Truro Flog It!


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That is a fantastic backdrop for our venue today - Truro City Cathedral.

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It's wonderful for me to be back in my home county of Cornwall.

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Hundreds of people are queueing up in the rain with bags and boxes.

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They want to ask that very important question - what's it worth?

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-When you've found out, what will you do?

-Flog it!

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It is just starting to rain, so we'll get everybody inside now.

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It's 9.30. It's time to open the doors of this magnificent cathedral.

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Don't go away. Keep watching the show.

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There's one or two surprises. We found some real gems out there and we'll show you in there.

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Building work started on the cathedral in 1880 and it was completed in 1910.

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That's a marvellous achievement - 30 years to build all of this, a real architectural delight.

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It was a massive undertaking because they copied the great cathedrals of the medieval era.

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Looking around, they've certainly achieved wonders. Your eyes just gravitate up towards the heavens.

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It's only one of three cathedrals in the country to have three spires

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and it's the first cathedral to be built in this country

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on a new site since Salisbury Cathedral was, back in 1220.

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Our two fabulous experts leading our team of valuers today are David Barby and David Fletcher.

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David Barby's first job was as a choirboy aged eight,

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so he should feel at home hitting the high notes in Truro Cathedral.

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That's lovely, isn't it?

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David Fletcher's no choirboy, but as a child,

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he was hooked on the antiques series in the '60s, Going For A Song.

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That's what I like to hear.

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Coming up today, John and Pat's statue catches the appreciative eye of David Barby.

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If I look at this figure, there are two highlights.

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We might have a new double act.

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-Another fine mess you've got me into here!

-Sure have!

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And all David Barby's dreams come true at once.

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We'll find out what's got David so excited later on, but first, he's feeling bookish with Edith's items.

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-Edith, why are you getting rid of these bookmarks?

-I didn't intend getting rid of them.

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-I found them in a box today when I was bringing some other things to show you.

-Right.

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-You'd never used them for their original purpose?

-No.

-They're quite beautiful. Who owned them?

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This one was from my father-in-law, a Scottish doctor.

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And this one was from my nan, who brought me up.

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She was no relation. She was a nanny.

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This one that belonged to your father who was Scottish is in the form of a Scottish sword.

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If you look at the little pommel here, it's inlaid with what we term as Scottish pebbles.

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Those are semi-precious stones.

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That's rather nice,

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although the hallmark there is for Birmingham 1936.

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So it's got some age to it.

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-And if this was polished, it would look wonderful.

-Oh, right.

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This other one is just brass, but at the end here, it has an agate, like a Scottish agate.

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So the two are linked. It's rather appropriate that we're in Truro Cathedral

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and we have this wonderful cross at the upper section there.

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That's rather nice. You could imagine that on a family Bible or Common Prayer, something like that.

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My nan who brought me up, she used to read her Bible every day.

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-You're selling a family...

-I didn't know I was until I came here.

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There are collectors of bookmarks and you get a huge variety.

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The more interesting ones like this one here, the Scottish sword, you'll find a collector at auction.

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I think they'll realise somewhere between £20 and £40.

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-That sort of price range.

-Yes, yes.

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The sentiment might be too great to let them go at that figure, but they're interesting for collectors.

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If you don't use them, if they've been stuck in a box, they'll go back home to be stuck in a box again,

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-so at least you could sell these and get some good books. Thank you for bringing them along.

-Thank you.

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Edith was lucky that her bookmarks were spotted by our valuers,

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but Rosie's collection is more prominent.

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-Another fine mess you've got me into here!

-Sure have!

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I don't know that much about Laurel and Hardy, but I'll do my best.

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-That one is Charlie Chaplin.

-Charlie Chaplin has sneaked in as well. I hadn't even noticed him.

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Laurel and Hardy were both born in the 19th century

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and lived well into the 20th century.

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I think they both lived certainly after 1950.

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They, I think I'm right in saying, made their first film in the 1920s.

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They had worked individually up until that time, then their careers took off.

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And you have a good collection of Laurel and Hardy related material.

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And have you collected it yourself?

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No, it was given to me by my... He's now my ex-boyfriend's brother.

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I had my eye on them and now that we're not together,

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there's no point in keeping them cos they're just cluttering up in a box.

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-They don't have a sentimental value.

-No.

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The almost lifelike busts at the front, copyright of 1984,

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so they're no more than 30 years old, really.

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-Have you any idea what the collection is worth?

-No, I don't.

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OK, I think we've got to really be ultra-conservative

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because although I'm sure there are ardent collectors of Laurel and Hardy material out there,

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I think they're going to be looking for items that relate to Laurel and Hardy's own lifetime.

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-Right, yeah.

-Theatre programmes, cinema bills, that sort of thing.

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So we've got to be mindful of that.

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I would be inclined to put an estimate of £50 to £80 on them

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-and I think with the best will in the world, sell without reserve.

-OK.

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-Have you any idea what you'd spend the money on?

-Yes, both my children.

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I want to start a savings account for when they either go to uni...

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-Don't ask me for financial advice!

-I won't.

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But if you do that, by the time they come to university age,

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you'll have done pretty well for them, so that's lovely.

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I'm certain they'll do OK.

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These days, sales go online and there might be a collector and we might have a pleasant surprise.

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-We'll do our best for you and I look forward to seeing you at the sale.

-Thank you very much.

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'With no sentimental attachment, Rosie is happy to let her Laurel and Hardy collection go with no reserve.

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'I've stopped to look at a painting brought in by Diana and Nick.'

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I love that. That is so typical of the Scottish Highlands.

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Look at the perspective. You're just drawn into that lake, aren't you?

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Look, what I've found is MacWhirter,

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John MacWhirter, that's the artist, and it's also signed.

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It could be worth £400 to £500 in good condition. It's got its original frame.

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But what's putting me off is that water damage.

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'Sometimes giving a valuation can be a tricky business.

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'You have to be confident about the authenticity of an item.

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'But it's not always easy. Even I can get caught out. Well, nearly.'

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-Can I just take a look at this with a glass? Do you mind?

-Of course. Yes.

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If I show you something here, you can see it's not a watercolour.

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-Really?

-No, it's a print.

-My goodness! A print?

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Oh, my goodness!

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What a surprise!

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If you look through this with a light, you can identify hundreds of tiny little dots that go together

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-to make up a print.

-Oh, my goodness!

