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Today I've graduated to Cambridge University,

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and when you're here, the only way you can get about properly is on your bike!

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BELL RINGS

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I know what you're thinking, "Go on, get on your bike, Paul!"

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What a fantastic queue we've got here today!

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And looking cool on their bicycle made for two, our experts, Elizabeth Talbot and James Lewis.

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Now it's time to shift up a gear, as they have their work cut out,

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sorting through all the antiques and collectibles

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brought here to the University Arms Hotel by this enormous crowd.

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Now, Violet, tell me, these figures, are these things that you've had since a child?

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Oh, no! I bought them in a very smart china shop about 40 years ago,

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I think, and I know it's Worcester,

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-and it was...is a collection of six figures.

-Yeah, absolutely.

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-I think there were six.

-Freda Doughty was one artist.

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-That's right.

-Yeah, she's the designer.

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She worked at Worcester from 1930, and she was one of the most prolific decorators

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and designer's modellers that work at Worcester,

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and she's a fantastic craftsman.

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-And just look at the modelling here on the face.

-Yes.

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-The figure just comes to life.

-Yeah.

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And Royal Worcester was going through difficult times when she joined,

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and she was one of the artists who saved the Royal Worcester factory from financial destruction.

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So she was an important figure, and she did days of the week, months of the year, all these

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different series, and this one is called - if we turn it over, there we are - "Modelled by F Doughty,"

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Worcester mark, and inscribed, "Woodland Dance."

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And this figure was produced from right early on in her time,

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from 1934 right the way through until the 1960s.

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And you would think that that was the same, wouldn't you?

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-Yeah.

-But not only is it not by Freda Doughty, it's not even Royal Worcester.

-No, I know.

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Paragon, but again it's a good figure, but I have never

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-seen a Paragon figure like that, so we're gonna be on a learning curve together with this one.

-Oh, well.

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-This one we see a lot of.

-Do you?

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-They make at auction something like £70-100.

-That's right.

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-So on this one, 70-100 is an estimate, and I would put a reserve of £70 on her.

-Yeah?

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I think we ought to put them as consecutive lots, and put maybe... What do you think?

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-An estimate of £60-100 on this little chap?

-Yes, yeah, yeah.

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You've had them for a long time, why do you want to sell them now?

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For the simple reason, I have quite a lot of bits and pieces of china, and I've been going to

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antique fairs for years, and I begin to think,

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"Well, at my age, what's the good of me keeping all this

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"blessed stuff in the place? I might as well get rid of some."

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Certain things, I've given away... You know what I mean, you get a bit cluttered up.

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-So let's take them to the auction and see how we do.

-Yes,

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it's ever so nice of you, very nice. Nice to see you. Thanks ever so much.

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What a wonderfully vibrant picture, June.

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What can you tell me about this?

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Erm... Well, yes, it certainly does have a wow factor,

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and every time I look at it, it does take my breath away.

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I can only go back about 12 years on this one.

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It stood in my mother-in-law's home over the mantelpiece,

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and when I first was introduced to my husband to be,

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I just looked at the picture, and I just fell in love with it because of

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the colour, the vibrancy, it's just so beautiful.

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Unfortunately, Mother-in-law died,

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and we didn't get married until after she'd died, so basically I was given

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the picture as a wedding present, because he knew how much I loved it.

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And that was about eight years ago.

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You can trace it back 12 years.

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I think it dates from the 1950s, possibly from the late 1940s,

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but stylistically it borrows heavily from the works of Degas, and also from Dame Laura Knight.

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Now, I see there's a signature here, it is actually signed.

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Now, I can't discern whether that says "Moz Kay..."?

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My first impression is that it probably was "Mozlay"...

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then looking at it again I thought it was "Mozkay".

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I think the best thing to do would be to ask the auctioneers

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to do some research and see if they can come up with anything.

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I would love to know who actually painted it, yes, I would.

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But I think almost one would say, irrespective

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of that, it has a worth of its own because it is such a lovely picture.

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It's actually watercolour mixed with pastels, so you get a very

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-sort of thick impasto build-up of layers almost.

-Impasto.

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Very three-dimensional, which adds to the sort of depth of the picture.

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It's also very sketchy, some parts of the paper are left totally blank,

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which is quite exciting.

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And I think it will appeal to ballet lovers, but also it fits

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nicely into the post-war artistic era that is so popular at the moment.

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But it was your mother-in-law's. Was she a ballet dancer or interested in ballet?

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No, I don't think she quite had the stature to be a ballet dancer, not at any time.

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What I would say is that there were ballerina pictures everywhere.

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-Well, I'm sure that crowned her collection probably.

-Oh, yes, yes.

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-So you're thinking of selling it.

-I am indeed.

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So why have you got to that stage now?

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Well, when I first got married, the first thing I wanted to do was hang it on the wall.

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It stood there for some time, and then I took it down because

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I changed the decor in the house, so it didn't fit.

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And it had come from a big house to a small semi-detached, and it just...

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It was incongruous, it didn't fit in, and it stayed

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in the spare room with a blanket over it, which is such a shame.

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-It is a shame, it is a shame.

-It should be shown.

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Bearing in mind it has very many areas of appeal, I think it would

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do well to sell for somewhere between £400 and £600. I think that would be

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realistic and a good price for it.

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-Good.

-You'd be happy?

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I would be happy with that, yes. And we'll place a reserve of 400.

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-Thank you very much.

-Thank you.

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Sue, when I saw you carry this in, I thought, "Mmm,

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"could it be...

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"a letterbox, or could it be...

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"let me think now, something like a knife box?"

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But when we open this up, there's a big surprise in here.

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-There is, yes.

-Da-da, da-da...

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It's an early radio.

