Wolverhampton Flog It!


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

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

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traffic light was introduced to Great Britain?

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I'm in Princes Square in the heart of Wolverhampton

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

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

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Experts Catherine Southern and David Barby will be rummaging through

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

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

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

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

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

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

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

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Barbara, Margaret, thank you for coming today

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and bringing your lovely collection of Pelham Puppets.

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

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

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I think she's exhausted after her day.

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

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

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-Do you know anything about it?

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

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

-That's where it comes from?

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

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

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

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

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These are all in such perfect condition.

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

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

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

-They belong to our sister,

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who sadly is no longer with us.

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

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

-Yes, yes.

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-So, you never played with the Pelham Puppets.

-No, never.

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

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You often find little moth-eaten bits of fabric.

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

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

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

-To share.

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-Difficult to split them.

-Yes.

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

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

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

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

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How does that sound to you?

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-It's amazing.

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

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

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

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

-Right.

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Ivor...

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This is a most interesting area.

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-Yeah.

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

-Yeah.

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

-Yeah.

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

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Can you shed any light on its history?

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

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Is there any history in front of that?

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

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

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

-Yes.

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And this wonderful scroll handle.

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

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-Yeah.

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

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

-Yes, I can see that.

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..with this country scene.

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

-Yeah.

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We call this work engraving but also repousse,

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

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But that takes away its value.

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

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-That's right.

-And you're saying...

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

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

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-We've got the lion here...

-Yeah.

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

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Yes.

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

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-And we think London.

-Yeah.

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

-No.

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..there to tell me it's London.

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Now, establishing a price.

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

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-That engraving has diminished the value.

-Oh, dear!

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Because it's been added, embellished.

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

-So did the Victorians!

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

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

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-That will be agreeable to you?

-Yeah, yeah.

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

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What a handsome chap this cockerel is!

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Where did you get him from?

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-I bought him in Birmingham. Quite local.

-Is that quite recently?

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Oh, no. About 30, 35 years ago.

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

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

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that's his proper name.

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

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-No idea.

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

-It is.

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What appealed to you about him?

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

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Very striking, aren't they?

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

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-I have done in the past, yes.

-How many pieces do you have?

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With the cock, I have about eight pieces.

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-Is he one of your more favourite pieces?

-Yes. He's a larger one.

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

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Something like this is so easy to break.

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

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-Any ideas on price of this?

-No.

-None whatsoever?

-No.

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Well, I think something like this at auction,

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you could probably ask between £300 and £500.

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-Never!

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

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-Do you?

-I hope it would make a lot more.

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-That's great.

-That surprises you?

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-It does. It does, yes.

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

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-Where has it been displayed all this time?

-On a shelf.

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

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

-I love it.

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

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

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

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

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

-Yes.

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

-Yes.

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

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

-Right, thank you.

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

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First, the puppets, which are great fun.

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

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Next, the solid silver tankard.

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

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Finally, we have the Beswick gamecock.

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

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

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

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

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

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-It's a packed saleroom.

-Yes.

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The Pelham Puppets are about to go under the hammer.

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

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I like The Little White Bull.

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-And I do as well.

-That's mine as well.

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

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-That's why I chose them.

-They mean a lot to me.

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

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-Do you?

-I hope so, they're all boxed.

-Yes. They're in good condition too.

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-Yes.

-Lots of memories?

-Not really.

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

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

-OK, OK.

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-She died when she was 38 with breast cancer.

-Ah!

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

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-Fantastic.

-Great.

-This is it. Lots of dosh.

-Pelham Puppets.

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

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There we are!

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

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Do I see 110 anywhere else in the room?

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£100 on commission. 110 anywhere else?

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£100, maiden bid on commission.

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-Come on, a bit more.

-£100, all done and finished.

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He sold them. The hammer's gone down.

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There was a commission bid.

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

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

-Yeah.

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

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-Yes.

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

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It's such a good cause.

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

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We've got a valuation of £350-£500.

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-But the Victorians have got to it, Ivor?

-Yes, I'm afraid so.

-What have they done?

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You tell me. You tell me.

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-I didn't do it.

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

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David Barby, you put the value on this.

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-Right.

-We all agree with the value. Spot on!

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

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Don't you call that embellishment?

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No, I call it meddling.

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

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

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-This was a family heirloom.

