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That is a fantastic backdrop for our venue today - Truro City Cathedral. | 0:00:02 | 0:00:06 | |
It's wonderful for me to be back in my home county of Cornwall. | 0:00:06 | 0:00:10 | |
Hundreds of people are queueing up in the rain with bags and boxes. | 0:00:10 | 0:00:14 | |
They want to ask that very important question - what's it worth? | 0:00:14 | 0:00:18 | |
-When you've found out, what will you do? -Flog it! | 0:00:18 | 0:00:21 | |
It is just starting to rain, so we'll get everybody inside now. | 0:00:41 | 0:00:45 | |
It's 9.30. It's time to open the doors of this magnificent cathedral. | 0:00:45 | 0:00:49 | |
Don't go away. Keep watching the show. | 0:00:49 | 0:00:52 | |
There's one or two surprises. We found some real gems out there and we'll show you in there. | 0:00:52 | 0:00:58 | |
Building work started on the cathedral in 1880 and it was completed in 1910. | 0:01:01 | 0:01:07 | |
That's a marvellous achievement - 30 years to build all of this, a real architectural delight. | 0:01:07 | 0:01:13 | |
It was a massive undertaking because they copied the great cathedrals of the medieval era. | 0:01:13 | 0:01:19 | |
Looking around, they've certainly achieved wonders. Your eyes just gravitate up towards the heavens. | 0:01:19 | 0:01:25 | |
It's only one of three cathedrals in the country to have three spires | 0:01:25 | 0:01:29 | |
and it's the first cathedral to be built in this country | 0:01:29 | 0:01:32 | |
on a new site since Salisbury Cathedral was back in 1220. | 0:01:32 | 0:01:36 | |
Our two fabulous experts leading our team of valuers today are David Barby and David Fletcher. | 0:01:46 | 0:01:53 | |
David Barby's first job was as a choirboy aged eight, | 0:01:53 | 0:01:56 | |
so he should feel at home hitting the high notes in Truro Cathedral. | 0:01:56 | 0:02:01 | |
That's lovely, isn't it? | 0:02:01 | 0:02:03 | |
David Fletcher's no choirboy, but as a child, | 0:02:03 | 0:02:06 | |
he was hooked on the antiques series in the '60s, Going For A Song. | 0:02:06 | 0:02:10 | |
That's what I like to hear. | 0:02:10 | 0:02:13 | |
Coming up today, John and Pat's statue catches the appreciative eye of David Barby. | 0:02:13 | 0:02:18 | |
If I look at this figure, there are two highlights. | 0:02:18 | 0:02:22 | |
We might have a new double act. | 0:02:22 | 0:02:24 | |
-Another fine mess you've got me into here! -Sure have! | 0:02:24 | 0:02:28 | |
And all David Barby's dreams come true at once. | 0:02:28 | 0:02:31 | |
We'll find out what's got David so excited later on, but first, he's feeling bookish with Edith's items. | 0:02:31 | 0:02:38 | |
-Edith, why are you getting rid of these bookmarks? -I didn't intend getting rid of them. | 0:02:38 | 0:02:43 | |
-I found them in a box today when I was bringing some other things to show you. -Right. | 0:02:43 | 0:02:48 | |
-You'd never used them for their original purpose? -No. -They're quite beautiful. Who owned them? | 0:02:48 | 0:02:54 | |
This one was from my father-in-law, a Scottish doctor. | 0:02:54 | 0:02:58 | |
And this one was from my nan who brought me up. | 0:02:58 | 0:03:02 | |
She was no relation. She was a nanny. | 0:03:02 | 0:03:04 | |
This one that belonged to your father who was Scottish is in the form of a Scottish sword. | 0:03:04 | 0:03:10 | |
If you look at the little pommel here, it's inlaid with what we term as Scottish pebbles. | 0:03:10 | 0:03:15 | |
Those are semi-precious stones. | 0:03:15 | 0:03:17 | |
That's rather nice, | 0:03:17 | 0:03:20 | |
although the hallmark there is for Birmingham 1936. | 0:03:20 | 0:03:24 | |
So it's got some age to it. | 0:03:24 | 0:03:26 | |
-And if this was polished, it would look wonderful. -Oh, right. | 0:03:26 | 0:03:31 | |
This other one is just brass, but at the end here, it has an agate, like a Scottish agate. | 0:03:31 | 0:03:36 | |
So the two are linked. It's rather appropriate that we're in Truro Cathedral | 0:03:36 | 0:03:42 | |
and we have this wonderful cross at the upper section there. | 0:03:42 | 0:03:45 | |
That's rather nice. You could imagine that on a family Bible or Common Prayer, something like that. | 0:03:45 | 0:03:52 | |
My nan who brought me up, she used to read her Bible every day. | 0:03:52 | 0:03:56 | |
-You're selling a family... -I didn't know I was until I came here, if you know what I mean. | 0:03:56 | 0:04:01 | |
You still want to sell them, do you? | 0:04:01 | 0:04:04 | |
I wouldn't want them to go for next to nothing because they're sentimental. | 0:04:04 | 0:04:09 | |
-You can't price sentiment, unfortunately. -No. | 0:04:09 | 0:04:12 | |
It's the real world at the auction. Somebody's got to love these. | 0:04:12 | 0:04:17 | |
There are collectors of bookmarks and you get a huge variety. | 0:04:17 | 0:04:21 | |
The more interesting ones like this one here, the Scottish sword, you'll find a collector at auction. | 0:04:21 | 0:04:27 | |
I think they'll realise somewhere between £20 and £40. | 0:04:27 | 0:04:31 | |
-That sort of price range. -Yes, yes. | 0:04:31 | 0:04:34 | |
The sentiment might be too great to let them go at that figure, but they're interesting for collectors. | 0:04:34 | 0:04:41 | |
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, | 0:04:41 | 0:04:48 | |
-so at least you could sell these and get some good books. Thank you for bringing them along. -Thank you. | 0:04:48 | 0:04:54 | |
Edith was lucky that her bookmarks were spotted by our valuers, | 0:04:57 | 0:05:01 | |
but Rosie's collection is more prominent. | 0:05:01 | 0:05:04 | |
-Another fine mess you've got me into here! -Sure have! | 0:05:04 | 0:05:09 | |
I don't know that much about Laurel and Hardy, but I'll do my best. | 0:05:09 | 0:05:13 | |
