Penzance Flog It!


Penzance

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If you want beautiful scenery, mild weather and a stunning coastline, you can't beat Cornwall.

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

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Welcome to Penzance and welcome to Flog It!

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Penzance lies ten miles from Land's End in the shelter of Mounts Bay

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and enjoys some of the mildest weather in the British Isles.

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But is it mild enough to bring out the crowds to St John's Hall for Flog It? Of course it is.

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I thought I'd sneak out early and meet everybody in this massive queue

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-before the experts snap up the best antiques.

-You'll have to get up earlier than that, Paul!

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Grrrrrrr!

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Philip Serrell and Jethro Marles may have beaten me to it this time,

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but I've got something up my sleeve.

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Let's get the show on the road.

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Christine, you've brought in a lovely little pendant here

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set with pearls and other gems. Tell me what you know about it.

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I know very little about it. It belonged to my aunt

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and when she died, it came to me.

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I would like to know more about it - especially I would like to know

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about the little blue snake that's in the centre.

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-Have you worn it?

-No, I haven't.

-It doesn't appeal to you?

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No, it's the snake, it puts me off wearing it a little bit.

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-Do you not like snakes?

-Not in jewellery, no.

-OK.

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First of all, we've got this frame of half pearls, or split pearls,

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and these are natural pearls, not cultured. I know that

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from the age of the piece itself.

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These are natural pearls that came from an oyster

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that have then been cut in half and each half would have been,

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if it was done properly, put on either side of the frame

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to that they matched in pairs all the way around, so that the frame looked completely symmetrical.

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At the centre you have...a diamond.

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You'll notice the way the facets are at the top of the diamond.

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It's cut like a thin sliver with facets on the top.

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It's what is known as a rose-cut diamond -

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when you look down on the surface, it's like the petals of a rose.

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Then you've got the little baroque pearl drop -

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called baroque because it's basically misshapen.

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And then the little snake that you don't like.

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He's decorated with a turquoise enamel, which is powdered glass

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fired at high temperatures so the glass melts all over the gold,

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and he's got beautiful little eyes.

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The snake, of course, is very symbolic.

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It's symbolic of a lot of things, but a snake forming a complete circle is representative of

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-eternal love.

-Oh, right!

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A snake bites onto its tail, forming that perfect circle,

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and it's the early form of eternity ring, showing eternal love.

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But if we turn it over, have a look at it from the back...

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you can see that there is a maker's stamp just here.

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-I noticed that.

-It is a little daisy, a little flower,

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with the initials C and C.

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And that is for Walter and Harold Child...

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trading under the name of Child and Child.

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-Really?

-It's a sweet name, isn't it? Child and Child.

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They were jewellers producing jewellery in the latter part of the 19th, early 20th centuries.

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-Right.

-So that confirms the date of the piece.

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They hand-made pieces, basically. This was a hand-made piece.

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You will find pieces by Child and Child that are similar,

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but not exactly the same. The only thing that concerns me a little bit

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is that rose diamond in the centre.

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I'm not 100% certain that that is the original gem that went in the middle.

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I'd have been happier if that had been a ruby,

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because ruby and the turquoise are the happy marriage of colours,

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-the blue against the red.

-The little snake's eyes, if you look closely,

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-are red.

-Exactly, and it works well.

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So perhaps it's a little more appealing now.

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Well, it's certainly much more interesting now that I know

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a little bit about it. I was sure the snake was significant.

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-But the thing we want to know is what's it worth?

-Yes, I would like to know that.

-Especially on Flog It!

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-I would say, in an auction, this is going to make £400-£500.

-Right.

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I think we should put a reserve at 400...

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-Right.

-Would you be happy with that?

-Yes.

-Is it about what you thought?

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It's more than I thought, but I didn't have any idea,

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-which is why I've come here today.

-So would you like to sell it?

-Yes.

-Put it in the auction for £400?

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-Let's see if it goes a bit better.

-OK. Thank you.

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You're in the shade, Lynne!

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Actually, it's quite nice. These are original, aren't they?

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-Hessian lampshades. Real 1970s.

-Oh, yes!

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-If you can't find Troika in Cornwall, you're not going to find it anywhere, are you?

-No.

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-Did you buy these recently?

-We bought them in the '70s from St Ives

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-and they've been in the family ever since.

-What did you pay?

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Probably around £20.

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You paid £20 each for them?

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-So if somebody offered you £30 each for them, would you take it?

-No.

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What I think's incredible is that people have this thing about antiques, that you buy something

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

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If you buy a pair of shoes or a jacket, you buy it cos you like it

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and I can never understand why the investment isn't in enjoyment rather than money.

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-Am I talking rubbish here?

-No, you're talking quite right.

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But my tastes have changed. They probably wouldn't have been my choice.

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The style is very much 1970s.

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Look at the base - we can see the Troika mark and the artist's mark. We've got Cornwall written there.

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We can spin them round and see that on each different face

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we've got a reflection or a mirror image of the other one

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in terms of colour, and we can easily say in terms of value

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

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-Mmm.

-But it just...

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It's the fashion of the thing, isn't it? Troika's just gone like that.

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Do you think it's going to keep going like that?

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It would be nice to think it'd go higher.

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I think Troika's come from nowhere and it's become really collectable,

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so the graph goes like that, and my experience in life is that anything that goes like that, goes like that.

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They're a nice design statement, but I just can't see it

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-and I think they're a pure thing of fashion. Why are you selling them?

-They're in the top of the wardrobe.

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-Clearly they're important in your life!

-Yes...

-So they're going to go?

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-Yes.

