0:00:02 > 0:00:05Today we've headed out to the coast in a county famous for mariners
0:00:05 > 0:00:10like Sir Francis Drake and Sir Walter Raleigh, and writers like Agatha Christie.
0:00:10 > 0:00:12Welcome to Flog It! from Devon.
0:00:38 > 0:00:40The Barbican here at Plymouth
0:00:40 > 0:00:44lies at the heart of the city's rich and colourful heritage.
0:00:45 > 0:00:51Although large parts were destroyed during the war, the spectacular Barbican area survived,
0:00:51 > 0:00:55preserving its medieval street layout and many fine Tudor dwellings.
0:00:57 > 0:01:01The Barbican was also once home to the studio of this chap,
0:01:01 > 0:01:05Robert Lenkiewicz, possibly one of the most prolific artists of the 20th century.
0:01:05 > 0:01:09Later on in the show we'll be taking a look at his life and his work.
0:01:10 > 0:01:13Whilst Plymouth is the location for our auction,
0:01:13 > 0:01:17we've headed just up the road to Torquay for our valuation day.
0:01:17 > 0:01:20The Victorians named Torquay Queen Of The Riviera
0:01:20 > 0:01:25and we've taken residence at the Palace. Well, the Palace Hotel!
0:01:28 > 0:01:32Our two experts are Philip Serrell and new boy David Fletcher
0:01:32 > 0:01:37and they're already hard at work rummaging through the people's bags.
0:01:37 > 0:01:42So, it looks like Phillip has already spotted something a little puzzling.
0:01:42 > 0:01:44- How are you doing?- Fine, thanks. - Are these yours?
0:01:44 > 0:01:46- Yes, they are. - When did you get these?
0:01:46 > 0:01:50- I had them every year as a Christmas present as a child.- As a child?- Yes.
0:01:50 > 0:01:54- How old are they, then? - They're probably... I don't know.
0:01:54 > 0:01:58- You're not going to tell me. - I'd like to say 30 years. - 30 years old. Right.
0:01:58 > 0:02:00- Yes.- So... Right, OK, fine.
0:02:00 > 0:02:02- A little bit of artistic licence there.- Of course!
0:02:02 > 0:02:06Because I think these are probably actually...1960s?
0:02:06 > 0:02:08- Yeah, you could...- Could be right!
0:02:08 > 0:02:11- Could be right.- I would never, ever discuss a lady's age.
0:02:11 > 0:02:13Which was your first one?
0:02:13 > 0:02:16I think the Alice In Wonderland was the first one.
0:02:16 > 0:02:19- So, you had one of these...? - Yes, every year.- Every year.
0:02:19 > 0:02:21And so the idea of this is you have to get the blue on the blue.
0:02:21 > 0:02:23- Yes.- The red on the red.- Yes.
0:02:23 > 0:02:27- The green on the green and the black on the black.- That's right.
0:02:27 > 0:02:31- It's hopeless, isn't it?- I haven't got the patience for them now.
0:02:31 > 0:02:34This is one of those... This is a forerunner of those game...
0:02:34 > 0:02:36Nintendo-jobbie things, isn't it?
0:02:36 > 0:02:41If we look at this one here we can see that they're English made
0:02:41 > 0:02:43by Journet of London.
0:02:43 > 0:02:46Always good to have a London maker, isn't it?
0:02:46 > 0:02:49Helen, I know a particularly sad bit of information about you,
0:02:49 > 0:02:54- because you memorised the verse on the back, didn't you? - Some of it, yes.- Go on, then.
0:02:54 > 0:02:59Popular portable puzzles proving positively perplexing and perpetually pleasing posers...
0:02:59 > 0:03:03- And that's as much as I can remember!- How bad is that?
0:03:03 > 0:03:07- You really need to get out more, you know. Honestly. - Yeah, that's sad, I know.
0:03:07 > 0:03:10I think they're lovely. They're not going to be worth a fortune.
0:03:10 > 0:03:14- No.- How many have you got? Two, four, six, eight, ten, twelve of them.
0:03:14 > 0:03:20I think you could put a £20 to £40 estimate on them, but I just think they're great fun
0:03:20 > 0:03:23- and they're a great memory of your childhood, aren't they?- Yes.
0:03:23 > 0:03:26- So let's hope they do really well for you.- Lovely.- Good stuff.
0:03:32 > 0:03:34So, I love Moorcroft, so it's really good to see these.
0:03:34 > 0:03:37Tell me how you came by them.
0:03:37 > 0:03:41Well, I work at our local hospice, the Rowcroft Hospice in Torquay,
0:03:41 > 0:03:45and it's before my time, I think about 20 years ago...
0:03:45 > 0:03:51- Right.- A gentleman kindly donated them after his wife died in the hospice
0:03:51 > 0:03:58and they've been sitting on our mantelpiece in day services and somebody suggested that
0:03:58 > 0:04:04- they could be valuable and maybe, as we needed income, we would sell them.- That's lovely.
0:04:04 > 0:04:09It's great to know they're going to a good cause and I think you're very wise to sell them by auction
0:04:09 > 0:04:12because you know the market will be tested
0:04:12 > 0:04:15- and we can guarantee we'll get you the best price.- Yes.
0:04:15 > 0:04:17I've done a little bit of research on the patterns.
0:04:17 > 0:04:21I shall have to be careful really because my mum collects Moorcroft
0:04:21 > 0:04:23and if I get this wrong she'll be very cross with me.
0:04:23 > 0:04:27- I'm pretty certain that this is Clematis.- Right.
0:04:27 > 0:04:30And that these two are each Anemone.
0:04:30 > 0:04:35- Oh, right.- They're decorated, as we can see, on a green ground
0:04:35 > 0:04:39and each one bears the printed paper label
0:04:39 > 0:04:44which tells us that Moorcroft was potter to Queen Mary.
0:04:45 > 0:04:49Walter Moorcroft, who took over the factory in the mid '30s,
0:04:49 > 0:04:53was very proud of this Royal endorsement
0:04:53 > 0:04:59and his wares bore the labour mark well into the '40s, until after the war in fact,
0:04:59 > 0:05:03and I think we can safely date these after the war.
0:05:03 > 0:05:07So, they're relatively late, but they're charming.
0:05:07 > 0:05:12- Can I ask what would be put in this one because it's got the cork on top?- A very good point.
0:05:12 > 0:05:16This is a table lamp base, so it is possible to run a wire through the base,
0:05:16 > 0:05:22up to this attachment here, so I think it will one day be used again as a table lamp base...
0:05:22 > 0:05:25- Oh, that would be lovely. - ..rather than as a vase.- Yeah.
0:05:25 > 0:05:27Have you any idea what they might make?
0:05:27 > 0:05:33No, no. Somebody just said they knew Moorcroft and, yes, they may be worth a few pound.
0:05:33 > 0:05:36Well, Moorcroft is very collectable.
0:05:36 > 0:05:38The market goes up and down.
0:05:38 > 0:05:40It has been higher than it is now,
0:05:40 > 0:05:43but I'm confident if we sold these in one lot
0:05:43 > 0:05:46we would get in the region of £200 for this
0:05:46 > 0:05:50and, say, £80 for each of these, the tarts and the oval dish.
0:05:50 > 0:05:56That makes, my maths isn't very good, but roundabout £350.
0:05:56 > 0:06:00I would have thought, if we offered them with an estimate of 350 to 450,
0:06:00 > 0:06:04- subject to a reserve of £300.- Yeah. - Does that sound OK to you?
0:06:04 > 0:06:07- That would be really good for the hospice.- Jolly good.- Thank you.
