Wolverhampton Flog It!

Traffic lights - they're such a part of everyday life.

Would you believe, I'm on the very spot where the first automatic

traffic light was introduced to Great Britain?

I'm in Princes Square in the heart of Wolverhampton

and the lights have turned green for "Flog It!"

We're in the centre of the city, outside Wolverhampton Civic Hall, for our valuation today.

Experts Catherine Southern and David Barby will be rummaging through

all the bags and boxes, coming up with expert valuations and then,

it's off to the auction room to put them to the test.

Thank you very much, David. That was spot on!

Oh, that's brilliant news, I'm so pleased for you!

This is a "come and buy me" from David.

Just don't rub in, don't rub it in.

First, let's get everyone inside, where Catherine's got the day underway.

Barbara, Margaret, thank you for coming today

and bringing your lovely collection of Pelham Puppets.

Let's go through them and have a look at them in detail and see who we've got.

Now, first of all, we've got this cowgirl here that's completely slouched on the box.

I think she's exhausted after her day.

And then one of the ones I absolutely love is the little Noddy.

Then, the third one here is a little cow or bull - white bull.

-Do you know anything about it?

-Yes. It's from the film that Tommy Steele made called The Little White Bull.

-There was a song in it called The Little White Bull.

-That's where it comes from?

Fantastic! What I think is really interesting about these is we've got the difference here between these two

which are the bigger puppets in the bigger boxes and then we've got this little tiny one which is something

you don't see very often - the one that's made for the "very young child" it says, printed on the box.

I'd hate to give this to my little, very young child. She'd ruin it.

These are all in such perfect condition.

What is also nice about this is the crossbar is much smaller.

For little hands to operate, whereas on these two, you've got the much bigger crossbar.

-Where did you get them? Have they been in your family?

-They belong to our sister,

who sadly is no longer with us.

We've decided that it's time to part with some of her things.

-So, they were actually played with by your sister.

-Yes, yes.

-So, you never played with the Pelham Puppets.

-No, never.

They're in such perfect condition. It's amazing.

You often find little moth-eaten bits of fabric.

These are really in such lovely condition, which is wonderful.

Not something you want to hand through your families at all?

-Between us, we've got too many children so...

-To share.

-Difficult to split them.

-Yes.

So, the time has come to sell them on. Let somebody else enjoy them. Well, I think they're wonderful.

It's difficult to put a price on these because they do go up and down.

Sometimes they're popular and sometimes they're not.

I would probably put a collective estimate on of about £120-180.

How does that sound to you?

-It's amazing.

-I would think probably these ones would make about £40 each.

I would hope that Noddy would make more. He's so lovely.

He's in such good condition. Thanks for bringing them along today.

-I think we should take hold of one and take it to the auction.

-Right.

Ivor...

This is a most interesting area.

-Yeah.

-It's always been a centre for great industry and manufacture.

-Yeah.

-So, in the past, and it probably still does, it attracts a tremendous amount of wealth.

-Yeah.

So, when I look at this object here, which is solid silver, it does represent an awful lot of money.

Can you shed any light on its history?

My wife's grandmother had it as a wedding present in about 1870, we believe.

Is there any history in front of that?

Oh, yes. It's been passed down from her grandmother to the mother and now to the daughter.

If it's standing a little distance back and you can squint at it,

-you can just see the outline of that slight baluster form.

-Yes.

And this wonderful scroll handle.

This is perfection - particularly this decoration here - which is in the form of an acanthus leaf scroll.

-Yeah.

-If only they'd have left it with that lovely handle and the plain body.

-Somewhere in the 19th century, it's been embellished...

-Yes, I can see that.

..with this country scene.

-That has been added to a very plain, sophisticated shape.

-Yeah.

We call this work engraving but also repousse,

where it is knocked out from the inside to give the design.

But that takes away its value.

So, somebody thought in their wisdom, they were improving it...

-That's right.

-And you're saying...

-They've taken the value away. They haven't improved it.

The mark is quite interesting but it's not complete.

-We've got the lion here...

-Yeah.

..which is, to establish it's silver.

Yes.

Then we've got the date letter which is 1762.

-And we think London.

-Yeah.

-But there's no leopard's head...

-No.

..there to tell me it's London.

Now, establishing a price.

I would say, if it had not been engraved, maybe £1,600, £2,000.

-That engraving has diminished the value.

-Oh, dear!

Because it's been added, embellished.

-I would've thought it was the other way round.

-So did the Victorians!

It means you think in terms of around £350-£500 - that sort of price range.