-They're gone, history, auction, sold.

-No problem.

-Done deal.

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Now, Neville, every now and again

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somebody brings something along that's a bit unusual and intriguing,

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and you've done that today. Tell us what it is you've brought along.

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We've got a bar of Cornish tin

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and it was produced a long time ago

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from the Wheal Vor tin mine, as you can see written along here...

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What does that actually mean?

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Wheal is the Cornish word for a mine

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and Wheal Vor is not very far from here,

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and the House is the place where it was eventually done.

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On the end is the Cornish lamb and flag, which is a sign

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of purity of Cornish tin.

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So like we would have a lion on Sterling silver

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or Britannia on Britannia-standard silver, sheep with...

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-The lamb and flag.

-The lamb and flag.

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You know about this sort of thing. What business were you in?

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I'm a mining engineer - retired now, but I've been mining for a while.

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-So why did you buy this?

-I didn't buy it.

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It was an old friend of mine who was a bit of a historian

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and when he discovered that I was at the South Crofty mine

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and had an interest in things mining, he gave it to me, which was very nice.

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-I find the history of it fascinating. There are people who collect such things.

-Oh, yes.

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A bit like people who collect the insurance marks that go on walls,

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the lead marks or the sun marks for the insurance company,

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and people that collect things to do with mining would be quite interested in buying this.

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It's probably worth somewhere between...£70-90.

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-Yes.

-Does that figure in with what you thought?

-Fine.

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So shall we put it in an auction with a reserve at 70?

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-That would be very nice, yeah.

-Jolly good.

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Delia, earlier on this morning, before I came to the venue

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we were doing some filming just on the quay, by the rocks,

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and it was really calm, but I was thinking, although it's beautiful

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at night-time or in a storm it could be pretty treacherous.

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Is this Cornwall, I wonder?

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-I wonder!

-Is it a shipwreck off Cornwall?

-It is. Handsome, isn't it?

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-How did you come by this?

-I bought it in an Oxfam shop in...

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-1965...

-As you do!

-As one does!

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-For a pound.

-Oh, well, I think that was a jolly good buy.

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It was rolled up with two other prints, very cottagey prints,

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like Helen Allingham type stuff.

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Because I was strapped for cash, I sold the two prints

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to get enough money to have this framed,

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and it's hung on the wall ever since.

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For one pound, what a bargain. It still all is out there.

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You've just got to get up early.

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It's signed Edward Duncan, down in the corner there, and it's dated.

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He was a London-born artist and he specialised in maritime works.

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-He's in the book. I looked him up.

-Good.

-In our art index guide,

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which is a big volume on every single artist that's had work exhibited in very good exhibitions

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and sold at auction. He's done both.

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He's had 40 of his works sold through the Royal Academy

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-where he's exhibited.

-Really?

-Yes.

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He was a noted artist of some repute, you'll be pleased to know,

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-so it's worth more than a quid.

-That's good. I'm so pleased.

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He did specialise in maritime works and this is a tea clipper.

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It's a lovely vessel. It's hit the rocks.

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I'd love to think it's Cornwall. I don't think it is.

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-I don't think it is.

-No. But isn't that lovely?

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A lovely washed pen and ink.

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It's done with a brush, but it's got touches of chalk, as well,

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which just soften those waves, make them foam up.

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I think it's smashing. Have you any idea

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how much this pound is worth now?

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-Oh, I'd hate to make a guess.

-Do you have a gut feeling?

-Yes, I do.

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If I'd got the money...

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..£500 at least, I think.

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It's so well painted. The longer I've owned it,

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the more I've thought it good.

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Yes.

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I think you've hit the nail right on the head,

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because I would like to have said to you, let's put an estimate of £400-£600 on it.

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-I think it's going to sell for 500 quite easily.

-Can we put a reserve on it?

-Definitely.

-Definitely.

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A definite fixed reserve of £400.

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Yeah.

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-All right.

-What do you think? You're thinking a bit more, aren't you?

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-Just...

-You want to keep it.

-No, no, no.

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Just a... Just a tad. Just a tad.

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OK. A fixed reserve of £450.

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OK. Yeah.

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-All right.

-We've done some bartering.

-OK.

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It's time to see if our experts really know their stuff.

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Jethro fell for Christine's pendant, but will the bidders have love or money on their minds?

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And Philip's not turned on by Troika

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but I bet these iconic '70s lamps still shine.

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We'll need serious collectors to see the worth of the tin ingot,

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this little piece of local history,

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and finally the Cornish bidders will surely be lured to this gorgeous pen and ink drawing.

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For our action today, we've left Penzance and travelled back up the A30 to Lostwithiel,

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to Jefferys Auction Room, and our man with all the local knowledge,

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the man with the gavel, is Ian Morris.

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Fingers crossed we've got it right.

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Christine, the pearl pendant is just about to go under the hammer.

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You're flogging this because you don't like the snake on there.

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-That's correct.

-We're looking for about £500. Hopefully we'll get it.

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-That would be wonderful.

-Fingers crossed.

-The reserve's 400.

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-I know.

-And we mustn't say this too loud. There is some damage,

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which I didn't point out totally to you. Some chips to the enamel.

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And we do know that that centre stone is a replacement.

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-Those things...

-They may hold it back.

-Might hold it back,

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-but everything else is in its favour.

-Right.

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-Were you happy with the valuation?

-Yes.

-Did you think, "That's good"?

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-It was more than I expected.

-That's what we want to hear.

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Lot 476 is a fine teardrop-shaped pendant,

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set with pearls, a diamond mount.

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Shall I say £300 away?