0:06:07 > 0:06:10- We'll go ahead on that basis. - Thank you.- Thank you, Sue.
0:06:10 > 0:06:15I love these valuation days, but sometimes talking to so many people
0:06:15 > 0:06:20can take its toll on my voice, but just take a look at I've found here.
0:06:20 > 0:06:24- So, let me get this right, Barry and Malcolm?- Yes. That's right, yes.
0:06:24 > 0:06:25- Brothers?- Brothers, yeah.
0:06:25 > 0:06:27- And this was Mum and Dad's? - Yes, it was, yes.
0:06:27 > 0:06:31- OK, it's a family heirloom.- It is. - Who's been looking after it, then?
0:06:31 > 0:06:36Well, it has just been in Mum and Dad's house, you know? And now we've decided to...
0:06:36 > 0:06:37- Sell it.- To sell it, yeah.
0:06:37 > 0:06:40- Do you know much about it at all? - No, we don't know much about it.
0:06:40 > 0:06:44- We know that, we think it's French... - Yes, it's definitely continental.
0:06:44 > 0:06:48And it's a Tantalus, but more than that we don't really know.
0:06:48 > 0:06:53It's the most stunning Tantalus I've seen for a long, long time and it's exotically inlaid
0:06:53 > 0:06:58with different veneers and it's just beautiful, absolutely beautiful.
0:06:58 > 0:07:02- I mean, it's a cabinet-maker's dream, isn't it? - Yeah.- It is, yes.
0:07:02 > 0:07:07The whole construction, actually, is mahogany and then the face sides have been veneered.
0:07:07 > 0:07:12- Yeah. So it's made out of real good wood, then. - It's made out of good wood.- Yeah.
0:07:12 > 0:07:17Look at the inlay for a minute, on the face side obviously you've got some ormolu here,
0:07:17 > 0:07:21sort of inlaid boulle work, which tells me it is definitely French.
0:07:21 > 0:07:23- OK.- Right.
0:07:23 > 0:07:27It's bordered here, cross grained with a tulip wood,
0:07:27 > 0:07:32but it's amboina on all the face sides with this wonderful boulle.
0:07:32 > 0:07:37Very thin sheet of metal cut and inlaid into the wood.
0:07:37 > 0:07:39And what is the metal, is it brass?
0:07:39 > 0:07:41It is brass, yes.
0:07:41 > 0:07:44This is the beautiful thing about this, though,
0:07:44 > 0:07:46when you reveal what's inside here
0:07:46 > 0:07:49because this quite cleverly just lifts here,
0:07:49 > 0:07:51doesn't it, to reveal the featured interior?
0:07:51 > 0:07:54But this face side actually drops down.
0:07:54 > 0:07:59- Yeah.- Yes.- So now, on view from this angle, this becomes decoration.
0:07:59 > 0:08:01- How clever is that?- Yeah.
0:08:01 > 0:08:03And then the business end of the interior.
0:08:03 > 0:08:07I'm sorry, I was responsible for...some of the glasses broke when I was younger.
0:08:07 > 0:08:09- Oh, where are you now?- So this...
0:08:09 > 0:08:13Unfortunately, there is a bottle missing, isn't there? There's a little decanter missing.
0:08:13 > 0:08:18- It's down to me.- But looking at the glass, it is all original and the stoppers are original, as well.
0:08:18 > 0:08:23They're not loose. They fit beautifully and you've just missed a few shot glasses then.
0:08:23 > 0:08:27Why do you want to sell it, though? It's a family heirloom.
0:08:27 > 0:08:30Well, 30 years ago we were pro musicians.
0:08:30 > 0:08:32Oh, were you? What did you play?
0:08:32 > 0:08:36- I played guitar.- And, Barry? - Keyboard and vocals.
0:08:36 > 0:08:40So we thought, we've been writing songs and getting started again
0:08:40 > 0:08:43about three years ago and we're ready to record some numbers.
0:08:43 > 0:08:47Right, so we need to raise money for the studio fees, basically.
0:08:47 > 0:08:53- Yeah, yeah.- Not only are there are collectors of Tantaluses, it's a fantastic decorator's piece.
0:08:53 > 0:09:00So, let's put it into auction with a value of 250, OK? To £350.
0:09:00 > 0:09:03- Yeah.- Yeah.- Give it that sort of price range,
0:09:03 > 0:09:05- put a fixed reserve on at £250.- OK.
0:09:05 > 0:09:08Because we're not going to let it go for anything less.
0:09:08 > 0:09:10- That's a good surprise.- Yeah, yeah.
0:09:10 > 0:09:12But hopefully, look, this could fly away.
0:09:12 > 0:09:15Yeah, yeah. Buy us more studio time.
0:09:15 > 0:09:17- And it's more studio time.- Yeah.
0:09:24 > 0:09:25- Hello, Barry.- Hello.
0:09:25 > 0:09:28This is a real eye-catcher, isn't it?
0:09:28 > 0:09:31- It is.- I think this is great fun. How did you come by this?
0:09:31 > 0:09:33It belonged to my mother-in-law.
0:09:33 > 0:09:37She was the chief cook in this small hotel just outside Chagford on Dartmoor.
0:09:37 > 0:09:39- Right.- And when she retired several years ago
0:09:39 > 0:09:43- the American owners gave her this... - Right.- As a parting gift.
0:09:43 > 0:09:46Right. What was the hotel called, can you remember?
0:09:46 > 0:09:47- It was the Easton Court.- Oh, right.
0:09:47 > 0:09:54OK. Interesting you should say that it was American owned because that's the key to this item, really.
0:09:54 > 0:09:58It's marked underneath S Kirk & Son Co,
0:09:58 > 0:10:03and beneath that, and this is important, 925/1,000,
0:10:03 > 0:10:09which tells us that it's 925 parts per 1,000 pure silver.
0:10:09 > 0:10:13Now, if it were English it would be hallmarked.
0:10:13 > 0:10:16It would have a set of full hallmarks, they would tell us
0:10:16 > 0:10:19that it was 925 parts per 1,000 without stating that.
0:10:19 > 0:10:24It's the American practice to mark things 925 and that's what we have here.
0:10:24 > 0:10:28As I say, it's a maker called Kirk, who were American,
0:10:28 > 0:10:31they had a workshop in Baltimore,
0:10:31 > 0:10:35but whose descendants were 18th-century English silversmiths.
0:10:35 > 0:10:38The jug itself was made in about 1900
0:10:38 > 0:10:41and I note that it's monogrammed.
0:10:41 > 0:10:45Well, the people that gave it to my mother-in-law were called Cobb
0:10:45 > 0:10:48and the monogram looks to be several Cs in there,
0:10:48 > 0:10:51so I should imagine that it was their family monogram.
0:10:51 > 0:10:56- That makes sense. And they were the people who owned the hotel, were they?- That's right, yes.
0:10:56 > 0:11:00Good. So, that cements the American connection, which is nice.
0:11:00 > 0:11:05- It's decorated, isn't it, with cherries? There are bunches of grapes.- Cherries, grapes, all sorts.
0:11:05 > 0:11:09And strawberries. I love this shell motif just beneath the rim
0:11:09 > 0:11:12which just gives it that extra bit of class, really.
0:11:12 > 0:11:14Why have you decided to sell it?
0:11:14 > 0:11:17Well, it's just sitting in the cupboard. The children don't want it.
0:11:17 > 0:11:20- No.- So, we thought, well if it's... - And it's just another thing to clean.
0:11:20 > 0:11:22It's just another thing to clean, that's right.
0:11:22 > 0:11:25And I must say, I think when this is cleaned up,
0:11:25 > 0:11:28and it will clean up very easily, it will look a million dollars.