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-It's got a lovely mahogany case.

-It has.

-How did you come by this?

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It belonged to my partner's grandfather.

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-Right.

-And it's been in their house since he was a small child.

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And why have you brought it in?

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Well...we're going to get married in the summer,

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and we decided we'd try and sell some of our grandparents' antiques,

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things that we've got cluttering up our house,

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-to put towards the wedding.

-Right.

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And it's a bit big, and it doesn't quite fit at home.

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-It's an odd thing, isn't it?

-It is.

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It does look like a knife box, you expect to open it up and see lots of silver fruit knives or something

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like that or sections to put letters, a nice piece of Victoriana.

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But it is in fact 1920s to 1930s,

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and it's a crystal radio, and I think it's absolutely superb.

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And we've even got another surprise in here - that's a little drawer,

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and there's a set of headphones, and these, I bet, are in working order, because they look pretty good to me.

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We've never actually tried to have it working but...

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I wouldn't like to either!

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You've got to attach the headphones to these two terminals here.

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Obviously, this is the tuner,

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and it says here, "Type approved by the Postmaster-General for BBC,"

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so how about that for a seal of approval? You can't get any better.

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But isn't it lovely? And the crystal would go in here.

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You'd have a tiny box that went in there with some replacement crystal,

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like a little ball, which you obviously need to replace.

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Obviously here this terminal would allow you to attach an aerial, which you'd probably

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have to drape around the room, which might be six or seven feet long to pick up a good reception.

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-Oh, right, OK, we haven't got that.

-Value? Crikey...

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With the headphones, because people do buy

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the headphones separately, they might be worth around about £10-15.

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OK, it's good job we've got those.

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I think this is possibly worth about £40-60, but if we combine the two,

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obviously they belong together, and we'd put a value of £50-90 on.

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OK, that all sounds good.

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Do we put a fixed reserve of 50, or do you want to just let it go?

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I don't really mind.

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OK, let's keep a fixed reserve on it, and if it doesn't sell, I think you've got to keep it.

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I don't know what you're gonna do with it.

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-Are you happy with that?

-Yes, I'm happy with that, thank you, Paul.

-Should we flog it?

-Flog it, please.

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Now, Ian, when you unpacked these onto the Flog It tables, I got so excited.

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They're just fantastic.

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When you're talking about history, about objects, antiquities...

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Well, you go for it, you know about it, tell us about it.

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This is a Roman pot that my father dug up

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with a JCB in 1965.

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We took it to the Fitzwilliam Museum, where they dated it to...100 AD.

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And the scuff marks on it is actually where the back axle of the digger hit the jug, and that's

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when my father realised that there was something there, so he stopped, got out and then dug it up by hand.

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What a wonderful thing.

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-You know, it's amazing that these things survive in such relatively good order.

-Yes.

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Now, the thing that I couldn't work out were these three holes in the side.

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I mean, obviously it's a storage jar, but what are these holes for?

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Right, the museum said that they changed the use of it

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by putting these three holes in, and they used it as a hanging basket.

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-How amazing.

-The first hanging basket.

-We do think hanging baskets are a modern thing, don't we?

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-Let's move on from this.

-Certainly.

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Now tell me about that one as well.

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This, same scenario, really, my father dug it up with a JCB

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at Shelford, which is a little village just down the road, and brought it home because he

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thought it was quite nice, and it's just sat in the cupboard ever since.

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With early bottles, the most important thing is condition.

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-Yes.

-The JCB may well have knocked its top off, but it's a good early 18th-century glass bottle.

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It's known as the mallet shape, and you can tell it's been

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in the ground for an awful long time, but on the whole it's not bad.

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-Now, we need to come to some sort of idea of value.

-Certainly.

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Even with their wonderful history, they won't be worth a lot of money.

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And selling them together, I think we ought to put

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an auction estimate of £60-100 on them, put a reserve of 60 on them, make sure they don't go below that.

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And isn't it a crazy world where a Beswick hunting set makes £1,000,

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£1,200, and a bit of Roman pottery and a bit of 18th-century glass make £60-100?

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But let's hope the people of Cambridge dig deep in their pockets, you might make a bit more.

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And it's a real mixed bag for our first set of lots.

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There are woodland pixies and beautiful ballerinas,

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a crystal radio and a Roman pot,

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a lucky survivor considering it was unearthed by a JCB.

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For our auctions today, we've come down the road to Cheffins and the auctioneer

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has been doing his research on an item which I think will have the bidders doing pirouettes.

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My word, I think this is going to fly away at 400-600.

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It is lovely, it's a watercolour with a bit of pastel mixed in.

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-It belongs to June.

-It's a pretty picture, a good subject, nice, pretty colours, well executed.

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Elizabeth didn't know much about the artist on the day.

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She couldn't find anything on him.

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Well, I looked up Mozley, and the only Mozley we could find was Charles Mozley.

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Now, he was born in 1914, Sheffield,

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and he was a very prolific sort of post-war artist, both commercially

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illustrating, graphic design, and there are some sort of similarities

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between his work and this.

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There's so much movement in it, the sort of

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sweeping and the flowingness of it. I love the colours.

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I'm confident we're gonna sell this, I think it'll appeal

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to a wide audience, the subject matter, the colours.

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Will it do any more than the 600?

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His work itself, Mozley, he does oils as well as prints.

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About four to six is about the right pitch, yeah, so I think confident we'll get five, maybe 550.

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Well, we'll see how the painting does later.

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The sale is under way, and first up it's a pair of pixies.

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Violet, nearly the moment of truth.

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We're gonna find out if James's estimates are spot-on.

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We've got the Royal Worcester first, £70-100,

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followed by the Paragon, £60-100.