I think the auctioneers will suggest we put 350 as reserve, no less.

-That will be agreeable to you?

-Yeah, yeah.

Ivor, I hope I'm proved wrong and it goes sailing up but I think my reservations will be confirmed.

What a handsome chap this cockerel is!

Where did you get him from?

-I bought him in Birmingham. Quite local.

-Is that quite recently?

Oh, no. About 30, 35 years ago.

I don't know if you're aware but this is really quite a nice piece you've got here.

He's a lovely cockerel, or he's actually known as the gamecock -

that's his proper name.

Can I ask you, have you any idea what you paid for him then?

-No idea.

-Can't remember. It's quite a long time ago.

-It is.

What appealed to you about him?

Colours and the shape. You know, the colours of him.

Very striking, aren't they?

They really jump out at you. Do you collect Beswick?

-I have done in the past, yes.

-How many pieces do you have?

With the cock, I have about eight pieces.

-Is he one of your more favourite pieces?

-Yes. He's a larger one.

He's very striking, isn't he? He looks in absolute perfect condition.

Something like this is so easy to break.

Because of that, the prices of these are quite high and they are quite collectible.

-Any ideas on price of this?

-No.

-None whatsoever?

-No.

Well, I think something like this at auction,

you could probably ask between £300 and £500.

-Never!

-But, I think it should make a lot more.

-Do you?

-I hope it would make a lot more.

-That's great.

-That surprises you?

-It does. It does, yes.

-It's purely and simply because it's in great condition.

-Where has it been displayed all this time?

-On a shelf.

Yeah, all the years on the shelf. But I always take care of it.

-Yeah, I can see that. I can see that.

-I love it.

Now, Gillian, why do you want to let him go?

Well, at my age, we have to de-clutter.

I don't think the family will want to keep them.

So, if we can sell them and get a nice, fair price for them, we can share the money.

-So, he's had his day. You've had him for a while. You've looked after him.

-Yes.

-Now it's time for him to leave the nest.

-Yes.

Right. We'll put him at auction. We'll put him at £300-£500.

-I hope that he flies away. Thank you, Gillian.

-Right, thank you.

Let's have a quick recap of what's got the go-ahead for the auction today.

First, the puppets, which are great fun.

Let's hope their sale will bring smiles to the faces of sisters Barbara and Margaret.

Next, the solid silver tankard.

It's a great shame Victorian embellishment has robbed it of some of its value.

Finally, we have the Beswick gamecock.

He's such a handsome chap that he's bound to grab the attention of all the bidders.

For our sale today, we've come to Fieldings fine art auctioneers

and we have two auctioneers on the rostrum today, wielding the gavel, Nick Davies and Will Farmer.

Let's go inside and see if our experts have got those valuations right.

Well, I've just been joined in the nick of time by two gorgeous sisters - Barbara and Margaret.

-It's a packed saleroom.

-Yes.

The Pelham Puppets are about to go under the hammer.

We've got three puppets. Which is your favourite?

I like The Little White Bull.

-And I do as well.

-That's mine as well.

We've seen lots of them on the show before. They were made in Marlborough, in Wiltshire.

-That's why I chose them.

-They mean a lot to me.

I agree with the valuation. I think we'll get that 180.

-Do you?

-I hope so, they're all boxed.

-Yes. They're in good condition too.

-Yes.

-Lots of memories?

-Not really.

They were your sister's, weren't they? Did you play with them?

-We never did, no. She was ten years younger than us.

-OK, OK.

-She died when she was 38 with breast cancer.

-Ah!

So, when and if they sell, we're going to give the money to breast cancer research.

-Fantastic.

-Great.

-This is it. Lots of dosh.

-Pelham Puppets.

We've got a cowgirl, a Little White Bull and Noddy.

There we are!

Bids and interest in this. I'm bid on commission £100.

Do I see 110 anywhere else in the room?

£100 on commission. 110 anywhere else?

£100, maiden bid on commission.

-Come on, a bit more.

-£100, all done and finished.

He sold them. The hammer's gone down.

There was a commission bid.

There was no-one in the room to bid him up.

-I think that commissioned bid probably went up to the top end of the estimate.

-Yeah.

We missed out a bit but they've gone. That's the main thing.

-Yes.

-And the money is definitely going towards breast cancer research? That is fantastic.

It's such a good cause.

Will it be cheers all round for this solid silver tankard?

We've got a valuation of £350-£500.

-But the Victorians have got to it, Ivor?

-Yes, I'm afraid so.

-What have they done?

You tell me. You tell me.

-I didn't do it.