0:11:28 > 0:11:30It's a very imposing item.
0:11:30 > 0:11:33We need just to think about what it might make.
0:11:33 > 0:11:36I think American silver, generally speaking, is worth slightly less
0:11:36 > 0:11:38than English silver, we've got to be mindful of that.
0:11:38 > 0:11:42I would suggest an estimate of 120 to 160, and a reserve of £100.
0:11:42 > 0:11:49- That would be a fixed reserve of... - A fixed reserve of £100, but with luck it'll make more than that.
0:11:49 > 0:11:52- That's fine. That sounds fine. - OK, Barry. Thank you very much.
0:11:52 > 0:11:54- We'll do our best for you. - Fine. Lovely.
0:11:54 > 0:12:00Before we head off to auction, here's a brief reminder of the great items we're flogging today.
0:12:00 > 0:12:03Popular portable puzzles proving positively perplexing
0:12:03 > 0:12:08and perpetually pleasing posers, and that's as much as I can remember!
0:12:08 > 0:12:11How sad is that? You really need to get out more, you know.
0:12:11 > 0:12:12Yeah, that's sad, I know!
0:12:12 > 0:12:16Helen's tongue twisting abilities leave Phillip puzzled.
0:12:16 > 0:12:20How will her collection of children's puzzles fare at auction?
0:12:20 > 0:12:26We're selling on behalf of a local hospice, but how will the saleroom react to Sue's Moorcroft collection?
0:12:26 > 0:12:30- It's a cabinet-maker's dream, isn't it?- Yeah.- It is, yes.
0:12:30 > 0:12:33Barry and Malcolm, brothers and reformed band musicians,
0:12:33 > 0:12:37are taking this beautiful mahogany Tantalus to auction,
0:12:37 > 0:12:38but will it be a hit or a miss?
0:12:38 > 0:12:41And Barry hopes his American silver fruit jug
0:12:41 > 0:12:45is going to make top dollar when it goes under the hammer.
0:12:50 > 0:12:53OK, so now it's time to put our first batch of items to the test.
0:12:53 > 0:12:58We've left Torquay and moved along the coastline to Eldred's Auction Rooms in the heart of Plymouth,
0:12:58 > 0:13:00so let's go inside.
0:13:00 > 0:13:04And on the rostrum today, the man with all the local knowledge, is auctioneer Anthony Eldred.
0:13:04 > 0:13:08First up, Helen's children's puzzles.
0:13:08 > 0:13:11Well, Helen's been decluttering and this next item is certainly a lot
0:13:11 > 0:13:15that will keep you amused for hours on end. Well, it did you, didn't it?
0:13:15 > 0:13:19- Oh, yeah. I loved them. - You've got 12 puzzles and they're great fun, aren't they?- Yeah.
0:13:19 > 0:13:22- I saw Phillip playing with them at the valuation day.- Without success.
0:13:22 > 0:13:26It takes a long time to get the hang of each one of those.
0:13:26 > 0:13:31- Yeah, yeah. But I haven't seen these around for a long, long time. - I think they're great fun.- Yeah.
0:13:31 > 0:13:35- Great fun.- They've been sitting in my loft for so many years now so I might as well.
0:13:35 > 0:13:38The condition's very good. We've got £20 to £40 on them,
0:13:38 > 0:13:40so hopefully someone's going to buy them. Good luck.
0:13:40 > 0:13:46Next is lot 350, which is 12 puzzles. There they are.
0:13:46 > 0:13:49- Fingers crossed, Helen. - Hours of fun with those, and I'm bid a tenner for them.
0:13:49 > 0:13:51At £10. 12 if you want them. At £10.
0:13:51 > 0:13:54Against you all at 10. 12. 15.
0:13:54 > 0:13:5718. 20. At £20.
0:13:57 > 0:14:0022. 25. 28.
0:14:00 > 0:14:02In front here at £28 now.
0:14:02 > 0:14:05Quite sure at 28?
0:14:05 > 0:14:08Spot on, Philip, mid-estimate.
0:14:08 > 0:14:10- Yes.- £28. They've gone.
0:14:10 > 0:14:16- It's a manual computer game, isn't it, really?- Somebody's bought hours of fun with those, haven't they?
0:14:16 > 0:14:18- Yes.- Hours of fun. - A good investment.
0:14:18 > 0:14:23£70. Anyone in the room at 300?
0:14:23 > 0:14:25Quite sure, then.
0:14:25 > 0:14:27I think this is a super thing.
0:14:27 > 0:14:29I love this silver fruit jug.
0:14:29 > 0:14:32It's American. We've got a valuation of £120 to £160 put on by David.
0:14:32 > 0:14:34It's embossed with little shells.
0:14:34 > 0:14:38- It's... It's got the look, hasn't it?- Yeah.- Yeah. It really has.
0:14:38 > 0:14:41- Why are you selling this? - Well, we thought whatever we get
0:14:41 > 0:14:42we'll probably put into Premium Bonds
0:14:42 > 0:14:44and see what happens from there.
0:14:44 > 0:14:47I think you stand a good chance of winning on the Premium Bonds,
0:14:47 > 0:14:51- better than on the Lottery, that's for sure.- Certainly better than the bank at the moment.
0:14:51 > 0:14:54- Yeah. This should do well, shouldn't it?- I hope so.
0:14:54 > 0:14:56It's quality. And it's unusual.
0:14:56 > 0:14:58It's got a shell motif, we're by the sea,
0:14:58 > 0:15:02hopefully there's a little bit of a maritime connection which might help it get away.
0:15:02 > 0:15:04We're going to find out right now.
0:15:04 > 0:15:10Next is lot 445, which is a 19th-century American silver jug.
0:15:10 > 0:15:12There it is, a lot of bids for it.
0:15:12 > 0:15:15I'm bid at £190 for it.
0:15:15 > 0:15:19Against you all at 190. 210.
0:15:19 > 0:15:23220. 230. 240. 250. 260.
0:15:23 > 0:15:27£260. Finished then at 260? 270.
0:15:27 > 0:15:29- Oh, brilliant. They love it!- 280.
0:15:29 > 0:15:31290. 300.
0:15:31 > 0:15:34At £300. At £300 I'll sell it.
0:15:34 > 0:15:37Yes! £300!
0:15:37 > 0:15:40- What a great result. - I'm very pleased.
0:15:40 > 0:15:42- That's quality for you. - I'm delighted.
0:15:42 > 0:15:47- That was rare, wasn't it? - It was rare. A nice thing to bring out to show off to your friends.
0:15:47 > 0:15:52Yeah. Well, there is commission to pay here, but that's a lot of money and that's a lot of Premium Bonds.
0:15:52 > 0:15:53- It is.- Yeah. I hope you win!
0:15:53 > 0:15:56Well, got as good a chance as anybody else.
0:15:56 > 0:15:58You do, exactly. Yeah, you've got to be in it to win it.
0:16:06 > 0:16:08Well, Barry and Malcolm, now the moment of truth.
0:16:08 > 0:16:11The Tantalus is just about to go under the hammer.
0:16:11 > 0:16:13We're hopefully buying some recording studio time.
0:16:13 > 0:16:17- Hopefully, yes.- Now, do you need a drummer because I know one?
0:16:17 > 0:16:21We do, yes. It's funny you should say that, we do.
0:16:21 > 0:16:24Well, I'm a bit rusty, but I'll give it a go.
0:16:24 > 0:16:28Good luck, guys, anyway and hopefully you can get in that recording studio
0:16:28 > 0:16:31and we might have a big hit on our hands.
