Stirling Flog It!

Let me tell you about Mrs Moss.

She loved this town so much, she named her son after it.

Now, how fast can you work that out?

It is all about a question of speed. Have you got there yet?

Well, we're talking about Stirling Moss. Yes, "Flog It!" has come

to the beautiful and historic Scottish town of Stirling.

Stirling Moss's home town is dominated by the magnificent castle -

which is one of Scotland's finest - and the Wallace Monument,

a place of pilgrimage for the admirers of another famous Scottish hero, William "Braveheart" Wallace.

On the starting grid at the Albert Halls are our "Flog It!" devotees.

Let's hope the advice they get from our experts

Anita Manning and Mark Stacey, will help them all the way to the final lap, the auction room.

Well, the doors are open, so let's get them off!

Everybody's inside now, and Mark has already sniffed something out.

-Hello, Winnie.

-Hello, Mark.

-Lovely to see you.

And to see you.

And thank you so much for bringing in this wonderful piece of stoneware.

Tell me about the history of it.

It's a snuff jar from my mother's family's business,

which was in Montrose in Angus,

and sold, a few years ago now,

but started about 1866, the business.

I think that the jars were older than that.

I don't think they were new when the firm began.

They were manufacturing tobacconists, so they made snuff and mixed tobacco.

In the old days, when you went in, and had your own blend made for you.

Yes, Scots Number whatever. And they sent the tobacco

all over the country.

It's fantastic, because this really is a link back to the past.

It shows you that in shops in years gone by,

you would have had all sorts of containers like this,

whether you were a tobacconist, a tea merchant, coffee merchant, whatever.

They would have these jars, where you kept different ingredients and mixed your own products.

This is a wonderful stoneware example.

It was probably made in England, actually.

-I'm sure, yes.

-Somewhere in the Staffordshire region, because it's got this almost salt-glaze effect.

Then we've got, for some strange reason,

we've got these applied trailing vines, which are wonderful.

But what I really like about it is this wonderful photo

of an old lady pinching snuff.

If that's an advertising for snuff, I'm not taking it!

I don't want to end up looking like that, Winnie!

It's absolutely wonderful. We've got "Mortons" on there, which I presume is a brand name at the time.

But goodness me, how would you value something like this?

I would like to put it in at maybe £150 to £250,

with 150 firm reserve. But I hope,

fingers crossed - maybe take a bit of snuff before the auction -

that if two people really want it,

we could see £300 or more. Thank you very much, Winnie.

-Thank you. Thank you.

-See you at the auction.

Geoff, I love old desk sets.

I prefer Victorian writing equipment

to modern computers and all that sort of stuff.

Where did you get this?

I found it in a loft when I bought an old drover's inn in Wales.

That was up hidden in a corner.

It's a very useful object if you lived in Victorian times.

I'm sure you'll have had this said to you many times,

but this is probably one of the first photocopiers.

Yes.

We have a desk stand, but if we look inside...

..we see our instructions for copying.

Our book is placed in here,

copying ink, our blank paper.

We close the drawer...

..and we operate this screw, which will press the book down

and copy whatever it is you want to copy.

The interesting thing about it is that we have a maker's name,

and if we look inside again,

we can see that it was made by S Mordan & Company.

Mordan & Company were an interesting company.

They were famous for their propelling pencils.

They were the first people to make propelling pencils, and these are highly collectable.

So it may appeal to people who are, um,

into that type of item.

Now, there's a wee joke in here, Geoff...

..because in the drawer is a propelling pencil.

I thought it was an old screw when I looked at it at the beginning,

but in actual fact it's a novelty propelling pencil,

not made by Mordan but by Nettlefords.

So two things for the price of one here.

It's a later item, but a wee bit interesting.

Now, this dates from the Victorian period, I would say the late 1800s.

Your bottles are still in reasonable condition, so it's not bad.

We have a little handle missing here, but we won't worry too much about that.

I would put it in the region of, say,

-30 to 40. Would you be happy to sell it at that?

-Definitely.

-OK. Thank you for bringing it along.

-Thank you.

My word, Estelle, what a lot of famous faces!

It's a fantastic collection.

-Now, it's not your collection, is it?

-No, it's my late mother's.

It was her hobby to send to various celebrities and ask for an autographed photograph,

and sometimes they sent her a letter.

They were kind enough to write back with a signed photo and an accompanying letter.

A lot of them are big, big entertainers.