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

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

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-The missus is getting the money.

-The mother-in-law.

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

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-Hopefully!

-Well, here we are. Look.

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Now the Georgian hallmarked silver baluster tankard.

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

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-350 straight in.

-Very good.

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

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First and last, all done and finished at 350?

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The hammer's going down. Yes.

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

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-Never mind!

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

-Hopefully.

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

-No doubt.

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-Thank you, David.

-Enjoy the rest of the day.

-And you.

-As long as you

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-charge her petrol expenses.

-Yes. Thank you.

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-Jean, you're a Beswick collector.

-Yes.

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

-That's right.

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The Beswick cock. Quite a large one.

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-Yes.

-Why are you getting rid of this one?

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-To de-clutter.

-De-clutter.

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At my age, yes.

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We've got £300-£500 riding on this.

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-Yes.

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

-It is lots of Beswick.

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Fingers crossed! This is it.

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We have the Beswick pottery figure of a gamecock.

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

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

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260, sir? 270.

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280. 290. You're out at 290.

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280, come on!

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290, 300. 310. 310.

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320. Shake of the head at 320.

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

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Back of the room, 320. 330. 340.

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Still going on.

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360. 370.

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Says no at 370. All sure?

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

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And finished.

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-Yes!

-Margaret, £360.

-That's good.

-Not a bad price.

-Not a bad price.

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

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

-I think Margaret would as well.

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What's £360 going towards?

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

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Aw! Does she live out there now?

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-Yes, yes.

-Have you been there before?

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-Oh yes, yes.

-What part of the States?

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-Washington.

-Washington.

-DC.

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Wightwick Manor, situated three miles outside of Wolverhampton,

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

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

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

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

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

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

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

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

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

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

-Hello, Paul.

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

-It does.

-So what was Lady Mander like?

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Very vivacious, very charming but very private.

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

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

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-Indeed.

-It is a Dante Rossetti.

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-Yes.

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

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

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Ford Madox Brown, who finished the painting.

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After Rossetti's death.

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

-Yes.

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

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-So why did he give Janey Morris red hair?

-I think it was a reference...

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

-Dante's.

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

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It was the first Pre-Raphaelite in the collection.

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-So this started off the love affair.

-It did.

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

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-£17.10 shillings.

-That was a bargain!

-Yes.

-Shall we go and see some more?

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-Indeed.

-I can't wait, actually.

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I feel like a kid in a sweetshop.

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

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

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

-It is.

-Tell me about it.

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Well, it's of Effie Ruskin.

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

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and Millais fell in love with Ruskin's wife.

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-Oh!

-Oh, yes!

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

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

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

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

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-It's the most beautiful picture.

-It is.

-When did they acquire this?

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

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

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

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

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-Studies?

-Yes.

-Well, shall we go and see some more?

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-Let's indeed.

-OK, I'll follow you.

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

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

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And I gather this is your favourite?

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

-Real partygoers!

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Oh, indeed. Indeed.

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So, set the scene. What's happening?

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

0:18:260:18:31

That's what it's all about!

0:18:310:18:33

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

0:18:330:18:36

In fact, it wasn't a bad review.

0:18:360:18:38

-It was praising the poem.

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

0:18:380:18:43

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

0:18:430:18:48

It must be really hard to have a favourite piece,

0:18:480:18:51

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

-Well, I change all the time.

0:18:510:18:56

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

-Yes.

0:18:560:19:01

I don't blame you, Pat.

0:19:010:19:02

-Shall I put that back?

-Right.

0:19:020:19:04

And let's carry on the tour.

0:19:040:19:06

What else have you got to show me?

0:19:060:19:08

-Come over here.

-OK.

0:19:080:19:10

Let's go and have a look.

0:19:100:19:12

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

0:19:140:19:19

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

-Oh, wasn't he?

0:19:190:19:23

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

0:19:230:19:28

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

0:19:280:19:31

-Lots going on there.

-Isn't it?

0:19:310:19:33

He was very fond of this kind of frame.

0:19:330:19:36

-You can identify his work by the frames.

-You can, to a certain extent, yes.

0:19:360:19:40

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

0:19:400:19:44

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

-Oh, no.

0:19:440:19:47

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

-Love Amongst The Ruins.