-They've certainly de-valued it, that's for sure.

David Barby, you put the value on this.

-Right.

-We all agree with the value. Spot on!

If the Victorians hadn't meddled with this, we'd be looking at £600-£800, possibly a lot more.

Don't you call that embellishment?

No, I call it meddling.

Well, that's perfectly true. You can actually squint and see the outline which would have been quite plain

and very simple and quite beautiful, just with the scroll handle.

-This was a family heirloom.

-Yes. It's come down my wife's line, so...

We brought it here today to flog it, so hopefully...

-The missus is getting the money.

-The mother-in-law.

-The mother-in-law is getting the money.

-Hopefully!

-Well, here we are. Look.

Now the Georgian hallmarked silver baluster tankard.

Look for 350. Anybody on...? 350 on a commission. I'm bid 350.

-350 straight in.

-Very good.

At 350 on a commission, straight in. 360 anywhere else? At £350.

First and last, all done and finished at 350?

The hammer's going down. Yes.

It was those Victorians. We got it away at the lower end.

-Never mind!

-Still, it's going to the mother-in-law.

-Hopefully.

-Hopefully, you'll get a treat, Ivor, coming in and doing the hard work.

-No doubt.

-Thank you, David.

-Enjoy the rest of the day.

-And you.

-As long as you

-charge her petrol expenses.

-Yes. Thank you.

-Jean, you're a Beswick collector.

-Yes.

-And she's going to be flogging off a piece today.

-That's right.

The Beswick cock. Quite a large one.

-Yes.

-Why are you getting rid of this one?

-To de-clutter.

-De-clutter.

At my age, yes.

We've got £300-£500 riding on this.

-Yes.

-Lots of money. But it's lots of Beswick.

-It is lots of Beswick.

Fingers crossed! This is it.

We have the Beswick pottery figure of a gamecock.

I've been offered 250 on commission straight in. £250 on my right.

250, I saw the gentleman in white first. I'll come to you.

260, sir? 270.

280. 290. You're out at 290.

280, come on!

290, 300. 310. 310.

320. Shake of the head at 320.

310 on my left. 320. Anyone in the room care to pick it up?

Back of the room, 320. 330. 340.

Still going on.

360. 370.

Says no at 370. All sure?

Gentleman's bid at the back of the room then at 360. Are we done?

And finished.

-Yes!

-Margaret, £360.

-That's good.

-Not a bad price.

-Not a bad price.

You're pleased with that, aren't you?

-I would have like a bit more, but then I always would.

-I think Margaret would as well.

What's £360 going towards?

Well, it may be shared in the family or I may use it to go to America to see my daughter.

Aw! Does she live out there now?

-Yes, yes.

-Have you been there before?

-Oh yes, yes.

-What part of the States?

-Washington.

-Washington.

-DC.

Wightwick Manor, situated three miles outside of Wolverhampton,

was given to the National Trust by Sir Geoffrey Mander and his second wife, Rosalie, in 1937.

Included in the gift was their fantastic collection of paintings, part of which reflected

Lady Rosalie Mander's passionate interest in the Pre-Raphaelites.

It's difficult to imagine just how unpopular Pre-Raphaelite paintings were during the mid-20th century.

The public viewed the Brotherhood as a bunch of romantic radicals.

They didn't want that, they wanted something more contemporary and modern.

So Lady Mander was in a very good position because sellers beat a path

to her door and she was buying at the lower end of the market, so that was a good thing.

I've come to talk to Pat Vaughn, who has been a volunteer here for more than 20 years,

-and she actually knew Lady Mander before her death in 1988. Pat, it's a pleasure to meet you.

-Hello, Paul.

-This must feel like home to you, being here 20-odd years?

-It does.

-So what was Lady Mander like?

Very vivacious, very charming but very private.

Let's start with this one behind us over the piano.

It's typical of what you expect of a Pre-Raphaelite painting.

-Indeed.

-It is a Dante Rossetti.

-Yes.

-But I recognise Janey Morris there, that's William Morris's wife.

But Janey had dark brown hair, so who's given her red hair?

Ford Madox Brown, who finished the painting.

After Rossetti's death.

-That explains why the brush strokes don't look anything like Rossetti's.

-Yes.

It was finished in the last year of Madox Brown's life.

-So why did he give Janey Morris red hair?

-I think it was a reference...

-First of all, his general love of red hair...

-Dante's.

And because of his wife, Lizzie Siddal, had red hair.

It was the first Pre-Raphaelite in the collection.

-So this started off the love affair.

-It did.

-How much did she pay for it, can you remember?