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£200 to start me. £200 I'm bid.

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-We're in at 200.

-At 220. At 240.

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At 260. At 280. 300.

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320. 340. 360.

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-380.

-It's going up.

-400. At 400.

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This is good.

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At £400. 420? At £400.

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Yes. The hammer's gone down. £400.

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-That's super.

-Gosh, you had to concentrate. He was so quiet.

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-Are you happy with that?

-Yes.

-What's £400 gonna go towards?

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I'm going to see my grandson who lives in Norway.

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-I've actually brought a photograph.

-Oh, look at that! He's gorgeous.

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-Fred he's called.

-Fred. And where does he live?

-Norway.

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-In Norway.

-My son lives and works in Norway. His family are there.

-Oh, little Fred.

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Troika normally lights up a saleroom and this lot is gonna do that

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cos it's a pair of Troika lamps belonging to Lynne.

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We've got a valuation of £200-400 put on by our expert Philip here.

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There's a lot of Troika in the room today but I think these'll do well.

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-I think they're a nice pair.

-Good pair. Good pair.

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Why are you flogging them?

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-Good question.

-And that is the big, all-important question.

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-They don't fit in my house.

-Don't they? Not at all?

-No.

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-They've proved to be a very good investment.

-Mmm.

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-Shades, Paul.

-Original shades as well, yes. Hessian shades. That's brilliant.

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-That is so '70s.

-Great shades.

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Great shades. It's up there with Mary Quant and Biba.

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This is it. Good luck.

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193 there.

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Pair of Troika table lamp bases

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with geometric patterns - lot 193.

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Can I say £200 the pair, please? Lot 193.

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£200? £200 I'm bid.

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At £200 in the room. 210 with me.

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At 210, 220, 230.

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At 230, the bid is with me.

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At 230, 240,

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250, 260...

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260, my bid's out. At 260.

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At 260, 270.

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At 270 to my right. At 270. 280 now.

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At 270, 280 not.

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-We're done, I'm selling at £270.

-The hammer's going down - £270.

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-Good stuff.

-Mid-estimate. That's not bad at all.

-Excellent.

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How much did they cost? 20?

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-Yeah.

-Somewhere around there.

-Yeah.

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What are you gonna do with the money? What'll you put that towards?

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Bit of commission, mind you. But what's it going to?

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-Oh, probably treat my son.

-And yourself!

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A bit of Cornwall's heritage is about to go under the hammer.

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It's an ingot and it belongs to Neville.

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This is part of your social history and mine - I grew up in Cornwall.

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-It is hard to put a value on it.

-Yes.

-It's a tactile piece.

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-We're gonna keep our fingers crossed.

-Yes, see how it goes.

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And hope we've got some Kernow, patriotic Cornish people here

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that are gonna want a little bit of Cornwall to take home with them.

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-Yes.

-OK? It's going under the hammer now.

-Here we go.

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Lot 650 - it's an ingot

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with lamb and flag engraving. Lot 650.

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What do you say for that? £50 away? £30 away?

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£20 to start me, surely?

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£20, thank you.

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At 25, at 25. 30? 30, 35...

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At £35 I'm bid. 40 or not? We're done at 35.

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Can't let it go at that, I'm afraid.

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No, he's putting the hammer down at £35. It's all he's got in the room.

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That's a shame. Neville, I think it's got to go home.

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Hang onto it, be proud of it.

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-Well, I am proud of it and I'll hang onto it.

-Good.

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Spoken like a true Cornishman - a Trelawneyman.

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I've been joined by Delia with my favourite item of the whole show - that pen and ink wash.

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-That is gorgeous. Edward Duncan.

-Mmm.

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-Shipwrecks, dated. It is stunning. We've got £450-600 on this.

-Mmm.

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There's a spelling error in the catalogue.

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There's a spelling error in the catalogue. They spelled it Dunkin and it should be "can".

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-Yes.

-And my man is an RA.

-And that's not in the catalogue.

-It's not in the catalogue.

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-I wonder if that's mis-represented on the website. I haven't checked.

-Don't know.

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Still, it only cost me a pound, so it doesn't really matter if it doesn't sell.

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-A good buy in 1965. It looks fantastic.

-It does look rather good.

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Good luck, it's going under the hammer.

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-Oh, gosh!

-Yeah, it's frightening.

-I think it's gonna bomb.

0:18:490:18:53

I don't.

0:18:530:18:54

Lot 776. What do you say for that? Quite nice painting there.

0:18:540:18:59

Can I say £500?

0:18:590:19:00

£400 away?

0:19:000:19:02

400? I've got 350 on the book.

0:19:020:19:04

At 350, at 350, the bid is with me.

0:19:040:19:07

At 350, 380, 400,

0:19:070:19:09

420...

0:19:090:19:11

-450.

-Come on.

-At 450, the bid's with me. At 450, at 450.

0:19:110:19:15

480...

0:19:150:19:16

At 480. 500? At 500.

0:19:160:19:19

At 500. 520 now. At 500.

0:19:190:19:22

At 500. 520, not. We're done at £500.

0:19:220:19:25

-500.

-Not bad for a pound outlay.

0:19:250:19:29

Mid-estimate. Not bad. A good outlay -

0:19:290:19:32

-£1. Mind you, over a period of time, 1965...

-Yep.

0:19:320:19:37

Yep, it's been stuck on the attic wall in various houses

0:19:370:19:41

and now another one's up there now. So, you know...

0:19:410:19:44

-And you're off travelling.

-Yes, it's going into the travel fund.

0:19:440:19:48

-It'll help to sail me down the Nile.

-How exciting is that!