0:19:470:19:51

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

0:19:510:19:56

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

0:19:560:20:00

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

0:20:000:20:03

Well, so I'm told!

0:20:030:20:06

-When did they acquire this?

-Well, it was brought in by the trust.

0:20:060:20:09

-This wasn't bought by the Manders.

-Oh, OK.

0:20:090:20:12

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

0:20:120:20:14

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

0:20:140:20:17

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

0:20:170:20:22

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

0:20:220:20:27

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

0:20:270:20:34

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

0:20:340:20:39

Absolutely! What a place to start!

0:20:390:20:41

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

-Maybe they did, I don't know.

0:20:410:20:46

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

0:20:460:20:51

-Obviously meant a lot to him.

-This time he did it in oils.

0:20:510:20:54

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

0:20:540:20:59

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

-No, no.

0:20:590:21:04

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

0:21:040:21:08

he had a wonderful sense of composition and design.

0:21:080:21:10

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

0:21:100:21:15

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

0:21:150:21:18

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

0:21:180:21:23

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

0:21:230:21:26

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

0:21:260:21:29

-And I'm constantly chasing the Holy Grail.

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

0:21:290:21:34

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

0:21:410:21:45

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

0:21:450:21:51

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

0:21:510:21:53

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

0:21:530:21:59

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

0:21:590:22:03

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

0:22:030:22:06

-And what did you come here for? Dancing?

-It was the dancing.

0:22:060:22:09

They used to have groups that were just starting out.

0:22:090:22:13

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

0:22:130:22:18

-That's right, yes.

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

-She's moved into sheltered accommodation

0:22:180:22:23

and she was worried about it getting broken in transport.

0:22:230:22:26

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

0:22:260:22:30

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

-Yeah, well...

-Why?

0:22:300:22:34

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

0:22:340:22:41

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

-Yes.

0:22:410:22:46

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

0:22:460:22:49

The factory that produced this was Shelley.

0:22:490:22:51

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

0:22:510:22:55

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

-Yes.

0:22:550:23:00

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

0:23:000:23:06

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

-Oh, right.

0:23:060:23:11

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

0:23:110:23:16

of chintzy patterned china which was very, very fashionable.

0:23:160:23:20

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

0:23:200:23:25

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

-Yes.

0:23:250:23:29

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

0:23:290:23:33

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

0:23:330:23:39

-I hope more.

-Right, yes.

-No regrets about selling it?

-No, not really.

0:23:390:23:43

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

0:23:430:23:47

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

0:23:470:23:51

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

-Yes.

-Would that be agreeable?

0:23:510:23:58

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

0:23:580:24:01

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

0:24:090:24:13

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

0:24:130:24:18

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

0:24:180:24:21

And she moved to Australia in the early '70s

0:24:210:24:26

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

0:24:260:24:31

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

0:24:310:24:35

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

0:24:350:24:39

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

0:24:390:24:43

who was invited by Wedgwood to design some vases.

0:24:430:24:49

-That's right.

-Or some pieces. And this was the result.

0:24:490:24:52

And I believe there are other colours as well.

0:24:520:24:54

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

0:24:540:25:00

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

0:25:000:25:04

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

0:25:040:25:10

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

0:25:100:25:16

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

0:25:160:25:19

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

-Moonstone.

0:25:190:25:25

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

0:25:250:25:29

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

0:25:290:25:33

-It must have sentimental connections.

-Well, I've got other things

0:25:330:25:37

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

0:25:370:25:41

You've made up your mind?

0:25:410:25:43

-Yes.

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

-Oh, lovely.

0:25:430:25:50

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

0:25:500:25:52

-Yes.

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

0:25:520:25:57

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

0:25:570:26:05

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

0:26:050:26:08

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

0:26:080:26:12

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

0:26:120:26:15

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

0:26:150:26:21

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

-Yes.

0:26:210:26:26

-Are you still happy to give it a go?

-Yes.

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

0:26:260:26:32

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

0:26:320:26:35

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

-You do, sir, you do.

0:26:350:26:38

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

0:26:450:26:49

excitement from some of the objects that are brought in.

0:26:490:26:53

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

0:26:530:26:57

It is absolutely stunning.

0:26:570:27:00

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

0:27:000:27:06

Now, who did this belong to?