-£17.10 shillings.

-That was a bargain!

-Yes.

-Shall we go and see some more?

-Indeed.

-I can't wait, actually.

I feel like a kid in a sweetshop.

Pat, you said you were going to show me a Millais.

I was expecting something on the scale of the Lady of the Lake,

-something, sort of, that big, but this is almost like a miniature.

-It is.

-Tell me about it.

Well, it's of Effie Ruskin.

Ruskin took Millais away on a Scottish holiday to influence his painting,

and Millais fell in love with Ruskin's wife.

-Oh!

-Oh, yes!

There was an annulment case, cos the marriage was supposed not to have been consummated.

Over a period of six years, which is very... That was a bit tricky. How did they get away with that?

Exactly. And I think it was the only way they could dissolve a marriage, anyway, in those days.

She's wearing foxgloves in her hair, there, which I think is an extraordinary hair ornament.

-It's the most beautiful picture.

-It is.

-When did they acquire this?

1949. It was bought from a member of the Millais family.

Oh, that's nice. This might be a tricky question to ask you,

but how many works are there in the collection? Is there a lot that the public can't see, in portfolios...

Not a vast amount. We do have some portfolios, mainly of Rossetti drawings.

-Studies?

-Yes.

-Well, shall we go and see some more?

-Let's indeed.

-OK, I'll follow you.

Here, Pat. Let's take a seat here.

Now, you've brought me here to show me a pen and ink drawing, which is not what we'd expect from Rossetti.

And I gather this is your favourite?

-Well, I love this because it shows they weren't the solemn people we think they were.

-Real partygoers!

Oh, indeed. Indeed.

So, set the scene. What's happening?

It's supposed to show her having a bad review of all of her poems, Goblin Market, in fact.

That's what it's all about!

She's in a rage. She's throwing things around the kitchen.

In fact, it wasn't a bad review.

-It was praising the poem.

-She's obviously had lots of bad reviews and doesn't like...

She hates looking at reviews. We think it's down to Gabriel helping her to have a laugh about this.

It must be really hard to have a favourite piece,

-because you just look around and you think, what do you choose?

-Well, I change all the time.

-Do you know, I'd do exactly the same thing. Every day I'd have a different favourite.

-Yes.

I don't blame you, Pat.

-Shall I put that back?

-Right.

And let's carry on the tour.

What else have you got to show me?

-Come over here.

-OK.

Let's go and have a look.

Here's another one. It looks like a Burne-Jones, another member of the Brotherhood.

-It is a Burne-Jones. He was never a member of the Brotherhood.

-Oh, wasn't he?

Not actually. Not an official one. It really is, I suppose, the jewel in the crown here.

It's a very impressive frame. It's almost neo-classical.

-Lots going on there.

-Isn't it?

He was very fond of this kind of frame.

-You can identify his work by the frames.

-You can, to a certain extent, yes.

Although I think Burne-Jones is very, very easy to identify.

-But it's not an Arts and Crafts frame?

-Oh, no.

-So what's going on here? Do you know? What's it called?

-Love Amongst The Ruins.

Oh. There's a bit of symbolism as well, look. You've got embraced in love, the ruins falling down.

Things have broken down and lots of, sort of, roses with thorns.

I think he's trying to show the ephemeral nature of love.

Well, so I'm told!

-When did they acquire this?

-Well, it was brought in by the trust.

-This wasn't bought by the Manders.

-Oh, OK.

It's not the sort of thing that Lady Mander collected.

No. Burne-Jones painted a lot in watercolours, as well.

He did. Well, this is the fourth and last version he painted of this.

There was a watercolour and a gouache, which got damaged in a Paris photographer's studio.

There was going to be an exhibition and someone, the story goes, decided to clean it.

And they cleaned one of the faces and, of course, being watercolour and gouache it came away.

Absolutely! What a place to start!

-You'd think they'd start in the corner, wouldn't you?

-Maybe they did, I don't know.

Anyway, Burne-Jones has decided to recreate this picture 20 years after the first one was painted.

-Obviously meant a lot to him.

-This time he did it in oils.

It is absolutely stunning, isn't it? I love those deep Prussian blues, they're quite vivid.

-Well, they are. You wouldn't think of blue as a colour which glowed, would you?

-No, no.

I think it shows one of his, what I think of his great strengths,

he had a wonderful sense of composition and design.

Definitely, yes. Pat, thank you so much for my very own personal mini grand tour.

It's been delightful. I absolutely love the Pre-Raphaelite work.

