0:00:31 > 0:00:34We've come to try our luck today in the north-west, in Bolton,
0:00:34 > 0:00:40which is situated near the western Pennines and surrounded by wild and rugged moor land.
0:00:40 > 0:00:44But the centre is a Mecca for shoppers and Bolton's population
0:00:44 > 0:00:48of 261,000 makes it the biggest town in Britain that isn't a city.
0:00:48 > 0:00:51And it looks like most of them have turned up here today!
0:00:51 > 0:00:56What a queue we've got outside the Albert Hall in Bolton here today.
0:00:56 > 0:00:59It just goes on and on and on! There's hundreds of them!
0:00:59 > 0:01:03And all these people in Bolton have a nickname - they're called the trotters
0:01:03 > 0:01:08and this goes back to ancient times where they loved to play tricks on visitors that came to the town.
0:01:08 > 0:01:14Now allegedly, you are the funniest and the happiest people in the whole of England - is that true? Yes!
0:01:14 > 0:01:19So our experts Phillip Serrell and James Lewis and myself better be on our guard today!
0:01:19 > 0:01:21Oh, sweet!
0:01:21 > 0:01:22Three quid!
0:01:22 > 0:01:25Fantastic! How much?
0:01:25 > 0:01:26That's perfect!
0:01:26 > 0:01:30But there's plenty of serious business to be done in here,
0:01:30 > 0:01:35searching out the best items we can find to take off to auction later on.
0:01:37 > 0:01:41So, while everybody's getting settled in, let's see what Philip's found.
0:01:41 > 0:01:43Marjorie, how are you?
0:01:43 > 0:01:44Fine, thank you. Excellent.
0:01:44 > 0:01:49Now, we were talking before we went on camera and you were telling me
0:01:49 > 0:01:50why you want to sell this.
0:01:50 > 0:01:54And I know that people have sold things because it doesn't fit in
0:01:54 > 0:01:59a house, or they don't like it any more, or they never liked it at all.
0:01:59 > 0:02:02But you want to sell this because of feng shui, is that right?
0:02:02 > 0:02:04Yes. Basically, yes.
0:02:04 > 0:02:08You'd better explain to me and everybody else all about feng shui.
0:02:08 > 0:02:11Well, feng shui
0:02:11 > 0:02:13is a Chinese principle, really.
0:02:13 > 0:02:16And this has got very, very sharp edges.
0:02:16 > 0:02:21They are very dangerous if the child was to pick it up with their hand.
0:02:21 > 0:02:26And also, the balance - it very easily falls over.
0:02:26 > 0:02:29And that offends the principles of feng shui, does it?
0:02:29 > 0:02:32It does. Do you know, you learn something new every day!
0:02:32 > 0:02:36True, true! But it has damaged some other things I have,
0:02:36 > 0:02:39because of falling over.
0:02:39 > 0:02:40So, I mean, do you like it?
0:02:42 > 0:02:45Not very much. Not really. How did you come by it?
0:02:45 > 0:02:50It's been a family piece, it's come down in the family, and that's all I know about it.
0:02:50 > 0:02:54But it did originate from Liverpool.
0:02:54 > 0:02:56It came from Liverpool? Yes, originally.
0:02:56 > 0:03:00Well I think it came from a little bit further away originally. Right.
0:03:00 > 0:03:02I think it's a Vienna cold painted bronze. Really?
0:03:02 > 0:03:09And if we just turn it up, just there, we can see a "B" in a shield.
0:03:09 > 0:03:12I think that's the mark of a man called Bergman.
0:03:12 > 0:03:16And Bergman specialised in cold painted bronzes.
0:03:16 > 0:03:22And a lot of the subjects that he did were sort of Moroccan and Eastern scenes.
0:03:22 > 0:03:25And you'd have a carpet seller, sat on a carpet.
0:03:25 > 0:03:31All painted, with a camel. You know, those are typical of his works.
0:03:31 > 0:03:38And his works make between, I don't know, ?200-300, perhaps more.
0:03:38 > 0:03:43I have never ever seen as subject like this before. OK. I don't know where it comes from.
0:03:43 > 0:03:48I mean, I know that it is a Viennese cold painted bronze by Bergman, but is it from Lapland?
0:03:48 > 0:03:53Is it from Iceland? I look at it and wonder whether it might be Eskimo?
0:03:53 > 0:03:55I think this is really quite exciting.
0:03:55 > 0:03:57In terms of value,
0:03:57 > 0:04:01I'm going to put an estimate on it of ?250-350.
0:04:03 > 0:04:06And if you're really really lucky, it might make a little bit more.
0:04:06 > 0:04:10It depends how rare that specialist subject is.
0:04:10 > 0:04:14Just because I say I haven't seen one before, doesn't mean that it's unique.
0:04:14 > 0:04:16But I think it's lovely.
0:04:16 > 0:04:19Do you like it a bit more now? A little bit more, but...
0:04:19 > 0:04:24It doesn't quite offend feng shui quite so much now, does it, eh? No, that's true!
0:04:34 > 0:04:39Judith, this is a lovely little carriage clock!
0:04:39 > 0:04:41It really is a sweet one.
0:04:41 > 0:04:44What family history d'you have to go with this?
0:04:44 > 0:04:48Not a lot, really. My father was a watchmaker and he had a shop.
0:04:48 > 0:04:52And when he retired, this went home.
0:04:52 > 0:04:55And when my mother died, I brought this back, along with
0:04:55 > 0:04:58a lot of other things, put them in various cupboards in the house.
0:04:58 > 0:05:02That's where that has sat for nearly 30 years! Oh my goodness!
0:05:02 > 0:05:05I think it's time it had something done to it.
0:05:05 > 0:05:07Absolutely! Poor little clock!
0:05:07 > 0:05:12It really is a pretty clock. Now, just with anything else,
0:05:12 > 0:05:19with carriage clocks there are different qualities of makers, different qualities of clocks.
0:05:19 > 0:05:23Now, this one, as I'm sure you will have seen, is signed on the front there.
0:05:23 > 0:05:25Have you noticed it? Yes I have.
0:05:25 > 0:05:27Yes, Charles Frodsham. Yes.
0:05:27 > 0:05:32Now that is the Rolls Royce of carriage clock makers.
0:05:32 > 0:05:34Right. The very best.
0:05:34 > 0:05:41The original Charles was born in 1810, died somewhere in the 1870s, I'm not sure exactly the date.
0:05:41 > 0:05:43But he was the first.
0:05:43 > 0:05:46But the company is still going today.
0:05:46 > 0:05:52And when my father retired he worked for Boots the Chemist, and he retired in about 1991.
0:05:52 > 0:05:55They gave him a choice of retirement presents.
0:05:55 > 0:05:57And he chose a Charles Frodsham carriage clock.
0:05:57 > 0:06:00Not as nice as this, I have to say!
0:06:00 > 0:06:02Because his was modern.
0:06:02 > 0:06:03But this is fantastic.
0:06:03 > 0:06:06Simple, plain, lacquered brass.