-I can recognise Bob Hope, all sorts of people.

-Bing Crosby.

Can you remember, as a little girl, the excitement on your mum's face

-when one of these letters came?

-She loved to wait for the postman

-to see who was going to send her some autographed photographs again.

-Where have these been?

-In an envelope, in a folder somewhere, in a drawer?

-Yes.

I got them from my mother's attic.

When she died 15 years ago, I inherited them all and put them into my attic.

I thought, "If somebody else can get some fun with them, that's good."

There's one chap who you may recognise - Dixon of Dock Green.

Look at that. And what's his name?

-Jack Warner.

-Jack Warner. And, of course, there's Hughie Green there.

-That's nice, that one next to you.

-Eartha Kitt.

-Eartha Kitt.

Look at the leopardskin, look at the frock, the coat. And a real leopard!

That's like a Vogue shot. That's quite stylised.

-Is it very like that. I used to find her quite scary when I was small!

-Did you?

-I did!

There's a very young David Attenborough here.

Eamonn Andrews - This is your Life.

Yes.

-Have you any idea of the value of all of the photographs?

-Not really.

To my mother, it was just a hobby.

I would imagine individually some of them, like Tommy Steele, might be worth £10,

Bob Hope £20, Eartha Kitt maybe £15.

How about we put them into auction, if this is OK with you, with a fixed reserve of £100?

That's fine. Yes.

-Hopefully, it's gonna find its level around the £100 to £200 - hopefully, the top end.

-Right.

-If someone else can get some fun out of them...

-Yes.

-I do think a dealer will buy these and he will split them up and sell them individually.

-OK, yes.

Thank you. That's taken me down memory lane, and I'm sure many of the viewers, as well.

It's just endless - you could just go on and on and on and on.

-That's true.

-There's Ena Sharples there without the curlers!

That's a good day! She looks quite good there, actually.

-Hello, Joan. Hello, Alan.

-Hello.

-Very nice to see you here in Stirling.

Now, I love looking at little boxes like that, because you never know what you're gonna find inside them.

Shall we open up straightaway and you can give us the background or the history of it?

This watch belonged to my father's Auntie Ina's father.

The watch was passed on to my mother, who wore the chain as a bracelet,

and the watch would have gone to my son, but he died three years ago,

and he was a waistcoat and bow tie man, so that would have gone to him.

So now we want to put a bench up in Arisaig on the west coast, which is a place that he loved.

He used to cycle all the islands and was very, very fond of the place.

-So you want to try and raise some money for a memorial bench.

-Yes.

-If we touch on the item itself,

it's interesting that you mention that your mother wore the chain separately,

because a lot of people do that.

Watches have become a little redundant, because we don't wear waistcoats,

we wear wristwatches rather than pocket watches.

So a lot of times, these Albert chains have been made into necklaces or bracelets.

And somebody in your family at some point was a member of the Masons,

because we have a nice seal here with the Masonic emblem on it.

The watch itself is a typical half-hunter.

That means that we can tell the time without opening the watch up.

What I always like to see on these is that the retailer's mark on the front of the clock

is the same as on the box, so we know that the whole thing has been together.

Having said all that, have you ever thought of the value yourself?

-Not really, no.

-No.

It just lies in a drawer collecting stoor with many other things.

-Collecting what?

-Stoor.

-What's stoor?

-Dust.

-Dust, ah! Stoor.

I must remember that. I'll confuse my friends when I go home.

The difficulty with these is, like a lot of traditional antiques,

collectors are not necessarily coming out in droves to buy them.

If we were putting that in for auction, I would probably suggest around £200 to £300,

-and we put the reserve at 200.

-Excellent!

In that case, I look forward to seeing you at the auction,

-and then we'll see whether we can tick up a healthy profit.

-I hope so!

Let's get straight across to the auction room.

While we make our way over, here's a quick rundown to jog your memory

of all the items we're gonna be flogging.

There's nothing to sneeze at with our first item,

the stoneware snuff jar from Winnie's family business,

nor with the early copier and pencil found in the attic.

Their novelty value should propel them through the sale.

Let's hope the bidders will go starry-eyed

over Estelle's mother's collection of autographed photographs.

And finally, we need the best price for the gold watch

so Joan and Alan can put the money towards a memorial for their son.

For today's auction we have travelled further south

to the outskirts of Edinburgh at Thomson Roddick Scottish Auctions.

In fact, today we have two auctioneers on the rostrum - Sybelle Thomson and William Smith.

