0:00:02 > 0:00:08I'm at the headquarters of one of the top names in the world of pottery, the renowned Moorcroft.
0:00:08 > 0:00:14It's here in Staffordshire that a team of designers create their remarkable work.
0:00:14 > 0:00:20This lot will let me have a go at painting one of their designs later on in the show. I can't wait!
0:00:20 > 0:00:26But right now, let's head west and flog it in the Cheshire town of Nantwich. Yeah!
0:00:46 > 0:00:52The people of Nantwich are nicknamed Dabbers and they have a history of being strong-willed.
0:00:52 > 0:00:58During the English Civil War in the 17th century, they were the only Cheshire town to support Cromwell.
0:00:58 > 0:01:04It's early doors at the Civic Hall and there's a rebellious crowd just bursting to see our experts.
0:01:04 > 0:01:08And who have we got? The wonderful Kate Bliss
0:01:08 > 0:01:10and the equally charming Will Axon.
0:01:10 > 0:01:15It is 9.30, time to get the doors open and get this massive queue inside.
0:01:18 > 0:01:25'Later on, I'll work on a special piece of Moorcroft which will be auctioned off for Children In Need.'
0:01:25 > 0:01:30My hands are so thick and clumsy, I'm worried I might break off what's already been done.
0:01:30 > 0:01:34'But how will this special Pudsey edition work out? Keep watching
0:01:34 > 0:01:38'because we're selling it later in the programme.
0:01:38 > 0:01:42'But first, Will has found something with regal origins.'
0:01:43 > 0:01:47John, thank you for coming in today and bringing in a piece of furniture,
0:01:47 > 0:01:52which we don't often see on Flog It because it's a bit cumbersome to bring in.
0:01:52 > 0:01:56You've brought in this rather interesting stool.
0:01:56 > 0:01:59From all accounts, from looking at it like this,
0:01:59 > 0:02:03it just looks like a normal, almost Georgian-style stool,
0:02:03 > 0:02:08but there's something about it. What can you tell me that you know?
0:02:08 > 0:02:14It's a Coronation stool from Westminster Abbey from the coronation of George VI in 1937
0:02:14 > 0:02:18- when I was just one year old.- OK. - Almost exactly.
0:02:18 > 0:02:23It came into my possession when my mother died in 1990.
0:02:23 > 0:02:29It's never actually been used and it's one of the things we've said that we really ought to shed
0:02:29 > 0:02:33because we've got so much stuff, including furniture.
0:02:33 > 0:02:37Technically, it's oak-framed, it's in oak, it's a stool.
0:02:37 > 0:02:41It's limed oak, which is why you've got this white in the grain.
0:02:41 > 0:02:45It's limed oak which, at the time, was quite fashionable.
0:02:45 > 0:02:49- I suspect this is the original velvet upholstery.- I believe so.
0:02:49 > 0:02:54It's in wonderful condition because you've had this dust cover.
0:02:54 > 0:03:00Even this piping around the edge is wonderful. It's almost probably as it was the day it was used.
0:03:00 > 0:03:06If I turn it over, we can have a good look at the marks because that's the important thing.
0:03:06 > 0:03:08So we'll gently turn it over.
0:03:08 > 0:03:11And sure enough, you've got here the marks -
0:03:11 > 0:03:14"Coronation, GR VI",
0:03:14 > 0:03:16with the crown above.
0:03:16 > 0:03:23Rather than the hierarchy who had chairs with backs, those at the back of the Abbey perhaps had the stools.
0:03:23 > 0:03:28And I suspect this was a mechanism by which they all joined together, held together.
0:03:28 > 0:03:34- When I was looking at it earlier, I spotted another stamp under here. - Yeah. I hadn't noticed it.
0:03:34 > 0:03:36I was looking for a maker's stamp,
0:03:36 > 0:03:42bearing in mind they probably didn't get a lot of notice about George VI's coronation
0:03:42 > 0:03:47because of the abdication of his brother, as we all know, to marry his future wife.
0:03:47 > 0:03:51The mark I spotted was down here just underneath this iron bracket
0:03:51 > 0:03:55and it's "Maple & Co" and then "London" underneath.
0:03:55 > 0:04:01I suspect they're not going to be the makers. I suspect that's a retailer's mark.
0:04:01 > 0:04:05So, after the coronation, these would have probably been sold on.
0:04:05 > 0:04:10Perhaps they were sold in bulk to these furniture retailers, large retailers,
0:04:10 > 0:04:13then it's been retailed in Maple.
0:04:13 > 0:04:20I'll tell you now that a single stool, very similar to this, sold at the end of last year for £80.
0:04:20 > 0:04:25- Right.- That was up against an estimate of 50 to 80 and it made 80.
0:04:25 > 0:04:30You know how auctions work. It can depend on who's there on the day,
0:04:30 > 0:04:36- but if we go along those lines of £50 to £80, it's got to be worth £50 of someone's money.- Exactly.
0:04:36 > 0:04:39So if you're happy with that, £50 to £80,
0:04:39 > 0:04:43a great bit of history, and not a lot of money really,
0:04:43 > 0:04:47but hopefully, we'll get towards that top end.
0:04:47 > 0:04:52And across the room, Sylvia has brought in a bit of family history.
0:04:52 > 0:04:56This is a sweet little child's chamber pot.
0:04:56 > 0:05:01- Can I delicately ask - was this yours? - No, it's never been sat on.- OK.
0:05:01 > 0:05:07- Where did it come from? - My grandmother bought it ostensibly for her first great-grandchild.
0:05:07 > 0:05:09So where has this been kept?
0:05:09 > 0:05:14Basically, in a cupboard in a box, looked after. It's never been used.
0:05:14 > 0:05:19- I have to say it looks like it because it's almost pristine.- Yes.
0:05:19 > 0:05:22There are two things which are of interest,
0:05:22 > 0:05:25the fact that it's by Shelley, by that factory,
0:05:25 > 0:05:31and the fact that it's Nurseryware and has this lovely design by Mabel Lucie Attwell,
0:05:31 > 0:05:33which is collectable in itself.
0:05:33 > 0:05:37Let's just have a little look at the illustrations.
0:05:37 > 0:05:44This little character here intrigues me and is quite important in the history of this sort of ware.
0:05:44 > 0:05:46This elf was known as Boo Boo
0:05:46 > 0:05:52and Mabel Lucie Attwell, a very, very well-known children's illustrator,
0:05:52 > 0:05:58illustrated all sorts of fairy tale books, Grimm's Fairy Tales, Andersen's Fairy Tales,
0:05:58 > 0:06:04but she had just illustrated a series of books about this elf known as Boo Boo
0:06:04 > 0:06:09when the Shelley factory approached her and she began her collaboration with them as a designer.