0:06:06 > 0:06:11But with lacquered brass you can see the remains of the lacquer in the grooves there.
0:06:11 > 0:06:17And where the people have handled it over the years, it's tarnished and the lacquer has rubbed off.
0:06:17 > 0:06:20It's exactly what you want to see with a carriage timepiece like that.
0:06:20 > 0:06:25There's no point in stripping it down, taking all the age away and renewing it.
0:06:25 > 0:06:28I love to see them just like that.
0:06:28 > 0:06:30If we open up the back,
0:06:32 > 0:06:34the quality is fantastic.
0:06:34 > 0:06:37This isn't a carriage timepiece, it's a carriage clock.
0:06:37 > 0:06:41Because a clock chimes or strikes on gongs or bells.
0:06:41 > 0:06:46A carriage timepiece doesn't have gongs and doesn't have bells.
0:06:46 > 0:06:51And this one is signed, Frodsham again, down at the bottom, and made in Paris.
0:06:51 > 0:06:55So it's a French-made clock for Charles Frodsham.
0:06:55 > 0:06:58And this address is New Bond Street.
0:06:58 > 0:07:03He had moved addresses throughout the 19th and early 20th century throughout London.
0:07:03 > 0:07:11He was also the person responsible for keeping all of the clocks in good working order in Buckingham Palace.
0:07:11 > 0:07:15So he had some good clients! So you're in good company!
0:07:15 > 0:07:17This one -
0:07:17 > 0:07:19not a top model.
0:07:19 > 0:07:21But a good model.
0:07:21 > 0:07:26But having said that, again, the quality of the movement,
0:07:26 > 0:07:30the quality of everything inside this case is the very best.
0:07:30 > 0:07:33Why don't you want to have this on the mantelpiece?
0:07:33 > 0:07:37Although my father was a watchmaker, I'm not really a clock person.
0:07:37 > 0:07:39And I'd rather have some Moorcroft.
0:07:39 > 0:07:42Really? So if I sell the clock, I'll buy some Moorcroft.
0:07:42 > 0:07:43So, value.
0:07:43 > 0:07:47?180-250. Right.
0:07:47 > 0:07:49Is that alright? Yes.
0:07:49 > 0:07:51It's a lovely carriage clock!
0:07:58 > 0:08:00Sheila, thank you for coming in.
0:08:00 > 0:08:03I think you would have probably got to the valuation
0:08:03 > 0:08:06with this tucked under your coat or wrapped...
0:08:06 > 0:08:09I did, I had it in a bag, Paul!
0:08:09 > 0:08:13People frown upon you - this is as bad as wearing fur, isn't it?
0:08:13 > 0:08:14Exactly, yes.
0:08:14 > 0:08:17And it makes me feel really upset and sad. Absolutely.
0:08:17 > 0:08:21I didn't want to talk about it, but I feel I want to in a way,
0:08:21 > 0:08:26because we've still got to spread that message that you cannot hunt for ivory. Exactly.
0:08:26 > 0:08:30And I know it still goes on today, illegally.
0:08:32 > 0:08:34I think this is typical 1920s, 1930s.
0:08:34 > 0:08:37Just looking at the colour of the ivory,
0:08:37 > 0:08:39it's definitely the real thing.
0:08:39 > 0:08:42It is. It is an old piece. Its African, isn't it?
0:08:42 > 0:08:49Yes, it was brought to this country by an African missionary priest in the 1930s
0:08:49 > 0:08:55in order to raise funds, in fact, through raffling the piece
0:08:55 > 0:09:00for the African children that he was a missionary to.
0:09:00 > 0:09:03My aunt actually won the raffle for the piece.
0:09:03 > 0:09:07Oh gosh! It was won in a raffle!
0:09:07 > 0:09:11Mind you, she probably thought at the time, it was beautiful!
0:09:11 > 0:09:16I mean, you cannot knock the quality of the craftsmanship here.
0:09:16 > 0:09:19Absolutely, yeah. The carving of the elephants
0:09:19 > 0:09:22is stunning. The rhinoceros and the lion -
0:09:22 > 0:09:26which is unusual, because you normally see these elephant tusks
0:09:26 > 0:09:30carved with just a series of elephants that taper.
0:09:30 > 0:09:32But this has got a few other animals on there. Yes.
0:09:32 > 0:09:35And this is quite nice - a little bit of open fretwork.
0:09:36 > 0:09:38Just some training vine.
0:09:38 > 0:09:40Just to finish it off.
0:09:40 > 0:09:42You can see, it's definitely ivory.
0:09:42 > 0:09:46It is all tissue and hair fibres compounded together.
0:09:46 > 0:09:49And it's quite heavy.
0:09:49 > 0:09:52That's right, it isn't a piece that I want at all.
0:09:52 > 0:09:54It's been put away for many years.
0:09:54 > 0:10:00And I feel that if there is to be any sort of remuneration from it,
0:10:00 > 0:10:05I would like it to go back to where it came from.
0:10:05 > 0:10:09Back to the elephants? Back to look after a baby orphaned elephant.
0:10:09 > 0:10:17Exactly. So, you know, I'm very pleased to have brought it so that some use perhaps can come from it.
0:10:17 > 0:10:19Well, the carving is exceptional.
0:10:19 > 0:10:22The proportions are beautiful.
0:10:22 > 0:10:27If this was carved in anything else other than ivory - let's say this was carved in wood -
0:10:27 > 0:10:31it would be probably worth round about ?300-400.
0:10:33 > 0:10:35Sadly, it's not. It's carved in the real thing.
0:10:35 > 0:10:37Yeah, I didn't come here to sort of...
0:10:37 > 0:10:38Yeah, I didn't come here to sort of... It's going to devalue it. Yes.
0:10:38 > 0:10:44Nobody's really - there's very few people that will actually think, yes, this is wonderful.
0:10:44 > 0:10:47I'm going to put it on the mantelpiece and display it.
0:10:47 > 0:10:51Shall we put this into auction with a value of ?80-120? Yes.
0:10:51 > 0:10:53I mean, I'd like to see it to a little bit more.
0:10:53 > 0:10:56The more it can get, the more will go to an orphaned elephant,
0:10:56 > 0:10:58which would be lovely, wouldn't it? It would.
0:11:07 > 0:11:15Barbara, the Star vacuum cleaner, patent number 18899, British-made.
0:11:16 > 0:11:21Baxendale and Co Ltd in Manchester. Baxendale and Co in Manchester?
0:11:21 > 0:11:27I would think this would date to, I don't know, 1915, 1920? A little bit before that.
0:11:29 > 0:11:311911.
0:11:31 > 0:11:34Oh, you've got the...? You didn't buy it new, then?!
0:11:34 > 0:11:35No! No.
0:11:35 > 0:11:40Why have you got a nearly 100-year-old vacuum cleaner?
0:11:40 > 0:11:45Well, one of my spinster aunties died a couple of years ago
0:11:45 > 0:11:48and I was clearing out the garage
0:11:48 > 0:11:50and I came across a long, black bin liner.