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We're looking at something that's possibly worth around about...£5 to £10.

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LAUGHTER

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Have a look at this.

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-Oh, yes.

-Well, I think...

-It was worth bringing it in.

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It can go back in the attic in the damp. You don't need to worry.

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Oh, dear!

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'That was a close shave, but David Barby has no doubts about the provenance

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'of the little object brought in by Barbara and Norman.'

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This is an exquisite little object.

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Now, it's exquisite because it's a piece of

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a needlewoman's equipment.

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-Who's keen on needlework? Is it you, Barbara, or is it you, Norman?

-Neither of us.

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How did you get hold of this?

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-My mum gave it to me when I was a little girl.

-Right.

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I like it because, first of all, it's a miniature piece of furniture.

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This looks like a knife box,

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covered in tortoiseshell veneer,

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with a little brass plaque on the top

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that we call a cartouche.

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So I open this little press section here

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and then see that it's divided into various compartments,

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filled with needles in little paper folds.

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There's one, two, three, four that haven't got any.

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At the side here, you've got the name of the retailer

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which is "W Lund, 24 Fleet Street".

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That was London.

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And if I can just take one of these little needle sections out...

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The needles were made by "Shrimpton & Hooper, Albion Works, Studley".

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Now, in that area, close to Redditch,

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they made needles.

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So this is a beautiful example

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for a collector of needlework requisites.

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How much is it worth? We're not talking about hundreds of pounds.

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But I think somebody is going to pay between £50 and £80,

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that sort of price range.

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-How many more have you got at home, Barbara?

-Only the one.

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Why are you getting rid of this? It doesn't take up room in your house.

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Well, we haven't got any children.

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-Spend the money on a meal out?

-Yes.

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I don't blame you. If you don't use it, what's the point in having it?

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I like it, I must admit.

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It's just on the side.

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-It's stuck on the side in a cabinet?

-In the Welsh dresser.

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-Yes, sell it.

-Yes.

-Or should I say, flog it?

-Flog it, that's it.

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We'll do our best for you.

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Next up Clyde has brought in a little plate with an unusual provenance to show David Fletcher.

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I had it nearly 40 years ago.

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Someone gave me a pot plant and it was standing on this plate.

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So, it came free with your pot plant.

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It came with a pot plant. I think it was a cacti in those days.

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That's long since gone I expect?

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The cacti has gone, but the plate, once one realised the age of it,

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one put it away and took a bit of care of it.

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I'm glad you did.

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It would have been made not in Cornwall, as you might expect,

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but in Staffordshire.

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It is a type of pottery known as pearlware,

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and that refers to the nature of the glaze.

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It has a moulded border,

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decorated with leaves and these might be oak apples.

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The centre is transfer printed in blue and white.

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It commemorates the death

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of the late and, as it says, much lamented Charlotte of Saxe Cobourg,

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who was George IV's only daughter,

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and who died, as it tells us here, in 1817,

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the day after she gave birth to a son, who tragically died.

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And her death was indeed much lamented.

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I think very largely because, had she survived,

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she would eventually have become Queen Charlotte of England.

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And, commemorative china relating to the royal family

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from this date is rare, it's early.

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-You had an idea that it was of some value obviously.

-Mmm.

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It's true to say that it has got a bit of damage.

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-Bit of damage, two cracks.

-Two longish hairline cracks,

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which are a problem.

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I must say, condition is always important but, in a case like this,

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I think it's less important than it might otherwise be

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because the plate is rare and highly collectible.

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-Collectors will put up with a bit of damage.

-Just as well.

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I think the time has come to be able possibly to sell it

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and let somebody else have the pleasure of it.

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Just want to get the benefit of a few quid from it.

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I've got a special birthday this year, so...

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Have you? What's that, 60?

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No, no. A nought but not 60, go up a bit. But, that's beside the point.

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So, I think just be able to treat myself to something.

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-A birthday present to yourself.

-Just to myself, it can be, yes.

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Good for you. I don't think all the times I've asked people what they are selling things for,

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I don't think anyone's ever said, "To buy myself a birthday present." but that's a good idea.

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I'm the first selfish Cornishman that you've interviewed or what have you!

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I don't think you're being selfish You're being very realistic. You treat yourself.

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If you haven't got children... If not, why not?

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They are not buying you presents, no children to buy you presents.

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-That's right.

-Good for you.

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It's now time for us to work out exactly what you'll be able to buy.

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I think the damage on this plate is important but not crucial.

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We have got to be mindful of it.

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I would like to say £200 but I don't think I can really.

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I would like to go £100 to £150.

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I'm certain it will find a buyer within that price range, who knows someone might pay a bit more.

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A bit more on the day, yes.

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So, let's hope for the best, put an estimate of £100 to £150 on it

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and a fixed reserve of £100.

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Yes, I wouldn't like for it to go for less than that.

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If we're not bid £100, you can have it back.

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I'll take it back, that's right.

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Bring it back in ten years when you have your next special birthday.

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Right, will do.

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The rugged coastal landscape of Cornwall

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is one of its main attractions.

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It's peaceful, beautiful and home to a wide variety of wildlife.

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But not so long ago, these cliff tops would have reverberated

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with the noise of crushing machinery and the bustle of miners.

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This whole area was once

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no less than the engine room of the Industrial Revolution

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which shaped our modern world.

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Most of the Land's End peninsula is built on granite which was formed 300 million years ago.

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This granite contains an awful lot of tin and copper.

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In fact, there's probably more tin and copper here than anywhere else in the world.

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Many mines were started in Cornwall, but few stayed open for long

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and the landscape now is littered with their remains like Levant Mine here in St Just.

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But Levant was different. It remained open and profitable for 110 years.

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It was the lifeblood of the community and hundreds of families depended on it.

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But working conditions were extremely tough

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and also one of the greatest tragedies in Cornish mining history

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ultimately led to Levant's decline.

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The Levant Mining Company was formed in 1820

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and at its peak, employed over 600 men, women and children.

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The miners, often father and son, toiled to break the ore at a rate of four feet a month,

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using a volatile combination of gunpowder and hand-digging.

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The narrow shafts followed the mineral-rich lodes in an almost vertical direction.

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The Levant workings extended one and a half kilometres out into the Atlantic Ocean

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at a depth of 600m below the sea bed.

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In the early days of the mine, the only way up and down the shafts was by ladder.