Let's hope they both do a grand job.

The weather in Edinburgh is pretty awful,

but it's nothing like as bad as it is further north in Stirling.

The roads sound treacherous, but we have heard that people are making every effort to get here,

so we are still hoping for a good turnout.

I've been looking forward to this one, the stoneware snuff jar.

It belongs to lovely Winnie here. Hello!

-Hi.

-Let's hope that this whopping great big snuff jar does the business for you.

We've had a valuation of £150.

To £200, yes.

I had a chat with the auctioneer a bit earlier,

and she seems to think that because it's quite plain,

-the lid's not right and it's got a bit of damage...

-Oh!

I know, I'm sorry I'm running it down! But she said if she had to value it,

she'd value it at around £60 to £80.

Oh, dear.

We won't sell it, then.

Let's just hope that Sybelle's top end is your lower end,

and somewhere along the line, it'll even out.

Yes. Or maybe she should take some snuff, and then she might raise the price!

Well, good luck. It's going under the hammer right now. This is it.

Lot 401, Victorian relief figure,

the grape-and-vine decorated Mordan stoneware tobacco jar.

A nice early tobacco jar. £100 to start it?

£100 for the tobacco jar?

£50 for the tobacco jar? 50 I'm bid.

Any advance on 60? 70 with me.

80. 90.

-He's got a bid on the book.

-100.

-Yeah.

-110.

-Well, it's creeping up.

-Somebody on the phone. That's good.

-120. 130.

Come on, one more.

Any advance on £130? All done at £130 for the tobacco jar?

£130 for it?

Finished? All done at £130?

I'm sorry, that's not a sale.

-So close! So close, Winnie!

-That's a pity.

We were nearly there.

That's fine.

-Are you taking that home?

-I'll take it home.

-I like it.

-Yeah, you do, don't you? It's not worth parting with for anything less.

-No, no. No, no.

This is great - we've got a Victorian curio. It's a photocopier and a free propelling pencil!

It belongs to Geoff. We've got no reserve on this, so there's no pressure,

but I'd like to see this fly away, because it's so quirky!

-It is.

-I've never seen one before.

It's a typical Victorian desk set, but with the added interest

of having this printing press inside it.

So it's really a wee bit of industrial history.

It's a good bit of industrial design. You need a big Victorian desk to put this on.

Well, it's going under the hammer right now. Good luck.

444, the Victorian registered ink stand and copying press

with a promotional propelling pencil in the form of the screw.

And who'd like to start me at £50 for this? 50. 30. 30 bid.

30 bid. Who's going on at 30 bid?

-35. 40. 45. 50.

-Keep going!

60. 65. 70. 75. 80.

85. 90. £90. Standing at £90.

Any advance on £90?

That's more like it!

The low estimate didn't do it any harm!

"Come and buy me" - that's a typical auctioneer's phrase!

-What do you think of that?

-That's lovely.

What are you gonna put £90 towards, less a little bit of commission?

-I've got three daughters. One of them's getting married in Vancouver.

-Lovely. So you're going to Canada.

Towards the travelling fund.

Wonderful. Don't blame you for that!

-Congratulations.

-Thank you.

Next up, it's Estelle, and we've got the lovely signed photographs.

Lots of film stars there.

I did the valuation, and I've pitched it at £100 to £200.

The auctioneer agrees, so fingers crossed, we're bang on the money.

Unfortunately, we don't have Estelle here. She's stuck at home because the weather is so bad.

But I've got her on speakerphone. Can you hear us, Estelle?

-Yes, I can hear you fine.

-Tell us how long it took to do one mile to try and get here.

-Gosh.

One-and-a-half hours, nearly a mile.

Even before we got to the first roundabout, we had to turn round and come back

-because the traffic was at a standstill. Trust it to happen today!

-Oh!

I was looking forward to coming up.

Well, thank you for trying.

We're flying the flag for you.

-Thank you.

-The photographs are just about to go under the hammer.

Your lot is coming up right now.

Good luck, and I'll keep you on the line, OK?

-OK.

-And listen to this and enjoy it, and let's hope we get the top end.

288, the collection of autographed photographs and letters we're onto.

Nice collection, this. Quite a lot of interest.

I must start them at £40. 40 bid.

40 bid. 40 bid for the autographs.

And 45. 50. 5. 60. 5. 65.

65.

We're at £65. Oh, we're struggling.

70. 5. 80. 5.