0:11:50 > 0:11:53It was a little bit covered in cobwebs and things.
0:11:53 > 0:11:58I pulled it out very gingerly and opened it up, and this thing popped out.
0:11:58 > 0:12:01I thought, "What's that?" And it worked! How long have you had this?
0:12:01 > 0:12:04I've had this in my possession for just over two years.
0:12:04 > 0:12:06It's a great talking point, isn't it?
0:12:06 > 0:12:08It's caused quite a lot of laughs today.
0:12:08 > 0:12:14What I like about it is that all this sort of bellows here,
0:12:14 > 0:12:19you know, nearly 100 years old, I would have expected all of that to have perished
0:12:19 > 0:12:21and gone all grotty.
0:12:21 > 0:12:24So what you do is you hold it - I'm going to stand up -
0:12:24 > 0:12:26this is a first!
0:12:26 > 0:12:30House work on national television - it's going to ruin my reputation!
0:12:30 > 0:12:31More men should do it!
0:12:31 > 0:12:34I just happen to have about my person a biscuit.
0:12:35 > 0:12:39You need to put it flatter on the table, do it properly!
0:12:39 > 0:12:41Barbara, I'm worn out here!
0:12:41 > 0:12:44That's a hell of a thing, isn't it?
0:12:44 > 0:12:46Everything inside is working, too.
0:12:46 > 0:12:50The wooden base, wooden top with the filter, nothing is rotten.
0:12:50 > 0:12:53So there's a filter in here? At the top here. That works
0:12:53 > 0:12:55by creating a vacuum or a suction,
0:12:55 > 0:12:59which sucks all the dust and sort of biscuits up from down there?
0:12:59 > 0:13:00Come up in this wooden base,
0:13:00 > 0:13:03and then to empty it, you undo these wing nuts here.
0:13:03 > 0:13:05And take out the bag. Fascinating.
0:13:05 > 0:13:07Absolutely fascinating.
0:13:07 > 0:13:11How do we, as auctioneers, or valuers, arrive at value?
0:13:11 > 0:13:13Most people at home will think we guess!
0:13:15 > 0:13:17Well, that's what I would have to do.
0:13:17 > 0:13:20On novelty value alone, on something like this.
0:13:20 > 0:13:21That's what I might have to do.
0:13:21 > 0:13:26If you've got one there that sold for ?100,
0:13:26 > 0:13:28and one there that sold for ?150,
0:13:28 > 0:13:32there's a fair chance that the one in the middle might be worth ?120.
0:13:32 > 0:13:34Because valuation is about comparison.
0:13:34 > 0:13:39I've got to be really truthful with you here, I've never ever seen
0:13:39 > 0:13:42a Star vacuum cleaner sold at auction!
0:13:42 > 0:13:43So I'm guessing.
0:13:45 > 0:13:48I think it's real novelty value.
0:13:48 > 0:13:52We are going to Adam Partridge's saleroom in Knutsford,
0:13:52 > 0:13:55and if anybody can sell this, Partridge will!
0:13:55 > 0:14:01I think we are going to stick an estimate on it of ?20-40.
0:14:01 > 0:14:06We'll have a ?10 reserve on it, we'll keep everything crossed, and hope it goes. All right?
0:14:06 > 0:14:07That's fine by me.
0:14:09 > 0:14:13We're certainly hoping for some top results at the auction today.
0:14:13 > 0:14:15Marjorie's cold-painted bronze
0:14:15 > 0:14:17should definitely warmed the bidders' hearts.
0:14:17 > 0:14:22And the Charles Frodsham name makes this carriage clock very desirable.
0:14:22 > 0:14:25Sheila and I want to get as much as possible for the ivory carving,
0:14:25 > 0:14:28so the cash can go back to an elephant charity.
0:14:28 > 0:14:31Finally, Philip couldn't resist the Star vacuum cleaner!
0:14:31 > 0:14:33A real blast from the past.
0:14:35 > 0:14:38For our auction today we've come to Frank Marshall's in the heart
0:14:38 > 0:14:42of Knutsford, and on the rostrum is our very own Adam Partridge.
0:14:42 > 0:14:46So let's catch up with him and see what he's got to say about some of our owner's items.
0:14:46 > 0:14:51But more importantly, our experts' valuations, let's hope we're on the money, fingers crossed.
0:14:59 > 0:15:01I love cold-painted bronzes,
0:15:01 > 0:15:03we see lots of on the show and they always sell well.
0:15:03 > 0:15:04These will be no exception.
0:15:04 > 0:15:07They belong to Marjorie, they've been in her family a long time,
0:15:07 > 0:15:09handed down through the generations.
0:15:09 > 0:15:13That's what I like to hear. Yes, crisp to the market with a value
0:15:13 > 0:15:15from Philip Serrell of 250 to 350. Mm.
0:15:15 > 0:15:18Easy. Easy, isn't it. All day long.
0:15:18 > 0:15:22She's selling them, believe it or not... They're a bit delicate aren't they?
0:15:22 > 0:15:26She's selling them because the sharp edges are too dangerous for children.
0:15:26 > 0:15:28Well, I'd say put them on a higher shelf
0:15:28 > 0:15:33or in a glazed cabinet, or in a room where children aren't allowed, but you know, it's too late now.
0:15:33 > 0:15:36On a good day, Adam, ?600-800?
0:15:36 > 0:15:38Yeah, I'd think so. Yeah, yeah.
0:15:38 > 0:15:40Unusually accurate, Paul.
0:15:40 > 0:15:42Just joking!
0:15:43 > 0:15:48Franz Bergman, a popular Austrian modeller of bronzes, he can be easily noticed
0:15:48 > 0:15:53by his various marks, that bottle-shaped mark, and sometimes,
0:15:53 > 0:15:59you have Bergman backwards which is Namgreb, and you see Namgreb, that's a Bergman piece as well.
0:15:59 > 0:16:02Well I think this one's a real steal if it goes for that sort of money.
0:16:02 > 0:16:07It's going to make more than that. So Philip was a bit mean. He must have known that would fly.
0:16:07 > 0:16:10Well, yes I shan't say anything wrong about Mr Serrell at this point.
0:16:10 > 0:16:12Good pal of mine.
0:16:12 > 0:16:14But I think he's got it slightly under.
0:16:14 > 0:16:17No harm in that, the lower the estimate the better result, Paul.
0:16:17 > 0:16:21That's an auctioneer's favourite trick, isn't it? Reel the bidders in.
0:16:21 > 0:16:26People are going to be lining up thinking they're going to buy that at 250-350. And they're not.
0:16:31 > 0:16:35And now for the star of today's show, don't get excited,
0:16:35 > 0:16:38it's a bit of fun, it's the Star vacuum cleaner,
0:16:38 > 0:16:42brought in by Barbara here. And it is a bit of fun, isn't it?
0:16:42 > 0:16:46It is, yes. You found it in a black bin liner when you were cleaning out the house.