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At the start and end of each shift, the miners had to climb 1,500 feet through narrow chambers.

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They needed over 90 ladders.

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The climb back up took one and a half hours.

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Now, our present-day preoccupation with health and safety wasn't really shared with 19th century employers.

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Aside from heart and lung disease, accidents through blasting were all too common.

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Many, many miners were maimed for life or blinded.

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The average age of a working miner who worked these mines was just 27 years old.

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Working conditions were particularly gruelling

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and miners worked by candlelight

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in temperatures up to 100 degrees Fahrenheit.

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It wasn't unusual for a chap to finish his shift 12 pounds lighter than when he started.

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In 1857, Levant installed a new engine to help transport the men up and down.

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It was called the man engine and it acted like a giant pump rod

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with men stepping on and off platforms as it transported them down to the bottom in 30 minutes.

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It could carry 130 men at a time and the shaft is still here today. Take a look.

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Incredibly, it is still possible to hear first-hand

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what it was like to work in the mine and to use the man engine from the miners themselves,

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speaking in a BBC documentary made in 1970.

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Every 12 feet, there was a step...

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..about two foot square.

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And about three foot six to four foot six up, there was a handle for you to catch hold of.

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Really, it was safe as anything. A child could ride on it.

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The first day I started, I started with a man, he rode down with me, two on the step.

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You see? And after three days, well, you can get on all right.

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You had to take a candle in your hat and a lantern in your hand for a while.

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And, of course, after that, you put the lantern to one side and you just used the candle.

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When they travelled the man engine, they all started to sing

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and the sound that you heard as it came up through the shaft was out of this world.

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MEN SINGING

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If you could stand on top of that shaft and listen,

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rich, it was, rich.

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HARMONIOUS SINGING

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But the owners of the mine were slow to modernise.

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And despite its success, there was little investment to update or replace machinery.

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After 70 years of use, it was the last working man engine in the world

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and considered a museum piece.

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And then at 2.50pm

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on Monday, the 20th of October in 1919, disaster struck.

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I was about to step in. He said, "Don't step in, boy. There's something wrong."

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And he made a...quiver. And I dodged back and under.

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The manager shook like that and then he dropped away.

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That was that. Down he goes.

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What happened was the main pin on the top broke.

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And then the rod on the way down broke in half.

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That's what done the damage.

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That went right through, see, took everything with it.

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A full shift of men were ascending when suddenly there was an accident.

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The top layer collapsed, crashing down 100 feet below.

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It went through different layers on its way. 31 men in total lost their lives.

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It took six days to get them out.

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This tragedy hastened the decline of the mine and it finally closed in 1930.

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A worldwide drop in the price of tin meant many of Cornwall's mines became unprofitable

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in the decades that followed. The industry is practically extinct.

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After the mine closed, the engines were blown up for scrap and many of the buildings were demolished,

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their stone used to build houses elsewhere.

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One engine was saved and so began a remarkable preservation project.

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Today the site is looked after by the National Trust.

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I've come here to talk to Chris Quick about the Levant's beam engine.

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What's the significance of this?

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As far as I know, it's the only working steam engine in Cornwall still in its original house.

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-It was installed in this mine in 1840.

-Wow!

-And worked for 90 years.

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-Gosh. She's seen some life.

-What would you get today to do that?

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-What is the function of the engine?

-Its sole purpose is to wind the rocks they've cut

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-and bring it to surface.

-Can I have a go?

-Yes!

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-First, take the brake off.

-OK.

-Wind it as far as you can...

-And that'll turn that wheel there?

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-It turns the brake block.

-I can see the brake block rising.

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-You're there.

-What a wonderful piece of kit.

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-OK. Brake's off.

-Now you put some steam on.

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-Bring that lever towards me.

-Wow! Look at that.

-That's fine.

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Look at that beam work now!

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-Oh, take it off! I've never done this before. More steam?

-More steam.

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-Keep the engine going now.

-So the driver stayed here all day.

-Yes.

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-Making sure it didn't slow down...

-Give it some steam.

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-He would just stay here?

-He would stay here, look at the gauge to see where it is.

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-But you only run it for four minutes at a time.

-OK.

-Just long enough for a skip to come to the surface.

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Steady.

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You can hear those pistons working. Everything is so beautifully articulated.

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It's just wonderful to see it working.

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The steam is moving a beam which weighs two tonnes,

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the rod weighs a tonne, crankshaft weighs a tonne

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-and the flywheel weighs four tonnes.

-I feel part of its history now. Wonderful.

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'The engine was the last to work on Levant mine. It's final days were used to salvage equipment.

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'After the tragedy, it was used to bring some of the deceased up,

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'so it remains a fitting memorial to those miners who lost their lives, helping to build our world.'

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Here's what's going under the hammer.

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Edith's little bookmarks valued by David Barby at £20 to £40,

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Rosie's Laurel and Hardy collection valued by David Fletcher at £50 to £80,

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Clyde's plate, valued by David Fletcher at £100 to £150

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and Barbara and Norman's needle box valued by David Barby at £50 to £80.

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For today's sale, we've come to picturesque Lostwithiel in the heart of Cornwall.

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Back in 1205, Lostwithiel had the second busiest port on the south coast of England,

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mainly due to the tin mines.

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Sadly, there's no port here today,

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but, hopefully, it will be just as busy

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because we're the guests of Jefferys Auction Rooms.

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Auctioneer Ian Morris is on the rostrum and first up, it's Edith and her bookmarks.

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Why have you decided to sell these now then?

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I came along to Flog It! with a few items in a box and...

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-Met Mr Barby.

-Mr Barby picked these out and they're something I hadn't thought much about.

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-They were with other things I thought were more valuable.

-I like the association with books.

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There's a great revival for reading books with so many book clubs starting up. I belong to one.

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I don't have an expensive bookmark. I use a piece of paper.

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But I'm not buying!

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Hopefully, someone is. Good luck. Here we go.

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It's a silver hallmarked bookmark, made by J Cook & Sons, dated 1911.

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And one other. Lot 132.

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-I've got two bids and I've got to start at £30.

-Well done.

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At £30, both bids are with me. I'll take 2.

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32. 35. 38. At £40.

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42. My bids are out. 42 right there.

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I'll take 5 to get on. At £42.

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-That's very good.

-45, two of you.

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48? 45, the two of you both can't have it. 48 from one of you?

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-Lots of bookworms.

-It's at 48. At 48. At 48.