I just wish I was born at a time when I could belong to the Brotherhood! But I can't fix that!

I think I'd fit in really well because my head is definitely

in the clouds but my feet are firmly on the ground.

-And I'm constantly chasing the Holy Grail.

-Haven't got one of those, I'm afraid.

Back at the valuation day, David's heading down memory lane.

Mel, I have to offer an apology for keeping you waiting so long.

Has it been a, sort of, great burden to you?

Not really, because while I've been sitting here, I used to come here when I was in my teenage years,

around about 18, and it hasn't changed much, really.

It's more or less the same as when I came here then.

-And what did you come here for? Dancing?

-It was the dancing.

They used to have groups that were just starting out.

I'm pleased it's brought back those happy memories. You brought this, which belongs to your mother?

-That's right, yes.

-So why's she wanting to get rid of it?

-She's moved into sheltered accommodation

and she was worried about it getting broken in transport.

She'd always said it was mine and she says, "You might as well have it now."

-Oh, this is awful - now you are considering selling it!

-Yeah, well...

-Why?

It's such a shame, because it's in, like, a cabinet and it's not really being used or seen by anybody.

-I think you're right, because this is pretty china that should be on display.

-Yes.

This is a wonderful design, it's called Melody.

The factory that produced this was Shelley.

Now, the Shelley factory goes back some considerable time, way back into

-the 19th century, when the original company was called Wileman and Company.

-Yes.

Then it changed its name to Foley China and one of the people involved at that time was J B Shelley.

-In 1925, he took over and it became known as Shelley China.

-Oh, right.

And one of the ranges that they produced during the 1930s was this range

of chintzy patterned china which was very, very fashionable.

Now, this is not as popular as it used to be, say, five years ago.

-The market has changed, it's moved on to 1950s porcelain.

-Yes.

So this is left somewhat behind, but there are still collectors of it.

And I would think, at auction, this would sell for something in the region of about 120 to 150.

-I hope more.

-Right, yes.

-No regrets about selling it?

-No, not really.

I mean, it is beautiful but it's no good just, sort of, looking at it.

Let's hope we make well above the lowest estimates that I've given you of 120.

-The auctioneers may decide to put an auction reserve just tucked under that.

-Yes.

-Would that be agreeable?

That's fine. Yes, that's fine. Yes.

Steve and Carol, thank you for coming along today and bringing this fabulous piece.

As soon as I saw it I thought, "Keith Murray." That's made my day. Now tell me, where did you get it from?

Well, it was a wedding present from my mother in 1938.

And she moved to Australia in the early '70s

and left it with me, and it's moved around with us from house to house.

It's absolutely beautiful, it's just a stunning, classic shape.

It really appeals to me. Do you know anything about Keith Murray at all?

Well, only that he was an architect, I believe, from New Zealand,

who was invited by Wedgwood to design some vases.

-That's right.

-Or some pieces. And this was the result.

And I believe there are other colours as well.

Yes. He was actually born in New Zealand and then he moved quite early in life to England

and did train, first of all, as an architect, but didn't hit it off as an architect,

so he thought he'd try his hand in designing pottery. And here we are, he did very well indeed.

He went off to work for Wedgwood in the 1930s, so this is quite a nice early piece.

It's such a classic design and this wonderful ivory colour,

-but I think it's actually called Moonstone, I think that is the correct stone colour.

-Moonstone.

Which is really quite nice. But I love this little rippled effect.

Now, it's been in your family for such a long time, why on do you want to get rid of it?

-It must have sentimental connections.

-Well, I've got other things

that have got sentimental connections with my mother which are more pertinent.

You've made up your mind?

-Yes.

-Well, it's our ruby wedding in November, so it'll hopefully go towards a celebration.

-Oh, lovely.

Oh, that would be nice, wouldn't it?

-Yes.

-Fantastic. Have you any idea on price on this?

Well, we had it valued some time ago and we thought about £400.

Right. I don't think it's gonna be quite as much as that.

If it was in perfect condition, I think you'd be looking at about £300 to £400.

But I think it's going to be a bit less than that.

Now, the reason that I'm saying that is, having a look around, I can see that there's a bit of staining here.

-Nevertheless, I think let's put it in a £150 to £250 and really hope that it takes off.

-Yes.

-Are you still happy to give it a go?

-Yes.

-Absolutely. You want rid. He's made up his mind, has he?

He is a man that once he makes his decision, that's it.

-Well, you have to do that, don't you?

-You do, sir, you do.

Linda, on these "Flog It!" programmes there's always an element of

excitement from some of the objects that are brought in.