0:16:46 > 0:16:47It is a collectable item.
0:16:47 > 0:16:51I have every confidence that Master Partridge will get it away sold.
0:16:51 > 0:16:54And just prove what a real good auctioneer he is.
0:16:54 > 0:16:57I am sure he will, I'm sure he, will Philip.
0:16:57 > 0:16:59Good luck. This is a bit of fun really, isn't it?
0:16:59 > 0:17:01It is, yes.
0:17:01 > 0:17:03Star of the show, the Star vacuum cleaner.
0:17:03 > 0:17:05It's an early hand-operated vacuum cleaner.
0:17:05 > 0:17:08Who'll give me ?1,000?
0:17:08 > 0:17:11Let's hope it cleans up.
0:17:11 > 0:17:12?20 then?
0:17:12 > 0:17:15?20 for the Star vacuum cleaner.
0:17:15 > 0:17:18Who's seen it on the landing? Who's never been to an auction before?
0:17:18 > 0:17:22Who'll give me ?20 for the Star vacuum cleaner?
0:17:22 > 0:17:23Anybody?
0:17:23 > 0:17:26?10 then?
0:17:26 > 0:17:28Please!
0:17:28 > 0:17:31A Star vacuum cleaner, ?10.
0:17:31 > 0:17:34I can't believe he's doing this to me. I thought he was a friend.
0:17:34 > 0:17:36Can't say I didn't try. No sale, Philip.
0:17:39 > 0:17:41Of course! ?10.
0:17:41 > 0:17:44Call yourself an auctioneer? It's ?10.
0:17:44 > 0:17:46In the middle.
0:17:46 > 0:17:51This lady never normally breaks the double figure threshold but ?10...
0:17:51 > 0:17:54All done at ?10?
0:17:54 > 0:17:56There's a stroke of luck, wasn't it?
0:17:56 > 0:17:57I think that was a sympathy vote really.
0:17:57 > 0:18:00We now know what they're worth.
0:18:09 > 0:18:11I've just been joined by Sheila.
0:18:11 > 0:18:13This is my turn to be the expert, the valuer.
0:18:13 > 0:18:15But I'm not doing a very good job on this one.
0:18:15 > 0:18:18We did put a value of about 80-120.
0:18:18 > 0:18:19We did, yes.
0:18:19 > 0:18:21We want this to go, don't we?
0:18:21 > 0:18:25We do, yes. So we've lowered the value right down to 40. Hopefully you'll get ?60.
0:18:25 > 0:18:26Yes, hopefully.
0:18:26 > 0:18:29Fingers crossed. Yes. We both don't like it.
0:18:29 > 0:18:32It's not very PC, this carving of the elephants.
0:18:32 > 0:18:34It is beautifully done. Yes.
0:18:34 > 0:18:37But there's something good that's going to come out of something bad
0:18:37 > 0:18:39because the money's going to the elephants, isn't it?
0:18:39 > 0:18:44Yes, the Born Free Foundation, the Virginia McKenna charity.
0:18:44 > 0:18:46Fingers crossed. It's going under the hammer.
0:18:46 > 0:18:50There we are. This is the African carved ivory tusk with the lion,
0:18:50 > 0:18:53two rhinoceri and three elephants.
0:18:53 > 0:18:55There we are, there's the tusk.
0:18:55 > 0:18:58Tension's building. ?80?
0:18:59 > 0:19:04?50 then? 50 bid, ?50, take five, at ?50 who's going on?
0:19:04 > 0:19:0655, 60,
0:19:06 > 0:19:085, 75, 5, 80,
0:19:08 > 0:19:095, 90, 5,
0:19:09 > 0:19:11100, 110.
0:19:11 > 0:19:14No, 100 in the middle, ?100. Any more now?
0:19:14 > 0:19:20At ?100, ?100 all done, ?100.
0:19:20 > 0:19:24Hammer's gone down bang on my mid estimate, to start with, 80-120.
0:19:24 > 0:19:26Brilliant. That was OK, wasn't it? I'm very happy.
0:19:26 > 0:19:29I'm very happy as well. ?100 goes to the Born Free Foundation.
0:19:29 > 0:19:31It does. It's fantastic. Great.
0:19:36 > 0:19:40Next up a Vienna cold-painted bronze brought in by Marjorie here.
0:19:40 > 0:19:43These always sell well on Flog It! They do so well.
0:19:43 > 0:19:49We've got a valuation of 250-350, but I think is sneakily going to go a little bit higher.
0:19:49 > 0:19:52Now you're selling because into feng shui. Yes.
0:19:52 > 0:19:56Well, let's hope, let's hope we've got a lot of positive energy
0:19:56 > 0:20:02in the saleroom today because we could get, fingers crossed, ?800 for this.
0:20:02 > 0:20:04Oh, that would be good.
0:20:04 > 0:20:06That's good feng shui isn't it?
0:20:06 > 0:20:08That's very, very good. Philip.
0:20:08 > 0:20:10I'd like any energy at all would do me.
0:20:12 > 0:20:16The thing is, it's a lovely little object, it's a thing of the moment
0:20:16 > 0:20:18and I haven't seen that subject before.
0:20:18 > 0:20:20I've not seen that before.
0:20:20 > 0:20:25Yeah, you get the Arab scenes on some of the little carpets and they have a standard price.
0:20:25 > 0:20:27This could make ?300, it could make ?800.
0:20:27 > 0:20:30Could make a little bit more if two people really want it.
0:20:30 > 0:20:34But you know, it will be interesting to see. Yeah, it will won't it?
0:20:34 > 0:20:36Well the bidders are here.
0:20:36 > 0:20:38This is it.
0:20:38 > 0:20:41250, 250 for it, the Bergman figure,
0:20:41 > 0:20:44200 to start me, we know it's worth more.
0:20:44 > 0:20:47Two bid, take ten, at ?200 who's going on? At 200.
0:20:47 > 0:20:48All finished are you at 210? 220,
0:20:48 > 0:20:50230, 240,
0:20:50 > 0:20:52250, 260,
0:20:52 > 0:20:53270, 280,
0:20:53 > 0:20:54290, 300,
0:20:54 > 0:20:57320, 340, 360,
0:20:57 > 0:20:59380, 400, 420...
0:20:59 > 0:21:01We might need a seat, this could be a long one.
0:21:01 > 0:21:02..460, 480,
0:21:02 > 0:21:05500, 520? ?500.
0:21:05 > 0:21:07?500, any more now?
0:21:07 > 0:21:08At 500, are you all done then?
0:21:08 > 0:21:10?500.
0:21:11 > 0:21:14Yes! ?500!
0:21:14 > 0:21:16That is great, isn't it?
0:21:16 > 0:21:18What are you going to put ?500 towards?
0:21:18 > 0:21:23Well, I've just got my first grandson last week and I've another one due next week.
0:21:23 > 0:21:25Oh, well spoil them, won't you?
0:21:25 > 0:21:27Thanks, Marjorie for coming in. Thank you.
0:21:27 > 0:21:29That was a cracking result.