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At 48. 50 now? At 48. At 48 right at the back.

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At 48. 50? We're done at 48...

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-Yes!

-That's good.

-Top end, very good. They love their books here.

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-Happy?

-Yes.

-£48, that's great.

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It is a wonderful feeling when things exceed the top end of the estimate.

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-It's not so good when it struggles at reserve.

-When it doesn't sell, it's dreadful.

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'What a fabulous result for Edith! It just goes to show it's always worth having a good rummage around.

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'Even little, hidden away objects can have value.

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'Next, Rosie's Laurel and Hardy collection which she inherited from her ex-boyfriend's brother.'

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-Now it's time to wave goodbye to Laurel and Hardy, isn't it?

-Yeah.

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-Every time you see Laurel and Hardy, do you always think of the ex then?

-Yes.

-So you can't wait to get rid.

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There is no reserve. Hopefully, they're going to go to a good home.

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There's something for everyone in there.

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Lot 11 there, Laurel and Hardy, a collection of novelty items.

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What shall we say for that? Very quickly. £30 away? £30?

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£30 away? £30 I'm bid. The bid's here with me. 35. £40. 45.

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That's good.

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At 45. I've got the bid on the book. £50. 55. At 55 with me.

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-55. 60 now.

-That's great.

-£60.

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65. At 65, still here. At £65 with me.

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At £65. 70 now? Are we all done? With me at 65...

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-That was very good, wasn't it?

-Yes.

-Excellent.

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-You're going out to celebrate now?

-No, it's going into my children's savings account.

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-Good idea.

-We've got them off to a flying start. That's really good. I'm thrilled.

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-So am I. Thank you for letting me flog it.

-That's OK.

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'Well, it's big smiles all round.

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'ext up, it's Clyde's plate, but will the damage put people off?'

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I never knew this would be worth so much

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even with two hairline cracks in it.

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We had a chat to the auctioneer and he says it's really rare.

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Well, I hope I'm right.

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The great thing about this particular plate is it's early.

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You see lots of commemorative ware

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which relates to the late 19th century,

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but very little from as early as this. That's what I'm pinning my hopes on.

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Thank goodness you've looked after it.

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Yes, it's lasted fairly well.

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-Nearly 200 years old.

-Nearly 200.

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Well, I'm starting to tingle now.

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This is what auctions do. It won't be long.

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In fact, we can't talk any more, because it's going under the hammer.

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Let's find out what this lot think.

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Rare pearlware commemorative tea plate there.

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Princess Charlotte.

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Got a crack in, otherwise it'd make a lot more money.

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Can I say £100 to start, £100.

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£50, I've got, 50. 60.

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60, here. 70, there, 80.

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90. £100. The bid's with me.

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£100. 110 to get on, at 110.

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The bid's in the middle.

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Someone at the back of the room wants this.

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£110, I'm bid. 120 now.

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Are we done? At £110.

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£110, the hammer's gone down, well done.

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-Right.

-Brilliant valuation.

-Thank you.

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-You've got your 100.

-Thank you very much indeed.

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-Pity about those cracks, but we can't put the clock back.

-No, age will tell.

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In the end, David Fletcher was spot-on with his valuation.

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Clyde goes home without the plate, but with a pocket full of cash.

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David and I have just been joined by Barbara and Norman. We've got that needle box going under the hammer.

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-Tiny needles. They must have had tiny fingers.

-And very good eyesight.

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Good luck. It's going under the hammer now.

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172 there is a miniature, hinged, little tortoiseshell stamp box

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with seven individual, graduated compartments,

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made by Lund of Fleet Street, London.

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I've got one, two, three, four bids and I've got to start at £135.

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GASPS

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At 135. At 135.

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140 now? At 135, all the bids are with me.

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My goodness!

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140. At 140. All my bids are out.

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At 140, the bid's still at the back.

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At 140. 145? At £140. I'm selling then at £140...

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Straight in and straight in at £140.

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I knew it was good, but my word!

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Thank you so much.

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What a surprise! Well, happy spending.

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If you've got anything like that at home, we'd love to sell it for you.

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Hopefully, there's a valuation day near you soon.

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Check details in your local press or log on to bbc.co.uk/programmes, click F for Flog It!,

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follow the links and hopefully, we are very near a town near you soon, so come along.

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Just a few miles from Land's End,

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and perched precariously on the edge of a cliff overlooking the Atlantic,

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is what seems like the remains of a Roman amphitheatre.

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It's not Roman. In fact, it's not that old at all.

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It's the brainchild of one woman, Rowena Cade.

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Rowena Cade was born on 2nd August, 1893, in Derbyshire,

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into a large and loving family.

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After Rowena's father passed away during the First World War,

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the family were living scattered all over the country,

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but eventually, Rowena and her mother moved to Lamorna,

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just a few miles along the coast in that direction.

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When Rowena discovered the Minack Headland, which I'm standing on now,

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she fell in love with it and you can see why, can't you?

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It's absolutely breathtaking.

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She had to own it and she bought it for £100,

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and in 1923, she built a house for herself and her mother

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using granite from the local quarry.

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Between the wars, Rowena used the house and its grounds

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to stage a variety of plays to provide entertainment for her family and friends.

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She discovered she had a knack for designing

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and making the costumes needed for the productions.

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Then in 1931, an opportunity arose for a much more ambitious project.

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Rowena wanted to put a production on of The Tempest

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and looking for an appropriate setting,

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she had this vision of creating a stage out of the gully above Minack Rock.

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At the age of 38,

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a determined Rowena set about building the theatre by hand.

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with the help of just two men - her gardener Billy Rawlings

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and a local craftsman called Charles Thomas Angove.

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All this work took place

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on the slope above a sheer drop into the Atlantic.

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It took the three of them six months, working through a harsh winter,

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to make the stage and some basic seating cut out of the rock.

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The production was a huge success.

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The unique setting at the Minack Theatre here

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brought something magical to the performance

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and, of course, the public and the press absolutely loved it

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and they wanted more.

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Rowena and her gardener Billy worked tirelessly over the next few decades

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to improve and expand the theatre,

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which played host to many performances.

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When Billy died in 1966,

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Rowena inscribed one of the seats as his memorial.

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By now, Rowena had developed her own innovative building techniques.

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For example, these carvings were done

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when the cement was wet with the tip of an old screwdriver.