0:16:31 > 0:16:33We certainly might get one right now. Here we go.
0:16:33 > 0:16:40Next lot is lot 75, which is the Victorian walnut and brass bounded liqueur Tantalus
0:16:40 > 0:16:43and £210 starts that. At 210. 220. 230.
0:16:43 > 0:16:46240. And five. 250.
0:16:46 > 0:16:49- At 250 now in the room.- Come on.
0:16:49 > 0:16:52Quite sure then, at £250?
0:16:52 > 0:16:54I'll sell it at 250.
0:16:54 > 0:16:57It's gone. Tantalisingly close.
0:16:57 > 0:16:59- Yeah, tantalising. - But we got rid of it.
0:16:59 > 0:17:03- Yeah, well that... That'll buy some time, wouldn't it?- Yeah.
0:17:03 > 0:17:04- Yeah, yeah.- It will.- Yeah.
0:17:04 > 0:17:07- Knock out three or four songs. - Yeah, yeah.
0:17:07 > 0:17:10- Well, send me a copy, won't you? - We will, definitely.- Good luck.
0:17:15 > 0:17:17Next up, we've got some real quality.
0:17:17 > 0:17:21It's Moorcroft just about to go under the hammer and all the money is going to charity.
0:17:21 > 0:17:26- So, Sue, tell us which charity. - I'm very proud today. I'm here for Rowcroft Hospice in Torquay.
0:17:26 > 0:17:30OK. Now, we've got a couple of lots because they've been split up.
0:17:30 > 0:17:33Originally, David, you valued the lamp base and two bowls.
0:17:33 > 0:17:35- Yes, exactly.- Yes.- Three items.
0:17:35 > 0:17:41Three items. So, the auctioneer has put the first lot as the lamp base with a lower end at £150,
0:17:41 > 0:17:44- and also the two bowls at a lower end with a reserve at 150.- Yeah.
0:17:44 > 0:17:49- So it still makes up the same value, but he thinks they'll sell better separately.- Yeah.
0:17:49 > 0:17:51- OK.- I'll take his advice.- Yeah.
0:17:51 > 0:17:53- So, we're going to find out.- We are.
0:17:53 > 0:17:58Next is lot 203, which is Moorcroft bottle-shaped table lamp base.
0:17:58 > 0:18:03There it is, decorated fuchsias, and £130 for it. At 130.
0:18:03 > 0:18:0540, if you want it. At £130, then.
0:18:05 > 0:18:07Against you all in the room.
0:18:07 > 0:18:10Are we finished then at 130? 140.
0:18:10 > 0:18:14- Five.- Oh, good.- At 145. 150.
0:18:14 > 0:18:16Five. 160 now, behind.
0:18:16 > 0:18:18- That was a sticky start!- It was.
0:18:18 > 0:18:21At 160, then. Sell at 160.
0:18:24 > 0:18:28£160. The first one away. Now the two bowls.
0:18:28 > 0:18:32The next lot is lot 204, which is the Moorcroft circular Tazza,
0:18:32 > 0:18:35this time decorated with clematis.
0:18:35 > 0:18:39Two pieces in this lot and £150 bid for it. Five if you want it.
0:18:39 > 0:18:43- That's good. - £150 against you all in the room.
0:18:43 > 0:18:46At 150. Five anywhere? And 155. 160.
0:18:46 > 0:18:50Five. At 165 there, seated.
0:18:50 > 0:18:52Are you all finished at 165?
0:18:52 > 0:18:54- Yes, that's £325 to charity!- Yeah.
0:18:54 > 0:18:57- Brilliant.- All going to our hospice. - Happy with that!
0:18:57 > 0:19:00- Thank you very much.- That was a good donation, wasn't it?.
0:19:00 > 0:19:03Your maths is better than mine, I couldn't work it out that quickly.
0:19:03 > 0:19:06Lovely, all money for the hospice. Thank you very much.
0:19:08 > 0:19:12Coming up, someone gets overexcited.
0:19:12 > 0:19:15- Where's Margaret gone? - I can't believe it!
0:19:15 > 0:19:16Come back here, Margaret.
0:19:16 > 0:19:18- Back here. Come back here. - I can't believe it.
0:19:18 > 0:19:22Gosh, what an exciting moment. That's what auctions are all about.
0:19:22 > 0:19:23I was going to throw it in the bin!
0:19:23 > 0:19:25Come back here, Margaret.
0:19:32 > 0:19:36The Barbican here in Plymouth is home to numerous bars, restaurants,
0:19:36 > 0:19:40cafes and warehouses, but it was also home once to the studio
0:19:40 > 0:19:43of one of Britain's most prolific, but unrecognised,
0:19:43 > 0:19:47painting talents of the 20th century, Robert Lenkiewicz.
0:19:48 > 0:19:54Just 100 yards from the harbour you can find, tucked up on the corner of a warehouse wall,
0:19:54 > 0:19:58a 3,000 square foot mural that Lenkiewicz painted in early 1970s.
0:19:58 > 0:20:02As you can see, it's all clad in wooden batons now, holding it together
0:20:02 > 0:20:06and it's been seriously eroded and weathered by the elements over the years,
0:20:06 > 0:20:13and all that crumbling paint, well, that really is a sad reflection of its former multicoloured glory.
0:20:19 > 0:20:23Finished in 1973, the mural took an Elizabethan theme.
0:20:23 > 0:20:29Notorious for his self portraits, Lenkiewicz also included himself in the painting.
0:20:29 > 0:20:33Complete with begging bowl, the picture reflects the fact
0:20:33 > 0:20:37that his efforts for this stunning piece of art went unpaid.
0:20:37 > 0:20:41Lenkiewicz's love for painting began at an early age.
0:20:41 > 0:20:44Born in London in 1941 from refugee stock,
0:20:44 > 0:20:46his parents ran a Jewish hotel
0:20:46 > 0:20:51whose residents included survivors of the concentration camps.
0:20:51 > 0:20:53He attended St Martin's College of Art.
0:20:53 > 0:20:58From there he moved on to the Royal Academy, but found the conformity
0:20:58 > 0:21:01too inhibiting and he was expelled for non attendance.
0:21:01 > 0:21:05He had a studio in Hampstead, but moved to Plymouth in 1969.
0:21:05 > 0:21:08As one of Britain's most eccentric artists, during his lifetime
0:21:08 > 0:21:12his work was never really accepted by the art establishment.
0:21:12 > 0:21:17In fact, not one of Lenkiewicz's paintings hangs in a national or regional gallery.
0:21:17 > 0:21:21However, here at the Plymouth Museum and Art Gallery,
0:21:21 > 0:21:24his work has been given a temporary exhibition
0:21:24 > 0:21:27and it's the first since his death in 2002.
0:21:27 > 0:21:29And to find out more about the man,
0:21:29 > 0:21:32I caught up with Francis Mallett from the Lenkiewicz Foundation.
0:21:32 > 0:21:35Why was Robert dismissed by the art world?
0:21:35 > 0:21:38Well, it's something I've thought about for quite a long time
0:21:38 > 0:21:42and I've come to the conclusion there are probably two main reasons.
0:21:42 > 0:21:44The first is, if you think about his work,
0:21:44 > 0:21:48it really has very little connection with the rest of what was going on
0:21:48 > 0:21:50in the art world in this country at that time.
0:21:50 > 0:21:53From the '60s onwards, if you think about the British art scene
0:21:53 > 0:21:57you have abstraction, you have pop art, photography, conceptual art,
0:21:57 > 0:22:03- installation art and video art, but Robert was a painter that painted in a much more traditional manner.- Yeah.
0:22:03 > 0:22:05His influences were very different.