0:27:060:27:07

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

0:27:070:27:12

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

0:27:120:27:17

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

0:27:170:27:20

-are actually from Italy.

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

0:27:200:27:24

Why do you want to sell it?

0:27:240:27:26

The pieces are lovely but they are very ornate

0:27:260:27:30

-and rather large...

-That's true.

0:27:300:27:32

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

0:27:320:27:36

-Yes.

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

0:27:360:27:39

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

0:27:390:27:43

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

0:27:430:27:47

Etruscan style. So if you look to that marvellous

0:27:470:27:50

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

0:27:500:27:55

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

0:27:550:28:00

because this is a copy of an ancient Roman necklace.

0:28:000:28:05

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

-Yes.

0:28:050:28:11

Gold! Lovely, lovely, lovely.

0:28:110:28:13

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

0:28:130:28:17

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

0:28:170:28:20

-Yes.

-That would be the companion to the brooch,

0:28:200:28:24

the bracelet and these two drop earrings.

0:28:240:28:27

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

0:28:270:28:33

and each one is filled with enamel, white enamel.

0:28:330:28:37

These turquoise-looking bosses are also enamel,

0:28:370:28:42

imitating the turquoise stone.

0:28:420:28:44

And right in the middle we have a gold star,

0:28:440:28:47

which is set with the most wonderful river pearls.

0:28:470:28:50

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

0:28:500:28:56

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

0:28:560:29:00

-Yeah, cos I thought they were sea pearls.

-Ah, right.

0:29:000:29:04

Of all the pieces, this is absolutely a knockout,

0:29:040:29:09

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

0:29:090:29:13

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

-Yes.

0:29:130:29:18

This is a similar form of minute tesserae,

0:29:180:29:23

but in semi-precious stones to create this

0:29:230:29:26

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

0:29:260:29:33

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

0:29:330:29:35

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

0:29:350:29:39

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

0:29:390:29:46

Again, Italian, with quite high relief tesserae.

0:29:460:29:51

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

0:29:510:29:53

in other words small stones that are missing.

0:29:530:29:56

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

0:29:560:30:01

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

0:30:010:30:05

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

0:30:050:30:10

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

0:30:100:30:15

But what I find intriguing about this piece,

0:30:150:30:18

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

0:30:180:30:21

on the back there is provision for putting a miniature,

0:30:210:30:25

a photograph or maybe woven hair of your loved one.

0:30:250:30:29

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

0:30:290:30:35

There's one earring where the boss is loose,

0:30:350:30:39

that little brooch is a little bit loose,

0:30:390:30:42

those stones have come out of that brooch,

0:30:420:30:44

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

0:30:440:30:50

So I'm going to say £350 to £500,

0:30:500:30:54

-but I can see that sum being exceeded.

-Yes.

0:30:540:30:57

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

-Right, yes.

0:30:570:31:03

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

0:31:030:31:06

and then we can leave that up to the auctioneer

0:31:060:31:09

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

-Yes.

0:31:090:31:12

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

0:31:120:31:17

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

-I hope so.

0:31:170:31:23

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

0:31:240:31:29

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

0:31:290:31:32

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

0:31:320:31:36

As should this Keith Murray Moonstone vase,

0:31:360:31:38

which cries out for a dramatic setting.

0:31:380:31:41

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

0:31:410:31:44

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

0:31:440:31:49

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

0:31:490:31:53

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

-Right.

0:31:530:31:58

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

0:31:580:32:03

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

-Right.

0:32:030:32:08

-Now, have you split the lots up?

-That's exactly what I've done.

0:32:080:32:11

I've split it into four separate lots.

0:32:110:32:13

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

0:32:130:32:16

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

-Did you...?

0:32:160:32:20

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

0:32:200:32:25

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

0:32:250:32:28

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

0:32:280:32:32

-I feel this is...

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

0:32:320:32:35

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

0:32:350:32:39

-It's gorgeous.

-Stunning.

0:32:390:32:40

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

0:32:400:32:45

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

0:32:450:32:48

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

0:32:480:32:53

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

0:32:530:32:59

No electricity, working by gaslight.

0:32:590:33:01

-Must have taken hours.

-Must have taken hours.

0:33:010:33:04

-So you've talked it up.

-I have.

0:33:040:33:06

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

0:33:060:33:11

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

0:33:110:33:14

Just this piece alone.