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Rowena passed away in 1983,

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but her legacy is thriving today

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and the theatre is still extremely popular.

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Phil Jackson is the current theatre manager.

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Well, you knew her, what was she like?

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She was a seriously determined woman,

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which you have to be to create a place like this.

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A lot of people remember her as a Victorian headmistress type, tall and thin.

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-Formidable.

-Formidable woman.

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She was to me, because I first knew her as a child,

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and she gave me my first summer job, when I was in my teens.

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Everyone looked up to her and the companies were in awe of her that came here to play.

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She had great vision, didn't she?

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Indeed and she never designed it, she never wrote it down on paper.

0:34:510:34:55

-It just evolved.

-She used what she had

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and what we've got is a concrete set for certain plays.

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I mean, most of what's left on stage was built for a '51 production

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of Tristan of Cornwall, sort of Celtic motifs around the place.

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If she didn't like what she was making,

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she would smash it up, chuck it in the sea and build something else.

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-She wasn't precious about it.

-Did she make any money from it?

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No, not during her lifetime.

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She was funding it out of her own pocket

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and actually in the 1950s, she tried to get someone else to take it over

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because it was draining her pocket

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and by then, she was in her 60s, late 50s, 60s.

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Later on, it became a Charitable Trust,

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then it had to stand on its own two feet,

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and now it's financially self-sufficient.

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Let's talk about the theatre today.

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I've been here a few times and I've seen many,

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so what are you trying to do now that's slightly different?

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Early on, she put on one show a year, a Shakespeare,

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and built bits for what we do...

0:35:510:35:53

As the theatre progressed and had to become more financially sound,

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we extended the season.

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You needed variety. We've got a lot of people who come every week.

0:35:580:36:02

I mean we do 17, 18 shows for the summer

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and some people will be here every Friday night for 17, 18 weeks.

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We still do Shakespeare, two or three a year,

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but we also do musicals, drama, comedy,

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the full gamut of the repertoire really.

0:36:120:36:15

This is just so stunning, isn't it, on a day like this?

0:36:200:36:23

-This is your office.

-It is, this is my office.

0:36:230:36:26

In my office at the top of the car park, I get a sea view.

0:36:260:36:30

A lot of people say to me, "You actually get paid to work here?"

0:36:300:36:34

-Is it a job for life?

-I'd like to think so.

0:36:340:36:36

Nowhere else I'd rather be.

0:36:360:36:38

-I could sit here all day long.

-We could sit here and chat all day long, as well.

0:36:400:36:45

Gosh, this brings back so many happy memories for me.

0:37:050:37:08

I first came here when I was about 14 years old with my mum and dad.

0:37:080:37:12

And they bumped into Rowena on several occasions and talked to her,

0:37:120:37:16

and she was always busy doing something, wearing scruffy clothes

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and always covered in muck.

0:37:200:37:22

I just wished I'd spoken to her at the time, really.

0:37:220:37:26

I guess if I did speak to her, I wouldn't really have much to say at the age of 14.

0:37:260:37:30

But we saw many performances here,

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wrapped up warm, I would have sat around here with my mum and dad,

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a good view of the stage, blanket on,

0:37:380:37:41

cos it'd get really cold in the summer on those evenings.

0:37:410:37:45

And the odd glass of wine for Dad and a flask of tea.

0:37:450:37:50

Oh, I wish I could put back the clock.

0:37:500:37:52

Well, they say the world's a stage

0:38:040:38:07

and back at the valuation day in Truro Cathedral,

0:38:070:38:09

it's June's turn to take the lead role

0:38:090:38:11

with an item that has caught David Barby's eye.

0:38:110:38:14

I'm going to disappoint you.

0:38:140:38:16

-These are not diamonds and they're not sapphires.

-Dear, dear, dear.

0:38:160:38:21

-But it's a lovely piece of bling.

-Right.

0:38:210:38:24

This is German and I'm just going to check on the mark,

0:38:240:38:28

which I think is...

0:38:280:38:31

Yeah, it's German silver, 935 -

0:38:310:38:35

which is a purer silver than English, which is only 925.

0:38:350:38:39

-Oh, right.

-So, this is German and it's beautifully set

0:38:390:38:42

with diamante

0:38:420:38:44

and then these blue stones, which are imitation sapphires.

0:38:440:38:48

So, the amount of workmanship that went into this

0:38:480:38:52

is almost as much as a real jewel itself.

0:38:520:38:58

But, this is quite small, it's highly sophisticated.

0:38:580:39:02

Where did you get it from?

0:39:020:39:04

Well, it was an old aunt.

0:39:040:39:08

She left me quite a lot of glitzy jewellery, if you like,

0:39:080:39:13

a lot of marcasite and what have you,

0:39:130:39:15

and this was among it and I have never worn it,

0:39:150:39:20

-never bothered with it.

-That's disappointing.

0:39:200:39:23

-Today, it is costume jewellery, which is sought after, isn't it?

-Yes, yes.

0:39:230:39:28

-Not these little pieces of glitzy.

-That's right.

0:39:280:39:32

There is still a market for this

0:39:320:39:34

and if this was polished up, it would look absolutely stunning.

0:39:340:39:39

-It's not going to sell for a fortune.

-Oh, that's a shame.

0:39:390:39:43

Not going to sell for a fortune because it is paste, it' sham,

0:39:430:39:46

but the effect is what we're selling.

0:39:460:39:49

Right.

0:39:490:39:51

To lot of people seeing a small piece on a lapel,

0:39:510:39:55

they'd think it was genuine and this was the idea of the manufacturers.

0:39:550:39:58

Right, yes.

0:39:580:40:00

The impression that you had got diamond and sapphire jewellery.

0:40:000:40:03

As regards value - at auction,

0:40:030:40:06

it might do £40 to £50.

0:40:060:40:10

Right.

0:40:100:40:11

That sort of price range, but it could do less.

0:40:110:40:13

-Right.

-I think we've got to protect it,

0:40:130:40:16

-because we don't give it away for £5, do we?

-No, no.

0:40:160:40:18

-We want to make the auctioneer work for his commission.

-Yes, yes.

0:40:180:40:22

-I am going to suggest we put a reserve of about 35 on it.

-Yes.

0:40:220:40:26

It's very little. Very little amount of money for such a beautiful object.

0:40:260:40:30

The sort of piece I might buy my wife. It's very nice.

0:40:300:40:33

-Right, thank you.