0:21:29 > 0:21:30Yeah, pleased with that.
0:21:30 > 0:21:33It's a good collectable thing isn't it?
0:21:39 > 0:21:42We're ticking along nicely now but I've just been joined
0:21:42 > 0:21:45by Judith and we've got that lovely French carriage clock.
0:21:45 > 0:21:48I know you're slightly nervous, but hopefully we'll get that ?300 mark.
0:21:48 > 0:21:53And all the money is going on Moorcroft and it's a lucky day because the saleroom's jam packed.
0:21:53 > 0:21:56Full of Moorcroft. James?
0:21:56 > 0:21:59The pressure's on. Do you know, I don't feel any pressure at all.
0:21:59 > 0:22:02Convinced it's going to fly, it's going to do really well.
0:22:02 > 0:22:04If it doesn't make the top end...
0:22:04 > 0:22:07OK. It's made too little. So 350, 400?
0:22:07 > 0:22:08Yeah, easily. Fingers crossed.
0:22:08 > 0:22:12Watch this, it's going under the hammer right now. Good luck, Judith.
0:22:12 > 0:22:17Commission interest starts me straight in at ?180, 90 now, 180 bid,
0:22:17 > 0:22:20190, 200, 210, 220, 230,
0:22:20 > 0:22:23240, 250, 260, 270, 280,
0:22:23 > 0:22:25290, 300 here.
0:22:25 > 0:22:29300, 310, 320, 330, sir? 340, 350...
0:22:29 > 0:22:31Adam's working at a cracking pace.
0:22:31 > 0:22:34400, 410, 420, 430,
0:22:34 > 0:22:39430 in the room, 440 now, 440 anywhere? At 440 here.
0:22:39 > 0:22:42460 now. 480?
0:22:42 > 0:22:46460, 480, 500?
0:22:46 > 0:22:52At 480 here, at 480, ?480, internet bidder this time.
0:22:52 > 0:22:54500. 520?
0:22:54 > 0:22:58500 in the room, ?500, 520,
0:22:58 > 0:23:01540, 560? 540 then, 540...
0:23:01 > 0:23:04They're getting stuck in like Jack Russells!
0:23:04 > 0:23:05He's keeping them going well.
0:23:05 > 0:23:08580 in the room.
0:23:08 > 0:23:13All finished at 580? 600, 620, 600 still on the internet here.
0:23:13 > 0:23:15?600, we sell now at 600...
0:23:15 > 0:23:18The hammer's going down at ?600... HAMMER STRIKES
0:23:18 > 0:23:22Sold for ?600! How exciting was that?
0:23:22 > 0:23:25Judith, I'm shaking, I'm shaking.
0:23:25 > 0:23:27So am I.
0:23:27 > 0:23:30The money is going on Moorcroft, is it? Oh, yes.
0:23:30 > 0:23:32It's a lot of money, could be a holiday.
0:23:32 > 0:23:34I might treat the family to lunch.
0:23:35 > 0:23:37Crisps! Crisps!
0:23:48 > 0:23:50Before the Industrial Revolution,
0:23:50 > 0:23:53Lancashire was a quiet backwater made up
0:23:53 > 0:23:57of farming communities who eked out an existence weaving sheep's wool.
0:23:57 > 0:24:01In fact, the only thing you would hear around here would be the odd sheep.
0:24:07 > 0:24:12Hand looms have been used for hundreds of years by weavers in their own cottages.
0:24:12 > 0:24:15It was when inventors and engineers began to devise power looms
0:24:15 > 0:24:20that the possibilities of producing more cloth of a better quality were realised.
0:24:22 > 0:24:24By the mid-18th century,
0:24:24 > 0:24:29cotton began to overtake wool as Britain's main textile product.
0:24:29 > 0:24:33And of course, Lancashire found itself at the forefront of a massive new industry.
0:24:33 > 0:24:35All the ingredients were right here.
0:24:35 > 0:24:38The damp weather conditions, they prevented the cotton threads
0:24:38 > 0:24:41from snapping when they were on the looms.
0:24:41 > 0:24:44Plenty of water to power these new factories, and, of course,
0:24:44 > 0:24:48a great deal of coal to fire up the furnaces when steam took over.
0:24:49 > 0:24:51By the mid-19th century,
0:24:51 > 0:24:55there were 250,000 cotton power looms in Britain,
0:24:55 > 0:24:57most of which were right here in Lancashire,
0:24:57 > 0:24:59making it the centre of the cotton industry
0:24:59 > 0:25:03not just in this country, but in the world.
0:25:03 > 0:25:05The factory era had arrived and, all of a sudden,
0:25:05 > 0:25:09the Lancashire skylines were dominated by massive chimneys,
0:25:09 > 0:25:12just like this one, belching out black smoke everywhere.
0:25:12 > 0:25:15And now man and machine had to work together
0:25:15 > 0:25:18and life, all of a sudden, got a lot noisier.
0:25:33 > 0:25:37This is the Queen Street Mill Textile Museum in Burnley,
0:25:37 > 0:25:39which was opened in 1895.
0:25:39 > 0:25:42It's the only steam-powered cotton mill
0:25:42 > 0:25:44still working today in the whole world.
0:25:44 > 0:25:46At the height of production, in its heyday,
0:25:46 > 0:25:49boilermen would have shovelled six tons of coal every day
0:25:49 > 0:25:52into the furnaces to drive the machines.
0:25:54 > 0:25:58It's machines like this that made the Industrial Revolution possible.
0:25:58 > 0:25:59This is what it's all about.
0:25:59 > 0:26:03This steam engine still drives 308 looms today
0:26:03 > 0:26:05at the Queen Street Mill.
0:26:05 > 0:26:10In its heyday, it generated enough steam to power 1,100 looms.
0:26:10 > 0:26:15In fact, it generated enough power to run the whole factory.
0:26:15 > 0:26:18The engine was built by William Roberts in 1894
0:26:18 > 0:26:22and it's a 500 horsepowered tandem compound engine.
0:26:22 > 0:26:27And if you think this is noisy, well, it's time to cover your ears.
0:26:27 > 0:26:29Welcome to the weaving shed.
0:26:29 > 0:26:36The Industrial Revolution working at full pelt with 300 looms in here
0:26:36 > 0:26:39and the noise is absolutely deafening.
0:26:39 > 0:26:44The weavers would communicate by use of sign language and lip reading.
0:26:44 > 0:26:46But before they could start weaving,
0:26:46 > 0:26:49the thread had to be prepared for the looms.
0:26:51 > 0:26:54Yarn came into the mill on bobbins, or cops,
0:26:54 > 0:26:58and had to be prepared for warp or weft threads.
0:26:58 > 0:27:01The warp threads are stronger and run up and down the cloth.
0:27:07 > 0:27:10The weft thread was wound onto a cardboard tube or pirn,
0:27:10 > 0:27:13which fitted directly into a shuttle.
0:27:18 > 0:27:22The shuttle shot between the warp threads from left to right.