-85.

-Oh, come on, come on.

85 for the autographs. At 85. At £85...

They're not sold.

Oh, she didn't sell them. We were so close.

I'm sorry. I've let you down.

£85 we got.

-Uh-huh.

-I'm pleased we put a reserve on them and protected them.

-Try another time.

-Well, there's lots of memories there and there's lots of very collectable names.

That's true.

Well, have a good day, and keep warm!

-OK, thanks very much.

-All right.

Bye-bye. Bye-bye, Estelle.

Bye-bye. Thanks. Bye-bye.

Oh, there she goes.

I let her down! I didn't want to sell them for any less, though.

It's not worth giving things away, it really isn't.

Stick by your guns and don't lower your valuation. That's my motto.

Next up, a nine-carat-gold half-hunter pocket watch,

and it belongs to Joan and Alan. Thanks for braving the weather.

It's a great watch. Now, why are you flogging this, again?

-It's for the memorial?

-We want to do something for my son at Arisaig. My son died in a car crash.

-Yes, you said earlier.

-That would have been his watch. He was a real smart dresser, a bit eccentric!

Let's hope we get that top end of the estimate.

Fingers crossed, everyone. It's going under the hammer right now. This is it. Time's up!

We come on to lot 350A now,

the nine-carat-gold half-hunter pocket watch with white enamel dial.

I have a few commissions on this lot.

-We're starting the bidding at £180.

-Ooh, started at 180!

-That's good.

200. 210. 220 on commission.

230 beside me. 240. 250.

-260. 270.

-Great.

-Wow!

290. 290 is here.

Any advance on £290 for it?

All done at 290. All done at £290.

-The hammer's gone down.

-I want to clap!

Good result, wasn't it? £290.

-That was excellent!

-Thank you so much for coming in. Thank you.

While I'm here in Edinburgh, I'm going take the opportunity

to look around at the triumph of conservation and restoration, the Mansfield Traquair Centre.

This could just be another part-empty church,

destined to be nothing more than a space for a nightclub rave or something.

But there's something very special inside this building.

Back in the late 1800s, Arts and Crafts artist Phoebe Anna Traquair

painted a cycle of murals all over the walls. It really has to be seen to be believed.

So no wonder the local community stepped in to try and save it.

Luckily enough, they were successful.

Fiona Allardyce, who was in charge of the recent restoration programme, is going to show me around.

Hi, Fiona. Thank you for meeting us. Can we go in and have a look?

-Yes.

-I'll follow you.

Wow! Gosh, look at this.

It's immense. Tell me about the artist - Phoebe.

She was born in Dublin in 1852, and she married a Scot, Ramsay Traquair, and moved to Edinburgh.

She's known as an Arts and Crafts artist.

In other words, she was very keen on craftsmanship.

She formed part of a group called the Edinburgh Social Union.

One of their ambitions was to commission art in public places, so that everybody could see things.

-It was something to improve everybody's lives.

-Yes.

Where did she start?

She started on the chancel arch here, the Great Eastern Arch.

I guess that is the focal point.

Your eyes gravitate towards that area.

Yes. It took her just over 15 months to paint that,

and he did it all by herself.

It's typical Arts and Crafts. It's very symbolic.

Yes. And it tells a story - she's a great illustrator. She illustrates the story.

-Every picture, you can look at it and it has lots of strands running through it.

-Where did you start?

We started in the South Chapel, through here.

-I bet it was daunting, the very first bit.

-It was, yes.

-Shall we go and have a look?

-Yes.

Fiona started work on the murals in 2003.

The £6 million needed to restore both the building and the murals

has been raised by the Mansfield Traquair Trust.

Where was the exact point you started?

-In the little chancel there.

-Right.

-What were the main problems you encountered?

-In this part, there was practically every problem.

The water had got in, and so the plaster on that wall was coming out, bulging away - big gaps.

So that had to be set back. And the paint was peeling off, and that had to be set back,

-and there was lots of missing bits which had to be repainted.

-You didn't tackle this single-handed, did you?

-You had lots of students with you.

-Yes, but in this chapel there weren't many people.

There were three of us doing this, and then a lot of the students came in.

After this first phase, we moved into the main part, took on students and volunteers and other trainees.

How long did this take you?

Two years.

One panel that catches my eye - I haven't spent a lot of time in here,

but that particular panel there is my favourite panel.