0:06:09 > 0:06:16It was her relationship with Shelley that established her not only as an illustrator, but as a designer
0:06:16 > 0:06:22because the Shelley factory started manufacturing Nurseryware in the form of her characters
0:06:22 > 0:06:27- and they produced a milk jug in the form of Boo Boo the elf. - I didn't know that.
0:06:27 > 0:06:31Here we have a great example of her illustrations.
0:06:31 > 0:06:35And the fact that it's a chamber pot is a little bit more unusual
0:06:35 > 0:06:40than having a cup or a beaker or a plate or a baby's bowl.
0:06:40 > 0:06:44So that gives it a little bit more commercial appeal.
0:06:44 > 0:06:46So why do you want to get rid of it?
0:06:46 > 0:06:50It's not really that I want to sell it. It's just sitting in the loft.
0:06:50 > 0:06:56My son is very minimalist and I don't think he'd want a chamber pot on his mantelpiece.
0:06:56 > 0:07:00I think at auction, taking into account all those factors,
0:07:00 > 0:07:06- we're going to be looking at between certainly £80 and £100. - Oh, right.
0:07:06 > 0:07:09- Would you like to put a reserve on it?- I think so, yes.
0:07:09 > 0:07:15If we put a reserve at £80, the lower end of the estimate, that will safeguard it.
0:07:15 > 0:07:18- It should make quite a bit more, I would hope.- Good.
0:07:26 > 0:07:31Well, Margaret, here's a splash of colour you've brought in today.
0:07:31 > 0:07:34What can you tell me about this vase?
0:07:34 > 0:07:38It was my mother-in-law's and I think she would have bought it
0:07:38 > 0:07:43- while she was on holiday in Devon, Cornwall, somewhere there.- OK.
0:07:43 > 0:07:48I've been married nearly 50 years, so I've known it longer than that.
0:07:48 > 0:07:53- And it passed down to you?- When she died.- Via your husband?- Yes.
0:07:53 > 0:07:56- And is it something that you like? - No.
0:07:56 > 0:07:58Did this cause...?
0:07:58 > 0:08:02- Well, you've accepted it gracefully, of course.- Oh, yes.
0:08:02 > 0:08:06This dates from that sort of first part of the 20th century
0:08:06 > 0:08:12where everything was a bit experimental with this sort of studio pottery, shall we say?
0:08:12 > 0:08:17- Now, you probably know who the vase is by...- It's Ruskin.
0:08:17 > 0:08:21- It shows us underneath that it's a Ruskin vase.- Yeah.
0:08:21 > 0:08:26Now, Howson Taylor was the founder of the Ruskin Pottery
0:08:26 > 0:08:29and his son carried it on after his death
0:08:29 > 0:08:33in that early part of the 20th century.
0:08:33 > 0:08:39Usefully for me as well, the date also appears on the bottom of this piece. It dates to 1932.
0:08:39 > 0:08:43Now, the Ruskin Pottery before the First World War
0:08:43 > 0:08:48was a very expensive pottery producing very expensive wares,
0:08:48 > 0:08:53mainly because of this rather fancy glaze that you can see.
0:08:53 > 0:08:59They really experimented with glazes, this kind of souffle glaze, they called it,
0:08:59 > 0:09:01maybe a drip glaze, bright colours,
0:09:01 > 0:09:06and because it was such a difficult glaze to get right, it needed a lot of firing,
0:09:06 > 0:09:10every time you fire something, the cost goes up in producing it.
0:09:10 > 0:09:14Once we get into the later period of Ruskin, into the '30s...
0:09:14 > 0:09:19This is the year before the factory closed. It was closed in 1933.
0:09:19 > 0:09:23After the Depression and the First World War,
0:09:23 > 0:09:29people couldn't afford to go out and pay the money Ruskin were charging for their more expensive pieces.
0:09:29 > 0:09:35That's why I think this piece is not going to be as highly desirable as perhaps the earlier pieces.
0:09:35 > 0:09:42- Have you any idea of value? What do you think your mother-in-law paid for it?- I've really no idea.
0:09:42 > 0:09:47My suggestion, estimate-wise, it's a bit of an old cliche, that sort of 80 to 120 estimate,
0:09:47 > 0:09:51but it's going to be around that £100 mark, I would think.
0:09:51 > 0:09:57If it was high-fired and a desirable glaze, you could put a nought on the end of that.
0:09:57 > 0:10:04That's the kind of difference there is. Is there no-one you can hand it on to? You've not got daughters?
0:10:04 > 0:10:09Well, I've got two daughters and one is very minimalistic.
0:10:09 > 0:10:12- And the other one? - She lives in Spain.
0:10:12 > 0:10:18- Right.- You drop it on the floor and it would be smashed instantly. - What, with the tiled floors?- Yeah.
0:10:18 > 0:10:23- Is the money going to go towards a visit? - Yes, probably, an extra visit.
0:10:23 > 0:10:27Why don't we try it at 80-120 with an 80 reserve?
0:10:27 > 0:10:32- That's fine.- Do you think Mother-in-law is looking down at us? Is she cross?- No.
0:10:34 > 0:10:38Next up, Kate has found some silver belonging to Patricia.
0:10:39 > 0:10:45- This is a very smart silver ink stand. Is this something you've had for a long time?- Yes.
0:10:45 > 0:10:47I bought it about 40 years ago.
0:10:47 > 0:10:52I saw it in, um... an antique shop in Oxford.
0:10:52 > 0:10:57- Right.- And decided that it would make a very nice birthday present
0:10:57 > 0:11:00for my gentleman friend.
0:11:00 > 0:11:04- But you still have it, so it never made it to the gentleman friend?- No.
0:11:04 > 0:11:09- What happened?- When I got it home and really looked at it,
0:11:09 > 0:11:12it was far too pretty to give away.
0:11:12 > 0:11:15He wasn't that nice then, obviously!
0:11:15 > 0:11:18No, he wasn't. Not really.
0:11:18 > 0:11:23I think this actually would have been made for a gentleman really
0:11:23 > 0:11:28or a lady, but primarily for a gentleman to sit on his desk.
0:11:28 > 0:11:32- And it's the epitome of restrained elegance, I would say.- Definitely.
0:11:32 > 0:11:38- I love the way it's just raised up on these lovely little scrolled... - Beautiful little feet.- Paw feet.