0:27:27 > 0:27:29It was a high pressure and hazardous job,
0:27:29 > 0:27:32as each weaver had to look after eight looms at once.
0:27:32 > 0:27:33Any lapse in concentration
0:27:33 > 0:27:37and fingers or hair could get caught up in the machinery.
0:27:37 > 0:27:39They renewed the weft thread every two minutes
0:27:39 > 0:27:42and checked the cloth for stray threads and knots.
0:27:48 > 0:27:53In a shed this size, there would have been around 70 or 80 weavers
0:27:53 > 0:27:55working flat out all the time,
0:27:55 > 0:27:59and only three loom mechanics, or tacklers as they were known.
0:27:59 > 0:28:02Now, of course, the weavers worked on piece rates
0:28:02 > 0:28:05so there was great tension between the weavers and the tacklers,
0:28:05 > 0:28:10to make sure the machines were working at 100% efficiency all the time
0:28:10 > 0:28:12to produce the perfect cloth.
0:28:13 > 0:28:18And this is where the cloth would have been inspected for faults by the cloth looker.
0:28:18 > 0:28:24If there were any faults, the weaver would have been paid a lot less for this particular piece.
0:28:24 > 0:28:25It was a tough life.
0:28:25 > 0:28:29But this is a great insight into the working life of a cotton mill
0:28:29 > 0:28:31and it's definitely well worth a visit.
0:28:37 > 0:28:40Back at Town Hall and the people of Bolton
0:28:40 > 0:28:44are still bringing their valuables for James and Philip to inspect and value.
0:28:44 > 0:28:48Brenda, Barbara, thanks so much for bringing this along.
0:28:48 > 0:28:51Now is this something you play with regularly or...?
0:28:51 > 0:28:53Well, we did, yes.
0:28:55 > 0:28:58It belonged to a great aunt,
0:28:58 > 0:29:03then it was handed down to my aunt, then to my dad and then to us.
0:29:03 > 0:29:05Aw! Are you sisters? Yeah.
0:29:05 > 0:29:09Oh, fabulous. So tell me, is this something that you remember
0:29:09 > 0:29:12sitting as a little girl and playing with?
0:29:12 > 0:29:15When we went to auntie's, yes, we did, yes.
0:29:15 > 0:29:18So, it's a good quality thing.
0:29:18 > 0:29:21It's Victorian, it's about 1870 and as you know, of course,
0:29:21 > 0:29:25it's a musical box and it's known as a cylinder musical box.
0:29:25 > 0:29:28It has this brass cylinder down the centre
0:29:28 > 0:29:33and it has a steel cone and the cylinder shifts to the side,
0:29:33 > 0:29:37and you can play eight or ten different airs on it, or different tunes.
0:29:37 > 0:29:41Now to get the musical box working, what we have to do is...
0:29:41 > 0:29:44Have a look at the side here, there's this big brass crank.
0:29:44 > 0:29:46It'll pull out a little bit.
0:29:46 > 0:29:50Move the "on" switch here and here.
0:29:50 > 0:29:53And... MUSIC STARTS
0:30:03 > 0:30:04It has a fantastic tone, doesn't it?
0:30:04 > 0:30:07That's one of the most important things
0:30:07 > 0:30:09when you're looking at a musical box.
0:30:09 > 0:30:13When you're valuing these, the first thing to do is start on the outside.
0:30:13 > 0:30:15Look at the quality of the case.
0:30:15 > 0:30:20Here we have rosewood, not from rose bushes.
0:30:20 > 0:30:24It was called rosewood because when the tree was cut down, it smelled of roses.
0:30:24 > 0:30:26It's a South American tree.
0:30:26 > 0:30:29Round the border here, it's been ebonised or painted black
0:30:29 > 0:30:31to make it look like ebony.
0:30:31 > 0:30:34Here, this little stringing is boxwood.
0:30:34 > 0:30:36Got a problem though. What's happened here?
0:30:36 > 0:30:40I don't know. I bet somebody's been standing a plant on there.
0:30:40 > 0:30:42I don't know, probably. It looks like water damage.
0:30:42 > 0:30:44Are you guilty? No. No.
0:30:44 > 0:30:48It's been parcelled away up in the attic. I believe you!
0:30:49 > 0:30:52We've looked at the outside. We've got good quality veneers,
0:30:52 > 0:30:57a bit of damage. Inside, a good, long brass cylinder.
0:30:57 > 0:31:00The longer the cylinder, the more valuable the box.
0:31:00 > 0:31:02Then you've got to look at the maker.
0:31:02 > 0:31:05This Swiss maker was the most important.
0:31:05 > 0:31:10Swiss mainly, almost all of them were made in Switzerland.
0:31:10 > 0:31:15It's just a single comb musical box of about 1870.
0:31:15 > 0:31:21Why don't we put a reserve of ?120 on it and see how we go? Right, OK. Lovely.
0:31:30 > 0:31:33Lesley, how are you doing? Fine, thank you.
0:31:33 > 0:31:35Husband Geoff? Yep. Good-oh.
0:31:35 > 0:31:38There's a story behind this, isn't there? Definitely.
0:31:38 > 0:31:41Come on, let's have the story.
0:31:41 > 0:31:44We were driving through a little town one day. Where?
0:31:44 > 0:31:47Ramsbottom. Ramsbottom.
0:31:47 > 0:31:52And I shouted, "Stop, stop! There's a piece of that glass in the window." What glass?
0:31:52 > 0:31:54Where did you learn about it?
0:31:54 > 0:31:56I didn't know what it was called at the time,
0:31:56 > 0:31:58but I'd seen it on the programme. On Flog It?
0:31:58 > 0:32:01Yes, and it was the Drunken Bricklayer.
0:32:01 > 0:32:03I thought it looked very much like it.
0:32:03 > 0:32:07So you thought this looked like Drunken Bricklayer vase?
0:32:07 > 0:32:10The same make, yes. What's the name of the maker?
0:32:10 > 0:32:14It's Whitefriars. And you found all of that out through the programme?
0:32:14 > 0:32:15Yes.
0:32:15 > 0:32:18How much did you pay for this? ?5.
0:32:18 > 0:32:23?5. So if you think about this laterally and logically,
0:32:23 > 0:32:25any profit you make belongs to the programme.
0:32:27 > 0:32:29No, we need the money! We need the money, yes.
0:32:29 > 0:32:31Not half as much as we do!
0:32:31 > 0:32:33I don't believe you need the money.
0:32:33 > 0:32:35So, do you collect glassware?
0:32:35 > 0:32:40Yes, we do and we try and pick it up through car boot sales, etc.
0:32:40 > 0:32:42Do you use any knowledge?
0:32:42 > 0:32:45What we've picked up since watching the programme, yes.
0:32:45 > 0:32:47There's two things that interest me.
0:32:47 > 0:32:51First of all is that the programme gave you that bit of knowledge
0:32:51 > 0:32:53to go and pay a fiver for that.