-But I can't. No, no. We're not allowed to.

0:40:330:40:36

Oh, well, that's a shame.

0:40:360:40:38

-Isn't it just?

-Do you want me to take it back, then, and sell it to you?

0:40:380:40:42

Oh, you shouldn't even have suggested that, no!

0:40:420:40:45

-I shall look forward to seeing you at the auction.

-Yes.

0:40:450:40:48

-Keep your fingers crossed.

-Right.

0:40:480:40:50

It may not be diamonds, but even David Barby is tempted by June's sparkly brooch.

0:40:500:40:56

Let's hope others feel the same in the auction room.

0:40:560:40:58

David Fletcher has spotted an iconic item with Sandra.

0:40:580:41:02

This, to anyone who works in a saleroom,

0:41:020:41:04

is instantly recognisable as Royal Doulton.

0:41:040:41:07

As I'm sure you know. How long have you owned it?

0:41:070:41:12

-I'm not sure. 10, 15 years.

-Is it something you particularly like?

0:41:120:41:18

-No. I'm sorry!

-Which is why you brought it today.

0:41:180:41:22

The great thing about Royal Doulton is that it's a factory with a fabulous reputation,

0:41:220:41:28

in spite of your slightly disparaging view of it, producing good quality marketable products.

0:41:280:41:35

And the Royal Doulton factory knew about selling what they made.

0:41:350:41:40

And for that reason they produced series of collector's items.

0:41:400:41:45

It's obvious, really. If you have one figure in your collection,

0:41:450:41:50

you want two. Then three.

0:41:500:41:53

Anyway, many of these figures sell for relatively small sums

0:41:530:41:57

and when I saw it when you first brought it in,

0:41:570:42:01

I thought we were looking at a figure for £30-£40.

0:42:010:42:05

But it turns out that it's quite a bit rarer than I originally thought.

0:42:050:42:11

It was modelled by a potter called Mary Nicholl.

0:42:110:42:14

And it came into production in 1955

0:42:140:42:18

and it ceased production in 1958 or 1959.

0:42:180:42:22

So it was in production for no more than three or four years

0:42:220:42:26

and that makes it rare.

0:42:260:42:28

And it is rarity that gives these items their value,

0:42:280:42:32

as you can imagine, really.

0:42:320:42:34

All Royal Doulton figures are marked in the same way.

0:42:340:42:38

They have the title. In this instance, The Tailor.

0:42:380:42:43

They have an HN number,

0:42:430:42:45

HN being the initials of Harry Noke, who was an early potter in the Doulton factory.

0:42:450:42:51

After the HN there is the number itself

0:42:510:42:55

and, in this instance, the number is 2174.

0:42:550:42:57

HN2174.

0:42:570:42:59

If I was to tell you that I think it might make £200,

0:42:590:43:04

would you suddenly start to like it?

0:43:040:43:07

No.

0:43:070:43:09

It would make you want to sell it all the more, I suppose.

0:43:090:43:12

I don't blame you. Right.

0:43:120:43:15

I'm optimistic that it might make £200.

0:43:150:43:19

Have you got anything planned, plans for the money?

0:43:190:43:23

My husband and I are going on a French holiday so, you know, any bit of money will help.

0:43:230:43:29

That'll buy a couple of good dinners in an expensive Parisian restaurant!

0:43:290:43:33

I'd like to suggest a reserve of £150-£200.

0:43:330:43:37

-Seeing as I don't think it's price-sensitive to you...

-No.

-You'll be glad to see the back of it!

0:43:370:43:44

-Shall we put a reserve of 120?

-Yes.

-Just a covering reserve to make sure it doesn't sell too cheaply.

0:43:440:43:51

-So a reserve of 120.

-Yes.

0:43:510:43:53

-Great. I'll look forward to seeing you at the sale and let's hope it does much better!

-Thank you.

0:43:530:43:59

'Sandra will be happy to see it go and even happier if she gets £200.

0:43:590:44:05

'Across the room, a young lady brought in by John and Pat has got David hot under the collar.'

0:44:050:44:11

Who's responsible? Who bought this?

0:44:110:44:14

Well, actually, it was given to us many years ago by my father.

0:44:140:44:19

-Know where he acquired it?

-No idea.

0:44:190:44:23

-Was he in the Forces?

-Yes, in the Merchant Navy.

0:44:230:44:26

In the Merchant Navy.

0:44:260:44:27

Did he ever go to central Europe, sort of Hungary, Czechoslovakia?

0:44:270:44:34

-I really don't know.

-We cannot answer that.

0:44:340:44:38

He went all over the place.

0:44:380:44:41

This is Hungarian. And it is signed here.

0:44:410:44:45

That's the surname of the artist, which is Kerenyi.

0:44:450:44:49

His Christian name is spelt J-E-N-O.

0:44:490:44:53

-Jeno Kerenyi.

-Right.

-He had quite an interesting history.

0:44:530:44:58

Born in...1907. And he died in 1975.

0:44:580:45:02

So he had a long period of artistic achievements.

0:45:020:45:07

This dates from his early period.

0:45:070:45:10

This might have been his mistress!

0:45:100:45:12

If you think of what happened to Hungary, towards wartime and post-wartime,

0:45:120:45:19

it became dominated by socialism.

0:45:190:45:22

And a lot of his sculptures after WWII

0:45:220:45:26

were very much in the socialist manner - workers marching out to the fields with implements.

0:45:260:45:33

Solidarity, and the idea of the mass of workers supporting the state.

0:45:330:45:39

So he did a lot of sculpture in that form.

0:45:390:45:42

I think this is a wonderful work of art.

0:45:420:45:45

If you wanted to portray the sensual female figure, in all its glory,

0:45:450:45:53

-this is it, isn't it?

-Yes.

0:45:530:45:55

This languid female figure. If you think in terms of 1920s vamps.

0:45:550:46:01

And you think of dancers like Josephine Baker.

0:46:010:46:04

She's got all the movements of a very, very attractive woman.

0:46:040:46:10

This is not a one-off.

0:46:100:46:13

Bronzes are cast.

0:46:130:46:15

So several of these actually have appeared in sales.

0:46:150:46:19

There was one sold in 2001 for £3,000.

0:46:190:46:24

And then two years ago one was sold for £2,000.

0:46:240:46:29

I would think that this

0:46:290:46:32

would sell for round about £1,500-£2,000,

0:46:320:46:37

but we ought to put a reserve on that particular piece.