0:19:480:19:52

-Mmm.

-I'm envious. Really envious.

0:19:520:19:55

Well, we're getting some good results today and Delia's drawing

0:19:560:19:59

has inspired me to explore Cornwall's artistic past.

0:19:590:20:02

Artists have been attracted to the town of St Ives

0:20:080:20:11

which is situated on the north coast of Cornwall for well over 100 years.

0:20:110:20:15

Indeed, both Turner and Whistler were early visitors here.

0:20:150:20:19

And it's easy to see the attraction, with the picturesque cottages

0:20:190:20:22

all dotted about in a higgledy-piggledy fashion.

0:20:220:20:25

And of course, the spectacular views of the sea.

0:20:250:20:29

During the war, sculptor Barbara Hepworth and her artist husband Ben Nicholson

0:20:290:20:33

moved to St Ives and before long the town became a centre for a new generation of avant-garde artists.

0:20:330:20:39

The importance of the St Ives' colony grew and strengthened.

0:20:400:20:44

And it was finally recognised in 1993

0:20:440:20:46

when the Tate Gallery - this spectacular building behind me - was built.

0:20:460:20:51

We're gonna take a look in there in a moment.

0:20:510:20:53

But back to those early days. The artists started off in much more humble surroundings.

0:20:530:20:59

Like many of the buildings on this beach, these were originally net lofts

0:20:590:21:04

where fishermen could mend and store their nets

0:21:040:21:06

until an American painter - Howard Russell Butler -

0:21:060:21:10

made his studio here in 1886.

0:21:100:21:14

Fishermen still use the cellars for storage here today.

0:21:140:21:17

But these spectacular, breathtaking views

0:21:170:21:21

have given dozens of artists inspiration for well over 100 years.

0:21:210:21:26

People like Ben Nicholson, Patrick Heron and Francis Bacon,

0:21:260:21:30

and the great thing is, artists today are using the studio for exactly the same purpose.

0:21:300:21:35

More and more artists and sculptors were drawn to St Ives in the post-War years,

0:21:400:21:45

producing work that was heavily influenced by the local landscape

0:21:450:21:49

but which must have seemed bizarre and experimental to the locals at the time.

0:21:490:21:53

Cornishman Norman Pollard, who works at the Tate, has seen it all.

0:21:530:21:58

Norman, what is it that brings so many artists to St Ives?

0:21:580:22:03

They always talk about the quality of the light down here, obviously.

0:22:030:22:06

It's supposed to be so clear. And also when you look around us, you see all the landscape...

0:22:060:22:12

-Stunning.

-..the sea. For the artists it must have been a wonderful place to come.

0:22:120:22:16

Obviously, they liked it here, apart from the light and everything.

0:22:160:22:19

-They must have liked the place.

-They must've done. Yeah.

0:22:190:22:22

What was it like with Ben Nicholson wandering around

0:22:220:22:25

and Patrick Heron? What did the local people think of these, well, superstars, really?

0:22:250:22:30

-I think at the time, they didn't realise they were superstars.

-No.

0:22:300:22:34

So, you gotta think, in them days St Ives was a working town

0:22:340:22:37

and so the artists were working the same as the people. So they weren't looked upon as anything different

0:22:370:22:43

-to the people living here.

-Yeah.

-They were trying to make a living a little bit like us.

0:22:430:22:48

-So people never thought of them as superstars.

-No.

-They were just part of the community.

0:22:480:22:53

-Did they mix with the community?

-Very much so.

0:22:530:22:56

A lot of the people knew them and was always friendly with them,

0:22:560:22:59

-but never really got into their art a lot.

-No, couldn't understand it.

0:22:590:23:04

-That's right.

-Well, they were forward-thinkers, weren't they?

0:23:040:23:07

-Very much so.

-Geniuses.

0:23:070:23:09

Tell me about the Tate. How did that come about?

0:23:090:23:13

Cos I was a young lad living in Cornwall, and I remember Prince Charles opening this as well.

0:23:130:23:18

-In 1985, they had a very large show of this St Ives' group...

-Yeah.

0:23:180:23:22

-..at the Tate Gallery in London.

-Yeah.

-And that kick-started the idea

0:23:220:23:27

-that we could have a gallery here. So the impact when it first came was tremendous.

-Oh, yes.

0:23:270:23:32

People just turned up from everywhere and...

0:23:320:23:35

It is astonishingly beautiful here, isn't it?

0:23:350:23:38

It's no wonder they gravitated from all over the country

0:23:380:23:41

-just to come to St Ives.

-That's right.

-It's gorgeous.

0:23:410:23:44

-Even today it's lovely.

-Yes! But there's something about it, something wild

0:23:440:23:48

-and sort of makes you feel sort of tense and excited.

-Yeah.

0:23:480:23:52

-Every day is different.

-Yes. Yes, that's what it's all about.

0:23:520:23:55

-Shall we go in and have a look?

-That's a very good idea.

-Come on, then.

0:23:550:23:59

Here we are, Paul. This is what I call the St Ives' Room.

0:24:070:24:11

This is the group of artists that this gallery was built for.

0:24:110:24:14

Yes, I can see it instantly.

0:24:140:24:16

It's so progressive, very avant-garde

0:24:160:24:19

considering they live in picturesque England.

0:24:190:24:23

-Country cottages by the sea.

-That's right.

0:24:230:24:25

Yet they're painting something...uh!

0:24:250:24:28

-..worlds apart from that.

-Yes, even though St Ives was well known

0:24:280:24:32

for more traditional work in the early days,

0:24:320:24:35

and then this group of artists came here and painted

0:24:350:24:40

-the same scenery but in a different way.