0:22:05 > 0:22:06Was he upset by that at the time?
0:22:06 > 0:22:11No, I think the other thing about Robert is he really couldn't care less about that
0:22:11 > 0:22:13and that was one of the great things about him.
0:22:13 > 0:22:15He really was an anti-establishment figure.
0:22:15 > 0:22:18He was very much a thinking painter.
0:22:18 > 0:22:21His subjects were often sociological observations
0:22:21 > 0:22:27of other people, and then later on, more personal observations about his own relationships.
0:22:27 > 0:22:30Tell me a little bit more about the subject matter.
0:22:30 > 0:22:34Yes, well, the first project was vagrancy, but then Robert went
0:22:34 > 0:22:39on to areas such as mental handicap, death, addictive behaviour.
0:22:39 > 0:22:44This was a study into human behaviour at its most basic level.
0:22:44 > 0:22:48And the other side of his work, which covered more personal relationships,
0:22:48 > 0:22:50he used himself as a guinea pig,
0:22:50 > 0:22:54looked at his own responses to the relationships that he was in
0:22:54 > 0:22:58to draw conclusions about human behaviour and psychology.
0:23:00 > 0:23:07Robert Lenkiewicz was drawn to the underprivileged and was fascinated with vagrants and street alcoholics.
0:23:07 > 0:23:13A compassionate man, in the early 1970s he would provide shelter for up to 170 tramps a night.
0:23:13 > 0:23:18Lenkiewicz's treatment of one in particular was to prove highly controversial.
0:23:21 > 0:23:24Well, this tramp was called Diogenes, nicknamed Diogenes by Robert.
0:23:24 > 0:23:28He came across him living in a barrel
0:23:28 > 0:23:32and Robert became very fond of him and nicknamed him Diogenes
0:23:32 > 0:23:36after the Greek philosopher Diogenes who lived in a barrel.
0:23:36 > 0:23:42- Long before Damien Hirst embalmed a shark in resin, Robert embalmed Diogenes, didn't he?- That's right.
0:23:42 > 0:23:44What was the meaning behind that?
0:23:44 > 0:23:47Well, it was a long standing agreement
0:23:47 > 0:23:49apparently between Robert and Diogenes
0:23:49 > 0:23:54that when Diogenes died that that's exactly what Robert would do.
0:23:54 > 0:23:57- So it was a little pact.- It was, but it was also around the time
0:23:57 > 0:24:02that Robert was featuring death predominately in his projects.
0:24:02 > 0:24:06After Diogenes died, Robert explained his views on death.
0:24:06 > 0:24:09One is always strangely compelled by the total presence of the body
0:24:09 > 0:24:12running parallel with the complete absence of the person.
0:24:12 > 0:24:15I don't know if you've witnessed death, but if you see that,
0:24:15 > 0:24:18and I've many times, you'll see there's and interesting association
0:24:18 > 0:24:20and cross reference with witnessing birth.
0:24:20 > 0:24:21A very strange, haunting atmosphere
0:24:21 > 0:24:23and I want to become more familiar with that.
0:24:23 > 0:24:24It's entirely personal.
0:24:24 > 0:24:27Could it become part of the exhibition in the future?
0:24:27 > 0:24:31Well, certainly in the context of perhaps one of Robert's themes,
0:24:31 > 0:24:33either Death or Death And The Maiden,
0:24:33 > 0:24:36or the project that he did called the Diogenes Con Show.
0:24:36 > 0:24:39I don't see any reason why it couldn't be exhibited.
0:24:40 > 0:24:44Robert Lenkiewicz was certainly an unusual character, unconventional.
0:24:44 > 0:24:47He never really endeared himself to the press,
0:24:47 > 0:24:51understandable when you learn that in 1981
0:24:51 > 0:24:56he actually faked his own death to coincide with his Death project.
0:24:57 > 0:25:01Why did Robert fake his own death and what exactly did he do?
0:25:01 > 0:25:04Well, I think Robert really, partly was frustrated.
0:25:04 > 0:25:09He had an exhibition on that wasn't gaining as much attention as he thought it should.
0:25:09 > 0:25:10Was it a PR stunt, then?
0:25:10 > 0:25:14Well, partly, but as with everything with Lenkiewicz
0:25:14 > 0:25:16it also had a much more serious purpose
0:25:16 > 0:25:19and he was beginning his interest in the project on death
0:25:19 > 0:25:24and the thinking behind it was he could never know what it was like to be dead,
0:25:24 > 0:25:28- but he could know what it was like to be thought to be dead.- Right, OK.
0:25:28 > 0:25:34So, his brother, John, placed a very small low key obituary
0:25:34 > 0:25:36in a London newspaper
0:25:36 > 0:25:39which got picked up on very quickly in the south west
0:25:39 > 0:25:44and suddenly it was all over the local press.
0:25:44 > 0:25:46All of Plymouth was mourning and,
0:25:46 > 0:25:49from a lack of recognition for this artist,
0:25:49 > 0:25:52suddenly he was the greatest painter in the south west.
0:25:52 > 0:25:56Unfortunately, I think the stories got picked up on by
0:25:56 > 0:26:04the national tabloid press and Lenkiewicz became more known for those exploits
0:26:04 > 0:26:09than for the serious and skilful painter that he was.
0:26:09 > 0:26:15Controversial as he was, the art of Robert Lenkiewicz continues to attract divided opinion.
0:26:15 > 0:26:19Sadly, when he died in 2002 from a serious heart condition,
0:26:19 > 0:26:24150 paintings had to be sold off to help cover massive debts.
0:26:24 > 0:26:29The Lenkiewicz Foundation's aim is to open a permanent collection
0:26:29 > 0:26:31of Robert's remaining work in the near future
0:26:31 > 0:26:36and if he was alive today he'd probably shudder at the term The People's Painter,
0:26:36 > 0:26:39but in effect that's exactly what he's become,
0:26:39 > 0:26:44proving that art can be genuinely concerned with social and domestic issues,
0:26:44 > 0:26:49and to that end, he remains one of the serious contemporary painters of modern history.
0:26:57 > 0:27:02Now back to the Palace hotel in Torquay for more valuations
0:27:02 > 0:27:06and Philip has spotted a rather nice necklace.
0:27:06 > 0:27:09- Lynn, are you local?- No, I'm a... I'm from Essex.- You're an Essex girl?
0:27:09 > 0:27:12- No, I wasn't born there, I was born in Lancashire.- Oh, right.
0:27:12 > 0:27:15- You've got around a bit, haven't you? - Yeah.
0:27:15 > 0:27:17- I married someone from the south.- Yeah.
0:27:17 > 0:27:21- And when did you come to Torquay?- I bought a holiday home ten years ago.
0:27:21 > 0:27:26- Yeah.- And I've been visiting ever since and I heard the other day that the Flog It was on...- Yeah.
0:27:26 > 0:27:30And I decided to travel down yesterday so I could come today.
0:27:30 > 0:27:33Good girl. So, you're not a Devonian, you're an interloper!
0:27:33 > 0:27:34Yes, I am afraid.
0:27:34 > 0:27:39- Where's this from?- This was given to me on my 18th birthday by my mother.
0:27:39 > 0:27:41- Not long ago.- Not long ago, no.
0:27:41 > 0:27:43- Yeah.- Doesn't seem it.
0:27:43 > 0:27:46And I wore it a lot, when I was given it, to dances.
0:27:46 > 0:27:50I asked my mother whether it was emeralds because emerald was my birthstone.
0:27:50 > 0:27:53- That would be nice, wouldn't it?- But she said she couldn't afford that.
