's not that reliable, then!

0:37:16 > 0:37:21There is a value of £120 to £150. Now, will we get that top end?

0:37:21 > 0:37:26- I know Jim wants it. Jethro, the pressure's on.- It's always on!

0:37:26 > 0:37:31- The pressure's always on!- And it's ticking away as well.- It is.

0:37:31 > 0:37:34Watches and clocks - pocket watches in particular -

0:37:34 > 0:37:38haven't seen a very good return in the last 30 years, I'm afraid to say.

0:37:38 > 0:37:42But the gold wristwatch is in there, and gents' watches sell well.

0:37:42 > 0:37:44There's a demand. I'm hopeful.

0:37:44 > 0:37:48Lot 456 here, a silver-cased Half Hunter pocket watch by Benson,

0:37:48 > 0:37:53clock and bits and pieces, three items in total. 150 away?

0:37:53 > 0:37:57100 away? £100 I'm bid. 110. 120.

0:37:57 > 0:38:01130. 140. 150.

0:38:01 > 0:38:03160. And 170.

0:38:03 > 0:38:05I can go to 175. 180? 180.

0:38:05 > 0:38:07My bid's out. At 180 right there.

0:38:07 > 0:38:10190. 200. 210.

0:38:10 > 0:38:11220.

0:38:11 > 0:38:13At 220 in the middle. At 220.

0:38:13 > 0:38:16At 220, 230 up?

0:38:16 > 0:38:18We're done, at £220.

0:38:18 > 0:38:22Yes. The hammer's gone down. £220, very nice.

0:38:22 > 0:38:24- Proper job!- Proper job!

0:38:28 > 0:38:32We have 34 loose bird and animal prints for you right now.

0:38:32 > 0:38:36We're not exactly giving them away, but there is a little bit of profit.

0:38:36 > 0:38:38We've got £150 to £200 on this,

0:38:38 > 0:38:44- but you could mount them up and frame them and sell them separately. Did you think of doing that?- Um...

0:38:44 > 0:38:47- I did think of it, but the cost of framing would have been...- Yeah.

0:38:47 > 0:38:49You've got to be in the know with a good framer

0:38:49 > 0:38:52and get the whole lot done as a job lot.

0:38:52 > 0:38:56They must be displayed, which is why I think they'll go to the trade, be split up, framed,

0:38:56 > 0:39:00- and resold.- And there's nothing wrong in that.- Of course not.

0:39:00 > 0:39:05Everyone needs to make a living, so fingers crossed. Let's see if we can get you the £200 top end.

0:39:05 > 0:39:08They're going under the hammer now.

0:39:08 > 0:39:1234 Archibald Thorburn prints of various birds and animals,

0:39:12 > 0:39:14including foxes, seals and garden birds.

0:39:14 > 0:39:17They're all unframed, but a number of them - lot 753.

0:39:17 > 0:39:19Can I say £150 away?

0:39:19 > 0:39:21£100 away?

0:39:21 > 0:39:23£50 to start me? £50 I'm bid.

0:39:23 > 0:39:26At £50, I'll take 60.

0:39:26 > 0:39:3060. 70. 80. 90. 100.

0:39:30 > 0:39:31At £100.

0:39:31 > 0:39:33110.

0:39:33 > 0:39:36120. 130. 140.

0:39:36 > 0:39:39150. At 150, the bid's in the middle of the room.

0:39:39 > 0:39:42At 150. 160? Are we done? I'm selling...

0:39:42 > 0:39:47- Sold at 150, right on the lower end. - Oh, well.- It'll do.- They've gone.

0:39:47 > 0:39:53- Lots of memories there, your granddad's. - Yeah. Someone will enjoy them now.

0:39:58 > 0:40:01Right now, we've got some 20th century modern for you -

0:40:01 > 0:40:03it's great design, it's by Georg Jensen -

0:40:03 > 0:40:06- five brooches belonging to Elizabeth.- Mm-hm.

0:40:06 > 0:40:10Philip took them in as one lot, but we're going to split them up and sell them individually.

0:40:10 > 0:40:15We've got a value of £120 to £180 on all of them except for the fourth lot, which is a bit more.

0:40:15 > 0:40:19- We're hoping for £250 plus.- Georg Jensen is a name of the moment.