-That one is Charlie Chaplin. -Charlie Chaplin has sneaked in as well. I hadn't even noticed him. | 0:05:13 | 0:05:19 | |
Laurel and Hardy were both born in the 19th century | 0:05:19 | 0:05:23 | |
and lived well into the 20th century. | 0:05:23 | 0:05:25 | |
I think they both lived certainly after 1950. | 0:05:25 | 0:05:29 | |
They, I think I'm right in saying, made their first film in the 1920s. | 0:05:29 | 0:05:35 | |
They had worked individually up until that time, then their careers took off. | 0:05:35 | 0:05:40 | |
And you have a good collection of Laurel and Hardy related material. | 0:05:40 | 0:05:45 | |
And have you collected it yourself? | 0:05:45 | 0:05:49 | |
No, it was given to me by my... He's now my ex-boyfriend's brother. | 0:05:49 | 0:05:53 | |
I had my eye on them and now that we're not together, | 0:05:53 | 0:05:56 | |
there's no point in keeping them cos they're just cluttering up in a box. | 0:05:56 | 0:06:00 | |
-They don't have a sentimental value. -No. I have nowhere to display them. | 0:06:00 | 0:06:04 | |
I shall start by saying there's nothing of any great age. | 0:06:04 | 0:06:08 | |
The almost lifelike busts at the front, copyright of 1984, | 0:06:08 | 0:06:15 | |
so they're no more than 30 years old, really. | 0:06:15 | 0:06:18 | |
-Have you any idea what the collection is worth? -No, I don't. | 0:06:18 | 0:06:23 | |
OK, I think we've got to really be ultra-conservative | 0:06:23 | 0:06:28 | |
because although I'm sure there are ardent collectors of Laurel and Hardy material out there, | 0:06:28 | 0:06:34 | |
I think they're going to be looking for items that relate to Laurel and Hardy's own lifetime. | 0:06:34 | 0:06:40 | |
-Right, yeah. -Theatre programmes, cinema bills, that sort of thing. | 0:06:40 | 0:06:46 | |
So we've got to be mindful of that. | 0:06:46 | 0:06:48 | |
I would be inclined to put an estimate of £50 to £80 on them | 0:06:48 | 0:06:52 | |
-and I think with the best will in the world, sell without reserve. -OK. | 0:06:52 | 0:06:57 | |
-Have you any idea what you'd spend the money on? -Yes, both my children. | 0:06:57 | 0:07:01 | |
I want to start a savings account for when they either go to uni... | 0:07:01 | 0:07:05 | |
-Don't ask me for financial advice! -I won't. | 0:07:05 | 0:07:08 | |
But if you do that, by the time they come to university age, | 0:07:08 | 0:07:12 | |
you'll have done pretty well for them, so that's lovely. | 0:07:12 | 0:07:16 | |
I'm certain they'll do OK. | 0:07:16 | 0:07:19 | |
These days, sales go online and there might be a collector and we might have a pleasant surprise. | 0:07:19 | 0:07:25 | |
-We'll do our best for you and I look forward to seeing you at the sale. -Thank you very much. | 0:07:25 | 0:07:31 | |
'With no sentimental attachment, Rosie is happy to let her Laurel and Hardy collection go with no reserve. | 0:07:31 | 0:07:38 | |
'I've stopped to look at a painting brought in by Diana and Nick.' | 0:07:38 | 0:07:43 | |
I love that. That is so typical of the Scottish Highlands. | 0:07:43 | 0:07:47 | |
Look at the perspective. You're just drawn into that lake, aren't you? | 0:07:47 | 0:07:51 | |
Look, what I've found is MacWhirter, | 0:07:51 | 0:07:54 | |
John MacWhirter, that's the artist, and it's also signed. | 0:07:54 | 0:07:59 | |
It could be worth £400 to £500 in good condition. It's got its original frame. | 0:07:59 | 0:08:04 | |
But what's putting me off is that water damage. | 0:08:04 | 0:08:07 | |
'Sometimes giving a valuation can be a tricky business. | 0:08:07 | 0:08:11 | |
'You have to be confident about the authenticity of an item. | 0:08:11 | 0:08:15 | |
'But it's not always easy. Even I can get caught out. Well, nearly.' | 0:08:15 | 0:08:19 | |
-Can I just take a look at this with a glass? Do you mind? -Of course. Yes. | 0:08:19 | 0:08:25 | |
If I show you something here, you can see it's not a watercolour. | 0:08:27 | 0:08:31 | |
-Really? -No, it's a print. -My goodness! A print? | 0:08:31 | 0:08:34 | |
Oh, my goodness! | 0:08:34 | 0:08:36 | |
What a surprise! | 0:08:37 | 0:08:40 | |
If you look through this with a light, you can identify hundreds of tiny little dots that go together | 0:08:40 | 0:08:46 | |
-to make up a print. -Oh, my goodness! | 0:08:46 | 0:08:48 | |
We're looking at something that's possibly worth around about...£5 to £10. | 0:08:48 | 0:08:54 | |
LAUGHTER | 0:08:54 | 0:08:56 | |
Have a look at this. | 0:08:56 | 0:08:58 | |
-Oh, yes. -Well, I think... -It was worth bringing it in. | 0:09:00 | 0:09:04 | |
It can go back in the attic in the damp. You don't need to worry. | 0:09:04 | 0:09:09 | |
Oh, dear! | 0:09:09 | 0:09:11 | |
'That was a close shave, but David Barby has no doubts about the provenance | 0:09:11 | 0:09:16 | |
'of the little object brought in by Barbara and Norman.' | 0:09:16 | 0:09:21 | |
This is an exquisite little object. | 0:09:21 | 0:09:24 | |
Now, it's exquisite because it's a piece of a needlewoman's equipment. | 0:09:24 | 0:09:31 | |
-Who's keen on needlework? Is it you, Barbara, or is it you, Norman? -Neither of us. | 0:09:31 | 0:09:36 | |
-How did you get hold of this? -My mum gave it to me when I was a little girl. -Right. | 0:09:36 | 0:09:42 | |
I like it because, first of all, it's a miniature piece of furniture. | 0:09:42 | 0:09:46 | |
This looks like a knife box, | 0:09:46 | 0:09:49 | |
covered in tortoiseshell veneer, with a little brass plaque on the top | 0:09:49 | 0:09:54 | |
that we call a cartouche. | 0:09:54 | 0:09:56 | |
So I open this little press section here | 0:09:56 | 0:09:59 | |
and then see that it's divided into various compartments, | 0:09:59 | 0:10:03 | |
filled with needles in little paper folds. | 0:10:03 | 0:10:09 | |
There's one, two, three, four that haven't got any. | 0:10:09 | 0:10:13 | |
At the side here, you've got the name of the retailer | 0:10:13 | 0:10:17 | |