0:27:53 > 0:27:56- Yeah.- So, we thought it was peridot.
0:27:56 > 0:27:58- Peridot.- Yes, peridot.- Yeah.
0:27:58 > 0:28:02And that's what I've always assumed they were, yes.
0:28:02 > 0:28:06Well, I think this was made round about 1890, 1900
0:28:06 > 0:28:09- and I think it's lovely. - Yeah, it is pretty.
0:28:09 > 0:28:12I cheated a little bit because before I looked at it
0:28:12 > 0:28:16I got one of my colleagues, who's a jewellery expert,
0:28:16 > 0:28:19to look at the stones and she tells me that they're not peridots,
0:28:19 > 0:28:21but they're in fact glass.
0:28:21 > 0:28:23That's a bit disappointing, isn't it?
0:28:23 > 0:28:27- Well, a little bit, yes.- But... - I enjoyed wearing it though, so...
0:28:27 > 0:28:30There's two things about looking at that automatically that I would question.
0:28:30 > 0:28:36- The first thing is have you noticed that little, little circle loop just on the bottom there?- Yeah.
0:28:36 > 0:28:39- Well, that would have had a dropper on the bottom.- Yeah.
0:28:39 > 0:28:41- So, it's incomplete from there. - Yeah.
0:28:41 > 0:28:46- And the other thing that really amazes me is that you said you used to wear this often.- Yes, I did.
0:28:46 > 0:28:51Well, does it not... Do you not think that's just for a very, very small neck?
0:28:51 > 0:28:56- I was very slim and I had a tiny neck.- Because, I mean, that is just... It's almost...
0:28:56 > 0:29:01- It was like for a... I know, it was for a young girl, you see.- Well, I'm not sure it was for a young girl.
0:29:01 > 0:29:07- What I think has happened is that this chain has been reduced in length.- Yes, probably.
0:29:07 > 0:29:12- So, we come to the disappointing bit now.- Yeah.- Because as a...
0:29:12 > 0:29:17- As peridot and gold, it probably would have been £300 to £500.- Yes.
0:29:17 > 0:29:20I think now you're probably going to be looking at £100 to £150.
0:29:20 > 0:29:25It might go and make a little bit more because it's so decorative, but are you happy to sell it?
0:29:25 > 0:29:28Yes, I am, yes. She gave me quite a few things.
0:29:28 > 0:29:30- Really?- And some of them I wear.
0:29:30 > 0:29:33- Oh, that's good.- But I've never worn this now for about 30 years.
0:29:33 > 0:29:36- So, we're going to get it flogged, are we?- Yes.
0:29:36 > 0:29:39What are you going to spend the money on? The trip back to Essex!
0:29:39 > 0:29:43- Coming back and forward to Devon! - Well, you've got to come back now to the auction, haven't you?
0:29:43 > 0:29:47- Yes, I have, yes. - Right, fingers crossed it'll do well.- Thank you very much.
0:29:52 > 0:29:55- Jennifer.- Yes.
0:29:55 > 0:30:01My friends will laugh when they see this because I'm the most unmusical person in the world, I'm afraid,
0:30:01 > 0:30:06but I do know that it's a euphonium and we know, too, don't we,
0:30:06 > 0:30:09- that it was made by Boosey & Co?- Yes.
0:30:09 > 0:30:12Who are well known makers of musical instruments.
0:30:12 > 0:30:17- Yes.- And indeed publishers of sheet music.- Yes.
0:30:17 > 0:30:22This must have been manufactured before Boosey became Boosey & Hawkes.
0:30:22 > 0:30:28- Yeah, we've traced the serial number back to 1920.- 1920. OK, that's good.
0:30:28 > 0:30:32- It has, as it tells us here, compensating pistons.- Right.
0:30:32 > 0:30:34Which is just an extra sophistication
0:30:34 > 0:30:37which makes it just that little bit more interesting.
0:30:37 > 0:30:42But I must say, I think it's value really lies in the fact that it's a bit of fun.
0:30:42 > 0:30:46I mean, there will be people who will be interested in buying this as a musical instrument.
0:30:46 > 0:30:49- It has a sort of sculptural quality, doesn't it?- Yes, it does, yeah.
0:30:49 > 0:30:52- It's quite pretty.- Have you ever played it yourself?- No.- No.
0:30:52 > 0:30:54I'm not sure I'd have enough puff.
0:30:54 > 0:31:00If Charlie Ross were here, sadly he isn't today, he would undoubtedly play it or at least try to play it.
0:31:00 > 0:31:04- Try to!- And he would scare everyone off. He would very quickly clear the room.
0:31:04 > 0:31:06- But it would be rather fun to hear someone play it.- Yes.
0:31:06 > 0:31:09- I'm not going to do it and obviously you're not.- No.
0:31:09 > 0:31:14- How did you come by it? - Well, my husband's younger sister used to be in a brass band.
0:31:14 > 0:31:18She plays the trombone, but they needed a euphonium player
0:31:18 > 0:31:21and I'm not quite sure how compatible they are,
0:31:21 > 0:31:25- but she used to play it in the brass band.- And why...
0:31:25 > 0:31:27Why do you want to get rid of it?
0:31:27 > 0:31:31Well, it's just taking up space that we haven't got at the moment,
0:31:31 > 0:31:34nobody uses it, so it needs to go to a good home.
0:31:34 > 0:31:38- Now, in my view, this is going to make between 60 and £100.- Right.
0:31:38 > 0:31:42I think it will be sold, actually, to someone who will use it,
0:31:42 > 0:31:47perhaps someone who has a son or a daughter who wants to learn to play the euphonium.
0:31:47 > 0:31:51There is a possibility that someone will buy it, you know,
0:31:51 > 0:31:54- as a bit of a joke really to show off to their friends.- Yes.
0:31:54 > 0:31:59I'm tempted to think in terms of turning it upside down and putting flowers in it,
0:31:59 > 0:32:03- but that's probably stretching one's imagination just a little bit too far.- Yes.
0:32:03 > 0:32:07- So, if we went ahead at 60 to £100 with a reserve of £50? - Yeah, that would be fine.
0:32:07 > 0:32:10- You'd be happy with that, would you? - Yes, yeah.
0:32:10 > 0:32:14OK, well, we'll do our best for you, and perhaps when it gets to the sale room,
0:32:14 > 0:32:18- there'll be someone there who can play it for us.- That's it, yeah, to see if it works.
0:32:22 > 0:32:24Margaret, how are you doing?
0:32:24 > 0:32:26- I'm very well, thank you.- Very well.
0:32:26 > 0:32:28That is not a local accent, is it?
0:32:28 > 0:32:30- I'm from Glasgow.- Glasgow. - Originally from Glasgow.
0:32:30 > 0:32:33- I moved down here when I got married.- You got married.
0:32:33 > 0:32:36Got married to Alec in 1962. How long ago was that?
0:32:36 > 0:32:39- Oh, don't go there, don't go there. - I can't remember.
0:32:39 > 0:32:41And what... And what did he do?
0:32:41 > 0:32:45- First of all, we moved down here, he was in the building trade.- Yeah.
0:32:45 > 0:32:50Then he, many years after the building trade, he self taught himself to dive.
0:32:50 > 0:32:54- Really?- Three of them went out... - They were professional divers?
0:32:54 > 0:32:57- Professional diving. - And what was that for, for shellfish?
0:32:57 > 0:33:01Shellfish, scallops, crayfish, big lobsters and they made a really good living.
0:33:01 > 0:33:06- What about sunken treasure? Did he ever find any sunken treasure? - Oh, they found loads of stuff.
0:33:06 > 0:33:09So this, presumably, is from one of his expeditions?