0:33:140:33:16

-Wow.

-And I think I'm being conservative.

0:33:160:33:19

-Could this do a couple of thousand pounds?

-It does have the potential.

0:33:190:33:23

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

-I hope Linda loves it, too.

0:33:230:33:28

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

0:33:280:33:32

So whatever you do, don't go away.

0:33:320:33:33

Just watch the auction.

0:33:330:33:36

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

0:33:360:33:40

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

-Yes, Mel, please.

-You prefer Mel, don't you?

0:33:400:33:47

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

0:33:470:33:51

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

0:33:510:33:54

That's right!

0:33:540:33:56

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

-Yes, I was.

0:33:560:33:59

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

-Fingers crossed.

-160, 180.

0:33:590:34:03

-Why are you flogging it?.

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

0:34:030:34:08

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

0:34:080:34:11

-Any brothers and sisters?

-I've got a brother.

0:34:110:34:14

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

-So she's having a de-clutter.

-That's right.

0:34:140:34:18

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

0:34:180:34:23

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

0:34:230:34:27

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

0:34:270:34:30

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

0:34:300:34:34

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

0:34:340:34:37

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

0:34:370:34:40

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

0:34:400:34:43

I'll go to my right with an opening bid

0:34:430:34:46

of £100 straight in on commission.

0:34:460:34:48

100. We have 105 in the room?

0:34:480:34:51

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

0:34:510:34:55

110, 115? 120? And five?

0:34:550:34:58

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

0:34:580:35:02

130 is in. And five? 140?

0:35:020:35:04

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

0:35:040:35:06

140, anywhere, against the rest of the room?

0:35:060:35:09

Otherwise 135, it will be all done.

0:35:090:35:13

-Thank you very much.

-That is a "Sold" sound.

0:35:130:35:17

-£135.

-Yes.

-Less a bit of commission.

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

0:35:170:35:21

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

-Yes. Nice meal somewhere.

0:35:210:35:25

-That's nice.

-Yes.

0:35:250:35:27

-Thank you very much for coming in.

-OK, thank you.

-Thank you, Mel.

0:35:270:35:30

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

0:35:300:35:33

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

0:35:370:35:43

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

0:35:430:35:46

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

0:35:460:35:51

That's right, yes.

0:35:510:35:53

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

0:35:530:35:58

the Keith Murray Moonstone vase, which caught your eye.

0:35:580:36:01

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

-So why are you selling this, Steve?

0:36:010:36:06

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

0:36:060:36:11

And which wedding anniversary is it?

0:36:110:36:14

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

-Oh, I don't know.

-Ruby!

-The ruby.

0:36:140:36:18

-Ruby one, that's it.

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

0:36:180:36:21

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

-Very well organised.

0:36:210:36:25

-Obviously haven't bought the card yet!

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

0:36:250:36:29

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

0:36:290:36:33

Super lot, under bids and interest

0:36:330:36:35

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

-Yes!

0:36:350:36:40

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

0:36:400:36:44

230, it's on commission at £230.

0:36:440:36:46

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

0:36:460:36:50

-Come on, a little bit more!

-At £230.

0:36:500:36:54

-Hammer's going down. £230.

-Well done.

0:36:550:36:58

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

0:36:580:37:01

-Thank you.

-Lots of celebrating?

-Lots of celebrating, yes.

0:37:010:37:04

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

-Yes, and I must remember, ruby.

0:37:040:37:08

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

0:37:080:37:11

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

0:37:200:37:24

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

0:37:240:37:29

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

0:37:290:37:32

It's now been split into four different lots.

0:37:320:37:35

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

0:37:350:37:38

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

0:37:380:37:41

The micro mosaic work, the pendant with the earrings

0:37:410:37:44

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

0:37:440:37:49

Oh!

0:37:490:37:51

Oh! It's such a lot of money.

0:37:510:37:53

-What have I done!

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

0:37:530:37:56

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

0:37:560:38:00

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

0:38:000:38:05

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

0:38:050:38:09

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

0:38:090:38:12

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

0:38:120:38:15

Well, we're straight in.

0:38:150:38:18

Do I see 880 in the room anywhere?

0:38:180:38:21

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

0:38:210:38:24

880 on the phone, Christine?

0:38:240:38:29

900? 920?