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They look like a pair, but they're not. That's why they're split up.

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And you bought these how long ago?

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Well, as I said, the other piece...one was about 40 years ago,

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but the other one is not as long, I can't remember, probably ten years ago, I'm not sure.

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Will you be sad to see them go? No...

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-Not really.

-Flog 'em!

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-I want to get rid of a lot of stuff, in any case.

-You're de-cluttering, aren't you?

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I'm getting too old to want to be bothered with all this stuff.

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Were you happy with James's valuation?

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-Well, yes, I think so.

-"Well, yes, I think so."

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I don't really know, I suppose...

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That makes two of us!

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You're not going to ask me, "What are you going to spend the money on?"

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-I'm saving that till afterwards.

-I thought you were.

-That's my big moment.

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The Royal Worcester figure there, being shown by Jen, thank you.

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The Royal Worcester figure, starting here, any interest at 35, 45?

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-I'm bid 50 here, at £50 I'm bid now...

-I'm not worried.

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At 50 bid, the bid's here at 50 now.

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At 60 here, I've been left five, sir. 70 if you like, £70 the nod.

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Left-handed now at £70 now, five elsewhere, yes or no?

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I shall sell, then, at £70...

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-Just! Just got that one away.

-Just, just, just.

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Now, lot 375 is the Paragon figure, there we are, of the pixie.

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When you see that, will you start me at what? £60 for that surely, 60.

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Well, £30 surely, half price here today.

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At £30 bid, at £30 I'm bid, thank you now. At 35, 40, 5, 50...

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No, at £50, right-handed at £50, one more might do it, sir.

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At £50, shakes head, that won't buy it at £50.

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At £50, are you bidding, sir?

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I'll take five, all right. At 55 in front, 60, thank you.

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At £60 now, you're both out.

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It's £60 now, it's right-handed, are you sure, then? At £60...

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-Just!

-You must have been clever.

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He is clever, he does know his onions, doesn't he?

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Well, I've never seen a Paragon figure,

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but I said on the valuation day, "I haven't got a clue!"

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But it doesn't have the same following as Worcester, but it made just under that, so I mean

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-130 for the two, that's fine.

-That's not bad, is it, 130?

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No, no, no.

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What's that going to be put towards?

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Oh...a bag of fish and chips.

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Well, I know June's feeling so nervous, aren't you?

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Your lot is just about to go under the hammer.

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There's no need to be scared, because at £400-600 this is gonna sell.

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It's absolutely beautiful.

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We had a chat to the auctioneer earlier, and Elizabeth doesn't know this,

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but he completely agreed with your valuation, 400-600.

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-Excellent, that's a good start.

-It's so beautiful, I love this.

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It's got a lot about it, so much movement, the colours are very interesting, and I think up in

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Cambridge, where the arts are to the fore, it will be well appreciated.

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It reminds me of Dame Laura Knight, and I think this is gonna fly.

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Why are you parting with it?

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Because I don't think the house that I live in does the painting justice.

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Oh, you could find a wall for that.

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-I did find a wall, but the wall nearly fell down under the weight.

-Well, it's too late now, isn't it?

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Because it's just about to go under the hammer,

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it's over there, and young Will Axon is gonna flog it for you.

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The Charles Mozley for you there, ballerinas, mixed media.

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There we are, Charles Mozley, make no mistake, 235 we're selling you, and I've got interest here at 200...

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220, 40, 260, I'm bid at 260 here...

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-It's rising!

-The bid's here at 260 now, at 260 now, I can't tempt you?

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280, 300, 320, 340?

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340, try me again at 340 bid, no?

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At 340 bid, at 340, are you bidding?

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At £340 I'm bid, one more, yes or no?

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At 340, can't tempt you, are you sure?

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At 340, 360, give me a nod.

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At £340, all it's gonna be, yes or no at 340...

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Didn't sell it. I don't believe it.

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I built this up, "We're gonna flog this, there's no need to be nervous, there's no need to panic,"

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-and we got it wrong.

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Right... Next stop, London, I think.

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-Another sale on another day.

-Yes.

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Yeah, you definitely don't want that on the wall, do you?

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Erm... I love it, actually, to be quite honest with you.

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Why don't you keep it, then?

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Well, for the moment I'll have to, won't I?

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-Ian, good luck with this next lot.

-Thank you very much.

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Now, your father dug up this, so you could say it's a bit of sort of dug-up treasure, couldn't you?

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-Yes, indeed.

-A Roman storage jar...

-Yes.

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-18th-century wine bottle...

-Yes.

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-Not a lot of value, though, is there? £60-100 for something that is so old.

-That's right, yes.

0:18:100:18:15

-Just see what happens.

-These were dug up with a JCB, though...

0:18:150:18:19

-They was, yes

-..so it's a bit of luck they didn't get flattened, really, isn't it?

0:18:190:18:23

It's the sort of thing that you'll only get one or two people after,

0:18:230:18:28

and 99.9% of the population just won't be interested at all.

0:18:280:18:31

So we need that 1% here right now.

0:18:310:18:33

-We do, we need a historian, don't we?

-Fingers crossed.

0:18:330:18:36

Well, we've got a packed room, let's see how it does, shall we? This is your lot, good luck.

0:18:360:18:41

Being shown the early 18th-century green glass wine bottle

0:18:410:18:45

together with the Roman terracotta pot.

0:18:450:18:47

I've got interest here starting at 20, 5, 30 and 5, I'm bid at 35 here.

0:18:470:18:51

Interesting lot now at 35, 40, 5, 50, 60... No?

0:18:510:18:57

£60, the gentlemen's bid at 60, are you bidding? No.

0:18:570:19:00

At 60 in front, gentlemen's bid, are you coming back?