0:11:38 > 0:11:42- Most attractive.- Very nice. And all in super condition as well.
0:11:42 > 0:11:46One thing you look for on pieces of silver like this is the hallmark,
0:11:46 > 0:11:50- of course, which helps us date it. - Yes.
0:11:50 > 0:11:55Here you see the little anchor mark which means the silver was tested in Birmingham.
0:11:55 > 0:11:57We have a date letter here for 1946,
0:11:57 > 0:12:00so it's George VI in period.
0:12:00 > 0:12:03- Oh, right.- You look surprised.
0:12:03 > 0:12:06Yes, I had absolutely no idea of the age.
0:12:06 > 0:12:12The other good thing is the maker's mark for Mappin & Webb who were leading Birmingham silversmiths,
0:12:12 > 0:12:17so that's a good sign of quality and something a buyer would look for.
0:12:17 > 0:12:22I love the way the glass is faceted and cut, not moulded, which is another sign of quality.
0:12:22 > 0:12:29And it's cut to fit into these little square recesses really nicely, so it just sinks in there,
0:12:29 > 0:12:35but this one has been dropped or knocked and we've got quite a chunk out of the glass there.
0:12:35 > 0:12:38But it sits in its little square
0:12:38 > 0:12:40and you can't see the damage.
0:12:40 > 0:12:45So why do you want to sell it now? You've had it all these years.
0:12:45 > 0:12:49- My great-grandparents were Irish. - Right.
0:12:49 > 0:12:53And they sailed out to Vancouver...
0:12:54 > 0:12:57- ..during the Potato Famine.- Right.
0:12:57 > 0:13:02And we used to receive food parcels from them during the war,
0:13:02 > 0:13:05- so the contact was kept up with them.- Right.
0:13:05 > 0:13:11And I really, really, really would love to go out to Vancouver
0:13:11 > 0:13:14and just see where they went and what it was like,
0:13:14 > 0:13:19so this money is the beginning of the Vancouver Fund.
0:13:19 > 0:13:22It sounds like the trip of a lifetime!
0:13:22 > 0:13:28Well, I would put a conservative estimate at auction of £70 to £100.
0:13:28 > 0:13:31- Right.- How do you feel about that?
0:13:31 > 0:13:33- Yes, that's...- That's OK?
0:13:33 > 0:13:40We ought to put a reserve on it, so it doesn't sell for less than what I believe is a fair market value.
0:13:40 > 0:13:46I would like to put a reserve at the lower end of the estimate - £70. Does that sound all right to you?
0:13:46 > 0:13:51Well, could you sort of push it up just a wee bit to maybe 80?
0:13:51 > 0:13:57I don't think that's unreasonable. We'll say £80 as a fixed reserve and let's hope you have a great trip.
0:13:59 > 0:14:02There we are. Now it's time to head off to auction.
0:14:02 > 0:14:06We'll be back later as there are more antiques awaiting valuation,
0:14:06 > 0:14:10so let's remind ourselves of the items going under the hammer.
0:14:10 > 0:14:13First we had the Coronation stool.
0:14:13 > 0:14:19John had never sat on it, so let's hope the buyers appreciate the lack of wear and tear.
0:14:19 > 0:14:25The Lucie Attwell piece excited Kate, although not everyone agrees on its finer points.
0:14:25 > 0:14:29I don't think my son would want a chamber pot on his mantelpiece.
0:14:29 > 0:14:34Margaret is hoping the sale of her Ruskin vase will fund a trip to Spain
0:14:34 > 0:14:40and the money from the sale of Patricia's inkwell is also destined for a travel fund,
0:14:40 > 0:14:42this time a nostalgic trip to Canada.
0:14:42 > 0:14:47I really, really, really would love to go out to Vancouver.
0:14:47 > 0:14:51And this is where we're hoping to sell all those items today -
0:14:51 > 0:14:55Adam Partridge's Auctioneers & Valuers near Congleton in Cheshire.
0:14:55 > 0:14:58On the rostrum is the man himself.
0:14:58 > 0:15:03I like this next lot tremendously, a Coronation stool from Westminster Abbey. It's real quality.
0:15:03 > 0:15:06Had a value of £50 to £80. It belongs to John.
0:15:06 > 0:15:12I know, since we saw you at the valuation day, you've had a chat to the auctioneer Adam,
0:15:12 > 0:15:16and you've changed the valuation by upping the reserve to £60.
0:15:16 > 0:15:23Yes, I thought the lower end of the valuation was a bit too cheap for that particular item,
0:15:23 > 0:15:26not because I wanted the money, but it was a sort of...
0:15:26 > 0:15:32- I can understand.- Something in my gut said that if it won't fetch more than £50...- It's not worth selling.
0:15:32 > 0:15:38It stands just as much chance of selling at 60 as it does at 50, so it won't put any buyers off.
0:15:38 > 0:15:41Or indeed at 80, which is what we want.
0:15:41 > 0:15:45A George VI Coronation, limed oak, commemorative stool by Maple & Co.
0:15:45 > 0:15:49There we are there. We've seen a few of these over the years.
0:15:49 > 0:15:52What will we say for this one? £1,000?
0:15:52 > 0:15:55I think he's having a laugh.
0:15:55 > 0:16:00OK, I've got 55 bid. 60 now? 55 is bid. 60, are we?
0:16:00 > 0:16:02At 55. 60. 5. 70?
0:16:02 > 0:16:04- £65.- That's good.
0:16:04 > 0:16:07£65, mid-estimate.
0:16:07 > 0:16:10All done now at 65? Any more?
0:16:10 > 0:16:1365, we sell this stool at 65...
0:16:14 > 0:16:18It would have been nice if someone had come in at £1,000!
0:16:18 > 0:16:22It's in its original condition which people want.
0:16:22 > 0:16:28- I would like to be in my original condition at the same age as the stool!- Well done.
0:16:28 > 0:16:3070...
0:16:31 > 0:16:345. And 70 now...?
0:16:35 > 0:16:40We've just been joined by Patricia who is saving up for a trip of a lifetime.
0:16:40 > 0:16:45- She's got a goal and it's a trip to Vancouver. It's great to see you again.- Thank you.
0:16:45 > 0:16:49We've got your Mappin & Webb little inkwell which is so cute and pretty.
0:16:49 > 0:16:52I know, Kate, you love this as well.
0:16:52 > 0:16:56- Anything we can raise towards this trip will be so precious.- Yes.
0:16:56 > 0:17:00Lot 610, and 80 for this one? 80 for this one?
0:17:00 > 0:17:0260 then?