0:46:370:46:42

So when it comes up for sale, I would suggest a reserve of £1,600.

0:46:420:46:46

And I hope it goes above the £2,000 mark.

0:46:460:46:50

-Is that agreeable?

-Yes, it would be nice.

-Are you going to miss it?

-Yes.

0:46:500:46:56

I won't use the duster so very often!

0:46:560:47:00

That brings me to another point. If I look at this figure,

0:47:000:47:04

there are two highlights! I don't know who's responsible.

0:47:040:47:09

Not guilty!

0:47:090:47:12

That's me, unfortunately. I had been, I thought, rather careful

0:47:130:47:19

not to over polish.

0:47:190:47:21

'Let's hope their over polishing won't trouble the bidders too much.

0:47:230:47:28

'Next up, Pauline has brought in a charming silver ring.'

0:47:300:47:35

I love this ring.

0:47:350:47:37

-In the form of a stylised heart.

-It is.

0:47:370:47:41

Does that mean it was bought for you on a special occasion?

0:47:410:47:46

-I think it was bought in 1960.

-Right.

-The year after we were married.

0:47:460:47:51

It might have been in my husband's romantic period!

0:47:510:47:54

Oh, dear! How long did it last?

0:47:540:47:58

-Maybe Valentine's Day.

-I like that.

0:47:580:48:01

"In his romantic period". Very good. Like Picasso's Blue Period.

0:48:010:48:06

Surely it has sentimental value?

0:48:060:48:10

It has, but I've very rarely worn it because it's very large

0:48:100:48:15

and my hands are very small.

0:48:150:48:17

I've not very long fingers.

0:48:170:48:20

I could imagine it on somebody

0:48:200:48:22

with lovely long fingers and beautifully-manicured nails

0:48:220:48:26

-and it'd look stunning.

-As you know, it was made by Georg Jensen,

0:48:260:48:31

the greatest, really, of 20th century jewellery designers,

0:48:310:48:37

-many people would say. Certainly the greatest Danish designer of jewellery.

-Yes.

0:48:370:48:43

Georg Jensen himself died just before the war,

0:48:430:48:47

but the factory continues to this day.

0:48:470:48:50

And this particular ring was designed

0:48:500:48:53

-by one of his assistants, a man called Henning Koppel.

-Right.

0:48:530:48:57

Who was equally famous.

0:48:570:49:00

I think he was famous in his own right, really, as a designer.

0:49:000:49:04

Much admired.

0:49:040:49:06

-He won lots of awards in the '50s and '60s.

-Yeah.

0:49:060:49:10

I love this stuff. I love it for its modern styling.

0:49:100:49:15

One sees a lot of Victorian jewellery,

0:49:150:49:18

one sees lots of Edwardian jewellery.

0:49:180:49:20

And, by comparison, come the time this was designed and manufactured,

0:49:200:49:25

-the modern movement is in full swing, really.

-Yes.

0:49:250:49:29

It's great and I'm sure it'll sell jolly well.

0:49:290:49:32

So if we estimate it at £100-£150,

0:49:320:49:35

and put a reserve of £100 on it,

0:49:350:49:39

because minimalist jewellery of this sort is so fashionable today,

0:49:390:49:44

I'm confident you'll get towards the top estimate or a bit more.

0:49:440:49:49

-You've got his permission?

-My husband is quite happy.

0:49:490:49:53

Considering it was bought for you in his romantic period!

0:49:530:49:58

-I hope he's not watching!

-He might start again!

0:49:580:50:02

His second romantic period. Starting soon. OK.

0:50:020:50:07

Look forward to lots more rings!

0:50:070:50:09

'Now for my favourite part of the show - let's head to the auction.

0:50:140:50:18

'Auctioneer Ian Morris is very impressed with one of our lots.'

0:50:180:50:23

It is a nice bronze. Good period. Lovely Art Deco period.

0:50:230:50:28

Bronzes, the lovely detailing, the lovely shape, lovely lines.

0:50:280:50:33

-Sexy lady.

-It's the kind of thing that will appeal to the market.

0:50:330:50:38

Signed as well. We've got everything there the buying public want.

0:50:380:50:43

Good period pieces of Art Nouveau, Art Deco,

0:50:430:50:47

seem to be selling certainly better than Victorian pieces.

0:50:470:50:52

Has this been heavily viewed and picked up?

0:50:520:50:55

It certainly has been viewed. There is some interest.

0:50:550:50:59

£1,600 is... probably towards the top end.

0:50:590:51:03

Quite a lumpy reserve. I'd like to think I'd get there.

0:51:030:51:07

Maybe a bit nip and tuck. Might just get there.

0:51:070:51:12

'Well, fingers crossed. We'll find out how it gets on later.

0:51:120:51:17

'Also about to go under the hammer is Sandra's Royal Doulton figurine

0:51:240:51:28

'and Pauline's charming ring.

0:51:280:51:30

'June's brooch, valued by David Barby at £40 to £50.

0:51:300:51:33

'First up, it's the ring.'

0:51:330:51:36

-It's time for it to go.

-It's very stylish.

-It is.

-And sought after.

0:51:360:51:42

-I always think an item should speak of its period.

-Yes.

-It should look as if it was made in the 1960s

0:51:420:51:49

and not the 1860s. Jensen jewellery complies with that little rule.

0:51:490:51:53

Hopefully, it'll find a new home. It's a great name.

0:51:530:51:58

Quality always sells. That's the key. Here we go.

0:51:580:52:01

Lot 192 there. A Georg Jensen sterling silver ring with pierced heart decoration.

0:52:040:52:09

Can I say £100 away, please?

0:52:090:52:12

£50 to start me?

0:52:120:52:15

£50 I'm bid. At 50. 60 now.

0:52:160:52:19

60. 70.

0:52:190:52:21

-80. 90. 100.

-It's gone.

0:52:210:52:25

At £100, the bid's to my left. I'll take 110.

0:52:250:52:29

-At £100 I'm bid.

-A bit more!

0:52:290:52:32

At £100. Are we done? At £100.

0:52:320:52:35

-It's gone.

-Bottom end.

-Bottom, though. Never mind.

0:52:350:52:40

This will go to my two grandchildren, their little pots of money.

0:52:400:52:44

-It will top up their fund.

-What a great grandma!