0:19:000:19:02

At £60 right in front, then, all done? Are you sure elsewhere at £60?

0:19:020:19:06

The hammer's gone down right on the lower end.

0:19:060:19:11

-They're not highly sought after, are they? Things that are so old, antiquities, so cheap.

-Yes.

0:19:110:19:16

What else has he dug up with a JCB?

0:19:160:19:18

Some, erm... A...

0:19:180:19:21

A Napoleon coin he dug up with the JCB, and some old...like little

0:19:210:19:28

bottles and things like that, nothing as exciting as those two.

0:19:280:19:31

-Is he still digging?

-No, he's retired now.

0:19:310:19:34

-He's doing a steam engine up now.

-Oh, right, good for him!

0:19:340:19:37

Sue, your early crystal radio, now are we tuned into the right frequency at £50-90?

0:19:420:19:48

-I think we are, don't you? We're on the right wavelength.

-I hope so.

0:19:480:19:52

Well, we've got to, only the money's going towards the wedding, isn't it?

0:19:520:19:55

-Yes.

-The pressure's on.

-Yes, it was Jeff's great-grandfather's,

0:19:550:19:58

so it'd be nice to have a gift from Grandfather for the wedding.

0:19:580:20:01

Well, let's see if it sends out the right waves in the saleroom. Good luck.

0:20:010:20:06

The crystal radio set. Interest starts here already at 50, 60, 70...

0:20:060:20:10

-Oh, yes... Oh, yes!

-Wow!

0:20:100:20:14

-95, 100...

-Wow!

0:20:140:20:16

And 10, you're in, sir, now. At 110, both my bidders are out at 110 and 20, 30, 140...

0:20:160:20:21

-Oh, gosh.

-150, 160, 170, 180, 190.

0:20:210:20:26

You can't leave it like that, sir, at 190, 200. 220...

0:20:260:20:30

Oh, they absolutely love it, don't they?

0:20:300:20:33

-I can't believe it.

-At 220, are you all done, then? Are you sure, then?

0:20:330:20:37

In front at £220...

0:20:370:20:40

Bang, the hammer's gone down, what a result!

0:20:400:20:42

Do you know, I'm so pleased! I would never have thought.

0:20:420:20:46

No, I wouldn't.

0:20:460:20:47

I'm so pleased I've got it wrong!

0:20:490:20:51

I think because it was complete and the condition was perfect.

0:20:530:20:56

Thank you so much for selling, I'm amazed that it got that much money.

0:20:560:21:00

I'm thrilled, really pleased.

0:21:000:21:02

Thank you.

0:21:020:21:04

Somewhere among Cambridge's lofty corridors of learning is a place of peace and tranquillity.

0:21:160:21:21

It's somewhere to escape the stresses and strains of studying.

0:21:210:21:26

A place that will lift your spirits and put a smile on your face,

0:21:260:21:29

and it's on the other side of this door, so let's go and have a look.

0:21:290:21:33

BELL RINGS

0:21:330:21:35

This is Kettle's Yard, founded in 1957 by a former curator

0:21:440:21:48

of the Tate Gallery, Jim Ede, and he was so driven by his passion for art and beautiful objects that he turned

0:21:480:21:54

his home into a space where people could enjoy art in a peaceful and uncluttered domestic setting.

0:21:540:22:01

During his career at the Tate Gallery in the '20s and '30s, Ede befriended and met many

0:22:100:22:15

of the leading artists of the day, and he was an early champion

0:22:150:22:19

of the contemporary artist Ben Nicholson and of the naive artist Alfred Wallis.

0:22:190:22:24

But perhaps his greatest achievement as a collector was the acquisition

0:22:340:22:38

in 1926 of almost the entire contents of a studio

0:22:380:22:43

of French sculptor Henri Gaudier-Brzeska,

0:22:430:22:47

who sadly died in action in 1915.

0:22:470:22:50

And it's the works of these three artists which form the core

0:22:500:22:53

of the collection here at Kettle's Yard.

0:22:530:22:55

To tell me more about Jim Ede and his unique vision,

0:23:040:23:07

we have the director of the museum, Michael Harrison.

0:23:070:23:10

Michael, thanks for talking to us and taking time out.

0:23:100:23:12

What was Jim's vision?

0:23:120:23:14

Why did he set Kettle's Yard up? What was it all about?

0:23:140:23:17

Jim had a very strong sense that art was not to be separated

0:23:170:23:22

off from the rest of life, and this was something that he wanted to communicate to other people.

0:23:220:23:26

Then he conceived what he thought was his quixotic scheme, which was to come to Cambridge,

0:23:260:23:32

where there would be a lot of students,

0:23:320:23:34

to find a house where he and his wife Helen could live and where they could hold open house from the beginning.

0:23:340:23:40

So each afternoon the house would be open, and Jim would take people around and talk to them about art.

0:23:400:23:47

Art for him was far more important than food and drink.

0:23:470:23:50

They took a very low place on his agenda.

0:23:500:23:53

Well, he probably spent all his money on art.

0:23:530:23:56

Well, there wasn't much money to spend, and you realise that,

0:23:560:23:59

right from the beginning, his collecting was on a very low economy,

0:23:590:24:03

And he was collecting during the '20s and '30s, he formed great friendships

0:24:030:24:08

with artists, like Ben Nicholson, and he was buying work from them

0:24:080:24:13

at a time when they were not selling.

0:24:130:24:16

And if there was spare money around, then it would be spent on art.

0:24:160:24:21

And what Jim can't quite have realised at the time that he was

0:24:210:24:25

collecting was that he was forming a collection which gathers together

0:24:250:24:30

not only Ben Nicholson and Barbara Hepworth,

0:24:300:24:33

but also Christopher Wood and Alfred Wallis, the great

0:24:330:24:37

primitive artist who was discovered by Ben Nicholson when he went to St Ives for the first time in 1928.