And this, for me, is a high point - all this jewellery.

It is absolutely stunning.

And it all dates from around about the same period, which is the middle of the 19th century.

Now, who did this belong to?

This belonged to my great grandmother, who came from Luxembourg.

Ah! That is wonderful, because it shows so much flair.

So she came from Luxembourg and, I think, a lot of these pieces

-are actually from Italy.

-That's surprising, I didn't know that.

Why do you want to sell it?

The pieces are lovely but they are very ornate

-and rather large...

-That's true.

I don't think I'd ever wear them. They look slightly OTT, don't they?

-Yes.

-They do. Right, now, where do we start?

Well, if you think in terms of the history of jewellery, back in the 19th century

there was a great revival from Italy of what we term as the

Etruscan style. So if you look to that marvellous

series on the gogglebox called The Romans, you might see something

like that this actually worn by one of the female cast,

because this is a copy of an ancient Roman necklace.

-I've had a look at it, it's unmarked, but the quality is such that it is gold.

-Yes.

Gold! Lovely, lovely, lovely.

If we go around we can have a look at this lovely little set here.

The only thing we're missing is a whacking great necklace.

-Yes.

-That would be the companion to the brooch,

the bracelet and these two drop earrings.

And on each section there's these delightful, sort of, laurel leaves or victory leaves,

and each one is filled with enamel, white enamel.

These turquoise-looking bosses are also enamel,

imitating the turquoise stone.

And right in the middle we have a gold star,

which is set with the most wonderful river pearls.

Now, river pearls from mussel shells are grey in tone, so this is this

very, very nice subtle shade of grey that you get with river pearls.

-Yeah, cos I thought they were sea pearls.

-Ah, right.

Of all the pieces, this is absolutely a knockout,

because this is Italian and, as you know, the Italians,

-particularly the ancient Romans, were able to produce the most wonderful tesserae pavements.

-Yes.

This is a similar form of minute tesserae,

but in semi-precious stones to create this

delightful creation of flower heads, scroll work and other details.

And this is the complete set, so we have this pendant

and then we have these two earrings, and the leaf-shaped box is wonderful.

Then there's two other pieces which I find very ornate and possibly slightly later than the others.

Again, Italian, with quite high relief tesserae.

And I note there's quite a lot of damage,

in other words small stones that are missing.

This piece is intriguing, because it's set with turquoise stones

as opposed to enamel, which is on the other pieces.

And you have this delicate pierced filigree work all the way round, which is not common to

English jewellery, but to be found in the south Mediterranean area.

But what I find intriguing about this piece,

which is a pendant, and if I turn it over,

on the back there is provision for putting a miniature,

a photograph or maybe woven hair of your loved one.

Now, before putting a price on, we've got to take into account the damage.

There's one earring where the boss is loose,

that little brooch is a little bit loose,

those stones have come out of that brooch,

so I'm going to put a price that will accommodate a great deal of interest.

So I'm going to say £350 to £500,

-but I can see that sum being exceeded.

-Yes.

-What I don't want is a too high figure that's going to not create the interest required.

-Right, yes.

So this is why I'm putting a blanket figure on the whole lot

and then we can leave that up to the auctioneer

-to sort out how he will sell it, and he knows best.

-Yes.

So I think, within those parameters, I don't want a reserve less than 350,

-but I'm sure, I'm quite confident that will be exceeded.

-I hope so.

And now for a quick reminder of what our experts have uncovered in Wolverhampton.

Melanie's highly decorative Shelley tea set was hidden away.

It's so pretty, it really should be on display.

As should this Keith Murray Moonstone vase,

which cries out for a dramatic setting.

And finally, an extraordinary find by David - a wealth of

continental jewellery which can only be described as a total knockout.

Let's see if our auctioneer, Nicholas, agrees.

-Linda came into the valuation day with a wonderful collection of jewellery.

-Right.

Now, David did the valuation and he put £350 to £500

-on the whole lot, including this lovely micro-mosaic work.

-Right.

-Now, have you split the lots up?

-That's exactly what I've done.

I've split it into four separate lots.

And this, in the group of the jewellery, is just one lot.

-It's the best of the jewellery, so I've put it in as the first lot.

-Did you...?

Obviously you divided it into four, did you divide the price into four, have we got the price right?

No, I have upped the estimate a little bit. A tad.

I mean, David is very good on his ceramics, the jewellery...

-I feel this is...

-It's not his strongest point, is it?

It's not his strongest point. This is Italian micro-mosaic work.

-It's gorgeous.

-Stunning.