0:52:440:52:49

'I'm sure that Pauline's grandchildren will be very happy with £50 each added to their funds.

0:52:490:52:55

'Next up is Sandra's figure.'

0:52:550:52:59

-Who have you brought along?

-Barry, my husband.

-Pleased to meet you.

0:52:590:53:03

What do you think of this?

0:53:030:53:05

-I love it. I was at work when she brought it in!

-Now we're selling it!

0:53:050:53:11

-I hate it!

-Oh, dear. So you had to tell him?

-He knew.

0:53:110:53:17

-Was it a sad goodbye?

-It was a good meal!

0:53:170:53:21

We've got a valuation of £150-£200 and it's quite rare

0:53:210:53:25

-because it was only in production for three years.

-Yes, 1950s.

0:53:250:53:30

And sitting so quietly ever since.

0:53:300:53:32

It's a Royal Doulton figure. The Tailor. Quite a rare figure.

0:53:320:53:37

Lot 657.

0:53:370:53:39

Can we say 150 away?

0:53:390:53:41

£100 I've got. At £100. 110 to get on.

0:53:440:53:48

110. 120. 130. 140. 150?

0:53:480:53:52

He's had a bid on the book. Someone's left a bid.

0:53:520:53:56

At 140. The bid's on the books.

0:53:560:53:59

-At 140. 150 now? At 140.

-Come on. A bit more.

0:53:590:54:03

150. At 150. I can go to 155.

0:54:050:54:09

-At 155.

-It's doing all right.

0:54:090:54:12

155. 160 now?

0:54:120:54:15

At 155 I'm bid. 155.

0:54:150:54:19

At 155.

0:54:190:54:21

-Just in with a chance there. £155.

-Really pleased.

0:54:210:54:25

-Towards our holiday.

-To where?

0:54:250:54:28

-France.

-Good for you.

-Normandy and Brittany.

-Enjoy it.

0:54:280:54:33

'Sandra has finally got rid of her figure and even husband Barry appreciates a bob or two.

0:54:330:54:40

'Next up, June's hoping her sparkly brooch will catch someone's eye

0:54:400:54:44

'when it goes under the hammer.'

0:54:440:54:45

June is not a silver girl, that's why you're selling

0:54:450:54:48

-the silver brooch. You are more gold?

-Yes, yes.

0:54:480:54:51

-And you like your brooches.

-I do.

0:54:510:54:52

-Some people suit gold, you suit gold, I can see that.

-Thank you.

0:54:520:54:55

I'm more silver, I've got some silver things on. What's David?

0:54:550:54:59

Pewter. LAUGHTER

0:54:590:55:02

He's already passed a remark today that I look rather grey.

0:55:020:55:07

I think you look good.

0:55:070:55:09

-Well, a bit of blue coming through there, though.

-Thank you.

0:55:090:55:12

You normally wear brighter colours.

0:55:120:55:14

Well, yes, but I thought this was quite OK today.

0:55:140:55:18

So, are we selling this to buy some more gold jewellery?

0:55:180:55:21

No, no, I don't think it'll be quite enough,

0:55:210:55:25

but it'll go nice towards an evening out I think.

0:55:250:55:29

OK, well, good luck both of you.

0:55:290:55:31

This is something for the ladies

0:55:310:55:33

and I know there's hundreds here, so it should sell. Good luck.

0:55:330:55:37

Can I say £40 away? £40 away.

0:55:370:55:40

£20 I'm bid. At £20.

0:55:400:55:42

At £20 a bid, I'll take five now.

0:55:420:55:45

£20. 25. £30. 35.

0:55:450:55:48

-35, 40...

-Sold it.

0:55:480:55:50

At 35 seated, is it 40? 40.

0:55:500:55:52

At £40, 45. £50.

0:55:520:55:54

At £45 seated. At 45. If you're not, we're done, at £45.

0:55:560:56:00

-Yes. £45, we did it, June.

-Yes.

0:56:000:56:03

That sold really well, well done, David.

0:56:030:56:05

'Now it's the turn of that magnificent bronze figure,

0:56:070:56:09

'but are the bidders here?'

0:56:090:56:12

We've all been looking forward this one. We hope to get top end.

0:56:120:56:17

That wonderful bronze figurine. She has caused a lot of interest.

0:56:170:56:22

I had a chat to the auctioneer. We both agreed - absolute quality.

0:56:220:56:28

-And it's so nice, so sensuous.

-Very.

0:56:280:56:31

-Typical of the period.

-Now in the saleroom

0:56:310:56:34

-and possibly going to somebody else's front room.

-Yes.

0:56:340:56:38

The Hungarian bronze figure there. A naked exotic dancer.

0:56:410:56:45

Signed on the base. Lot 112.

0:56:450:56:47

Got a little bit of interest. Start at £1,000.

0:56:470:56:51

At £1,000. £1,000. And 50 to get on. And 50.

0:56:530:56:58

1,100. 1,150. 1,200. 1,250. At 1,250.

0:56:580:57:02

At 1,250. 1,300 right at the back.

0:57:020:57:05

Fresh legs.

0:57:050:57:08

1,400? 1,400.

0:57:080:57:10

1,400. 1,450. 1,500? 1,500.

0:57:100:57:13

1,500. 1,550. 1,600?

0:57:130:57:16

-It's gone.

-1,600.

0:57:160:57:19

In the doorway. Is it 50?

0:57:190:57:22

1,650. 1,700? At 1,650 on the phone. At 1,650.

0:57:240:57:29

This is great.

0:57:290:57:31

1,700? At 1,650 on the phone.

0:57:310:57:34

£1,650.

0:57:340:57:37

-Yes!

-That was exciting! That was brilliant.

0:57:370:57:42

-Happy?

-Yes.

-Yes.

-Not quite the top end, but happy.

0:57:420:57:46

-That was fine.

-What are you going to replace the figurine with?

0:57:460:57:50

Going to do some spending?

0:57:500:57:52

We'll move one of the other bronzes to the same place!

0:57:520:57:56

At least you've got a few!

0:57:560:57:59

That's it. It's all over. Another day in the auction room.

0:58:050:58:10

It's wonderful to be back home in Cornwall. The sun's shining

0:58:100:58:14

and we sold everything! So congratulations to everyone.

0:58:140:58:19

I hope you enjoyed the show. Keep watching for more surprises.

0:58:190:58:24

But for now it's cheerio. Proper job!

0:58:240:58:27

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