0:24:370:24:43

We know he had a fantastic eye just by the choice of objects - they're stunning.

0:24:430:24:47

But what sort of person was he?

0:24:470:24:49

Well, Jim had started wanting to be a painter.

0:24:490:24:52

He was essentially an artist,

0:24:520:24:55

and from those very early days when he was working at the Tate

0:24:550:24:59

in the 1920s, you find him becoming quite obsessed with the business of arranging rooms.

0:24:590:25:06

This was what he brought to bear in Kettle's Yard.

0:25:060:25:09

This becomes a masterpiece in a way.

0:25:090:25:12

One of the great qualities of Kettle's Yard is its daylight.

0:25:120:25:16

Of course, daylight is physical illumination, but it's also spiritual illumination.

0:25:160:25:22

When you walk in here to Kettle's Yard, something touches your soul,

0:25:220:25:26

and I think it's the space around the object which gives it a vitality and a dynamic and an energy.

0:25:260:25:32

I particularly like this corner of the gallery, Michael.

0:25:400:25:43

Composition is perfect here between this lovely inverted dresser base, and the objects on it.

0:25:430:25:49

Yes, this is a wonderful mixture of 20th-century art and...

0:25:490:25:53

18th-century furniture.

0:25:530:25:55

..18th-century furniture - Islamic rug on the floor.

0:25:550:25:58

It's this mixture which is so particular to the place.

0:25:580:26:01

And then the other end is counterbalanced by

0:26:010:26:06

a little composition with a shell, a pomander and a pebble.

0:26:060:26:10

This is what's happening today.

0:26:100:26:12

This is so fashionable now. People are buying 20th-century modern,

0:26:120:26:15

good design, and they're putting it on 18th-century furniture.

0:26:150:26:19

The two really do have a dynamic together.

0:26:190:26:22

There's no discrimination amongst the objects.

0:26:220:26:25

Everything is loved for its quality, whether it's a natural object, sculpture or a piece of furniture.

0:26:250:26:31

Then over here, you've got a huge great section of tree.

0:26:310:26:35

-Where did that come from?

-Yes, this is a different kind of furniture.

0:26:350:26:38

This is rustic at its best.

0:26:380:26:41

This was Jim on holiday in the Scillies, and he found

0:26:410:26:45

-this on the beach and thought he had to get it here.

-A bit of driftwood.

0:26:450:26:48

Quite a hefty bit of driftwood.

0:26:480:26:50

Eventually it got here, and it provided the base for

0:26:500:26:54

Gaudier-Brzeska's the Bird Swallowing Fish,

0:26:540:26:57

one of his most famous works, which is just before the outbreak of war.

0:26:570:27:01

It provides this extraordinary premonition

0:27:010:27:04

-because the bird being swallowed is amazingly bomb like.

-It is, isn't it?

0:27:040:27:08

-That is quite symbolic. I thought it was a torpedo or a bomb.

-Yes.

0:27:080:27:12

It's absolutely stunning, isn't it?

0:27:120:27:14

I recommend that this is certainly worth a visit.

0:27:140:27:16

In fact, this is worth several visits.

0:27:160:27:18

It gives you inspiration in how to display your antiques at home too.

0:27:180:27:23

A lot of people start rearranging their houses once they've been to Kettle's Yard.

0:27:230:27:27

Well, I'm certainly going to!

0:27:270:27:29

In 1966, Jimmy handed over Kettle's Yard to Cambridge University,

0:27:380:27:43

and he stayed on for a few years as a curator.

0:27:430:27:45

In 1973 he moved to Edinburgh, where he spent the last few years of his life.

0:27:450:27:50

It speaks volumes about this special man, that he was able

0:27:500:27:53

just to walk away from all of his materialistic possessions - all these items of art and virtue

0:27:530:27:58

that he collected all his life for the pleasure of future generations.

0:27:580:28:02

People like you and me, to come here and appreciate and soak up.

0:28:020:28:06

It's absolutely marvellous.

0:28:060:28:08

Back at the valuation day, the people of Cambridge continue

0:28:180:28:21

to offer up their collectibles for the delight of our experts.

0:28:210:28:26

Well, when I saw these figures, they really made me smile.

0:28:260:28:29

I feel very happy to see them, Trevor. Do you like these?

0:28:290:28:31

Yeah, they're very nice, but I think they ought to go to somewhere where

0:28:310:28:36

they're probably appreciated more.

0:28:360:28:38

In their 100-year or so history, they've already

0:28:380:28:41

travelled a long way because I believe that these are German porcelain figures.

0:28:410:28:46

Do you know anything about their history?

0:28:460:28:48

I know nothing about their history, except in that

0:28:480:28:52

when I first moved to Cambridge and I was adopted, about six years old,

0:28:520:28:58

these were with my adoptive parents.

0:28:580:29:01

They sat on their mantelpiece. They had travelled with them from London,

0:29:010:29:05

and they were blitzed there twice in London during the Second World War.

0:29:050:29:08

-Really? So these have seen two blitzes?

-Yes.

0:29:080:29:12

They're in such lovely, lovely condition.

0:29:120:29:15

Regardless of that little hiccup in their time, they are German

0:29:150:29:20

porcelain figures from about 1900, give or take a year or two.

0:29:200:29:25

They are hollow slip-moulded figures, which are then hand-painted.

0:29:250:29:30

As a genre of figure, they're not very rare,

0:29:300:29:33

but what I do like about them is they're a decent size,

0:29:330:29:35

because some of them can be quite small, but it's the subject which is just so wonderful, to my mind.