which is "W Lund, 24 Fleet Street". | 0:10:17 | 0:10:21 | |
That was London. | 0:10:21 | 0:10:23 | |
And if I can just take one of these little needle sections out... | 0:10:23 | 0:10:28 | |
The needles were made by "Shrimpton & Hooper, Albion Works, Studley". | 0:10:28 | 0:10:36 | |
Now, in that area, close to Redditch, | 0:10:36 | 0:10:39 | |
they made needles. | 0:10:39 | 0:10:41 | |
So this is a beautiful example for a collector of needlework requisites. | 0:10:41 | 0:10:48 | |
How much is it worth? We're not talking about hundreds of pounds. | 0:10:48 | 0:10:52 | |
But I think somebody is going to pay between £50 and £80, that sort of price range. | 0:10:52 | 0:10:57 | |
-How many more have you got at home, Barbara? -Only the one. | 0:10:57 | 0:11:02 | |
-Why are you getting rid of this? It doesn't take up room in your house. -Well, we haven't got any children. | 0:11:02 | 0:11:08 | |
-Spend the money on a meal out? -Yes. | 0:11:08 | 0:11:11 | |
-I don't blame you. If you don't use it, what's the point in having it? -I like it, I must admit. | 0:11:11 | 0:11:17 | |
-It's just on the side. -It's stuck on the side in a cabinet? -In the Welsh dresser. | 0:11:17 | 0:11:22 | |
-Yes, sell it. -Yes. -Or should I say, flog it? -Flog it, that's it. -We'll do our best for you. | 0:11:22 | 0:11:27 | |
Those are our first three items to go off to auction, so here's a quick recap - | 0:11:27 | 0:11:32 | |
Edith's little bookmarks valued by David Barby at £20 to £40, | 0:11:32 | 0:11:38 | |
Rosie's Laurel and Hardy collection valued by David Fletcher at £50 to £80 | 0:11:38 | 0:11:43 | |
and Barbara and Norman's needle box valued by David Barby at £50 to £80. | 0:11:43 | 0:11:48 | |
For today's sale, we've come to picturesque Lostwithiel in the heart of Cornwall. | 0:11:48 | 0:11:53 | |
Back in 1205, Lostwithiel had the second busiest port on the south coast of England, | 0:11:53 | 0:11:59 | |
mainly due to the tin mines. | 0:11:59 | 0:12:01 | |
Sadly, there's no port here today, but hopefully, it will be just as busy | 0:12:01 | 0:12:06 | |
because we're the guests of Jefferys Auction Rooms. | 0:12:06 | 0:12:10 | |
Auctioneer Ian Morris is on the rostrum and first up, it's Edith and her bookmarks. | 0:12:14 | 0:12:19 | |
Why have you decided to sell these now then? | 0:12:19 | 0:12:22 | |
I came along to Flog It with a few items in a box and... | 0:12:22 | 0:12:26 | |
-Met Mr Barby. -Mr Barby picked these out and they're something I hadn't thought much about. | 0:12:26 | 0:12:32 | |
-They were with other things I thought were more valuable. -I like the association with books. | 0:12:32 | 0:12:38 | |
There's a great revival for reading books with so many book clubs starting up. I belong to one. | 0:12:38 | 0:12:44 | |
I don't have an expensive bookmark. I use a piece of paper. | 0:12:44 | 0:12:47 | |
But I'm not buying! | 0:12:47 | 0:12:49 | |
Hopefully, someone is. Good luck. Here we go. | 0:12:49 | 0:12:53 | |
It's a silver hallmarked bookmark, made by J Cook & Sons, dated 1911. | 0:12:55 | 0:13:00 | |
And one other. Lot 132. | 0:13:00 | 0:13:03 | |
-I've got two bids and I've got to start at £30. -Well done. | 0:13:03 | 0:13:07 | |
At £30, both bids are with me. I'll take 2. | 0:13:07 | 0:13:10 | |
32. 35. 38. At £40. | 0:13:10 | 0:13:13 | |
42. My bids are out. 42 right there. | 0:13:13 | 0:13:15 | |
I'll take 5 to get on. At £42. | 0:13:15 | 0:13:18 | |
-That's very good. -45, two of you. | 0:13:18 | 0:13:20 | |
48? 45, the two of you both can't have it. 48 from one of you? | 0:13:20 | 0:13:24 | |
-Lots of bookworms. -It's at 48. At 48. At 48. | 0:13:24 | 0:13:28 | |
At 48. 50 now? At 48. At 48 right at the back. | 0:13:28 | 0:13:32 | |
At 48. 50? We're done at 48... | 0:13:32 | 0:13:35 | |
-Yes! -That's good. -Top end, very good. They love their books here. | 0:13:35 | 0:13:39 | |
-Happy? -Yes. -£48, that's great. | 0:13:39 | 0:13:42 | |
It is a wonderful feeling when things exceed the top end of the estimate. | 0:13:42 | 0:13:46 | |
-It's not so good when it struggles at reserve. -When it doesn't sell, it's dreadful. | 0:13:46 | 0:13:51 | |
'What a fabulous result for Edith! It just goes to show it's always worth having a good rummage around. | 0:13:51 | 0:13:57 | |
'Even little, hidden away objects can have value. | 0:13:57 | 0:14:01 | |
'Next, Rosie's Laurel and Hardy collection which she inherited from her ex-boyfriend's brother.' | 0:14:01 | 0:14:07 | |
-Now it's time to wave goodbye to Laurel and Hardy, isn't it? -Yeah. | 0:14:07 | 0:14:11 | |
-Every time you see Laurel and Hardy, do you always think of the ex then? -Yes. -So you can't wait to get rid. | 0:14:11 | 0:14:17 | |
There is no reserve. Hopefully, they're going to go to a good home. | 0:14:17 | 0:14:21 | |
There's something for everyone in there. | 0:14:21 | 0:14:24 | |
Lot 11 there, Laurel and Hardy, a collection of novelty items. | 0:14:25 | 0:14:29 | |
What shall we say for that? Very quickly. £30 away? £30? | 0:14:29 | 0:14:34 | |
£30 away? £30 I'm bid. The bid's here with me. 35. £40. 45. | 0:14:34 | 0:14:39 | |
That's good. | 0:14:39 | 0:14:41 | |
At 45. I've got the bid on the book. £50. 55. At 55 with me. | 0:14:41 | 0:14:45 | |
-55. 60 now. -That's great. -£60. | 0:14:45 | 0:14:48 | |
65. At 65, still here. At £65 with me. | 0:14:48 | 0:14:52 | |
At £65. 70 now? Are we all done? With me at 65... | 0:14:53 | 0:14:57 | |
-That was very good, wasn't it? -Yes. -Excellent. | 0:14:57 | 0:15:01 | |
-You're going out to celebrate now? -No, it's going into my children's savings account. | 0:15:01 | 0:15:06 | |
-Good idea. -We've got them off to a flying start. That's really good. I'm thrilled. | 0:15:06 | 0:15:11 | |
-So am I. Thank you for letting me flog it. -That's OK. | 0:15:11 | 0:15:15 | |