0:40:19 > 0:40:24He's a real style icon. I don't think you could have chosen a better time to sell them.

0:40:24 > 0:40:29They're going to sell and sell well. Fingers crossed. Here we go.

0:40:29 > 0:40:31This is the first lot now.

0:40:31 > 0:40:35Lot 494. It's a Georg Jensen oval-form brooch,

0:40:35 > 0:40:38decorated with a trail of flowers in relief. £100?

0:40:38 > 0:40:42At £100, I've got a bid on the book. 110. 120.

0:40:42 > 0:40:44At 120, the bid is still with me.

0:40:44 > 0:40:49130, 140, 150. At 150, your bid. My bid's out. 160. 170.

0:40:49 > 0:40:52180? 180. 190?

0:40:54 > 0:40:57At 190 in the back, then. 200 and up? At £190...

0:40:57 > 0:41:02Yes, the hammer's gone down. £190, top end. One down, four more to go.

0:41:02 > 0:41:03This is the next one.

0:41:03 > 0:41:07I've got a start again at £100.

0:41:07 > 0:41:10110. 120. At 120 the bid's with me.

0:41:10 > 0:41:13130. 140. 150. 150? My bid's out.

0:41:13 > 0:41:17160? At 150 in the room.

0:41:17 > 0:41:19At 150. 160? 160.

0:41:19 > 0:41:21Brilliant.

0:41:21 > 0:41:24At 160 on the phone. At 160...

0:41:24 > 0:41:26Are we done? At £160.

0:41:26 > 0:41:30Second one down, £160. This is the third.

0:41:30 > 0:41:34Let's say £100 to start. £100?

0:41:34 > 0:41:37£80? £80 I'm bid.

0:41:37 > 0:41:4090. 100. 110.

0:41:40 > 0:41:42115. 120.

0:41:42 > 0:41:44At 120. 125?

0:41:44 > 0:41:47130? 135.

0:41:47 > 0:41:48140? 145.

0:41:49 > 0:41:52At 145, lady's bid. At 145. 150 up?

0:41:52 > 0:41:56- £145.- Yes! Hammer's gone down. £145.

0:41:56 > 0:41:59It's getting exciting. Tension's building. That's just under £500,

0:41:59 > 0:42:01a fiver short. Here's the next one.

0:42:01 > 0:42:03Can I say £100 to start?

0:42:03 > 0:42:07£100, our usual starting point? £80 to start me?

0:42:07 > 0:42:08£80 I'm bid. At 80.

0:42:08 > 0:42:1090. 100. 110.

0:42:11 > 0:42:14115. At 115. 120 now?

0:42:14 > 0:42:17At 115...is it 120?

0:42:17 > 0:42:19Yes, 120. 125?

0:42:19 > 0:42:22At 120 I'm bid. Are we done?

0:42:22 > 0:42:24At £120...

0:42:24 > 0:42:27Right. £615 so far.

0:42:27 > 0:42:31Your last chance to buy one. £100 straight in, please.

0:42:31 > 0:42:33£100? £80 to start me. £80.

0:42:33 > 0:42:35At 80. £80 I'm bid.

0:42:35 > 0:42:3790. 100? 100.

0:42:37 > 0:42:40Is it 110? 110. At 110, 120 now.

0:42:40 > 0:42:42At 115?

0:42:42 > 0:42:45Is it 120, madam? 120.

0:42:45 > 0:42:47At 120. Is it 125?

0:42:47 > 0:42:49£120 I'm bid.

0:42:49 > 0:42:53£120... Is it 125? 125. 130 now.

0:42:53 > 0:42:56125 to my left. Are we done?

0:42:56 > 0:42:59- At £125...- Yes! £125.

0:42:59 > 0:43:04- 740.- He's played darts! £740.

0:43:04 > 0:43:08That's good. That was quality. Georg Jensen is quality.

0:43:08 > 0:43:13- I think they've gone to a great home.- Hopefully they'll enjoy it more.- Well, they'll wear them!

0:43:21 > 0:43:24Well, that's it. It's all over for our owners.

0:43:24 > 0:43:29The auction's still going on. We've had some mixed results, highs and lows, but that's auctions.

0:43:29 > 0:43:33It's not an exact science. I've had a wonderful time here in Cornwall.

0:43:33 > 0:43:35So until the next time, cheerio.