0:29:350:29:41

It's very much of the time - very much late Victorian in the dress,

0:29:410:29:46

in sentimentality, but the snowballing scene is just lovely.

0:29:460:29:51

Also, it's very much full of action.

0:29:510:29:53

-A lot of these figures can be very static.

-Statues, yes.

0:29:530:29:57

There's no factory attributable - you can't pinpoint where they came from,

0:29:570:30:01

but the quality of them suggests that they should sell at auction for...

0:30:010:30:05

Would you like to have a guess?

0:30:050:30:08

No, I really don't know.

0:30:080:30:10

I'll be honest, I am really in the dark with them.

0:30:100:30:13

-I'd have thought realistically, they should be in the region of £120 to £200.

-That much?

0:30:130:30:19

They may go a little bit more, but I think that's a realistic figure.

0:30:190:30:23

-Shall we put a reserve on of £100, just to protect them?

-Yes.

-Are you happy with that?

0:30:230:30:27

-Yes.

-But I think they should do well.

-Thank you very much.

0:30:270:30:31

Steve, aren't these brilliant? Every boy's dream. A pair of Schuco cars.

0:30:370:30:41

Were these yours when you were younger?

0:30:410:30:43

I wasn't allowed to play with them. They were my father's.

0:30:430:30:46

They were his pride and joy.

0:30:460:30:47

So tell me, were they your father's when he was a boy?

0:30:470:30:51

I think... He died last year, and I think he acquired them in 1930s.

0:30:510:30:56

He was 88 when he died and he had them as a young man, yes.

0:30:560:30:59

Schuco is the name for clockwork cars. Do you know much about them?

0:30:590:31:03

Not a lot really, no.

0:31:030:31:06

Well, the Schuco factory started in 1912, and they started making these little velvet and plush toys.

0:31:060:31:12

The factory then went on to making these tinplate cars in the 1930s.

0:31:140:31:19

It doesn't take a genius - it says so underneath.

0:31:190:31:21

Schuco Kommando Anno 2000.

0:31:210:31:24

Now, it says here patents applied for France, England, USA, Sweden,

0:31:240:31:31

Austria, and it goes on - Belgium, Spain, Poland, Japan...

0:31:310:31:35

So they were exporting these absolutely everywhere.

0:31:350:31:38

Let's have a look at this one... There we go. Schuco Examico 4001.

0:31:380:31:44

Again, patents applied for - made in Germany.

0:31:440:31:49

There we are.

0:31:490:31:51

If you open the bonnet, we've even got little details

0:31:510:31:56

of the engine inside. You've got the key. Do you want to wind it up?

0:31:560:32:01

-This one, you blow on it to make it go and stop.

-Go on, have a go.

0:32:010:32:05

Don't overwind it!

0:32:110:32:13

Brilliant!

0:32:140:32:16

Quick!

0:32:160:32:19

-Isn't that brilliant?

-It also goes in reverse.

0:32:190:32:21

Look at that!

0:32:210:32:23

Brilliant. What fun.

0:32:260:32:28

-Have you got the key for this one?

-It's the same key.

-Brilliant.

0:32:280:32:33

OK. Go for it. Oh, it's off.

0:32:380:32:40

Brilliant. OK, well, there are loads of collectors for these.

0:32:400:32:45

I've never had a Schuco car in an auction that hasn't sold.

0:32:450:32:48

Have you got their original boxes?

0:32:480:32:51

-No, sorry. It's just the cars.

-That does make a huge difference.

0:32:510:32:55

On average, a little car like that will be worth between £60 and £100.

0:32:550:33:00

We can either put them together, or separately in consecutive lots.

0:33:000:33:05

-The auctioneer, I think, should make that decision for us.

-Yes.

0:33:050:33:09

I think an estimate of £120 to £180 on the two, and I think they'll do jolly well.

0:33:090:33:15

They will cause a lot of interest.

0:33:150:33:16

-They're great fun.

-Lovely.

-Thanks for bringing them in.

-Thank you.

0:33:160:33:20

We see Moorcroft from time to time on Flog It!

0:33:260:33:29

but Beryl, this is a particularly nice example.

0:33:290:33:32

What can you tell me about it?

0:33:320:33:33

My parents had it as a wedding present in 1929.

0:33:330:33:37

It's been around all my life.

0:33:370:33:39

I think you don't really appreciate things that you've lived with for

0:33:390:33:44

that time, but on the other hand, you do have an affection for them.

0:33:440:33:47

It's been used for dropping keys, and all sorts of things in.

0:33:470:33:51

-Has it really?

-Oh, yes!

0:33:510:33:53

It was never considered to be anything special.

0:33:530:33:56

-That's the trouble. Now it's a bit special and I'm scared of breaking it.

-For any particular reason?

0:33:560:34:01

-Yes, I've got cats.

-Oh right, I can understand.

0:34:010:34:03

It's sitting on something, and one of them might come along and...

0:34:030:34:08

It's not that you don't like it, but you care for its well-being.

0:34:080:34:11

I like as well.

0:34:110:34:13

Of all the Moorcroft designs, I like it better than any other ones I've seen.

0:34:130:34:18

It's a very distinctive and quite a rare pattern by Moorcroft.

0:34:180:34:22

I have to say I can't remember the name of the pattern.

0:34:220:34:27

But Moorcroft collectors will know exactly what they're looking at.

0:34:270:34:31

But it is one of the rarer patterns,

0:34:310:34:33

which in this instance suits the shape beautifully.

0:34:330:34:37

I think some of their designs suit the shape of the item.

0:34:370:34:40

Some of them don't sit quite so happily, but this is a beautiful

0:34:400:34:44

marriage between colour, design and actually a silhouette of the piece.