-Yeah, I can see Terry Frost's work here.

0:24:400:24:44

Yes, the sort of concentric circles,

0:24:440:24:46

-lots of spirals.

-That's right. The famous red, black and white colours.

0:24:460:24:50

-Yeah, he really is a legend.

-Yes.

0:24:500:24:52

These were the leading names, the major players, weren't they?

0:25:010:25:05

-That's right.

-Barbara Hepworth, Ben Nicholson, Alfred Wallace

0:25:050:25:09

-and of course, Sir Terry Frost.

-They were, yes.

0:25:090:25:11

You can see this beautiful Hepworth here.

0:25:110:25:14

Beautiful finish to them. It's one of the things I love - the finish to the sculptures.

0:25:140:25:19

-Yes.

-Yes.

-I can see some of your favourites over here -

0:25:190:25:23

-Alfred Wallaces.

-Oh, yes, the Wallaces. Everyone likes to come in and see the Wallaces.

0:25:230:25:28

They're one of the most popular things in the gallery.

0:25:280:25:32

Well, I could stay and look around here all day,

0:25:370:25:40

but unfortunately I'm running out of time.

0:25:400:25:42

If you're ever in St Ives, please come and visit the Tate Gallery,

0:25:420:25:46

it's well worth it.

0:25:460:25:47

Right, it's time for me to pop back to the valuation day

0:25:470:25:50

and catch up with our very own avant-garde experts.

0:25:500:25:53

Mark, you're a bit of a collector of these prints, are you?

0:26:080:26:12

Not really, my grandfather passed them onto me.

0:26:120:26:16

I never met him cos he died before I was born.

0:26:160:26:19

He left them for me and I've always had an interest in birds and animals

0:26:190:26:22

so they were passed down to me.

0:26:220:26:24

-Have you had them on a wall?

-No, they've lived in a plastic bag...

0:26:240:26:28

-My mum reckons since 1930, they've been in a bag.

-Oh, no!

0:26:280:26:31

They come out occasionally and have been admired.

0:26:310:26:34

-How did he get hold of them?

-He was a lithographic artist

0:26:340:26:39

and he was working in a printer's when he was...early in his career.

0:26:390:26:42

They were a set of proofs that were sent off to the artist and returned

0:26:420:26:48

and then they would've been scrapped,

0:26:480:26:50

-so he collected them, took them home.

-Right.

0:26:500:26:52

-These are the plates that would've been part of the run.

-Mmm.

0:26:520:26:57

There would've been hundreds, if not thousands of these produced.

0:26:570:27:00

-They were then put in folios or books...

-Yeah.

-..and used as an educational tool.

0:27:000:27:04

-Mmm.

-Then lots of people buy those folios and then pull them apart

0:27:040:27:09

-and mount them into pictures and put them on the wall.

-Right.

0:27:090:27:13

Archibald Thorburn, the artist, is very well known as a watercolourist

0:27:130:27:16

of the early 20th century -

0:27:160:27:18

predominantly, you think of game birds like pheasants, grouse on heathland or moorland.

0:27:180:27:24

That sort of thing.

0:27:240:27:26

You don't so often come across these

0:27:260:27:28

natural history studies that he's done here.

0:27:280:27:31

And you've got some really wonderful, wonderful plates.

0:27:310:27:36

-I love this image of the bats.

-Mmm.

0:27:360:27:39

This is Leisler's bat.

0:27:390:27:41

I'm no bat expert. It says so here.

0:27:410:27:43

And of course you've got Archibald Thorburn, 1920 on this one.

0:27:440:27:48

That's probably my favourite plate.

0:27:500:27:52

-Is it? I picked that one out, didn't I?

-Yeah.

0:27:520:27:54

So we like the same one. But the detail,

0:27:540:27:57

-you can see the transparency of the wing, can't you?

-Yeah.

0:27:570:28:00

You get the image of the sky coming through somewhat.

0:28:000:28:03

That's a beautiful image. They're wonderful.

0:28:030:28:05

They really are wonderful.

0:28:050:28:07

A lot of these are of birds, and that's fine,

0:28:070:28:10

-but the more interesting ones are of the mammals.

-Right.

0:28:100:28:13

-Yeah.

-They have a certain charm about them.

-Mmm.

0:28:130:28:17

-Look at this little fellow here.

-Yeah.

0:28:170:28:19

-They look that cute, don't they?

-Mm.

0:28:190:28:22

How could anyone do anything nasty to a seal?

0:28:220:28:25

Anyway, what are they worth?

0:28:250:28:27

If we worked on £5, £8 a plate...

0:28:270:28:31

-Mmm.

-..em, I think you're looking at £150-200.

0:28:310:28:36

-OK, brilliant.

-How does that sound?

0:28:360:28:39

-Sounds good. Yeah.

-You'd be happy with that?

-Yeah. All right.

0:28:390:28:42

-Let's see what we can get for you.

-Thanks very much.

0:28:420:28:45

-Good luck with those!

-Thank you.

0:28:520:28:55

Liz, this is a fabulous collection of jewellery.

0:28:550:28:58

Why do you want to sell it?

0:28:580:28:59

It's my aunt's, and she wasn't somebody I knew particularly well,

0:28:590:29:03

so it's not very sentimental for me.

0:29:030:29:05

And I have some nice jewellery from my mother,

0:29:050:29:08

and I could use the money.

0:29:080:29:10

He is one of the great... I won't ask you what for, not yet.

0:29:100:29:14

We've got one of the great 20th century designers,

0:29:140:29:17

who opened up in Copenhagen in 1904, Georg Jensen.