'Well, it's big smiles all round. Let's hope we can do the same for Barbara and Norman's needle box.' | 0:15:15 | 0:15:21 | |
David and I have just been joined by Barbara and Norman. We've got that needle box going under the hammer. | 0:15:22 | 0:15:28 | |
-Tiny needles. They must have had tiny fingers. -And very good eyesight. | 0:15:28 | 0:15:32 | |
Good luck. It's going under the hammer now. | 0:15:32 | 0:15:35 | |
172 there is a miniature, hinged, little tortoiseshell stamp box | 0:15:36 | 0:15:41 | |
with seven individual, graduated compartments, | 0:15:41 | 0:15:44 | |
made by Lund of Fleet Street, London. | 0:15:44 | 0:15:47 | |
I've got one, two, three, four bids and I've got to start at £135. | 0:15:47 | 0:15:51 | |
GASPS | 0:15:51 | 0:15:53 | |
At 135. At 135. | 0:15:53 | 0:15:56 | |
140 now? At 135, all the bids are with me. | 0:15:56 | 0:15:59 | |
My goodness! | 0:15:59 | 0:16:01 | |
140. At 140. All my bids are out. | 0:16:02 | 0:16:04 | |
At 140, the bid's still at the back. | 0:16:04 | 0:16:07 | |
At 140. 145? At £140. I'm selling then at £140... | 0:16:08 | 0:16:13 | |
Straight in and straight in at £140. | 0:16:14 | 0:16:17 | |
I knew it was good, but my word! | 0:16:17 | 0:16:20 | |
Thank you so much. | 0:16:20 | 0:16:23 | |
What a surprise! Well, happy spending. | 0:16:23 | 0:16:25 | |
If you've got anything like that at home, we'd love to sell it for you. | 0:16:25 | 0:16:29 | |
Hopefully, there's a valuation day near you soon. | 0:16:29 | 0:16:33 | |
Check details in your local press or log on to bbc.co.uk/programmes, click F for Flog It, | 0:16:33 | 0:16:39 | |
follow the links and hopefully, we are very near a town near you soon, so come along. | 0:16:39 | 0:16:44 | |
The rugged coastal landscape of Cornwall is one of its main attractions. | 0:16:51 | 0:16:56 | |
It's peaceful, beautiful and home to a wide variety of wildlife. | 0:16:56 | 0:17:00 | |
But not so long ago, these cliff tops would have reverberated with the noise of crushing machinery | 0:17:00 | 0:17:06 | |
and the bustle of miners. | 0:17:06 | 0:17:09 | |
This whole area was once no less than the engine room of the Industrial Revolution | 0:17:14 | 0:17:20 | |
which shaped our modern world. | 0:17:20 | 0:17:22 | |
Most of the Land's End peninsula is built on granite which was formed 300 million years ago. | 0:17:22 | 0:17:28 | |
This granite contains an awful lot of tin and copper. | 0:17:28 | 0:17:32 | |
In fact, there's probably more tin and copper here than anywhere else in the world. | 0:17:32 | 0:17:38 | |
Many mines were started in Cornwall, but few stayed open for long | 0:17:38 | 0:17:43 | |
and the landscape now is littered with their remains like Levant Mine here in St Just. | 0:17:43 | 0:17:49 | |
But Levant was different. It remained open and profitable for 110 years. | 0:17:49 | 0:17:54 | |
It was the lifeblood of the community and hundreds of families depended on it. | 0:17:54 | 0:18:00 | |
But working conditions were extremely tough | 0:18:01 | 0:18:05 | |
and also one of the greatest tragedies in Cornish mining history ultimately led to Levant's decline. | 0:18:05 | 0:18:11 | |
The Levant Mining Company was formed in 1820 | 0:18:12 | 0:18:16 | |
and at its peak, employed over 600 men, women and children. | 0:18:16 | 0:18:20 | |
The miners, often father and son, toiled to break the ore at a rate of four feet a month, | 0:18:20 | 0:18:27 | |
using a volatile combination of gunpowder and hand-digging. | 0:18:27 | 0:18:31 | |
The narrow shafts followed the mineral-rich loads in an almost vertical direction. | 0:18:31 | 0:18:37 | |
The Levant workings extended one and a half kilometres out into the Atlantic Ocean | 0:18:37 | 0:18:43 | |
at a depth of 600 metres below the sea bed. | 0:18:43 | 0:18:46 | |
In the early days of the mine, the only way up and down the shafts was by ladder. | 0:18:46 | 0:18:51 | |
At the start and end of each shift, the miners had to climb 1,500 feet through narrow chambers. | 0:18:51 | 0:18:57 | |
They needed over 90 ladders. | 0:18:57 | 0:18:59 | |
The climb back up took one and a half hours. | 0:18:59 | 0:19:03 | |
Now, our present-day preoccupation with health and safety wasn't really shared with 19th century employers. | 0:19:04 | 0:19:11 | |
Aside from heart and lung disease, accidents through blasting were all too common. | 0:19:11 | 0:19:16 | |
Many, many miners were maimed for life or blinded. | 0:19:16 | 0:19:19 | |
The average age of a working miner who worked these mines was just 27 years old. | 0:19:19 | 0:19:25 | |
Working conditions were particularly gruelling | 0:19:25 | 0:19:28 | |
and miners worked by candlelight in temperatures up to 100 degrees Fahrenheit. | 0:19:28 | 0:19:33 | |
It wasn't unusual for a chap to finish his shift 12 pounds lighter than when he started. | 0:19:33 | 0:19:38 | |
In 1857, Levant installed a new engine to help transport the men up and down. | 0:19:38 | 0:19:43 | |
It was called the man engine and it acted like a giant pump rod | 0:19:43 | 0:19:47 | |
with men stepping on and off platforms as it transported them down to the bottom in 30 minutes. | 0:19:47 | 0:19:53 | |
It could carry 130 men at a time and the shaft is still here today. Take a look. | 0:19:53 | 0:19:58 | |
Incredibly, it is still possible to hear first-hand | 0:19:58 | 0:20:02 | |
what it was like to work in the mine and to use the man engine from the miners themselves, | 0:20:02 | 0:20:08 | |
speaking in a BBC documentary made in 1970. | 0:20:08 | 0:20:12 | |
Every 12 feet, there was a step... | 0:20:12 | 0:20:16 | |
..about two foot square. | 0:20:17 | 0:20:19 | |
And about three foot six to four foot six up, there was a handle for you to catch hold of. | 0:20:19 | 0:20:25 | |