0:34:440:34:48

Despite its hard existence with keys etc, the only imperfection I've found

0:34:480:34:54

of any note is slight wear to the inside of the neck.

0:34:540:34:58

But also underneath is a tiny, tiny crack which actually

0:34:580:35:02

is a firing crack, which was done in the kiln at the time of production.

0:35:020:35:07

There is the factory mark of William Moorcroft

0:35:070:35:11

from the early 20th century - the 1920s.

0:35:110:35:15

-Now, it's from the nice early period, as you say. Your parents received it in 1929?

-Yes.

0:35:150:35:21

That's in the heyday of the Moorcroft factory and their production.

0:35:210:35:25

To a collector, I think it's a very choice piece to find.

0:35:250:35:29

What do you think it might be worth offered to the market?

0:35:290:35:33

Well, I would have thought it had to be at least on the 150-200,

0:35:330:35:37

but I think it might be more than that.

0:35:370:35:40

Well, it might be, yes. You'd be disappointed if it wasn't a bit more?

0:35:400:35:44

Yes. It might go home.

0:35:440:35:47

I would like to see this sell for between £700 and £1,000.

0:35:470:35:55

-Does that please you?

-Yes.

0:35:550:35:57

I think a reserve of £700 would be appropriate.

0:35:570:36:01

It even more has to go then!

0:36:010:36:04

Know any other cats?

0:36:040:36:06

Assuming that that's a nice surprise, is it too early to say,

0:36:060:36:11

how would you spend the money?

0:36:110:36:13

Maybe I'd go on the Austrian holiday that I have been looking at.

0:36:130:36:17

-Oh, how lovely.

-One of these train journey ones.

-Yes.

0:36:170:36:21

That would be superb.

0:36:210:36:23

Well, we'll take it to auction and we will see how exciting the day will be for you.

0:36:230:36:28

OK, thank you.

0:36:280:36:30

Well, I think Beryl got a bit of a surprise there, don't you?

0:36:340:36:37

Let's hope Elizabeth is on the mark with her valuation as we head off to the saleroom again.

0:36:370:36:42

Joining the Moorcroft, a pair of porcelain figures that survived

0:36:420:36:46

the London Blitz, and a couple of German toy cars from the 1930s.

0:36:460:36:51

Let's see if Will can tell us any more about Beryl's Moorcroft vase.

0:36:510:36:56

-This has got quality written all over it.

-Yes.

0:36:580:37:00

A good maker's name. I mean, it is a stunning piece.

0:37:000:37:03

It's one of the nicest pieces of Moorcroft I've seen ever on Flog It!

0:37:030:37:07

It belongs to Beryl, with an estimate of £700 to £1,000

0:37:070:37:11

put on by Elizabeth, who I don't think

0:37:110:37:14

-knew what the pattern was.

-You can value them to a certain

0:37:140:37:17

degree on the more general patterns by size and shape.

0:37:170:37:20

-OK.

-But yes, I suspect that if she had known the name of the pattern, which is Moonlit Blue,

0:37:200:37:26

I mean, £700 to £1,000, they'd be queuing up with the chequebooks

0:37:260:37:30

-at that sort of estimate.

-I would.

-Yes.

0:37:300:37:32

We recently sold a smaller version in the same pattern for £1500.

0:37:320:37:37

Wow! So we are looking at £2,000.

0:37:370:37:41

I'd like to think so. It's been well viewed.

0:37:410:37:43

We've worked it into clients that we know are interested.

0:37:430:37:46

Having a piece a few weeks ago, we have got a list of bidders,

0:37:460:37:49

condition reports, telephone bidders - we can just contact them again.

0:37:490:37:53

This is definitely the one to watch. Sit back and watch this.

0:37:530:37:57

What's been going through your mind, Trevor, since the valuation day?

0:38:050:38:08

-Are you looking forward to this?

-Absolutely.

0:38:080:38:10

With nervous disposition, I think.

0:38:100:38:12

-I've never been before.

-Well, I'd like to see you get the top end.

0:38:120:38:15

I think they're lovely.

0:38:150:38:17

I know Elizabeth wants you to get the top end. The low end is what?

0:38:170:38:20

120. Which I think it's realistic.

0:38:200:38:23

Fingers crossed. A lovely subject.

0:38:230:38:25

I think they're great, they're lovely.

0:38:250:38:27

We need two bidders to fight each other out here and push this one up.

0:38:270:38:30

-Good luck.

-Yes, thank you.

-This is it.

0:38:300:38:33

There we are being shown, thank you.

0:38:330:38:35

A pair of, make no mistake, start me at what? £100? At £100? 80 then?

0:38:350:38:40

Well, £50 is all I'm bid. At £50.

0:38:400:38:42

£50 is all I'm bid on the figures. At 50...

0:38:420:38:44

£50 I'm bid here. At 50 now...

0:38:440:38:47

-Two for the price of one!

-Looks like everybody is sitting on their hands!

0:38:470:38:50

No? At £70, it's still my bid then.

0:38:500:38:54

At £70, against you all, are you sure then? Wave at me now?

0:38:540:38:56

No. At £70...

0:38:560:38:58

All these bidders were sitting on their hands.

0:38:580:39:00

-I guess they just didn't fancy them.

-Never mind.

0:39:000:39:03

Trevor, what's the next plan of action? What are you going to do?

0:39:030:39:07

Well, I've got something else here that's coming up later on.

0:39:070:39:11

-So hopefully that'll do better.

-Yes.

-Will you put these into another sale on another day?

0:39:110:39:16

I think I'll put them in on another day.

0:39:160:39:19

He definitely wants to see them go.

0:39:190:39:21

-Yes, that's right.