0:33:09 > 0:33:12It was. He was diving and...
0:33:12 > 0:33:15It's unbelievable, a glint of the sun through the water
0:33:15 > 0:33:22- and a corner, just a corner of that, was on the seabed.- Right.
0:33:22 > 0:33:26And he scooped it away and there it was and he brought it up,
0:33:26 > 0:33:30and 30 odd years I've had it now, we've had it.
0:33:30 > 0:33:33Where did he find it, then? Was he diving off the coast here?
0:33:33 > 0:33:35Off the coast of Torbay, way out.
0:33:35 > 0:33:37So, we've got here a brass plaque.
0:33:37 > 0:33:42- Yes.- OK, and it's got 355. I'm not sure what...- I don't know that it's. - Not sure what that's all about.
0:33:42 > 0:33:44- No.- Palmer's.- Palmer's shipbuilding.
0:33:44 > 0:33:49- Shipbuilding and Iron Company Limited.- Newcastle upon Tyne.- 1877.
0:33:49 > 0:33:51- Yes.- So...
0:33:51 > 0:33:54And presumably this is your research?
0:33:54 > 0:33:58- Yes. I wrote to Palmers. - Yeah, who don't exist.
0:33:58 > 0:34:03Well, I didn't know that. And then, months after, I got this letter
0:34:03 > 0:34:07saying they'd passed the Palmers' letter to Vickers shipbuilding.
0:34:07 > 0:34:12- Yeah.- And the chief Admiral, whatever he's called, sent me this letter.
0:34:12 > 0:34:15I think he's the chief architect, my love! He's not an admiral!
0:34:15 > 0:34:17- Oh, whatever. - You've promoted him well!
0:34:17 > 0:34:21And then they sent me this print of the ships they use to build.
0:34:21 > 0:34:23- So, if we just look at this here. - Yes.
0:34:23 > 0:34:28- He says "I'm interested to hear of your husband's find and would like to know more about it."- Yeah.
0:34:28 > 0:34:33- "Was there any indication as to the vessel from which the plate could have come?"- No.
0:34:33 > 0:34:40"Palmers started building ships in 1852 and had built some 350 by 1877."
0:34:40 > 0:34:45- Having looked at that, we've got 1877 here.- Yeah.
0:34:45 > 0:34:50- I wonder if that 355 is, perhaps that's the 355th ship they built. - It might be. I've no idea.
0:34:50 > 0:34:54I think at auction with this information allied to it,
0:34:54 > 0:34:58and I think it would be good to give that with it.
0:34:58 > 0:35:03- Yeah, you can.- I think we can put a cautious estimate of, sort of, 80 to £120 on it.- Right.
0:35:03 > 0:35:05- We'll put a reserve on it of £60. - Right.
0:35:05 > 0:35:09- I have sold a name plaque from a ship for the thick end of £1,000.- Yeah.
0:35:09 > 0:35:12So, it wouldn't surprise me if this really did take off,
0:35:12 > 0:35:16- but I think the fact that it's sort of lower down the level... - Yes, yes, that's fine.
0:35:16 > 0:35:20- It might be of interest to somebody. - Yeah. Why do you want to sell it?
0:35:20 > 0:35:22- I don't want it.- You don't want it?- I don't want it, no.
0:35:22 > 0:35:24What will you do with £100 if it makes it?
0:35:24 > 0:35:27I don't know. Spend it. Spend it! On that note... Spend it!
0:35:27 > 0:35:31- Let's put it in the auction and spend it, shall we?- Yes, spend it!
0:35:31 > 0:35:32- Well done, you.- What the heck.
0:35:32 > 0:35:38We've had some really great items today and here's a quick reminder of what's heading off to auction.
0:35:38 > 0:35:42Lynn is hoping she'll be lucky and find a golden price for her necklace.
0:35:42 > 0:35:48My friends will laugh when they see this because I'm the most unmusical person in the world.
0:35:48 > 0:35:53David makes an admission, but can Jennifer's euphonium blow the buyers away in the saleroom?
0:35:53 > 0:35:58And, finally, will it be anchors away for Margaret's brass plaque?
0:35:58 > 0:36:02But before it goes under the hammer I found a few minutes
0:36:02 > 0:36:07to sit down with Anthony, who's done a bit more research for us.
0:36:07 > 0:36:09There's a lovely story we've uncovered here, Anthony.
0:36:09 > 0:36:12It belongs to Margaret, this brass plaque.
0:36:12 > 0:36:15Now, her husband, whilst diving off Torquay, found this on the seabed
0:36:15 > 0:36:18and we've got a value of £80 to £120 put on this.
0:36:18 > 0:36:21- 80 to 120? Yes. - A bit of a come and buy me.
0:36:21 > 0:36:25It doesn't sound a lot, does it, for a piece of maritime history?
0:36:25 > 0:36:31I think the added interest to this, not only do we know which vessel it came from,
0:36:31 > 0:36:35but the company itself has a lot of history and it was sold in 1933,
0:36:35 > 0:36:38sold on and then closed down, subsequently.
0:36:38 > 0:36:44And the closing of this company was credited as part of the reason for the Jarrow March
0:36:44 > 0:36:47because so many people were made redundant at the time.
0:36:47 > 0:36:49Surely, we've got to do a lot more than 80 to 120.
0:36:49 > 0:36:51Has there been much interest?
0:36:51 > 0:36:55We've had a bit of interest in it, certainly. And I...
0:36:55 > 0:36:58My initial reaction when I saw it was probably 200 to 300,
0:36:58 > 0:37:01something like that, but I think it will do even better than that.
0:37:01 > 0:37:06- Oh, thanks, Anthony. Well, this is certainly the one to watch later on in the show.- Indeed.
0:37:06 > 0:37:10That item could do really well, but before we see it auctioned off,
0:37:10 > 0:37:12let's see how we get on with the necklace.
0:37:12 > 0:37:16- Oh, Lynn, there's lots of memories here.- There are that.
0:37:16 > 0:37:21We've just about to sell Lynn's necklace and she's had it in a drawer for an awful long time
0:37:21 > 0:37:25- and you were given this when you were 18-years-old.- That's right.
0:37:25 > 0:37:26- Gosh.- A long... No, not long...
0:37:26 > 0:37:31Not that long ago, was it? No, no, not really. I know we're looking for £100 plus, aren't we?
0:37:31 > 0:37:36It would be nice if it broke through that barrier. It just depends what people think it is, doesn't it?
0:37:36 > 0:37:39Yes, yeah. Why do you want to sell it now?
0:37:39 > 0:37:41- I know it's been tucked away in a drawer.- Yes.
0:37:41 > 0:37:47- Well, it won't really fit. It won't fit me any more. It's a very small chain.- OK.
0:37:47 > 0:37:50- And it's really for a Victorian maiden, probably...- Yeah.
0:37:50 > 0:37:53- Who had a slender neck. - It's late 1800s, isn't it?- Yes.
0:37:53 > 0:37:56But it is lovely. I like this.
0:37:56 > 0:37:58We need a lady with a slender neck in the saleroom.
0:37:58 > 0:38:01Let's hope there's plenty out there.
0:38:01 > 0:38:04- It sounds like a giraffe. - It does actually, doesn't it?
0:38:04 > 0:38:06Here we go, let's find out what it's worth.
0:38:06 > 0:38:07Next is lot 506.
0:38:07 > 0:38:12It's a green paste set necklace in its box and I'm bid £110 for it.
0:38:12 > 0:38:14- Straight in. It's gone.- 120.
0:38:14 > 0:38:16- 130. 140. 150.- And there's more.