0:32:53 > 0:32:55Secondly, did the programme enthuse you
0:32:55 > 0:32:57to go and collect in the first place?
0:32:57 > 0:32:59Or was that already there?
0:32:59 > 0:33:01No, we've never collected anything, really.
0:33:01 > 0:33:04We've just started collecting this glass.
0:33:04 > 0:33:09This is a Whitefriars vase which is what? 1967, 1969?
0:33:09 > 0:33:12Designed by Geoffrey Baxter? Yep.
0:33:12 > 0:33:13Is it a figure or eight?
0:33:13 > 0:33:16Cello... Or a cello vase.
0:33:16 > 0:33:20Are you gonna tell me what it's worth now?
0:33:20 > 0:33:23You're making me feel quite superfluous. Go on, what's it worth?
0:33:23 > 0:33:27It depends where you're selling it. I would say about ?150.
0:33:27 > 0:33:30Did you say 100 to ?150?
0:33:30 > 0:33:35If that's what you say. We'll stick at that. 100 to ?150...
0:33:35 > 0:33:41Reserve ?100. So that's ?5 of your money back and ?95 to us lot, then?
0:33:41 > 0:33:44We'll share it. I'll settle.
0:33:44 > 0:33:46On that note we'll go and get it sold, I think.
0:33:54 > 0:33:59Now Kath, you've brought along an old "Flog It!" favourite, a lump of Moorcroft.
0:33:59 > 0:34:03Tell me about it. Have you had in the family since it was new?
0:34:03 > 0:34:06Is it something you found in a car boot sale?
0:34:06 > 0:34:08Kept in the back of a cupboard, or what?
0:34:08 > 0:34:11Me mum give it me about six years ago.
0:34:11 > 0:34:16She had it stuck in a cupboard and it never saw light of day.
0:34:16 > 0:34:20She gave it me. That was six years ago, did she know what it was?
0:34:20 > 0:34:22No, I didn't either six years ago. Really?
0:34:22 > 0:34:27On "Flog It!" we have so many bits of Moorcroft, it's just incredible.
0:34:27 > 0:34:31This one is a really quite different one.
0:34:31 > 0:34:32This is a good design.
0:34:32 > 0:34:34It's one of the early pieces.
0:34:34 > 0:34:37It's by William Moorcroft, dated about 1925.
0:34:37 > 0:34:41It's known as Moonlight Blue or Moonlit Blue.
0:34:41 > 0:34:48This wonderful, delicate combination of colours is very typical of his early works.
0:34:48 > 0:34:53When he was working at McIntyre he would do this quite pronounced tube lining
0:34:53 > 0:34:58with a contrasting bright blue with white, bright green with pink.
0:34:58 > 0:35:02Whereas here, we've gone into the 1920s.
0:35:02 > 0:35:06The tube lining has become slightly less pronounced.
0:35:06 > 0:35:09The colours merge a little more.
0:35:09 > 0:35:11It's a bit more delicate.
0:35:11 > 0:35:16If we turn this bowl over, it's signed in the full. W Moorcroft, in green.
0:35:16 > 0:35:19Yeah. That's for William Moorcroft, the first William Moorcroft.
0:35:19 > 0:35:23William Moorcroft started the factory and then Walter Moorcroft took over
0:35:23 > 0:35:28in 1945 and William Moorcroft took it over again later.
0:35:28 > 0:35:33This piece, however, would probably have been retailed by Liberty.
0:35:33 > 0:35:38Liberty were the main retailers of Moorcroft in this period.
0:35:38 > 0:35:42Eventually Moorcroft took over Liberty. Right. After the Second World War.
0:35:42 > 0:35:47This is a fantastic example of art pottery at its best.
0:35:47 > 0:35:53Bowls aren't as fashionable as vases because they're more difficult to display.
0:35:53 > 0:35:55What do you think it's worth?
0:35:55 > 0:35:58I haven't a clue. It's been in the cupboard all those years...
0:35:58 > 0:36:00Stuck on the shelf in my house, yeah.
0:36:00 > 0:36:07You'll be pleased to hear that it's worth 250 to 350, possibly even five.
0:36:07 > 0:36:11On a good day? On a good day with a following wind and all the rest of it.
0:36:11 > 0:36:13A conservative estimate is so important.
0:36:13 > 0:36:17Let's put 300 to 400.
0:36:17 > 0:36:19OK. That's fantastic. 300 to 400.
0:36:19 > 0:36:22Let's put a reserve of ?300 on it.
0:36:22 > 0:36:24So much? Yeah. Oh, my God.
0:36:24 > 0:36:27It is doesn't sell for 300 have it back.
0:36:27 > 0:36:32I want to get rid of it! OK, well, 280?
0:36:32 > 0:36:35If it doesn't sell for 280 put it in a different sale.
0:36:35 > 0:36:38You've got to protect it with a reserve. OK.
0:36:38 > 0:36:41Let's hope it finds a good home and somebody is gonna really love this.
0:36:41 > 0:36:45It's gonna be in pride of place in a Moorcroft collector's cabinet.
0:36:49 > 0:36:51As we head to the saleroom, James is confident
0:36:51 > 0:36:55that the Victorian music box will be a big hit.
0:36:55 > 0:37:01And Geoff and Lesley are hoping to get a good return on their ?5 investment in the Whitefriars vase.
0:37:01 > 0:37:05This is one of the most collectible Moorcroft designs, but how much
0:37:05 > 0:37:10are the bidders prepared to pay for the little blue bowl.
0:37:10 > 0:37:15A bid of ?150. 140, 150, 160, 170 now.
0:37:15 > 0:37:17Finished at ?170.
0:37:17 > 0:37:23Well, we've got Barbara here but unfortunately Brenda cannot be with us today. She can't make the sale.
0:37:23 > 0:37:26Two sisters and a wonderful Victorian music box.
0:37:26 > 0:37:28There's lots of memories here.
0:37:28 > 0:37:33You and your sister used to play with this musical box when you were kids. That's right.
0:37:33 > 0:37:35Sad moment? Yes.
0:37:35 > 0:37:36We're selling.
0:37:36 > 0:37:38Was it granddad's pride and joy?
0:37:38 > 0:37:41Yes. Aw... I can see him with it now.
0:37:41 > 0:37:44I love those kind of memories.
0:37:44 > 0:37:47They're worth hanging onto, aren't they?
0:37:47 > 0:37:51I gather you're splitting the music box with your two sisters, you've got kids...
0:37:51 > 0:37:54You can't divide that up, can you? No.
0:37:54 > 0:37:59Fingers crossed, let's hope we get the top end of James' valuation, shall we?
0:37:59 > 0:38:01Hope so.
0:38:01 > 0:38:04Are you singing the right tune, James? I think so.
0:38:04 > 0:38:06It's gonna sell, isn't it? 300?
0:38:06 > 0:38:08The top is very badly damaged.
0:38:08 > 0:38:11250?
0:38:11 > 0:38:13Yeah, two-ish, I should think.
0:38:13 > 0:38:16It's a lovely little thing. It means a lot to you and your sister.