Really, it was safe as anything. A child could ride on it. | 0:20:25 | 0:20:29 | |
The first day I started, I started with a man, he rode down with me, two on the step. | 0:20:29 | 0:20:36 | |
You see? And after three days, well, you can get on all right. | 0:20:36 | 0:20:40 | |
You had to take a candle in your hat and a lantern in your hand for a while. | 0:20:40 | 0:20:46 | |
And of course, after that, you put the lantern to one side and you just used the candle. | 0:20:46 | 0:20:53 | |
When they travelled the man engine, they all started to sing | 0:20:53 | 0:20:57 | |
and the sound that you heard as it came up through the shaft was out of this world. | 0:20:57 | 0:21:03 | |
MEN SINGING | 0:21:03 | 0:21:05 | |
If you could stand on top of that shaft and listen, | 0:21:05 | 0:21:10 | |
rich, it was, rich. | 0:21:10 | 0:21:13 | |
HARMONIOUS SINGING | 0:21:13 | 0:21:16 | |
But the owners of the mine were slow to modernise. | 0:21:23 | 0:21:27 | |
And despite its success, there was little investment to update or replace machinery. | 0:21:27 | 0:21:33 | |
After 70 years of use, it was the last working man engine in the world | 0:21:33 | 0:21:37 | |
and considered a museum piece. | 0:21:37 | 0:21:39 | |
And then at 2.50pm | 0:21:39 | 0:21:42 | |
on Monday, the 20th of October in 1919, disaster struck. | 0:21:42 | 0:21:48 | |
I was about to step in. He said, "Don't step in, boy. There's something wrong." | 0:21:48 | 0:21:54 | |
And he made a...quiver. And I dodged back and under. | 0:21:54 | 0:21:58 | |
The manager shook like that and then he dropped away. | 0:22:01 | 0:22:05 | |
That was that. Down he goes. | 0:22:05 | 0:22:08 | |
What happened was the main pin on the top broke. | 0:22:16 | 0:22:20 | |
And then the rod on the way down broke in half. | 0:22:20 | 0:22:24 | |
That's what done the damage. | 0:22:24 | 0:22:27 | |
That went right through, see, took everything with it. | 0:22:27 | 0:22:32 | |
A full shift of men were ascending when suddenly there was an accident. | 0:22:41 | 0:22:45 | |
The top layer collapsed, crashing down 100 feet below. | 0:22:45 | 0:22:49 | |
It went through different layers on its way. 31 men in total lost their lives. | 0:22:49 | 0:22:55 | |
It took six days to get them out. | 0:22:55 | 0:22:58 | |
This tragedy hastened the decline of the mine and it finally closed in 1930. | 0:22:58 | 0:23:04 | |
A worldwide drop in the price of tin meant many of Cornwall's mines became unprofitable | 0:23:05 | 0:23:11 | |
in the decades that followed. The industry is practically extinct. | 0:23:11 | 0:23:16 | |
After the mine closed, the engines were blown up for scrap and many of the buildings were demolished, | 0:23:16 | 0:23:22 | |
their stone used to build houses elsewhere. | 0:23:22 | 0:23:26 | |
One engine was saved and so began a remarkable preservation project. | 0:23:26 | 0:23:31 | |
Today the site is looked after by the National Trust. | 0:23:31 | 0:23:36 | |
I've come here to talk to Chris Quick about the Levant's beam engine. | 0:23:36 | 0:23:42 | |
What's the significance of this? | 0:23:42 | 0:23:44 | |
As far as I know, it's the only working steam engine in Cornwall still in its original house. | 0:23:44 | 0:23:51 | |
-It was installed in this mine in 1840. -Wow! -And worked for 90 years. | 0:23:51 | 0:23:55 | |
-Gosh. She's seen some life. -What would you get today to do that? | 0:23:55 | 0:24:01 | |
-What is the function of the engine? -Its sole purpose is to wind the rocks they've cut | 0:24:01 | 0:24:06 | |
-and bring it to surface. -Can I have a go? -Yes! | 0:24:06 | 0:24:10 | |
-First, take the brake off. -OK. -Wind it as far as you can... -And that'll turn that wheel there? | 0:24:10 | 0:24:16 | |
-It turns the brake block. -I can see the brake block rising. | 0:24:16 | 0:24:21 | |
-You're there. -What a wonderful piece of kit. | 0:24:21 | 0:24:24 | |
-OK. Brake's off. -Now you put some steam on. | 0:24:24 | 0:24:28 | |
-Bring that lever towards me. -Wow! Look at that. -That's fine. | 0:24:28 | 0:24:33 | |
Look at that beam work now! | 0:24:33 | 0:24:35 | |
-Oh, take it off! I've never done this before. More steam? -More steam. | 0:24:35 | 0:24:41 | |
-Keep the engine going now. -So the driver stayed here all day. -Yes. | 0:24:44 | 0:24:48 | |
-Making sure it didn't slow down... -Give it some steam. | 0:24:48 | 0:24:52 | |
-He would just stay here? -He would stay here, look at the gauge to see where it is. | 0:24:52 | 0:24:58 | |
-But you only run it for four minutes at a time. -OK. -Just long enough for a skip to come to the surface. | 0:24:58 | 0:25:04 | |
Steady. | 0:25:04 | 0:25:06 | |
You can hear those pistons working. Everything is so beautifully articulated. | 0:25:08 | 0:25:14 | |
It's just wonderful to see it working. | 0:25:14 | 0:25:18 | |
The steam is moving a beam which weighs two tons, the rod weighs a ton, crankshaft weighs a ton | 0:25:18 | 0:25:25 | |
-and the flywheel weighs four tons. -I feel part of its history now. Wonderful. | 0:25:25 | 0:25:31 | |
'The engine was the last to work on Levant mine. It's final days were used to salvage equipment. | 0:25:31 | 0:25:38 | |
'After the tragedy, it was used to bring some of the deceased up, | 0:25:38 | 0:25:42 | |
'so it remains a fitting memorial to those miners who lost their lives, helping to build our world.' | 0:25:42 | 0:25:50 | |
At our valuation day in Truro Cathedral, crowds still flock in, much to the surprise of some! | 0:26:03 | 0:26:10 | |
David Fletcher has spotted an iconic item with Sandra. | 0:26:10 | 0:26:13 | |
This, to anyone who works in a sale room, is instantly recognisable as Royal Doulton. | 0:26:13 | 0:26:19 | |
As I'm sure you know. How long have you owned it? | 0:26:19 | 0:26:23 | |
-I'm not sure. 10, 15 years. -Is it something you particularly like? | 0:26:23 | 0:26:29 | |