0:17:02 > 0:17:0660 bid and take 5? At £60 now, at 60.
0:17:06 > 0:17:10Any more? 5. 70? 70 bid. Take 5 now?
0:17:10 > 0:17:13- At £70.- 5.- We're online at 75.
0:17:13 > 0:17:15I'll take 80 if you like? At £75.
0:17:15 > 0:17:18All done on this one? Any more now? At £75.
0:17:18 > 0:17:22Come on, a bit more!
0:17:22 > 0:17:25Hammer's gone down. He's sold that. He sold it at £75.
0:17:25 > 0:17:30- Yes.- Oh, right.- I think he got a bid online at 75.
0:17:30 > 0:17:34And he didn't want to take it up because the next bid is the reserve,
0:17:34 > 0:17:40- so if you've got a live bidder at 75, he'll probably reduce the commission.- Make the difference up.
0:17:40 > 0:17:45- So you'll get what you would have got if it had sold at reserve. - We got the £80.
0:17:45 > 0:17:49- It's a little bit towards the trip. Every bit helps, doesn't it?- Yes.
0:17:55 > 0:18:00Margaret can't wait to jet off to Spain, but first we've got to get her there
0:18:00 > 0:18:03- and we need to sell that Ruskin vase.- Yes, please.
0:18:03 > 0:18:07- We're looking at £80 to £120. It's a nice thing.- Buena suerte!
0:18:07 > 0:18:11- That's Spanish for "good luck". - Thank you.- Here we go.
0:18:11 > 0:18:131932, the Ruskin vase. £80, please?
0:18:13 > 0:18:17Who'll start me at £80 for that? 50 then? £50?
0:18:17 > 0:18:2150 bid. And 5 now? At 50. 50 bid. And 5.
0:18:21 > 0:18:2460. And 5. 70. 5. 80?
0:18:24 > 0:18:2975 at the back. 80 somewhere? At 75. 80. 5?
0:18:29 > 0:18:3180 here. £80. At 80.
0:18:31 > 0:18:34£80, expertly valued. 85.
0:18:34 > 0:18:37- 90.- Nice of him to say so!
0:18:37 > 0:18:39100. 110?
0:18:39 > 0:18:42£100. At £100. Here we are at £100. Any more?
0:18:42 > 0:18:47At 100. All done then? Are we selling this one at £100...?
0:18:47 > 0:18:50Bang on mid-estimate! Well done, Will.
0:18:50 > 0:18:54- Brilliant.- That's got you there. - It has. Thank you.
0:18:54 > 0:18:57- # Viva Espana... # Good luck.- Thank you.
0:19:04 > 0:19:09- Sylvia, this is a rare thing, this child's chamber pot.- Yes. - Especially made by Shelley.
0:19:09 > 0:19:13- I've not seen any children's ones. - I've seen one at auction.
0:19:13 > 0:19:19- After the valuation day, I did some research and there has been one at auction recently.- What did it make?
0:19:19 > 0:19:23- A bit more than our estimate. - We've got 80 to 100.
0:19:23 > 0:19:26Let's find out what the bidders think. Good luck.
0:19:26 > 0:19:28Child's chamber pot, the Shelley one.
0:19:28 > 0:19:33A Shelley child's chamber pot printed with Mabel Lucie Attwell characters.
0:19:33 > 0:19:37What do we say for that? £80? 80? 50?
0:19:37 > 0:19:39£50. 50's bid. Take 5?
0:19:39 > 0:19:4450 I have. 55 now? 55. And 60. 65.
0:19:44 > 0:19:47And 70. And 5. And 80. And 5. And 90. 95.
0:19:47 > 0:19:49100. 110. 120.
0:19:49 > 0:19:52130? 120 at the back of the room.
0:19:52 > 0:19:54Top end of the estimate.
0:19:54 > 0:19:56All done on this one, £120...?
0:19:58 > 0:20:02- Well done, Kate.- Thank you.- Well done as well for looking after it.
0:20:02 > 0:20:06- It's quite a rare thing. - It's been tucked away, yes.
0:20:09 > 0:20:15Later in the show, we'll find a valuable piece of early Moorcroft that's had a rough ride.
0:20:15 > 0:20:21I've got to be honest. When I first inherited it, we used it as an umbrella stand.
0:20:23 > 0:20:30'To find out more about Moorcroft, I've come to the heart of the British pottery industry.
0:20:30 > 0:20:35'This area is so synonymous with the trade that it is traditionally referred to as the Potteries.
0:20:35 > 0:20:38'You may know it as Stoke-on-Trent.'
0:20:39 > 0:20:43Today, Staffordshire boasts some 350 potteries.
0:20:43 > 0:20:49Renowned names like Clarice Cliff, Royal Doulton and Moorcroft with its exquisitely vibrant style
0:20:49 > 0:20:54were all born and based here, producing everything from the little egg cup
0:20:54 > 0:20:57to the most expensive bowls and vases.
0:20:57 > 0:21:03They may be all the rage today, but the industry has been around for centuries.
0:21:03 > 0:21:07Pottery was established in the West Midlands in the early 1700s,
0:21:07 > 0:21:12but it wasn't until 1897 that the world was introduced to a style legend.
0:21:12 > 0:21:18William Moorcroft caught the attention of a local pot manufacturer, James Macintyre & Co.
0:21:18 > 0:21:23And that moment marked the official birth of an artistic genius.
0:21:23 > 0:21:29Young William Moorcroft already had a reputation as a gifted painter, even though just a recent graduate,
0:21:29 > 0:21:33and he started working for Macintyre's as a lead designer.
0:21:33 > 0:21:38With his vibrant, colourful designs inspired by nature, he soon captured the market
0:21:38 > 0:21:43and he even boldly placed his signature on the bottom of every Macintyre pot.
0:21:43 > 0:21:48He was a visionary designer and revolutionary in his approach to ceramic art.
0:21:48 > 0:21:54Demand for William's work soon exceeded any other designer in the firm.
0:21:54 > 0:22:00In 1912, aided by money from Liberty of London, Moorcroft left Macintyre's employment,
0:22:00 > 0:22:03taking with him 12 members of staff to start his factory.
0:22:03 > 0:22:07They marched 500 metres from the old premises to Moorcroft's factory,
0:22:07 > 0:22:11taking with them sketches, designs, pot moulds and tools.
0:22:11 > 0:22:15A new age of ceramics had dawned and the iconic Moorcroft was born.
0:22:15 > 0:22:19'Today, Moorcroft is a much loved, worldwide brand. Its delicate,
0:22:19 > 0:22:26'but intricate detail delights thousands upon thousands, and it's been a bit of a regular on Flog It.'