0:38:16 > 0:38:18It's gonna go under the hammer right now.
0:38:18 > 0:38:19A musical box there.
0:38:19 > 0:38:21What about ?100 for that?
0:38:21 > 0:38:24I'm bid 80 here. ?80, 5 now.
0:38:24 > 0:38:29At ?80... 5... 90, 5, 110.
0:38:29 > 0:38:31110 in the room, any more now?
0:38:31 > 0:38:33All done, 110. We sell at 110.
0:38:33 > 0:38:37Any more now at 110? All finished?
0:38:39 > 0:38:42The hammer's gone down at 110.
0:38:42 > 0:38:44Is it sold for 110? It's sold for 110, I think.
0:38:44 > 0:38:46Sold at 110.
0:38:58 > 0:39:04Right now congratulations is in order because I've just been joined by Geoff and Lesley here.
0:39:04 > 0:39:08From the valuation day to today, the auction day, you've got married, haven't you?
0:39:08 > 0:39:11And you've been on honeymoon, tell us where you've been?
0:39:11 > 0:39:15Bangkok, Hong Kong, Singapore and Bali.
0:39:15 > 0:39:18No wonder you look so brown, happy and healthy.
0:39:18 > 0:39:23Now it's back to reality, isn't it? Most definitely! Back to work.
0:39:23 > 0:39:27Let's hope we can make your arrival home a happy one as well.
0:39:27 > 0:39:31We've got some Whitefriars glass by Geoffrey Baxter about to go under the hammer.
0:39:31 > 0:39:34We're looking for around about 100 to ?150 for this.
0:39:34 > 0:39:37It's the right colour - the tangerine look.
0:39:37 > 0:39:38Good luck with that.
0:39:38 > 0:39:41Philip, top end on this one, I hope.
0:39:41 > 0:39:44It'll do it. It'll sell. It'll sell well.
0:39:44 > 0:39:46The Whitefriars cello vase.
0:39:46 > 0:39:49Tangerine glass, cello vase.
0:39:49 > 0:39:54I have two identical bids of ?115. 115.
0:39:54 > 0:39:58120 here. 120, 130 now?
0:39:58 > 0:40:00120's in the room. 130, 140, 150?
0:40:00 > 0:40:04Someone's keen, look they're just holding their hand up straightaway
0:40:04 > 0:40:06with the catalogue, determined.
0:40:06 > 0:40:10At 150, all done. 160, 170, 180, 190.
0:40:10 > 0:40:14200, 210, 220? 210, lady's bid. 210.
0:40:14 > 0:40:18All done now? At ?210...
0:40:18 > 0:40:21Yes, cracking result.
0:40:21 > 0:40:23That's a sold sound. ?210.
0:40:23 > 0:40:25Not bad is it? Not bad at all.
0:40:25 > 0:40:27What is that going to buy you?
0:40:27 > 0:40:29Just pay off the wedding? Yes.
0:40:39 > 0:40:42It's been on the shelf, gathering dust, but no more. It is up for grabs.
0:40:42 > 0:40:45It is up for sale and I am sure Kathleen, it is going to fly away.
0:40:45 > 0:40:50It is, of course, that lovely blue Moorcroft bowl. Hope so.
0:40:50 > 0:40:53It is the star of the Moorcroft here. There is a lot of Moorcroft.
0:40:53 > 0:41:00There is about 100 lots, and yours is definitely going to draw in all the collectors. Fantastic.
0:41:00 > 0:41:03I had a chat to to the auctioneer, Adam, earlier.
0:41:03 > 0:41:06You don't know this either do you? So come in on this.
0:41:06 > 0:41:09We both said yes, it could do 600 to ?800 with luck.
0:41:09 > 0:41:12If he puts a sum of 600 to ?1,000 as an estimate it won't sell.
0:41:12 > 0:41:16No. Put 300 to 500 and it'll make six to eight. Now you know
0:41:16 > 0:41:19it's worth an awful lot of money - cos it is, isn't it...?
0:41:21 > 0:41:24Do you want to hang on to it? No.
0:41:24 > 0:41:25No? No. It is precious.
0:41:25 > 0:41:29I'd probably drop it. You'll probably drop it? OK, fair enough.
0:41:29 > 0:41:33It's coming under the hammer right now. Watch this. Don't go away.
0:41:33 > 0:41:35This is going to be exciting. This is it.
0:41:35 > 0:41:39328 is the moonlit blue landscape bowl. What a beautiful bowl.
0:41:39 > 0:41:41It is my favourite piece of the Moorcroft.
0:41:41 > 0:41:45I've got five bids here, starting me at... Who left 40(?)
0:41:45 > 0:41:47Goodness me!
0:41:47 > 0:41:49Here we go. I'll send them hate mail!
0:41:49 > 0:41:51460 is where I start.
0:41:51 > 0:41:54480 now. At 480. 500.
0:41:54 > 0:41:57520, 540, 560 in the room. 560.
0:41:57 > 0:42:03Any more? 580, 600, 620, 640, 660.
0:42:03 > 0:42:07640 here. Any more? At 660.
0:42:07 > 0:42:12680, 700, 720, 740, 760, 780.
0:42:12 > 0:42:15800... Oh, my God!
0:42:15 > 0:42:18At ?780. Are you all finished?
0:42:18 > 0:42:21At 780. 800.
0:42:21 > 0:42:23Yes. You've got the 800.
0:42:23 > 0:42:28800 here. 820, 840. 820.
0:42:28 > 0:42:30We sell at 820 now.
0:42:30 > 0:42:34820. The hammer went down very sharply there. Brilliant.
0:42:34 > 0:42:37?820.
0:42:37 > 0:42:41Fantastic. What is the first thing that comes to your mind?
0:42:41 > 0:42:44What are you going to spend that money on?
0:42:44 > 0:42:46I've got to treat me mum.
0:42:46 > 0:42:48You've got to treat your mum. Yeah.
0:42:48 > 0:42:52She's going to knocked off her feet, isn't she at that sort of money? Yes.
0:42:52 > 0:42:55She'll want it back! Exactly.
0:43:04 > 0:43:07Phew! What a scorcher it's been.
0:43:07 > 0:43:11"Flog It!" certainly turned on the heat on the saleroom floor this time.
0:43:11 > 0:43:12All credit to our experts.
0:43:12 > 0:43:16Everybody has gone home happy, but once again it's the Moorcroft
0:43:16 > 0:43:19stealing the show and proving to be that 20th-century classic.
0:43:19 > 0:43:23Sadly that's all we have time for from Marshall's in Knutsford.
0:43:23 > 0:43:25So until the next time, cheerio.
0:43:26 > 0:43:28For more information about "Flog It!",
0:43:28 > 0:43:31including how the programme was made,
0:43:31 > 0:43:34visit the website at bbc.co.uk/lifestyle
0:43:40 > 0:43:43Subtitles by Red Bee Media Ltd - 2006
0:43:43 > 0:43:47E-mail subtitling@bbc.co.uk