-No. I'm sorry! -Which is why you brought it today. It's not compulsory to like them. | 0:26:29 | 0:26:35 | |
-I like fine china. -And you're implying this isn't. | 0:26:35 | 0:26:39 | |
-No, it's not. -We mustn't try to be too subjective. We must be objective. -OK. | 0:26:39 | 0:26:45 | |
Actually, some people would agree with you, I think. | 0:26:45 | 0:26:49 | |
The great thing about Royal Doulton is that it's a factory with a fabulous reputation, | 0:26:49 | 0:26:55 | |
in spite of your slightly disparaging view of it, producing good quality marketable products. | 0:26:55 | 0:27:02 | |
And the Royal Doulton factory knew about selling what they made. | 0:27:02 | 0:27:07 | |
And for that reason they produced series of collector's items. | 0:27:07 | 0:27:12 | |
It's obvious, really. If you have one figure in your collection, | 0:27:12 | 0:27:18 | |
you want two. Then three. | 0:27:18 | 0:27:20 | |
Anyway, many of these figures sell for relatively small sums | 0:27:20 | 0:27:25 | |
and when I saw it when you first brought it in, I thought we were looking at a figure for £30-£40. | 0:27:25 | 0:27:32 | |
But it turns out that it's quite a bit rarer than I originally thought. | 0:27:33 | 0:27:38 | |
It was modelled by a potter called Mary Nicholl. | 0:27:38 | 0:27:42 | |
And it came into production in 1955 and it ceased production in 1958 or 1959. | 0:27:42 | 0:27:50 | |
So it was in production for no more than three or four years and that makes it rare. | 0:27:50 | 0:27:56 | |
And it is rarity that gives these items their value, as you can imagine, really. | 0:27:56 | 0:28:02 | |
All Royal Doulton figures are marked in the same way. | 0:28:02 | 0:28:06 | |
They have the title. In this instance, The Tailor. | 0:28:06 | 0:28:11 | |
They have an HN number, | 0:28:11 | 0:28:13 | |
HN being the initials of Harry Noke, who was an early potter in the Doulton factory. | 0:28:13 | 0:28:19 | |
After the HN there is the number itself and, in this instance, the number is 2174. | 0:28:19 | 0:28:25 | |
HN2174. | 0:28:25 | 0:28:27 | |
If I was to tell you that I think it might make £200, would you suddenly start to like it? | 0:28:27 | 0:28:34 | |
No. | 0:28:34 | 0:28:36 | |
It would make you want to sell it all the more, I suppose. I don't blame you. Right. | 0:28:37 | 0:28:43 | |
I'm optimistic that it might make £200. | 0:28:43 | 0:28:47 | |
Have you got anything planned, plans for the money? | 0:28:47 | 0:28:51 | |
My husband and I are going on a French holiday so, you know, any bit of money will help. | 0:28:51 | 0:28:57 | |
That'll buy a couple of good dinners in an expensive Parisian restaurant! | 0:28:57 | 0:29:01 | |
I'd like to suggest a reserve of £150-£200. | 0:29:01 | 0:29:05 | |
-Seeing as I don't think it's price-sensitive to you... -No. -You'll be glad to see the back of it! | 0:29:05 | 0:29:12 | |
-Shall we put a reserve of 120? -Yes. -Just a covering reserve to make sure it doesn't sell too cheaply. | 0:29:12 | 0:29:19 | |
-So a reserve of 120. -Yes. | 0:29:19 | 0:29:21 | |
-Great. I'll look forward to seeing you at the sale and let's hope it does much better! -Thank you. | 0:29:21 | 0:29:27 | |
'Sandra will be happy to see it go and even happier if she gets £200. | 0:29:27 | 0:29:32 | |
'Now Annie and Sue have brought along an item to show us that also has a great provenance. | 0:29:32 | 0:29:38 | |
'But this is one loved item that is NOT for sale.' | 0:29:38 | 0:29:42 | |
That's a very sturdy little oak chair. | 0:29:42 | 0:29:46 | |
Annie and Sue, thank you for bringing it in. I understand there's some fascinating history. | 0:29:46 | 0:29:52 | |
-Yes. -Who did these belong to? -Lawrence of Arabia. | 0:29:52 | 0:29:56 | |
-Really? How fascinating! -Arthur Knowles made the chair | 0:29:56 | 0:30:01 | |
-for Lawrence and his house. -I do know Lawrence of Arabia lived in Dorset | 0:30:01 | 0:30:07 | |
-and there was a big sale of his items. -We got them from an antiques dealer. | 0:30:07 | 0:30:13 | |
I found it in his garage. We were looking for a chair for my granny. | 0:30:13 | 0:30:19 | |
My dad said, "What's the story behind it?" And so we found it from his garage. | 0:30:19 | 0:30:25 | |
-Do you both come from Dorset? -Yes. -And you've come to Cornwall? -Yes. | 0:30:25 | 0:30:30 | |
To show me these? Bless you! Oh, how fabulous! | 0:30:30 | 0:30:34 | |
The connection with Lawrence is fascinating. Keep them in Dorset! | 0:30:34 | 0:30:39 | |
-I can't tempt you to put them into auction? -No. | 0:30:39 | 0:30:44 | |
'Across the room, a young lady brought in by John and Pat has got David hot under the collar.' | 0:30:46 | 0:30:52 | |
Who's responsible? Who bought this? | 0:30:52 | 0:30:56 | |
-Well, actually, it was given to us many years ago by my father. -Know where he acquired it? -No idea. | 0:30:56 | 0:31:03 | |
-Was he in the Forces? -Yes, in the Merchant Navy. | 0:31:03 | 0:31:07 | |
In the Merchant Navy. Did he ever go to central Europe, sort of Hungary, Czechoslovakia? | 0:31:07 | 0:31:15 | |
-I really don't know. -We cannot answer that. | 0:31:15 | 0:31:19 | |
He went all over the place. | 0:31:19 | 0:31:22 | |
This is Hungarian. And it is signed here. | 0:31:22 | 0:31:26 | |
That's the surname of the artist, which is Kerenyi. | 0:31:26 | 0:31:30 | |
His Christian name is spelt J-E-N-O. | 0:31:30 | 0:31:34 | |
-Jeno Kerenyi. -Right. -He had quite an interesting history. | 0:31:34 | 0:31:39 | |
Born in...1907. And he died in 1975. | 0:31:39 | 0:31:44 | |
So he had a long period of artistic achievements. | 0:31:44 | 0:31:48 | |
This dates from his early period. This might have been his mistress! | 0:31:48 | 0:31:54 | |
If you think of what happened to Hungary, towards wartime and post-wartime, | 0:31:54 | 0:32:00 | |
it became dominated by socialism. | 0:32:00 | 0:32:03 | |