0:29:170:29:22

I mean, that's just a name to conjure with.

0:29:220:29:25

He's an interesting man. He had an exhibition in America in the 1920s,

0:29:250:29:29

and Randolph Hearst, the wealthy American industrialist, bought the whole lot.

0:29:290:29:33

He must have had a fairly interesting private life, cos he was married five times!

0:29:330:29:38

This is just a lovely collection.

0:29:380:29:40

If we start off with the first little brooch at the end there,

0:29:400:29:43

it's got all the right marks on the back of it.

0:29:430:29:46

It's marked up for 1954.

0:29:460:29:49

And I think that we need to estimate this

0:29:490:29:51

at £120-£180,

0:29:510:29:55

fixed reserve £100.

0:29:550:29:57

We're going to sell all these as separate lots.

0:29:570:30:00

We move on to this lovely little bird brooch, and again,

0:30:000:30:04

all the right marks on the back. 1955.

0:30:040:30:08

Um, and again, £100 fixed reserve,

0:30:080:30:11

and it'll make estimate £120-£180.

0:30:110:30:14

I love this one.

0:30:140:30:16

This is this little snail, and it's quite an unusual design,

0:30:160:30:20

this snail. 1952.

0:30:200:30:22

Again, all fully marked up.

0:30:220:30:25

Estimate £120-£180, fixed reserve £100.

0:30:250:30:29

And that's the first one with the box.

0:30:290:30:32

Then we go on to these sort of amoebic designs,

0:30:320:30:35

which were designed by Henning Koppel in the 1950s.

0:30:350:30:39

And this one, I think we can put an estimate of £120 to £180 again,

0:30:390:30:44

with a reserve of £100.

0:30:440:30:46

And again, we've got the box there.

0:30:460:30:48

And this slightly larger amoebic design,

0:30:480:30:51

I think we can put £150 to £250 on that, reserve £120.

0:30:510:30:56

-So, Liz, we could potentially have here £500 to £1,000.

-Mm-hm.

0:30:560:31:00

-What are you going to do with the money?

-I've got some home improvements.

-Home improvements?

0:31:000:31:06

I've been doing some work at home and quite a few things are going wrong.

0:31:060:31:10

They can stay wrong! I'd keep all this lot. What we have to ensure

0:31:100:31:15

is that the auctioneers, if possible, get a photograph done. These have to go on the internet,

0:31:150:31:22

because I think we'll go to the auction, and Paul will say those magic words,

0:31:220:31:26

"Liz, your lot's coming up now", and I wouldn't be at all surprised

0:31:260:31:30

to find telephone bids and all sorts going on.

0:31:300:31:34

Your problem is not are they gonna sell or not - it's how much will they make?

0:31:340:31:39

-So I think it's fabulous, really exciting. Roll on the auction. Are you happy with that?

-Very much so.

0:31:390:31:44

-So, Jim, it's nice to have you on a day out today.

-Thank you.

0:31:510:31:54

-Nice to see you fit and well, yeah?

-Oh, yes, fighting fit.

0:31:540:31:58

Absolutely. And you've brought along three different family timepieces.

0:31:580:32:02

They have a personal history to you.

0:32:020:32:04

Tell me about this one first of all - this travelling clock.

0:32:040:32:08

It belonged to a cousin of mine, who was a major in the Queen Alexandra's.

0:32:080:32:14

And she served in France in the '14 war,

0:32:140:32:18

and that clock can be seen...in her cubicle.

0:32:180:32:23

-So it's seen a bit of action?

-I expect so, yes.

-Absolutely.

0:32:230:32:28

It's not something that has a great deal of value, but the history and the family history behind it

0:32:280:32:33

-doesn't mean you want to keep it?

-Not particularly, no.

0:32:330:32:37

-Why?

-Well, I've got no-one to hand it on to. I've got no children,

0:32:370:32:41

so if something happens to me, it'll be thrown aside.

0:32:410:32:44

-Does it work?

-No.

-So it's not working.

-No.

0:32:440:32:48

-And I've said, "Why don't you just take it home?" and you don't want it - you just wanna sell it!

-Yes.

0:32:480:32:53

And the same is true with these other two watches.

0:32:530:32:56

-Now these have a more personal history to you.

-Yes.

0:32:560:32:59

First of all, you've got this silver cased Half Hunter pocket watch.

0:32:590:33:03

I carried that for years on the footplate,

0:33:030:33:07

until I got made a driver, and I bought a gold one for myself.

0:33:070:33:11

-So you were given this one by your father...

-Yes.

-..when you first

0:33:110:33:15

-got onto the footplate of an engine.

-Yes.

-And what were you doing then?

0:33:150:33:20

-What sort of work?

-I was the fire man.

-You were stoking the fire?

0:33:200:33:23

-Yes.

-That's hard work, isn't it?

-It could be, sometimes.

0:33:230:33:27

-And then you've got this gold wristwatch by JW Benson.

-Yes.

0:33:270:33:33

-When did you buy that one?

-I went to London to work, and I bought that.

0:33:330:33:36

-Like a little treat to yourself?

-Yes. Well, something I always wanted

0:33:360:33:41

was a gold watch. So, as you say, a treat, yes.

0:33:410:33:44

-As you say, it's a 9-carat gold watch.

-Yes.

0:33:440:33:47

It'll be hallmarked on the inside, but we don't need to look at it.

0:33:470:33:52

Benson is a very well-known make. They made watches in the Victorian period, and to the admiralty,

0:33:520:33:58

in the late 19th century, and then in the early 20th century,

0:33:580:34:02

they continued to do that, but also making watches for commercial use,

0:34:020:34:07

for everybody to buy in their shops.