0:38:16 > 0:38:19- 150. 160. 170.- I can't believe it.
0:38:19 > 0:38:21- 180.- It's still going.- 180 now.
0:38:21 > 0:38:23At £180. I'll take five if you like?
0:38:23 > 0:38:26All done at £180.
0:38:26 > 0:38:29- 180!- Top job.
0:38:29 > 0:38:31There was, wasn't it?
0:38:31 > 0:38:34How about that? That's very good.
0:38:34 > 0:38:37- Yeah. I wasn't quite expecting that, really.- No, nor was I, actually.
0:38:37 > 0:38:41What a great result and I know that's covered all of Lynn's travel costs today,
0:38:41 > 0:38:43- because you've come down from Essex to see us.- Yes.
0:38:43 > 0:38:46Well, have a safe trip back as well, won't you?
0:38:46 > 0:38:49And it's been worth every moment seeing my favourite men.
0:38:49 > 0:38:50Ah!
0:38:50 > 0:38:53£70.
0:38:54 > 0:38:56In the room at 300.
0:38:58 > 0:39:01And now something for all you brass band enthusiasts.
0:39:01 > 0:39:07We've got a euphonium, belonging to Jennifer here, with a value of 60 to £100 put on by our expert, David.
0:39:07 > 0:39:11Now, it's made by Boosey before they joined with Hawkes, isn't it?
0:39:11 > 0:39:13- Yes, it is. - I like the sound of brass bands.
0:39:13 > 0:39:16I think they are great. There's not too many down south, unfortunately.
0:39:16 > 0:39:19- No, not that I'm aware of. - Which is a shame, isn't it, really?
0:39:19 > 0:39:22- Yes.- But it's a good thing, though. Good thing.- I liked it, yes.
0:39:22 > 0:39:24The condition is there as well, so hopefully...
0:39:24 > 0:39:28Hopefully there's some brass bands in Plymouth and they might just want a euphonium.
0:39:28 > 0:39:30We're going to find out right now.
0:39:30 > 0:39:34Next is lot 152 which is a plated euphonium.
0:39:34 > 0:39:36There it is. And £40 starts that.
0:39:36 > 0:39:40At £40. At 40. Two anywhere? At 42. Five. Eight. 50.
0:39:40 > 0:39:42- Two. In front there.- That's good.
0:39:42 > 0:39:47£52. I'll take five now. 55. 58.
0:39:47 > 0:39:49At £58 in front.
0:39:49 > 0:39:52All out before. At £58 I'll sell it.
0:39:52 > 0:39:56- £58.- Good. - And the money is going to your son?
0:39:56 > 0:39:58Son, yeah. He's just turned 17
0:39:58 > 0:40:01and he wants this, that and the other for his guitars, so...
0:40:01 > 0:40:04- It costs a fortune! - I wish him luck, I wish him luck.
0:40:04 > 0:40:05- Is he playing in a band?- Not yet.
0:40:05 > 0:40:09Him and his brother are trying to get one together, so they're working on it.
0:40:09 > 0:40:11That's a bit of fun, isn't it?
0:40:11 > 0:40:14You can't really play a euphonium in a rock band, can you?
0:40:14 > 0:40:15No, it doesn't quite fit.
0:40:19 > 0:40:22You know, I think you're brass ship's plaque is going to cause
0:40:22 > 0:40:25- a right old stir here, Margaret, I really do.- Good.
0:40:25 > 0:40:2880 to 120, Philip's put on this.
0:40:28 > 0:40:31A bit of a come and buy me. But I had a chat to the auctioneer
0:40:31 > 0:40:34and we thought two to three, possibly more even.
0:40:34 > 0:40:38I said on the valuation day, I've sold something like this before that's made £1,000.
0:40:38 > 0:40:41- But, yeah, it's a difficult thing to put a price on.- Yes.
0:40:41 > 0:40:44- But, look, let's hope... - Well, we all live in hope.
0:40:44 > 0:40:47- It just flies away. That's what auctions are all about.- Absolutely.
0:40:47 > 0:40:51That's what auctions are all about. Well, it establishes the value.
0:40:51 > 0:40:54Yeah, and if two people really want it they'll pay over the market value for it.
0:40:54 > 0:40:57Well, let's hope it goes and I can go and spend, spend, spend!
0:40:57 > 0:41:00Next lot is lot 113.
0:41:00 > 0:41:04It's the brass nameplate for Palmers Shipbuilding & Iron Company.
0:41:04 > 0:41:06There it is up on the wall.
0:41:06 > 0:41:09Several bids for it. I'm bid £180 to start it.
0:41:09 > 0:41:13At £180 against the room. 190. 200.
0:41:13 > 0:41:16- And 10. 220. 230 now.- That's good.
0:41:16 > 0:41:21240. 250. 260. 270. 280. 290.
0:41:21 > 0:41:24- 300. And 20. 340.- Now we're flying.
0:41:24 > 0:41:28360. 380. 400. At £400.
0:41:28 > 0:41:30Any more in the room at 400?
0:41:30 > 0:41:34And 20. 440. 460. 480.
0:41:34 > 0:41:40500. And 20. 540. 560. 580. 600.
0:41:40 > 0:41:43I was going to throw that out.
0:41:43 > 0:41:48And 20. 640. 660. 680. 700?
0:41:48 > 0:41:52- 750, if you like?- 750?- 780.
0:41:55 > 0:41:57- This way.- At 780.
0:41:57 > 0:41:59800 now. And 20. 850.
0:41:59 > 0:42:02- 850!- 880.- Wait a minute, get a seat!
0:42:02 > 0:42:05900. And 50.
0:42:05 > 0:42:06At £950.
0:42:06 > 0:42:10I'm... I'm flabbergasted.
0:42:10 > 0:42:12- £1,100.- 1,100?
0:42:12 > 0:42:15- 1,100, yes.- Oh, I feel sick.
0:42:15 > 0:42:171,200.
0:42:17 > 0:42:21At £1,200 then, last chance.
0:42:21 > 0:42:23Are you all done then at 1,200?
0:42:23 > 0:42:26- £1,200.- Yes!
0:42:26 > 0:42:29- Where's Margaret gone? - I can't believe it.
0:42:29 > 0:42:30Come back here, Margaret!
0:42:30 > 0:42:32- Back here. Come back here. - I can't believe it.
0:42:32 > 0:42:34Gosh, what an exciting moment.
0:42:34 > 0:42:38- That's what auctions are all about. - I was going to throw it in the bin!
0:42:38 > 0:42:41Come back here, Margaret! £1,200.
0:42:41 > 0:42:44- Good job I didn't throw it in the bin.- It was, wasn't it?
0:42:44 > 0:42:46Mmm. Philip, thank you.
0:42:46 > 0:42:48Don't thank me, I sort of got it wrong, didn't I?
0:42:48 > 0:42:51- You did. You got it wrong. - It was a come and buy me.
0:42:51 > 0:42:55- There's commission to pay, don't forget.- But I'll still come out with a few bob.
0:42:55 > 0:43:00What a lovely moment and what a fantastic end to our day here in Plymouth.
0:43:00 > 0:43:03- I hope you've enjoyed the show. - My friend said...
0:43:03 > 0:43:09My friends have said I wouldn't dream of kissing these men but I will...
0:43:09 > 0:43:11I hope you've enjoyed today's show.
0:43:11 > 0:43:16- Kiss them.- Please join us again soon for many more surprises on Flog It!
0:43:16 > 0:43:17Thank you. Goodbye!
0:43:25 > 0:43:28Subtitles by Red Bee Media Ltd
0:43:28 > 0:43:31E-mail subtitling@bbc.co.uk