And a lot of his sculptures after WWII | 0:32:03 | 0:32:07 | |
were very much in the socialist manner - workers marching out to the fields with implements. | 0:32:07 | 0:32:14 | |
Solidarity, and the idea of the mass of workers supporting the state. | 0:32:14 | 0:32:20 | |
So he did a lot of sculpture in that form. | 0:32:20 | 0:32:23 | |
I think this is a wonderful work of art. | 0:32:23 | 0:32:27 | |
If you wanted to portray the sensual female figure, in all its glory, | 0:32:27 | 0:32:33 | |
-this is it, isn't it? -Yes. | 0:32:33 | 0:32:36 | |
This languid female figure. If you think in terms of 1920s vamps. | 0:32:36 | 0:32:42 | |
And you think of dancers like Josephine Baker. | 0:32:42 | 0:32:45 | |
She's got all the movements of a very, very attractive woman. | 0:32:45 | 0:32:51 | |
This is not a one off. | 0:32:51 | 0:32:54 | |
Bronzes are cast. | 0:32:54 | 0:32:57 | |
So several of these actually have appeared in sales. | 0:32:57 | 0:33:01 | |
There was one sold in 2001 for £3,000. | 0:33:01 | 0:33:05 | |
And then two years ago one was sold for £2,000. | 0:33:05 | 0:33:10 | |
I would think that this | 0:33:10 | 0:33:14 | |
would sell for round about £1,500-£2,000, | 0:33:14 | 0:33:18 | |
but we ought to put a reserve on that particular piece. | 0:33:18 | 0:33:23 | |
So when it comes up for sale, I would suggest a reserve of £1,600. | 0:33:23 | 0:33:28 | |
And I hope it goes above the £2,000 mark. | 0:33:28 | 0:33:32 | |
-Is that agreeable? -Yes, it would be nice. -Are you going to miss it? -Yes. | 0:33:32 | 0:33:37 | |
I won't use the duster so very often! | 0:33:37 | 0:33:41 | |
That brings me to another point. If I look at this figure, | 0:33:41 | 0:33:46 | |
there are two highlights! I don't know who's responsible. | 0:33:46 | 0:33:51 | |
Not guilty! | 0:33:51 | 0:33:53 | |
That's me, unfortunately. I had been, I thought, rather careful | 0:33:54 | 0:34:00 | |
not to over polish. | 0:34:00 | 0:34:02 | |
'Let's hope their over polishing won't trouble the bidders too much. | 0:34:04 | 0:34:09 | |
'Next up, Pauline has brought in a charming silver ring.' | 0:34:11 | 0:34:17 | |
I love this ring. | 0:34:17 | 0:34:19 | |
-In the form of a stylised heart. -It is. | 0:34:19 | 0:34:22 | |
Does that mean it was bought for you on a special occasion? | 0:34:22 | 0:34:27 | |
-I think it was bought in 1960. -Right. -The year after we were married. | 0:34:27 | 0:34:32 | |
-It might have been in my husband's romantic period! -Oh, dear! How long did it last? | 0:34:32 | 0:34:39 | |
-Maybe Valentine's Day. -I like that. | 0:34:39 | 0:34:43 | |
"In his romantic period". Very good. Like Picasso's Blue Period. | 0:34:43 | 0:34:48 | |
Surely it has sentimental value? | 0:34:48 | 0:34:51 | |
It has, but I've very rarely worn it because it's very large | 0:34:51 | 0:34:56 | |
and my hands are very small. | 0:34:56 | 0:34:58 | |
I've not very long fingers. | 0:34:58 | 0:35:01 | |
I could imagine it on somebody with lovely long fingers and beautifully-manicured nails | 0:35:01 | 0:35:08 | |
-and it'd look stunning. -As you know, it was made by Georg Jensen, | 0:35:08 | 0:35:12 | |
the greatest, really, of 20th century jewellery designers, | 0:35:12 | 0:35:18 | |
-many people would say. Certainly the greatest Danish designer of jewellery. -Yes. | 0:35:18 | 0:35:24 | |
Georg Jensen himself died just before the war, | 0:35:24 | 0:35:28 | |
but the factory continues to this day. And this particular ring was designed | 0:35:28 | 0:35:34 | |
-by one of his assistants, a man called Henning Koppel. -Right. | 0:35:34 | 0:35:38 | |
Who was equally famous. I think he was famous in his own right, really, as a designer. | 0:35:38 | 0:35:45 | |
Much admired. | 0:35:45 | 0:35:47 | |
-He won lots of awards in the '50s and '60s. -Yeah. | 0:35:47 | 0:35:51 | |
I love this stuff. I love it for its modern styling. | 0:35:51 | 0:35:56 | |
One sees a lot of Victorian jewellery, one sees lots of Edwardian jewellery. | 0:35:56 | 0:36:02 | |
And, by comparison, come the time this was designed and manufactured, | 0:36:02 | 0:36:07 | |
-the modern movement is in full swing, really. -Yes. | 0:36:07 | 0:36:10 | |
It's great and I'm sure it'll sell jolly well. So if we estimate it at £100-£150, | 0:36:10 | 0:36:17 | |
and put a reserve of £100 on it, | 0:36:17 | 0:36:19 | |
because minimalist jewellery of this sort is so fashionable today, | 0:36:19 | 0:36:25 | |
I'm confident you'll get towards the top estimate or a bit more. | 0:36:25 | 0:36:30 | |
-You've got his permission? -My husband is quite happy. | 0:36:30 | 0:36:34 | |
Considering it was bought for you in his romantic period! | 0:36:34 | 0:36:40 | |
-I hope he's not watching! -He might start again! | 0:36:40 | 0:36:43 | |
His second romantic period. Starting soon. OK. | 0:36:43 | 0:36:48 | |
Look forward to lots more rings! | 0:36:48 | 0:36:51 | |
'Those are our last three fabulous items. | 0:36:56 | 0:36:59 | |
'Auctioneer Ian Morris is very impressed with one of our lots.' | 0:36:59 | 0:37:04 | |
It is a nice bronze. Good period. Lovely Art Deco period. | 0:37:04 | 0:37:09 | |
Bronzes, the lovely detailing, the lovely shape, lovely lines. | 0:37:09 | 0:37:15 | |
-Sexy lady. -It's the kind of thing that will appeal to the market. | 0:37:15 | 0:37:20 | |
Signed as well. We've got everything there the buying public want. | 0:37:20 | 0:37:25 | |
Good period pieces of Art Nouveau, Art Deco, | 0:37:25 | 0:37:28 | |
seem to be selling certainly better than Victorian pieces. | 0:37:28 | 0:37:33 | |
Has this been heavily viewed and picked up? | 0:37:33 | 0:37:37 | |
It certainly has been viewed. There is some interest. | 0:37:37 | 0:37:41 | |
£1,600 is... probably towards the top end. | 0:37:41 | 0:37:44 | |