0:34:070:34:10

This little wristwatch is lovely. It's got a good, clear dial,

0:34:100:34:14

it's got that centre seconds hand going around.

0:34:140:34:17

You've got Arabic numerals as well as the markers,

0:34:170:34:20

but the great thing about it is it's in such good condition.

0:34:200:34:24

-You obviously didn't wear this one on the footplate!

-No.

-No scratches.

0:34:240:34:28

So many watches were presented after 25 years' service, 50 years', however many it might be,

0:34:280:34:34

and there would be an inscription on the back, and that doesn't help.

0:34:340:34:38

But this one's completely plain, so that has to be good,

0:34:380:34:41

-cos it's not personalised to you. And you just don't want to keep it?

-Not particularly, no.

0:34:410:34:47

How much was this one when you bought it, then?

0:34:470:34:49

That was about £65, £68.

0:34:490:34:52

-What year was that?

-Ooh...'59 or '60.

0:34:520:34:57

-That was a lot of money.

-It WAS a lot of money then.

0:34:570:35:01

-You're not going to get that sort of money.

-I understand that.

-Ideally,

0:35:010:35:05

we would normally suggest selling this one on its own.

0:35:050:35:09

But you've said to me,

0:35:090:35:11

"I just want to sell all of these watches. Please get rid of them."

0:35:110:35:15

And I think that for all three watches together,

0:35:150:35:19

-I think we'll get something between £120 and £160.

-Fine.

0:35:190:35:24

-You'd be happy with that?

-Yes.

-Put a reserve at £120?

-Yes.

0:35:240:35:29

-Let's put them in the auction and let's hope they make that little bit more for you.

-Fine, yes.

-All right.

0:35:290:35:35

Time waits for no man, and neither do auctioneers.

0:35:390:35:42

We're off to the saleroom

0:35:420:35:43

with Jim's timepieces - mementoes of his working life.

0:35:430:35:47

We're hoping the bidders will have designs on this superb collection

0:35:470:35:51

of Georg Jensen brooches. And they should be fighting

0:35:510:35:54

tooth and claw to get their hands on Mark's animal prints.

0:35:540:35:58

But first, I can never resist hunting around the saleroom

0:35:580:36:02

in case I find something that really is going for a song.

0:36:020:36:05

It's surprising how many musical instruments you come across in an antique and general auction room.

0:36:050:36:11

We've seen it time and time again on a "Flog It!" -

0:36:110:36:14

countless pianos, guitars, and even trombones like this one.

0:36:140:36:18

And really, if you're thinking of taking up a musical instrument,

0:36:180:36:21

why go to a music shop and buy a brand-new instrument for £200-£300

0:36:210:36:25

when you might get fed up with practising after six months?

0:36:250:36:29

Come to an auction room, pick one up for next to nothing,

0:36:290:36:32

start practising, and you never know - you might get quite good at playing it.

0:36:320:36:37

Let's give it a go.

0:36:370:36:40

Oh, well, I don't know about me!

0:36:420:36:44

But let's hope our experts hit the right note in the auction.

0:36:440:36:47

Right, now we've got a collection of timepieces - a couple of watches and a travelling clock

0:36:560:37:01

-belonging to Jim here. These go back a long way.

-Yes.

0:37:010:37:05

Why are you flogging them? Have you got a very reliable wristwatch?

0:37:050:37:09

Well, I have, yes.

0:37:090:37:12

-At the moment it's being repaired!

-Oh, it's not that reliable, then!

0:37:120:37:16

There is a value of £120 to £150. Now, will we get that top end?

0:37:160:37:21

-I know Jim wants it. Jethro, the pressure's on.

-It's always on!

0:37:210:37:26

-The pressure's always on!

-And it's ticking away as well.

-It is.

0:37:260:37:31

Watches and clocks - pocket watches in particular -

0:37:310:37:34

haven't seen a very good return in the last 30 years, I'm afraid to say.

0:37:340:37:38

But the gold wristwatch is in there, and gents' watches sell well.

0:37:380:37:42

There's a demand. I'm hopeful.

0:37:420:37:44

Lot 456 here, a silver-cased Half Hunter pocket watch by Benson,

0:37:440:37:48

clock and bits and pieces, three items in total. 150 away?

0:37:480:37:53

100 away? £100 I'm bid. 110. 120.

0:37:530:37:57

130. 140. 150.

0:37:570:38:01

160. And 170.

0:38:010:38:03

I can go to 175. 180? 180.

0:38:030:38:05

My bid's out. At 180 right there.

0:38:050:38:07

190. 200. 210.

0:38:070:38:10

220.

0:38:100:38:11

At 220 in the middle. At 220.

0:38:110:38:13

At 220, 230 up?

0:38:130:38:16

We're done, at £220.

0:38:160:38:18

Yes. The hammer's gone down. £220, very nice.

0:38:180:38:22

-Proper job!

-Proper job!

0:38:220:38:24

We have 34 loose bird and animal prints for you right now.

0:38:280:38:32

We're not exactly giving them away, but there is a little bit of profit.

0:38:320:38:36

We've got £150 to £200 on this,

0:38:360:38:38

-but you could mount them up and frame them and sell them separately. Did you think of doing that?

-Um...

0:38:380:38:44

-I did think of it, but the cost of framing would have been...

-Yeah.

0:38:440:38:47

You've got to be in the know with a good framer

0:38:470:38:49

and get the whole lot done as a job lot.