The detail in this. It's made up of hundreds, if not thousands,

in this example, of tesserae, which are tiny little bits of glass.

And they're all put on almost like a putty base into the gold mounts.

And you have to think when this was made, around about, where are we, probably around 1870, maybe 1880.

No electricity, working by gaslight.

-Must have taken hours.

-Must have taken hours.

-So you've talked it up.

-I have.

We know how precious this is, OK? What could you see this doing, then?

Having talked it up, I've put it in at £600 to £800.

Just this piece alone.

-Wow.

-And I think I'm being conservative.

-Could this do a couple of thousand pounds?

-It does have the potential.

-This is going to be one of those moments I absolutely love.

-I hope Linda loves it, too.

Fingers crossed we are gonna be in for the most wonderful surprise.

So whatever you do, don't go away.

Just watch the auction.

First, let's see how the Shelley tea set fares.

-Well, I've just been joined by Melanie, or is it Mel?

-Yes, Mel, please.

-You prefer Mel, don't you?

That's quite fitting, cos we have a Shelley tea service just about to go under the hammer.

It's your mum's and its in the Mel-ody pattern.

That's right!

-Were you happy with the valuation? 120, yeah?

-Yes, I was.

-Hopefully we'll get a little bit more than that.

-Fingers crossed.

-160, 180.

-Why are you flogging it?.

-My mum's gone into sheltered accommodation, and got nowhere to put it.

So she's gonna leave it to me anyway, she's given me it now.

-Any brothers and sisters?

-I've got a brother.

-I said, "If we sell it, we'll split the price."

-So she's having a de-clutter.

-That's right.

And in sheltered accommodation. ..David, the pressure's on, we need the top end of this estimate.

That's right. I think we'll do it. It's very attractive.

Chintz was very popular, let's say, two, three years ago,

and I think it's just on the wane now, but still a strong market there.

Right, let's find out what the bidders of Stalbridge think of this lot.

OK? Here we go, Mel, this is it.

Shelley bone china tea service. Pastel lot in the Melody pattern.

I'll go to my right with an opening bid

of £100 straight in on commission.

100. We have 105 in the room?

It's £100. 105, thank you, sir. 110? I'll come to you in a moment.

110, 115? 120? And five?

130? You're out. Sir, would you like to come in at 130?

130 is in. And five? 140?

Says, "No." 135, seated nearest me.

140, anywhere, against the rest of the room?

Otherwise 135, it will be all done.

-Thank you very much.

-That is a "Sold" sound.

-£135.

-Yes.

-Less a bit of commission.

-That's right. It's pretty good.

-So you can have a divvy up with your brother, can't you?

-Yes. Nice meal somewhere.

-That's nice.

-Yes.

-Thank you very much for coming in.

-OK, thank you.

-Thank you, Mel.

Thank you very much, David. You were spot-on.

Well, I've just been joined by Steve and Lydia, your granddaughter, one of two.

I've got to say, I love your haircut, I really do.

You look like you should be on stage somewhere, maybe in Oliver! It's sort of an organised mess.

That's right, yes.

We've got a choice item coming under the hammer, and it's auctioneer Will Farmer's favourite,

the Keith Murray Moonstone vase, which caught your eye.

-He's got good taste, cos that was my favourite. It's beautiful.

-So why are you selling this, Steve?

I'm selling it, because I need some money for our wedding anniversary, which comes up next week.

And which wedding anniversary is it?

-It's our... What's it, the 40th?

-Oh, I don't know.

-Ruby!

-The ruby.

-Ruby one, that's it.

-You should know that if it's next week!

-So you're well prepared and organised for it?

-Very well organised.

-Obviously haven't bought the card yet!

-No, I haven't had the money yet.

We have the Keith Murray Wedgwood, it's the Moonstone vase.

Super lot, under bids and interest

-and I believe I have to go to my right with a bid of £190.

-Yes!

200, 210? 220, 230? 230, I am out.

230, it's on commission at £230.

Is there 240 in the room? 230, I will sell.

-Come on, a little bit more!

-At £230.

-Hammer's going down. £230.

-Well done.

Well done. Oh, that's brilliant! I'm so pleased for you.

-Thank you.

-Lots of celebrating?

-Lots of celebrating, yes.

-Don't leave it too late to buy that present.

-Yes, and I must remember, ruby.

Ruby. You get Grandad organised, won't you?

This is the moment I've been waiting for. I'm sure it'll be the star of the show.

You remember that wonderful collection of jewellery brought in by Linda? Here she is.

And I've got to tell you, the auctioneer has split your collection.