Quite a lumpy reserve. I'd like to think I'd get there. | 0:37:44 | 0:37:48 | |
Maybe a bit nip and tuck. Might just get there. | 0:37:48 | 0:37:54 | |
'Well, fingers crossed. We'll find out how it gets on later. | 0:37:54 | 0:37:59 | |
'Also about to go under the hammer is Sandra's Royal Doulton figurine and Pauline's charming ring. | 0:38:05 | 0:38:12 | |
'First up, it's the ring.' | 0:38:12 | 0:38:14 | |
-It's time for it to go. -It's very stylish. -It is. -And sought after. | 0:38:14 | 0:38:19 | |
-I always think an item should speak of its period. -Yes. -It should look as if it was made in the 1960s | 0:38:19 | 0:38:25 | |
and not the 1860s. Jensen jewellery complies with that little rule. | 0:38:25 | 0:38:30 | |
Hopefully, it'll find a new home. It's a great name. | 0:38:30 | 0:38:34 | |
Quality always sells. That's the key. Here we go. | 0:38:34 | 0:38:39 | |
Lot 192 there. A Georg Jensen sterling silver ring with pierced heart decoration. | 0:38:39 | 0:38:46 | |
Can I say £100 away, please? | 0:38:46 | 0:38:49 | |
£50 to start me? | 0:38:49 | 0:38:52 | |
£50 I'm bid. At 50. 60 now. | 0:38:53 | 0:38:56 | |
60. 70. | 0:38:56 | 0:38:58 | |
-80. 90. 100. -It's gone. | 0:38:58 | 0:39:02 | |
At £100, the bid's to my left. I'll take 110. | 0:39:02 | 0:39:06 | |
-At £100 I'm bid. -A bit more! | 0:39:06 | 0:39:09 | |
At £100. Are we done? At £100. | 0:39:09 | 0:39:12 | |
-It's gone. -Bottom end. -Bottom, though. Never mind. | 0:39:12 | 0:39:17 | |
This will go to my two grandchildren, their little pots of money. | 0:39:17 | 0:39:21 | |
-It will top up their fund. -What a great grandma! | 0:39:21 | 0:39:26 | |
'I'm sure that Pauline's grandchildren will be very happy with £50 each added to their funds. | 0:39:26 | 0:39:32 | |
'Next up is Sandra's figure.' | 0:39:32 | 0:39:36 | |
-Who have you brought along? -Barry, my husband. -Pleased to meet you. | 0:39:36 | 0:39:40 | |
-What do you think of this? -I love it. I was at work when she brought it in! -Now we're selling it! | 0:39:40 | 0:39:48 | |
-I hated it! -Oh, dear. So you had to tell him? -He knew. | 0:39:48 | 0:39:53 | |
-Was it a sad goodbye? -That was a good meal. | 0:39:53 | 0:39:57 | |
We've got a valuation of £150-£200 and it's quite rare | 0:39:58 | 0:40:02 | |
-because it was only in production for three years. -Yes, 1950s. | 0:40:02 | 0:40:07 | |
And sitting so quietly ever since. | 0:40:07 | 0:40:09 | |
It's a Royal Doulton figure. The Tailor. Quite a rare figure. | 0:40:09 | 0:40:14 | |
Lot 657. | 0:40:14 | 0:40:16 | |
Can we say 150 away? | 0:40:16 | 0:40:18 | |
£100 I've got. At £100. 110 to get on. | 0:40:21 | 0:40:25 | |
110. 120. 130. 140. 150? | 0:40:25 | 0:40:29 | |
He's had a bid on the book. Someone's left a bid. | 0:40:29 | 0:40:33 | |
At 140. The bid's on the books. | 0:40:33 | 0:40:36 | |
-At 140. 150 now? At 140. -Come on. A bit more. | 0:40:36 | 0:40:40 | |
150. At 150. I can go to 155. | 0:40:42 | 0:40:46 | |
-At 155. -It's doing all right. | 0:40:46 | 0:40:49 | |
155. 160 now? | 0:40:49 | 0:40:52 | |
At 155 I'm bid. 155. | 0:40:52 | 0:40:56 | |
At 155. | 0:40:56 | 0:40:58 | |
-Just in with a chance there. £155. -Really pleased. | 0:40:58 | 0:41:02 | |
-Towards our holiday. -To where? | 0:41:02 | 0:41:05 | |
-France. -Good for you. -Normandy and Brittany. -Enjoy it. | 0:41:05 | 0:41:10 | |
'Sandra has finally got rid of her figure and even husband Barry appreciates a bob or two. | 0:41:10 | 0:41:16 | |
'Now it's the turn of that magnificent bronze figure, but are the bidders here?' | 0:41:16 | 0:41:22 | |
We've all been looking forward this one. We hope to get top end. | 0:41:22 | 0:41:27 | |
That wonderful bronze figurine. She has caused a lot of interest. | 0:41:27 | 0:41:32 | |
I had a chat to the auctioneer. We both agreed - absolute quality. | 0:41:32 | 0:41:38 | |
-And it's so nice, so sensuous. -Very. | 0:41:38 | 0:41:41 | |
-Typical of the period. -Now in the sale room | 0:41:41 | 0:41:45 | |
-and possibly going to somebody else's front room. -Yes. | 0:41:45 | 0:41:49 | |
The Hungarian bronze figure there. An exotic dancer. | 0:41:52 | 0:41:55 | |
Signed on the base. Lot 112. | 0:41:55 | 0:41:58 | |
Got a little bit of interest. Start at £1,000. | 0:41:58 | 0:42:02 | |
At £1,000. £1,000. And 50 to get on. And 50. | 0:42:03 | 0:42:08 | |
1,100. 1,150. 1,200. 1,250. At 1,250. | 0:42:08 | 0:42:12 | |
At 1,250. 1,300 right at the back. | 0:42:12 | 0:42:15 | |
Fresh legs. | 0:42:15 | 0:42:18 | |
1,400? 1,400. | 0:42:18 | 0:42:20 | |
1,400. 1,450. 1,500? 1,500. | 0:42:20 | 0:42:24 | |
1,500. 1,550. 1,600? | 0:42:24 | 0:42:27 | |
-It's gone. -1,600. | 0:42:27 | 0:42:29 | |
In the doorway. Is it 50? | 0:42:29 | 0:42:32 | |
1,650. 1,700? At 1,650 on the phone. At 1,650. | 0:42:35 | 0:42:39 | |
This is great. | 0:42:39 | 0:42:42 | |
1,700? At 1,650 on the phone. | 0:42:42 | 0:42:45 | |
£1,650. | 0:42:45 | 0:42:47 | |
-Yes! -That was exciting! That was brilliant. | 0:42:48 | 0:42:52 | |
-Happy? -Yes. -Yes. -Not quite the top end, but happy. | 0:42:52 | 0:42:56 | |
-That was fine. -What are you going to replace the figurine with? | 0:42:56 | 0:43:01 | |
-Going to do some spending? -We'll move one of the other bronzes to the same place! | 0:43:01 | 0:43:06 | |
At least you've got a few! | 0:43:06 | 0:43:09 | |
That's it. It's all over. Another day in the auction room. | 0:43:15 | 0:43:20 | |
It's wonderful to be back home in Cornwall. The sun's shining | 0:43:20 | 0:43:25 | |
and we sold everything! So congratulations to everyone. | 0:43:25 | 0:43:29 | |
I hope you enjoyed the show. Keep watching for more surprises. | 0:43:29 | 0:43:34 | |
But for now it's cheerio. Proper job! | 0:43:34 | 0:43:38 | |
Subtitles by Subtext for Red Bee Media Ltd - 2010 | 0:43:50 | 0:43:54 | |
Email [email protected] | 0:43:55 | 0:43:57 |