0:38:490:38:52

They must be displayed, which is why I think they'll go to the trade, be split up, framed,

0:38:520:38:56

-and resold.

-And there's nothing wrong in that.

-Of course not.

0:38:560:39:00

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

0:39:000:39:05

They're going under the hammer now.

0:39:050:39:08

34 Archibald Thorburn prints of various birds and animals,

0:39:080:39:12

including foxes, seals and garden birds.

0:39:120:39:14

They're all unframed, but a number of them - lot 753.

0:39:140:39:17

Can I say £150 away?

0:39:170:39:19

£100 away?

0:39:190:39:21

£50 to start me? £50 I'm bid.

0:39:210:39:23

At £50, I'll take 60.

0:39:230:39:26

60. 70. 80. 90. 100.

0:39:260:39:30

At £100.

0:39:300:39:31

110.

0:39:310:39:33

120. 130. 140.

0:39:330:39:36

150. At 150, the bid's in the middle of the room.

0:39:360:39:39

At 150. 160? Are we done? I'm selling...

0:39:390:39:42

-Sold at 150, right on the lower end.

-Oh, well.

-It'll do.

-They've gone.

0:39:420:39:47

-Lots of memories there, your granddad's.

-Yeah. Someone will enjoy them now.

0:39:470:39:53

Right now, we've got some 20th century modern for you -

0:39:580:40:01

it's great design, it's by Georg Jensen -

0:40:010:40:03

-five brooches belonging to Elizabeth.

-Mm-hm.

0:40:030:40:06

Philip took them in as one lot, but we're going to split them up and sell them individually.

0:40:060:40:10

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

0:40:100:40:15

-We're hoping for £250 plus.

-Georg Jensen is a name of the moment.

0:40:150:40:19

He's a real style icon. I don't think you could have chosen a better time to sell them.

0:40:190:40:24

They're going to sell and sell well. Fingers crossed. Here we go.

0:40:240:40:29

This is the first lot now.

0:40:290:40:31

Lot 494. It's a Georg Jensen oval-form brooch,

0:40:310:40:35

decorated with a trail of flowers in relief. £100?

0:40:350:40:38

At £100, I've got a bid on the book. 110. 120.

0:40:380:40:42

At 120, the bid is still with me.

0:40:420:40:44

130, 140, 150. At 150, your bid. My bid's out. 160. 170.

0:40:440:40:49

180? 180. 190?

0:40:490:40:52

At 190 in the back, then. 200 and up? At £190...

0:40:540:40:57

Yes, the hammer's gone down. £190, top end. One down, four more to go.

0:40:570:41:02

This is the next one.

0:41:020:41:03

I've got a start again at £100.

0:41:030:41:07

110. 120. At 120 the bid's with me.

0:41:070:41:10

130. 140. 150. 150? My bid's out.

0:41:100:41:13

160? At 150 in the room.

0:41:130:41:17

At 150. 160? 160.

0:41:170:41:19

Brilliant.

0:41:190:41:21

At 160 on the phone. At 160...

0:41:210:41:24

Are we done? At £160.

0:41:240:41:26

Second one down, £160. This is the third.

0:41:260:41:30

Let's say £100 to start. £100?

0:41:300:41:34

£80? £80 I'm bid.

0:41:340:41:37

90. 100. 110.

0:41:370:41:40

115. 120.

0:41:400:41:42

At 120. 125?

0:41:420:41:44

130? 135.

0:41:440:41:47

140? 145.

0:41:470:41:48

At 145, lady's bid. At 145. 150 up?

0:41:490:41:52

-£145.

-Yes! Hammer's gone down. £145.

0:41:520:41:56

It's getting exciting. Tension's building. That's just under £500,

0:41:560:41:59

a fiver short. Here's the next one.

0:41:590:42:01

Can I say £100 to start?

0:42:010:42:03

£100, our usual starting point? £80 to start me?

0:42:030:42:07

£80 I'm bid. At 80.

0:42:070:42:08

90. 100. 110.

0:42:080:42:10

115. At 115. 120 now?

0:42:110:42:14

At 115...is it 120?

0:42:140:42:17

Yes, 120. 125?

0:42:170:42:19

At 120 I'm bid. Are we done?

0:42:190:42:22

At £120...

0:42:220:42:24

Right. £615 so far.

0:42:240:42:27

Your last chance to buy one. £100 straight in, please.

0:42:270:42:31

£100? £80 to start me. £80.

0:42:310:42:33

At 80. £80 I'm bid.

0:42:330:42:35

90. 100? 100.

0:42:350:42:37

Is it 110? 110. At 110, 120 now.

0:42:370:42:40

At 115?

0:42:400:42:42

Is it 120, madam? 120.

0:42:420:42:45

At 120. Is it 125?

0:42:450:42:47

£120 I'm bid.

0:42:470:42:49

£120... Is it 125? 125. 130 now.

0:42:490:42:53

125 to my left. Are we done?

0:42:530:42:56

-At £125...

-Yes! £125.

0:42:560:42:59

-740.

-He's played darts! £740.

0:42:590:43:04

That's good. That was quality. Georg Jensen is quality.

0:43:040:43:08

-I think they've gone to a great home.

-Hopefully they'll enjoy it more.

-Well, they'll wear them!

0:43:080:43:13

Well, that's it. It's all over for our owners.

0:43:210:43:24

The auction's still going on. We've had some mixed results, highs and lows, but that's auctions.

0:43:240:43:29

It's not an exact science. I've had a wonderful time here in Cornwall.

0:43:290:43:33

So until the next time, cheerio.

0:43:330:43:35

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