0:22:26 > 0:22:30- How about 150, 250? - Yeah.- Yeah. Definitely.
0:22:30 > 0:22:35- They're not worth that.- OK. - They're worth 300 to 500. - You are kidding?- No.
0:22:35 > 0:22:39'It doesn't often disappoint us when it comes to selling on at auction.'
0:22:39 > 0:22:43- At 2,050. - That is a great Flog It moment.
0:22:43 > 0:22:46£2,050!
0:22:46 > 0:22:49'So to find out why it's so sought after,
0:22:49 > 0:22:54'I've come to the Moorcroft Visitor Centre to meet MD Elise Adams
0:22:54 > 0:22:57'and take a look at their stunning collection.'
0:22:59 > 0:23:04What an incredible room! Moorcroft is vying for my attention everywhere.
0:23:04 > 0:23:07I'm surrounded! What is this room called?
0:23:07 > 0:23:13This is the Moorcroft Museum, part of the Moorcroft Heritage Visitor Centre here in Stoke-on-Trent.
0:23:13 > 0:23:19- How long have you been working here? - I've been at Moorcroft for 12 years and slowly worked my way up.
0:23:19 > 0:23:23Being a living art pottery, there's always something new happening.
0:23:23 > 0:23:29- We've got a few pulled out from the cabinets. - I've started with some early pieces.
0:23:29 > 0:23:35This is where William started when he worked at Macintyre's, a local firm that was founded in the 1830s.
0:23:35 > 0:23:38He started with pieces like this. This is Aurelian Ware.
0:23:38 > 0:23:44- It's flat to touch. It's not like the pieces of Moorcroft which have the...- Tube liners.- That's right.
0:23:44 > 0:23:49- Where did he get his inspiration? - Very much from his environment.
0:23:49 > 0:23:53A lot of British flowers, things that he would see day-to-day.
0:23:53 > 0:23:57Then these pieces lead on to other pieces that come forward.
0:23:57 > 0:24:03But he was very clever at this stage because, although he was working for Macintyre,
0:24:03 > 0:24:09- he was signing all his wares "Moorcroft". How did he get away with that?- He was very canny.
0:24:09 > 0:24:12Macintyre's don't seem to have objected.
0:24:12 > 0:24:16Pieces like this, it's got the Macintyre backstamp on it,
0:24:16 > 0:24:20but then clearly in green is William's signature.
0:24:20 > 0:24:25He's branding his own name, he's setting himself up for when he's going to go it alone,
0:24:25 > 0:24:31so people are knowing these pieces as Moorcroft when in fact they're Macintyre's.
0:24:31 > 0:24:34What's distinctive about this piece?
0:24:34 > 0:24:40It's the very first range that William designs when he moves to this new factory in 1913.
0:24:40 > 0:24:46This follows in 1914 and it's called Persian Ware. The shape was inspired by Middle Eastern culture.
0:24:46 > 0:24:51William starts to work with Liberty & Co in London and they buy pieces of Macintyre Ware.
0:24:51 > 0:24:56He then designs specific ranges exclusively for them such as this powder-blue ware
0:24:56 > 0:24:59which they used in their Liberty tea rooms.
0:24:59 > 0:25:01- Flambe.- Flambe, wonderful.
0:25:01 > 0:25:07- From blue to red. - This was his technique, wasn't it? It was his little invention.
0:25:07 > 0:25:11This was something he held very close to his heart.
0:25:11 > 0:25:16He only passed the recipe on to his son Walter on his death bed in 1945.
0:25:16 > 0:25:19He didn't let anyone else fire or load the kilns.
0:25:19 > 0:25:22What period are we looking at now?
0:25:22 > 0:25:26We're coming forward a little bit in time here to more contemporary pieces
0:25:26 > 0:25:30and pieces by William's son Walter who takes over the factory in 1945.
0:25:30 > 0:25:35But we do start to get away a little bit from what Moorcroft is all about.
0:25:35 > 0:25:40There's very little tube lining on the pieces which is the opposite to what William had devised.
0:25:40 > 0:25:46Let's talk about the new designers. Do they have to have a good archive knowledge of previous designs?
0:25:46 > 0:25:50They're very aware of pieces that have gone before.
0:25:50 > 0:25:54You often find them in here looking at old shapes and designs,
0:25:54 > 0:25:58but they're very careful to always be moving forward.
0:25:58 > 0:26:04But the process of Moorcroft has changed very little. It's tube-lined, painted and dipped by hand.
0:26:04 > 0:26:09So, from that point of view, in 112 years, very little has changed.
0:26:09 > 0:26:11That's great to see some animals.
0:26:11 > 0:26:15It's by Kerry Goodwin, one of the newest members of the design studio.
0:26:15 > 0:26:22She works here on our factory and is here today, so if you would like to meet her and have a look round,
0:26:22 > 0:26:26- we can see how this kind of piece is made.- That'll be interesting.
0:26:26 > 0:26:29'The first stage of the process is mould-making.
0:26:29 > 0:26:34'The craftsman hand-makes each mould with plaster of Paris.
0:26:39 > 0:26:46'Next, the piece is cast. The mould is filled with liquid clay and then emptied, leaving a wet shell.
0:26:46 > 0:26:50'When the clay has dried, the mould is removed, revealing the shape.
0:26:50 > 0:26:54'The vase is then placed in a damp room overnight to harden.
0:26:54 > 0:27:01'The dried vase needs to be smoothed. It's mounted on a lathe and any seams removed by hand.'
0:27:01 > 0:27:04That's precision work.
0:27:04 > 0:27:08'Excess flakes of clay are removed with a sponge, dipped in water
0:27:08 > 0:27:12'and those familiar stamps are then pressed into the base.
0:27:12 > 0:27:18'The pattern is inked on to a clear sheet of paper with a special ink mixed at the factory,
0:27:18 > 0:27:23'then the wet design is pressed on to the pot with the tube liners to follow.
0:27:24 > 0:27:28'Once the pattern has been pressed on to the pot,
0:27:28 > 0:27:31'the famous Moorcroft tube lining can begin.
0:27:31 > 0:27:35'They follow the pattern precisely, laying it on to the pot.
0:27:35 > 0:27:41'It's a good job my work is being overseen by the designer who created this piece, Kelly Goodwin.'
0:27:41 > 0:27:48My hands are so thick and clumsy, I'm worried that I might break off what's already been done.
0:27:48 > 0:27:51That's hard. That's very difficult.