Yes, it's very beautiful. This chapel tells the story

of the wise and foolish virgins, and that's the stage when they've gone to sleep

and the foolish ones have run out of oil,

and now the sun's rising, the dawn's coming up

and the foolish ones have realised they've run out, and the wise ones have got plenty.

-How long did it take Phoebe to paint the whole church?

-It took her eight years,

although in this chapel it was just over a year.

I've seen a lot of murals and frescoes of this size, and I know that the artists, when they start,

it's daunting for them, and over the years they get better as artists. Have you found that with Phoebe?

Yes, and you can see it in the West Wall. Shall we go and have a look at it?

And there's the end wall, the West Wall.

Yes, the last thing she did.

But what I found fascinating was seeing how by the time she was finishing this, which was about 1901,

she'd become interested in all sorts of things that were happening,

like photography, Impressionism, and you can see this in parts of that wall.

There are some heads up there which look like photographs or photolithographs,

and they're not the static, typical...

-..Arts and Crafts work.

-No, not at all.

-How do you rate her as an artist?

-I think she wasn't a trailblazer,

she wasn't creating a new style or a new vocabulary,

but she had a great sense of honesty.

Her truthfulness comes through in these paintings. She really means what she's painting.

She had a vision, and, for me, she made it, she got it to come to life.

Yes. And thank goodness it's been restored to its former glory, that's all I can say.

Thank you very much, Fiona,

because you're gonna let future generations appreciate something so special.

Meanwhile, straight back to the valuation day,

and Anita is thrilled by her next find - a stylish piece of Art Deco.

Margaret, what a wonderful set of legs!

That's the best lot of legs I've seen for a long time!

It's New York.

It's the Empire State Building.

It's Art Deco.

But, what is even more interesting in this table

is, if we turn it round...

..and look here, inlaid on the table surface is a magic name.

Galle.

Now, Galle we associate more with the wonderful Art Nouveau glass

of the early 1900s.

This table is untypical of Galle furniture.

Galle furniture was Art Nouveau in style,

more flowing lines, more sinuous.

This table is pure Deco.

The geometric Art Deco jazz inlay or marquetry

that we have on the surface.

Tell me, Margaret, where did this table come from?

It came from my husband's granny.

And I think she actually put a plant pot on it.

-That was a sin.

-I think it's water damage.

The condition of the surface is not good. That will affect the price.

I would like to put it to auction

with an estimate of £200 to £300.

Would you feel happy at that price?

Yes, certainly.

We would put it in and we would perhaps

put a reserve on it.

Perhaps 180 with some discretion.

-Yes.

-Shall we do that?

-Yes, I'm quite happy for you to do that.

Thank you very much for bringing it along. It was a pleasure to see it.

As I say, the most wonderful set of legs that I've seen in a long time!

-Hello, Andrine.

-Hello, Mark.

-That's an interesting name.

I don't really know where my father got it from.

But he arrived in the hospital one day, just after I was born, and said, "I've got the name for her.

"It's Andrine. And we never knew where he found it."

It's a wonderful name.

And on to some wonderful china that you've brought in to show us today.

Why have you brought it along today?

It's been in the family quite a long time.

It was originally my great-aunt and uncle's.

My mother inherited it from them and she always told me

that they'd put this in the bank safe during the war.

That interested me, but I never really thought of doing any more about it.

Because there was nothing on the cups, I had no means of knowing what it was.

Well, I hope to be able to give you some information about it. I've also had a look at it.

You're quite right, the only marks on there is a pattern number - 724.

With these tea and coffee services

from this particular period, sometimes only one piece was marked.

Often, it was on the underside of the cover.

None of this is marked at all. So I'm only going to be able to tell you that it's definitely Staffordshire.

It could be several factories - Coalport, Ridgway -

several factories may have produced this shape.

What I can tell you is that it was made round about 1810.

-As old as that?

-Absolutely, absolutely.

-I'm stunned.

We've got nearly a full set.

We're only missing two teacups.

There is a little bit of damage. We've had the knop of the teapot off and reglued.

But basically when we look at the shapes, we've got that very straight-sided coffee can,

we've got that sort of bell-shaped cup with a loop handle.

When we look at the sucrier, the sugar box and cover,

we've got these lovely little stylish dolphin-head handles.

I've never noticed those.

The design here is quite Coalportish.

This split leaf, where half the leaf is white and half the leaf is decorated.

But apart from that, we've got the two biscuit plates or bread-and-butter plates.