0:38:290:38:32

940, 960?

0:38:320:38:34

980, 1000? 1050?

0:38:340:38:37

1100?

0:38:370:38:40

1150? 1200?

0:38:400:38:44

-1,250?

-They like it. They love it!

0:38:440:38:47

1350, 1400?

0:38:470:38:50

-1450?

-Up, up! More, more, more!

0:38:500:38:54

1550, 1600?

0:38:540:38:56

1650, 1700?

0:38:560:39:00

1750, 1800?

0:39:000:39:02

1850, 1900?

0:39:040:39:07

1950, 2000?

0:39:070:39:09

2100? 2200?

0:39:090:39:13

2300? 2400?

0:39:130:39:14

We've got 2400!

0:39:140:39:16

2500.

0:39:160:39:18

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

0:39:200:39:26

-We've got 2,400.

-£2,400.

0:39:260:39:30

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

0:39:300:39:33

-Wow, fantastic! £2,400!

-Brilliant.

0:39:350:39:40

What are you gonna do with all that money?

0:39:400:39:43

-I can't believe it!

-Gosh!

0:39:430:39:45

Oh dear!

0:39:450:39:47

-What a surprise!

-I didn't think it would fetch that.

-There's the necklace coming up now.

0:39:470:39:53

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

0:39:530:39:56

I suspect it's higher than nine carats.

0:39:560:39:58

I have to open the bidding at £1,150.

0:39:580:40:04

We started at £1,150!

0:40:040:40:08

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

0:40:080:40:13

1,200 on the phone, Christine?

0:40:130:40:15

1,250? 1,300?

0:40:150:40:19

-My God!

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

0:40:190:40:23

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

0:40:230:40:25

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

0:40:250:40:30

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

0:40:300:40:33

We're at £1,400. This will go down.

0:40:330:40:35

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

0:40:350:40:38

Yes! £1,400! And there's more.

0:40:380:40:42

And there's more to come!

0:40:420:40:44

The Victorian 15-carat bangle, brooch and earrings set

0:40:440:40:47

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

0:40:470:40:51

I see 110 anywhere in the room?

0:40:510:40:52

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

0:40:520:40:56

110, Christine? 120, 130...

0:40:560:40:58

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

0:40:580:41:01

-160, 170?

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

-Yes.

0:41:010:41:05

Well-viewed sale.

0:41:050:41:07

200, 210?

0:41:070:41:09

220, 230? 240, 250?

0:41:090:41:14

260? No, £250 on the phone...

0:41:140:41:17

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

0:41:170:41:23

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

0:41:230:41:28

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

0:41:280:41:32

turquoise and also the continental micro-mosaic.

0:41:320:41:35

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

0:41:350:41:39

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

0:41:390:41:42

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

0:41:420:41:44

Before we go to the phone, 125? 130?

0:41:440:41:47

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

-Come on!

0:41:470:41:52

-We're up to 140.

-We're on £140.

0:41:520:41:55

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

0:41:550:41:59

£200!

0:41:590:42:01

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

0:42:010:42:03

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

0:42:030:42:06

210 on the phone this time?

0:42:060:42:08

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

0:42:080:42:12

£210.

0:42:120:42:14

-Yes! £210.

-I can't believe this.

0:42:140:42:16

I can't believe this.

0:42:160:42:19

-Brilliant!

-That was amazing.

0:42:190:42:20

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

-No, I didn't.

0:42:200:42:24

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

0:42:240:42:28

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

0:42:280:42:30

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

0:42:300:42:33

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

0:42:330:42:37

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

0:42:370:42:40

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

0:42:400:42:48

Oh my word, Linda!

0:42:500:42:52

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

0:42:520:42:55

-I can't believe it.

-What are you gonna do with all that money?

0:42:550:42:58

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

-OK.

0:42:580:43:02

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

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

0:43:020:43:07

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

0:43:070:43:10

Linda, thank you so much.

0:43:100:43:11

David, thank you so much as well.

0:43:110:43:14

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

0:43:140:43:16

Linda certainly was the jewel in our crown.

0:43:160:43:19

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

0:43:190:43:24

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

0:43:280:43:32

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

0:43:320:43:36

Subtitles by Red Bee Media Ltd

0:43:360:43:39

E-mail [email protected]

0:43:390:43:42

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