0:27:51 > 0:27:55- It's not going, it's not running. - You're doing quite well.
0:27:55 > 0:28:00Come the final glaze, that will be very vibrant like this, won't it?
0:28:00 > 0:28:05Yes, the glaze is the main part because the colour soaks into the pot itself.
0:28:05 > 0:28:09Once you put the glaze on, it turns into precious jewels.
0:28:09 > 0:28:13- All the colours come through. - The whole thing just comes to life.
0:28:13 > 0:28:17- Do you want to finish this?- It would take me two days, not three hours.
0:28:17 > 0:28:22- Can you finish it off for me? - Yeah, I'll finish it off and send it through the kiln.
0:28:22 > 0:28:27Thank you so much. I'll put it in a charity auction for Children In Need.
0:28:27 > 0:28:34We've got a Pudsey scarf on one of those which you've kindly put on. Hopefully, it makes a lot of money.
0:28:34 > 0:28:40And thank everybody here because they've shown me the secrets behind Moorcroft. It's alive and kicking!
0:28:42 > 0:28:47It's time to head back to the valuation day at Nantwich Civic Hall.
0:28:47 > 0:28:52There's no let-up for our experts and with plenty of people still arriving,
0:28:52 > 0:28:55who knows what we'll unearth?
0:28:55 > 0:29:00Alan, if you're a fan of the show, I won't have to tell you what we've got here.
0:29:00 > 0:29:04- You know exactly what it is.- I do indeed.- It's a lump of Moorcroft.
0:29:04 > 0:29:08What can you tell me about it? Is it something that you collect?
0:29:08 > 0:29:12No, it used to belong to a great-aunt of mine,
0:29:12 > 0:29:15who bought it new, which I do know.
0:29:15 > 0:29:19It was then passed on to my parents who passed it on to me.
0:29:19 > 0:29:23- Wow!- So I've inherited it, basically.- You've inherited it.
0:29:23 > 0:29:27- The first thing that strikes me is the size of the piece.- It is large.
0:29:27 > 0:29:31And with Moorcroft, they do say bigger is better.
0:29:31 > 0:29:33And also the condition.
0:29:33 > 0:29:39I mean, it's come some way from... I don't know, when was it bought, do you think? The 1920s?
0:29:39 > 0:29:45- Yes, the early '20s, something like that.- It's around that sort of production period.
0:29:45 > 0:29:49We're talking 80-plus years and it hasn't had a chip or a crack.
0:29:49 > 0:29:52Has it been cherished by you?
0:29:52 > 0:29:56When I first inherited it, we used it as an umbrella stand.
0:29:56 > 0:30:02- You are joking?- No.- And it still survived?- When I say it now, it's frightening.
0:30:02 > 0:30:09- Until I realised what Moorcroft was...- Then you thought... - It's been upstairs in the bedroom.
0:30:09 > 0:30:11- Tucked away?- Out of the way.
0:30:11 > 0:30:18If we look at the marks underneath, we've got a good, strong signature of William Moorcroft there.
0:30:18 > 0:30:23In the green which means it's an earlier mark. Later on, he signed in blue.
0:30:23 > 0:30:26Then after that, it became his son's signature.
0:30:26 > 0:30:32Once you get into that period, it tends to be less collected, it becomes a bit more mass-produced.
0:30:32 > 0:30:38A lot of people might say this looks a bit dull, it doesn't look as bright as the normal Moorcroft,
0:30:38 > 0:30:41which is quite vibrant and vivid.
0:30:41 > 0:30:47- I have seen brighter ones. - That's quite a nice touch, as far as collecting it goes.
0:30:47 > 0:30:50Again it means that this is an early piece of Moorcroft.
0:30:50 > 0:30:53Have you got any ideas of value?
0:30:53 > 0:31:00- Only vaguely. I'm honestly hoping it could be worth between £200 and £300.- £200 and £300?- Yeah.
0:31:00 > 0:31:06- I'll see if I've got my wallet on me because I might give you £200 for this.- Hang on!
0:31:06 > 0:31:08- We haven't shaken on it yet.- No.
0:31:08 > 0:31:13I think it's worth between £400 and £600, so double what you thought, Alan.
0:31:13 > 0:31:17- You've shocked me.- Really? - Yes. You have surprised me.
0:31:17 > 0:31:23- There's no-one you can pass it on to?- No.- It's come through the family this far.
0:31:23 > 0:31:27- My children don't want it.- They're not interested.- Not interested.
0:31:27 > 0:31:29We hear it all the time as auctioneers.
0:31:29 > 0:31:34So I thought, "Let's sell it and let somebody else get the pleasure of it."
0:31:34 > 0:31:37- Reserve it at £400?- Yes, certainly.
0:31:37 > 0:31:43It'll get good coverage from the auction house, still well collected, early piece.
0:31:43 > 0:31:45- I think you'll do well.- Brilliant.
0:31:45 > 0:31:51Kate has also found something worth its weight in gold, belonging to June.
0:31:51 > 0:31:55I can see from what you're wearing that you like wearing gold.
0:31:55 > 0:32:00- Have you worn this quite a bit? - Not a great deal. It's a bit heavy.
0:32:00 > 0:32:05That's why I've brought it today really, to see what it was worth.
0:32:05 > 0:32:09- So where did it come from? - I think originally I bought it
0:32:09 > 0:32:12in this hall at an antique fair.
0:32:12 > 0:32:18- Actually here?- Yes.- That's interesting. How long ago was that? - About 30 years. A long time.
0:32:18 > 0:32:21Originally, I think it was a watch albert.
0:32:21 > 0:32:25A gentleman would have worn it on his waistcoat
0:32:25 > 0:32:28with perhaps a watch on one side
0:32:28 > 0:32:33and often a little vesta case to hold matches on the other side.
0:32:33 > 0:32:38But here we have it, it's still got the little fob on the end,
0:32:38 > 0:32:40and that's marked "9C" for 9-carat,
0:32:40 > 0:32:44as opposed to 18 or even purer gold, 22-carat.
0:32:44 > 0:32:48I love these rectangular links that are interspersed within the design
0:32:48 > 0:32:50which are almost Art Deco in style.
0:32:50 > 0:32:53- A bit different. - They are a bit different.
0:32:53 > 0:32:57So did you have it transformed into a bracelet?
0:32:57 > 0:33:03- Yes, I thought I might wear it a bit more often, but I haven't really.- Right.
0:33:03 > 0:33:10Gold is selling very well at the moment, so I think you've actually brought a very commercial piece.