And we've got, of course, the teapot and stand.

I'm looking at it at auction, it might surprise you,

but I would probably suggest something like £300 to £500.

Oh, goodness!

That's quite a surprise.

-Is that a good surprise?

-Yes.

I'm sure it must be worth that.

-Well, that's lovely.

-I would suggest putting a reserve on of 300, with a little bit of discretion.

But I have a feeling we won't need the discretion.

I think it will go past that because of the quantity of what's here.

What would you do if we did get you a lot of money?

-Well, I'm 60 next year, and I've always wanted to go to Petra in Jordan.

-Oh, wonderful.

-So I might put it towards that.

-That will be fantastic.

-If we get you enough, you might want to take me, as well!

-That's a thought.

Lynn, I still get a wee buzz

when I see one of these Beswick animals.

-Tell me, where did you get it?

-I got it in a small village in Wigtownshire

where the bulls are from.

-It's Auchenlarie.

-Auchenlarie?

-That's where we bought it.

My mother bought it for me as a holiday gift.

Were you farming people?

Yes, from the north of Scotland.

We were there on holiday, and anything with animals always attracted us.

My mother bought it as a holiday gift.

Well, Beswick are wonderful.

In the 1940s, they started making figures,

animals and that type of ware.

They became very, very popular.

The reason that they became popular

is because their modelling was detailed, it was very, very precise.

The factory sent their modellers to look at the best of the stock.

So they had a great eye for detail.

This particular one, the Galloway belted bull,

was designed in 1960.

This is one of the more collectable ones.

Now, going into auction,

I would estimate it in the region of £600 to £800.

I saw a book price which was a lot higher than that at one time.

In this particular type of bull,

we have two models.

The models are different, in that this one has a straight tail and our other one has a curved tail.

It curves round the leg.

The prices will be different,

so it may have been that the book price for your bull, the one that you saw,

was the one for the other one. But I don't know at this time. I don't have the information at hand.

But your auctioneer will do the research on it and find out.

This one, straight tail here and the other one has a curved tail.

Now, do you feel comfortable, me having said this,

to send it to auction with that estimate on it and a reserve price to protect it of £600?

-I think that will be fine.

-Shall we go for it?

-I think so.

It's a farming community down there, so you're going to have a lot of collectors, as well.

-He'll go to a good home.

-He'll go to a good home.

And now for a quick reminder of all the lots.

This little galley table has got everything going for it -

pure Deco with inlay and marquetry.

It should walk away.

This elegant tea and coffee set has been replaced by the humble mug in Andrine's home.

So we need someone at auction who prefers the 1810 style.

Lynne's mother bought the Beswick Galloway bull as an inexpensive holiday gift.

But it's a rare example, which is highly collectable, so watch this space!

Some real quality, and what a great name, Beswick.

We see a lot of it on the show, especially the horses.

But I've never seen a Beswick bull before, and it belongs to Min.

It was a holiday present from her mum.

Our expert, Anita, has put £600 to £800 on this bull. It's a lot of money!

-It is a lot of money for a holiday souvenir, but it's rather a rare bull.

-Is it?

Yes, because belted Galloways are rather a rare breed of cattle.

It's one of the rarer breeds, and thus not so many were made and sold.

Gosh, you know your Beswick. I don't know the difference between what bulls there are, though, for sale.

What other bulls are there? Why is this one so rare?

Because you get Hereford bulls, you get Beswick bulls, you get Friesian bulls.

Very much the breeders of these bulls tended to collect their own breed and things.

There are far fewer Galloway breeders, which is an area in the south-west of Scotland

than there are Hereford breeders.

So this should do really well, in this part of Scotland?

We have great hopes for it, anyway.

-Have you sold any like this before?

-Yes, we sold one at our last sale, and it made £1,350.

Wow! So our estimate is teasing the bidders in - come and buy me.

-Quite conservative, I hope.

-You'd expect this to do the same?

-We hope it'll do in excess of £1,000.

Wow! Wow! Fingers crossed! This is just about to go under the hammer.

Whatever you do, don't go away. Let's hope this gets that magic figure.

Next up is the Art Deco little table designed by Galle, and it belongs to Margaret.

Unfortunately she can't be with us due to the weather.

But we do have Anita, our expert.

We're looking at £200 to £300 for this.

-Galle is a great name in glass.

-Absolutely wonderful.

-I've never seen it in tables before.

-This is unusual. The legs are to die for!

-Are they?