-Never mind, never mind.

0:39:210:39:23

Well, we're changing gear right here on Flog It,

0:39:290:39:32

but will Steven's Schuco cars go into overdrive at £180 for the pair?

0:39:320:39:37

-We hope so.

-A little bit more...

0:39:370:39:40

Lovely little things. These have been played with, though.

0:39:400:39:42

-Yes.

-Did you play with them?

-On special occasions.

0:39:420:39:46

-On Sundays!

-Yes, yes. It wasn't a regular toy.

0:39:460:39:50

Why are you flogging these?

0:39:500:39:52

My father died last year, and he said if I ever wanted to sell them, go ahead and sell them,

0:39:520:39:57

rather than just put them in a box.

0:39:570:40:00

-Yes, at least a collector will appreciate them.

-Yes.

0:40:000:40:02

-If you play with them any more, you'll just devalue them.

-Yes.

0:40:020:40:06

Top end - that's what we want.

0:40:060:40:08

-Will it do it?

-I hope so. We had fun with them on the valuation day.

0:40:080:40:12

Really good fun.

0:40:120:40:14

Well, I don't think it's going to be a pit stop for us. These will certainly do the circuit. Good luck!

0:40:140:40:20

The two vintage Schuco tinplate cars there. I've got interest here.

0:40:200:40:24

Starting on commission at 70, 80, 90. I'm bid 100 here now.

0:40:240:40:28

At £100, I'm bid on commission at £100. 110 if you like.

0:40:280:40:33

£100. Are you bidding sir, £110.

0:40:330:40:35

120, 130. 130, I'm bid.

0:40:350:40:38

You're in now by 10, sir. At 130 in the room...

0:40:380:40:41

At £130, with you, left-handed.

0:40:410:40:43

At £130? The hammer's up, all done at 130?

0:40:430:40:46

The hammer's gone down.

0:40:460:40:48

The chequered flag's gone down - 130. That's all right, isn't it?

0:40:480:40:51

-Yes, thank you.

-We'll settle for that.

-Yeah, we'll settle for that.

0:40:510:40:54

What are you going to do with the money?

0:40:540:40:56

It's going towards a concert in Paris in October, Status Quo.

0:40:560:41:00

Status Quo!

0:41:000:41:01

-Down down, deeper and down.

-Yeah!

0:41:010:41:05

# Down, down, deeper and down

0:41:050:41:07

# Down down, deeper and down... #

0:41:070:41:11

Are you sitting comfortably? Well, you won't be for long

0:41:110:41:13

because this next item is going to get you on the edge of your seat.

0:41:130:41:16

It's Beryl's Moorcroft vase. The lovely blue and green pattern.

0:41:160:41:19

-Yes.

-£700 to £1,000.

-Yes.

0:41:190:41:23

The auctioneer fell in love with it.

0:41:230:41:25

Elizabeth, I'm going to bring you in on the conversation here.

0:41:250:41:29

-How exciting.

-He said he sold one just like it, a lot smaller, for £1,500.

0:41:290:41:34

She doesn't believe it. Well, hopefully...

0:41:340:41:36

No, the reason that it's going

0:41:360:41:38

is because it's too valuable to stay around with the cats.

0:41:380:41:43

It is now, with the cats knocking about!

0:41:430:41:46

It is absolutely beautiful and it's going under the hammer right now.

0:41:460:41:50

The Moonlit Blue vase there.

0:41:500:41:53

There you are, you've seen our estimate.

0:41:530:41:54

I've got interest already. At 500, 550, 600, 650, 700 I'm bid here.

0:41:540:42:02

At 700... 750, 800, 850, 900...

0:42:020:42:06

-It's going!

-1000, 1100, 1200, 1300, 1400...

0:42:060:42:11

They love it, they absolutely love it.

0:42:110:42:14

1450... It all helps. 1500.

0:42:140:42:18

And another 50? At 1500 I'm bid here.

0:42:180:42:20

Try me again, sir. At £1500, I'm bid.

0:42:200:42:22

Here at 1500. Who else is in now?

0:42:220:42:25

At 1500 pounds... Are you sure? The hammer is up, make no mistake.

0:42:250:42:28

On commission then at £1500...

0:42:280:42:33

-Sold!

-Not bad! In between what you said and what Will said.

0:42:330:42:37

Absolutely, that's good.

0:42:370:42:39

£1500, What are you going to put all that money towards?

0:42:390:42:41

Going on a train journey to Austria.

0:42:410:42:44

-Oh, are you? Oh, how romantic! Are you going by yourself?

-Yes.

0:42:440:42:48

Oh, surely there's somebody.

0:42:480:42:50

-Well, maybe.

-Take somebody along.

0:42:500:42:52

I'll take you, shall I?

0:42:520:42:55

I'd love to!

0:42:550:42:56

Well, that's it, the auction's over. One moment the sale room's

0:43:000:43:03

jam-packed with bidders, and the next, it's empty.

0:43:030:43:06

But we came here to Cheffins in Cambridge, and we hit the right levels.

0:43:060:43:10

The crystal radio was well received,

0:43:100:43:13

selling for a staggering £220. I just can't believe that.

0:43:130:43:16

But once again, it was quality - that always proves to sell well.

0:43:160:43:20

The Moorcroft vase, selling for a staggering £1,500.

0:43:200:43:23

I hope you've enjoyed the show. See you next time for lots more on Flog It!

0:43:230:43:28

For more information about Flog It, including how the programme was made,

0:43:350:43:40

visit the website at bbc.co.uk/lifestyle.

0:43:400:43:44

Subtitles by Red Bee Media Ltd

0:43:470:43:49

E-mail [email protected]

0:43:490:43:52

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