0:33:10 > 0:33:16And very commercial in that somebody would wear it as a bracelet twice over like that.
0:33:16 > 0:33:22- Yeah.- And the weight of it, of course, is pretty heavy. There's quite a bit of gold in there.
0:33:22 > 0:33:27I haven't weighed it exactly, but I would think, at auction,
0:33:27 > 0:33:30that's going to fetch you between £300 and £500.
0:33:30 > 0:33:33- How does that sound? - That sounds fine.
0:33:33 > 0:33:40- Can you remember what you paid for it?- 200 or something like that, so it was quite expensive at the time.
0:33:40 > 0:33:46But because it was so heavy, we thought it was maybe an investment.
0:33:46 > 0:33:52- It's been quite a good investment and how funny that it's come back to where you purchased it!- Exactly.
0:33:58 > 0:34:03Jane, you've brought in a rather fine selection of stoneware mugs.
0:34:03 > 0:34:07Are these used at home, full of tea and coffee perhaps every morning?
0:34:07 > 0:34:13No, they sit on top of my dresser, so I don't see them directly in front of me.
0:34:13 > 0:34:18- And they're semi-inherited from a relation 25 years ago.- OK.
0:34:18 > 0:34:21I felt this was the time to bring them to be valued.
0:34:21 > 0:34:25I rather like them. I think they're rather fun.
0:34:25 > 0:34:27- They're Doulton Lambeth.- Yes.
0:34:27 > 0:34:33They're stoneware which was typical of the Doulton Lambeth factory that they worked in stoneware,
0:34:33 > 0:34:35hence, actually, these colours
0:34:35 > 0:34:39because of the actual material that they're made of.
0:34:39 > 0:34:43The firing wouldn't allow for nice, bright enamels to be used.
0:34:43 > 0:34:48I think it was 1871 when Henry Doulton,
0:34:48 > 0:34:52who was the son of John Doulton who established the factory,
0:34:52 > 0:34:56moved to a factory in Lambeth, hence the mark "Doulton Lambeth".
0:34:56 > 0:35:01Now, he actually employed students from a local art college
0:35:01 > 0:35:03to do work for him,
0:35:03 > 0:35:10so it could well be that that's why there's a slightly arty sort of feel about it.
0:35:10 > 0:35:16When you have a closer look, you've got these wonderful little verses on them, which I think are great.
0:35:16 > 0:35:23This is, "Remember me when this you see, though many miles we distant be."
0:35:23 > 0:35:26- That's quite appropriate, isn't it, for today?- Yes.
0:35:26 > 0:35:30Tell me, what's the idea behind getting these sold?
0:35:30 > 0:35:34My daughter went to live in Sydney, Australia, last August.
0:35:34 > 0:35:40- And as you can imagine, I'm missing her very much.- Yes.
0:35:40 > 0:35:45The idea is to try and sell them, then I'd like to go out at the end of this year to see her.
0:35:45 > 0:35:49- Wonderful. It's all going towards a good cause.- Yes.
0:35:49 > 0:35:53When I first saw them, I thought they're in perfect condition,
0:35:53 > 0:35:59but I had a closer look on this one and I noticed that the handle has been repaired.
0:35:59 > 0:36:02It's got a small bit of restoration on the rim.
0:36:02 > 0:36:06Then this one here, we've got a bit of a chip on the foot rim.
0:36:06 > 0:36:12That really is everything. The first thing people do with ceramics is look for any damage.
0:36:12 > 0:36:16- Yes.- And I think 100 to 150 for the five,
0:36:16 > 0:36:19- reserve them at £100?- Yes.
0:36:19 > 0:36:25- If they don't go at that... - We'll keep them.- They fill a space on the dresser, don't they?- Yes.
0:36:26 > 0:36:33And I'm hoping we'll get you sort of maybe halfway across the Channel or maybe even into Europe.
0:36:33 > 0:36:36- Yes. Thank you. - Thank you. See you on the day.
0:36:36 > 0:36:42Before we head back to the auction room, let's recap what we have to offer up to the bidders.
0:36:42 > 0:36:47John was surprised when he discovered just how much his Moorcroft was worth.
0:36:47 > 0:36:49- You've shocked me.- Really?- Yes.
0:36:49 > 0:36:55Kate is sure that June's gold watch chain will catch the bidders' attention.
0:36:55 > 0:37:01Jane's Royal Doulton mugs are a neat collection and it seems that travel is a bit of a trend today
0:37:01 > 0:37:05as Jane's putting the proceeds towards a trip to Australia.
0:37:06 > 0:37:11The room is packed with bidders, so let's get on with flogging those items.
0:37:11 > 0:37:15Fingers crossed, Jane, that we get the top end of the estimate.
0:37:15 > 0:37:19Five stoneware mugs, Doulton. Big fan of stoneware.
0:37:19 > 0:37:24You can ping it, it's rock-hard. I like the way it's fired at a high temperature.
0:37:24 > 0:37:27- It has an earthy feel. - Yeah, country pottery.
0:37:27 > 0:37:32- I think all of these bidders are into their ceramics.- I think so.
0:37:32 > 0:37:35A little bit of damage, Lot 290,
0:37:35 > 0:37:38but a good set of five Doulton Lambeth mugs.
0:37:38 > 0:37:40£100 for these? £100, set of five?
0:37:40 > 0:37:44Surely, £100? Start me there? 80 then?
0:37:44 > 0:37:4860 bid then. 60 I have. Take 5? At £60.
0:37:48 > 0:37:51£60. 5. 70 now? 70.
0:37:51 > 0:37:53And 5. And 80. And 5. And 90.
0:37:53 > 0:37:57And 5. 100? 95 at the back of the room.
0:37:57 > 0:37:59I think he'll sell them at 95.
0:37:59 > 0:38:02At 95. At £95. Any more now?
0:38:02 > 0:38:07If you're all finished, we have to sell at £95, close enough...
0:38:08 > 0:38:12- Will, you were right. - It's the damage.
0:38:12 > 0:38:15- It just holds them right back. - That's a shame.
0:38:15 > 0:38:20- If they'd been perfect...- They've gone.- You wanted them to go.- Yes.
0:38:20 > 0:38:25Adam used his auctioneer's discretion to sell the Doulton mugs.
0:38:25 > 0:38:27It's time to sell the gold chain.
0:38:27 > 0:38:30- There's a lot of gold here, June. - Yes.
0:38:30 > 0:38:35It's that chain which can be worn as a bracelet which Kate has valued at £300 to £500.
0:38:35 > 0:38:39- You bought this at a fair where we held the valuation day.- Yes.