It has so much style.

So I'm hoping that it will do well.

Galle is very, very stylish. Fingers crossed, let's see if the bidders find this.

It's going under the hammer now.

Lot 500, the Galle Art Deco marquetry top, occasional table.

Signed on the top, and who'd like to start me, £200 for it? 200, 100?

£50 to make a start.

50 bid, 50 bid, 50 bid. 50 bid, 50 bid, a nice table at 50 bid.

-55, 60. 5. 70. 5. 80. 5. 90.

-We're climbing.

5. 100. 110.

-120. 130. 130.

-It's petering out.

130. For a very nice table at £130.

140. 140.

150. 150. 160.

160. 160, it's a nice table. I wouldn't miss it at 160.

-Any advance...? 170.

-Oh, crikey.

170. And selling at 170.

Any advance on...

180. 180. 180.

Oh dear, I can't bear the tension.

190. 200. 210.

210. 220. 230. 230.

In the centre at 230. Any advance on £230?

The hammer's gone down. Margaret, £230. A good auctioneer.

And it came from £50, right up.

-I was worried, a wee bit worried.

-YOU were worried, I was petrified!

Please, this is the only lot that's gone like that.

We'd be nervous wrecks by the end of the day if every lot was like that.

-She did very well.

-Yes, excellent.

It's now time for Andrine, and it's time for tea.

We've got that lovely Staffordshire tea set.

Your tea set going under the hammer.

There's a lot of it. £300 to £500 we're looking at.

Why have you decided to sell it now?

Well, I've got two sons and neither of them have any interest in old china

and it's not something that I would use.

Modern day, you tend to use mugs.

-I'm afraid it's just going to sit in a cupboard. I'd rather somebody had use of it.

-That's a shame, isn't it?

-Let somebody else appreciate it, and make some money.

-That would be very nice.

Let's hope we make that top end, OK? Fingers crossed.

-Fingers crossed, Mark.

-Again.

Again, we need it.

More than ever now. OK, this is it.

Lot 162, the Victorian red and gilt floral decorated part tea set.

Got two closed bids on this and we start it at 120.

120. 140. 160. 180.

200. £200.

Any advance on 220.

-240. 260. 280.

-This is good, come on..

-280.

280. Anyone going on at 280 for a nice tea set?

At £280.

I'm afraid that's not sold.

Unfortunately, we were just £20 short there of selling it.

Well, can't be helped.

-Oh dear, so close.

-And yet so far.

-Yes.

This is the one I've been waiting for - the Beswick bull - £600 to £800, it could do a lot more.

-I've just been joined by Min, who struggled to get here, didn't you, my darling?

-Aye, we did that.

I had a chat to Sybelle just before the auction, and she has sold a Beswick bull like this before,

the same kind of bull in this very room,

-and she got £1,350 for it.

-Oh, that's very nice.

The thing is, Paul, although this is not a rare breed,

this breed is confined to a very small area in the south-west of Scotland.

So there wasn't a lot of this model made.

Exactly, that's why they will fight over it!

-Ready for this roller-coaster ride?

-Here's hoping.

I hope I haven't built this up too much. This is it, it's going under the hammer now. Good luck.

Lot 178, the nice Beswick belted Galloway bull.

Quite a lot of interest in this and we start it at £400. 400. 400.

Come on, where are the big hitters?

440. 460. 480. 500.

520. 550. 580. 600.

600, who's going on at 600?

600. 620.

650. 680. 700. 720. 750...

Oh, Min, money, money, money.

-800. 820. 850. 880. 900.

-This is good, this is good.

920. 950. 980.

1,000. And 50, 1,100.

And 50. 1,200.

1,250. 1,300. 1,350.

Gosh!

1,350 on the telephone, any advance on 1,350?

Against you beside me, it's on Jocelyn's phone at 1,350.

Would anyone else like in at 1,350?

Sold! The hammer has gone down.

-1,300!

-That's wonderful.

£1,300! Would you credit that! That was bought

-as a holiday trinket.

-Yes, it was under £10, I would imagine.

-What a lovely moment.

-Wonderful, wonderful.

As you can see, the auction's still going on. It's all over for our owners.

We've had a mixed day here, but it has been full of surprises.

It was great to see Min's face.

Her big, big smile as she walked out of the room, getting £1,350 for the Beswick bull. That is a star result.

I hope you've enjoyed the show as much as we have making it. So till the next time, it's cheerio.

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

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