It's now been split into four different lots.

The valuation was £350 to £500 for the collection.

He singled out the first lot, which he thinks...

The micro mosaic work, the pendant with the earrings

all beautifully cased up - could make, on a very good day £2,000.

Oh!

Oh! It's such a lot of money.

-What have I done!

-But have I put my big foot in my mouth?

Because it could only make £600 or £700. I don't know.

We're talking about two people really wanting this, and I'm pretty sure they've got the bidders.

The micro-mosaic pendant and earrings set in your catalogue.

There is a little bit of damage, I have stressed this, but all the same

bids and interest and I have to open the bidding at £850.

Well, we're straight in.

Do I see 880 in the room anywhere?

£850? 880 in the room anywhere before I go to the phones?

880 on the phone, Christine?

900? 920?

940, 960?

980, 1000? 1050?

1100?

1150? 1200?

-1,250?

-They like it. They love it!

1350, 1400?

-1450?

-Up, up! More, more, more!

1550, 1600?

1650, 1700?

1750, 1800?

1850, 1900?

1950, 2000?

2100? 2200?

2300? 2400?

We've got 2400!

2500.

2500, Will? £2,400 on the one phone. £2,500 anywhere else in the room?

-We've got 2,400.

-£2,400.

We all done and finished for the micro-mosaic set at 2400? All done?

-Wow, fantastic! £2,400!

-Brilliant.

What are you gonna do with all that money?

-I can't believe it!

-Gosh!

Oh dear!

-What a surprise!

-I didn't think it would fetch that.

-There's the necklace coming up now.

Moving on to the next lot, a high-carat collaret.

I suspect it's higher than nine carats.

I have to open the bidding at £1,150.

We started at £1,150!

1,200 anywhere in the room, before we go to the phones?

1,200 on the phone, Christine?

1,250? 1,300?

-My God!

-This was a come-and-buy-me from David.

Just don't rub it in! Don't rub it in!

1,450, out. 1,400. 1,450, out? 1,400.

Do I see 1,450 anywhere else in the room?

We're at £1,400. This will go down.

All done and finished at 1,400 for the chain?

Yes! £1,400! And there's more.

And there's more to come!

The Victorian 15-carat bangle, brooch and earrings set

with a turquoise enamel. Can we start this at £100? 100, I'm bid.

I see 110 anywhere in the room?

Before I go to the phones? £100 in the room here, 110 anywhere else?

110, Christine? 120, 130...

All the bidding is being done on the phone. Look at that.

-160, 170?

-This has been a well-viewed sale, Paul.

-Yes.

Well-viewed sale.

200, 210?

220, 230? 240, 250?

260? No, £250 on the phone...

This is incredible. This is what auctions are all about, aren't they?

Well, that was £250 and there's one more lot left, and this is it.

Move us on to the Iberian high-carat oval memorial locket set with the

turquoise and also the continental micro-mosaic.

£80 I'm bid on the commission. Do I see 85 in the room anywhere?

85? And 90, 5, 100, 105? 110, 115?

120, 125 says no. 120, 125 anywhere else?

Before we go to the phone, 125? 130?

-125. 130 anywhere else in the room? 130.

-Come on!

-We're up to 140.

-We're on £140.

160, 170? 180, 190? 200...

£200!

210 anywhere else, before I go to the phone again?

210 on the phone? 210, 220? Says no.

210 on the phone this time?

Are we all done and finished with this lot at £210? All done?

£210.

-Yes! £210.

-I can't believe this.

I can't believe this.

-Brilliant!

-That was amazing.

-We had no idea it was worth that, obviously you didn't.

-No, I didn't.

What did you secretly think it might be worth when you brought it along

to David? What did you think it might be worth?

I thought it was a bit more than, perhaps, David had said.

I did intimate at the time that it would realise more than I said,

but I had no idea it was going to realise that sort of money.

OK. I've had a little tally up here - £4,260.

Oh my word, Linda!

oh, that is absolutely fantastic! I'm tingling all over.

-I can't believe it.

-What are you gonna do with all that money?

-Well, a lot of it's going to my aunt, because she gave it to me.

-OK.

-So, you know, the majority of it will go to my aunt.

-But you are going to treat yourself, aren't you?

Yes, I shall have a little treat out of this.

Linda, thank you so much.

David, thank you so much as well.

That was a very, very special "Flog It!" moment.

Linda certainly was the jewel in our crown.

I hope you've enjoyed the show. See us next time for many, many more surprises.

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

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

Subtitles by Red Bee Media Ltd

E-mail [email protected]