0:38:39 > 0:38:43It's all come home again. It's on home territory.
0:38:43 > 0:38:48Let's see how it goes in the room. It's all now down to this lot, the bidders. Here we go.
0:38:48 > 0:38:53735 is the 9-carat gold chain and bracelet, chain-cum-bracelet.
0:38:53 > 0:38:55About 57 grams, this one.
0:38:55 > 0:38:59And I'm bid 320, 340, 360. Is there 380 now?
0:38:59 > 0:39:02- Yes!- 360's bid. 380. 400. And 20.
0:39:02 > 0:39:07420, I'm out. 420, front row. Any more now? At 420.
0:39:07 > 0:39:11All done then, £420...?
0:39:11 > 0:39:14- That was quick! - 420, it just flew, didn't it?
0:39:14 > 0:39:18- You've got to be happy with that. - Oh, yes, indeed.
0:39:18 > 0:39:22- 15% commission, don't forget.- Yes. - Adam's got to earn his supper.
0:39:22 > 0:39:25- He has, bless him! - He's doing a fantastic job.
0:39:25 > 0:39:29- What are you going to put the money towards?- Maybe a balloon flight.
0:39:29 > 0:39:34- Ooh!- Have you ever done that?- No. - I have done one. - Have you?- It was very good.
0:39:34 > 0:39:3735. 40. 45...
0:39:38 > 0:39:40All done at 35...
0:39:40 > 0:39:45Next up, we've got an umbrella stand, a rather expensive umbrella stand.
0:39:45 > 0:39:50- It is if you live in Alan's household.- True. - It's a lovely bit of Moorcroft.
0:39:50 > 0:39:56Why are you using something that Will has valued at £400 to £600 to stick your brolly in?
0:39:56 > 0:40:02We didn't realise what it was. My daughter said, "That's a Moorcroft. It must be worth something."
0:40:02 > 0:40:07- It's amazing how it hasn't got damaged.- I can't believe it.
0:40:07 > 0:40:11I'm confident we're going to break through that top estimate easily.
0:40:11 > 0:40:14You heard it here first!
0:40:14 > 0:40:17Very nice Moorcroft vase in the pomegranate pattern.
0:40:19 > 0:40:23Lot 223. There we have it there. And I'm bid £300. Take 20?
0:40:23 > 0:40:26- Come on.- £300...- 320. 340. 360.
0:40:26 > 0:40:29380. 400. And 20. 440? 440 bid.
0:40:29 > 0:40:32Is there 460? 460. 480. 500. 520.
0:40:32 > 0:40:34540. 560. 580.
0:40:34 > 0:40:38- 600. 620?- Yeah.- Done it!
0:40:38 > 0:40:40At 600 on this one. 620.
0:40:40 > 0:40:42640. 660. 680.
0:40:42 > 0:40:46700. 720. 740.
0:40:46 > 0:40:48- 760.- Keep going.- 780. 800.
0:40:48 > 0:40:51820. 840. 860. 880.
0:40:51 > 0:40:53900. 920.
0:40:54 > 0:40:57940. 960.
0:40:57 > 0:40:59- 980?- Incredible!
0:40:59 > 0:41:02£960 I'm bid. Is there 980?
0:41:02 > 0:41:05At 960, this one. All done at 960...?
0:41:06 > 0:41:09- Yes!- Yes!- £960!
0:41:09 > 0:41:11- Well done.- Brilliant.
0:41:11 > 0:41:16- Alan...- I enjoyed that. - I'm so pleased you didn't crack that.- So am I.
0:41:16 > 0:41:20- What a wonderful moment! We never expected that, did we?- No.
0:41:20 > 0:41:26- That was incredible.- When you brought it to the valuation day, you had no idea it was worth anything.- No.
0:41:26 > 0:41:31- What's the money going towards? - We're going to use it towards...
0:41:31 > 0:41:37- Now it's this much!- Change of plans! - We're going to use it towards a holiday in Ireland with the dogs.
0:41:37 > 0:41:41- How many dogs have you got? - Three. Dalmatians.- Oh, lovely.- Yeah.
0:41:41 > 0:41:45But now I'm going to buy Sandra something, my wife,
0:41:45 > 0:41:50and my daughter something because she told us it was Moorcroft, so she deserves something.
0:41:50 > 0:41:54What a fantastic result for Alan, but can I do any better?
0:41:54 > 0:41:59Remember that Moorcroft vase I painted for Children In Need?
0:41:59 > 0:42:02It's time to sell it at Golding Young in Grantham.
0:42:02 > 0:42:08Right, ladies and gentlemen, Lot 50, the most important lot of the day coming up now.
0:42:08 > 0:42:14This is a one-off, special edition, limited vase, painted by Paul Martin from BBC's Flog It.
0:42:14 > 0:42:20The proceeds of sale are going to Children In Need, so whatever you bid, all the money's going to Pudsey.
0:42:20 > 0:42:24Let's start at £100. Thank you, madam.
0:42:24 > 0:42:27100 bid. At 100. It's going to be a long day. 100.
0:42:27 > 0:42:30And 20. 140. 160. 180. 200.
0:42:30 > 0:42:32250. 3. 50. 4.
0:42:32 > 0:42:3550. 5. 50. 6. 50. 7.
0:42:35 > 0:42:3750. 8.
0:42:37 > 0:42:4050. 9.
0:42:40 > 0:42:4450. 1,000. 1,100. In the room at 1,100.
0:42:44 > 0:42:481,200 now? 1,200 anywhere else?
0:42:48 > 0:42:51I have £1,100. Any more now? 1,150 I'll take.
0:42:51 > 0:42:54£1,100. My bid is in the centre of the room there.
0:42:54 > 0:42:58At 1,100. You're all out on the internet and on the book.
0:42:58 > 0:43:02It's in the room and selling, all the proceeds Pudsey gets.
0:43:02 > 0:43:05£1,100! Give her a round of applause!
0:43:05 > 0:43:07APPLAUSE
0:43:08 > 0:43:12Thank you. That's brilliant news. Thank you so much. Bye-bye.
0:43:12 > 0:43:16That's the auctioneer on the phone. The Moorcroft vase has sold.
0:43:16 > 0:43:21It's made loads of money for Children In Need and every penny helps.
0:43:21 > 0:43:28I hope you've enjoyed watching today's show. Join us again soon for many more surprises on Flog It.
0:43:44 > 0:43:48Subtitles by Subtext for Red Bee Media Ltd 2010
0:43:48 > 0:43:51Email subtitling@bbc.co.uk