Ely Flog It!

For 900 years, Ely Cathedral has stood out proud from the surrounding marshlands of Cambridgeshire.

And today it's a rallying point for Flog It!

Well, it's now 9:30.

I suggest we get this massive queue inside and get the show on the road.

Today, Flog It! is taking over this beautiful building.

Leading our team of experts, we have Elizabeth Talbot and Charlie Ross.

Have you met Anthony Andrews?

Charlie started his career selling chickens.

Now he's a freelance auctioneer specialising in vintage cars and Russian art.

You haven't got Anthony Andrews in there, have you?

-I'd love to.

-I bet you would!

Elizabeth's an auctioneer and valuer who runs her own auction house in Norfolk.

She's been a Flog It! regular for years but her TV highlight has to be a fleeting appearance on EastEnders.

Right now, it's back to the day job

and that means turning on the sales charm where there are doubts about an item's condition.

Couple of little chips around the edges.

-Chocolate chips.

-Chocolate chips.

Yeah. Forgivable chips!

Charlie's on top form but seems to have those vintage cars on his mind.

It has four bars of chocolate, a respray and four new tyres.

Well, what a fabulous turnout.

Historically, the nave was used as a meeting place for many local people and it's quite fitting that today

scores have turned up for our valuation day,

all hoping they'll be one of the lucky ones to go off to auction later on in the show.

Right now, let's hand over to our experts and I think Elizabeth has already spotted something.

She's with Claire and Irene who brought in a Clarice Cliff biscuit barrel.

What can you tell me about it?

My mother inherited it about eight years ago from her mother.

-And I think it may have been a wedding present for her.

-Right.

About 1930s, I think.

Do you remember it from your childhood or has it always been hidden away?

Hidden away... recently until my mum moved.

So did you see it for the first time recently?

-Fairly recently. Yeah.

-OK. So what was your impact?

-Don't know.

-It's an acquired taste, I think, isn't it.

-Do you like it, Irene?

Not particularly. I mean, I watch the programme all the time and it always comes on, doesn't it?

-Clarice Cliff is very popular.

-But I can't say I...

-It's not something I'd buy.

-No.

-No.

Well, that's an honest opinion. I think Clarice Cliff's, for all its fame,

-still something that you either like or don't like.

-Yes.

But what I like about this piece, which is in what's called the Rodanthe pattern, which is the name

of the flower pattern there,

is that it's on a shape which I think comes with the Bonjour series.

As a biscuit barrel, it's a bit more unusual.

I'm used to seeing cups and saucers and plates and

the pieces which were made in multiples to make tea services and things.

But something like a biscuit barrel by definition would

have been made in fewer numbers anyway, so it's rather nice.

And also, what is very special is the fact that this handle, which is wicker,

which is all sort of woven and strapped together, is in such

good condition, and over the years very often what is missing or damaged is the wicker handle.

-Yeah.

-I think, with the exception of just a couple of...

I mean, I'd really call them nibbles down the outside of the lid here which is teeny, tiny, little...

almost little chips. The rest of it appears to be in extraordinary good condition.

Does your mother have any stories about it being used?

She remembers it being on the sideboard and because there was rations in those days,

they'd fill it and she remembers getting the biscuits out.

-Right. OK.

-Once they were gone, they were gone. The ration for the week.

Well, I think a realistic estimate at auction would be between £200 and £300.

And I think at that level it will encourage people to look closely at it and bid up.

I think in that case it might make a bit more but we're not being greedy at the outset.

-If you think she'll be happy at that...

-Yeah. That's fine.

..we'll put a £200-£300 estimate on it.

A £200 reserve and we'll make that firm and we'll see you at the auction.

-Thank you for bringing it in.

-OK. Thank you.

And worth every penny.

I'd expect the bidders to be queuing up to take a bite out of that one.

Charlie's with mother and daughter, Jenny and Karen.

They've brought in two silver boxes which have been handed down through the family.

-Where do they come from?

-From my parents.

After they died, everything went into storage.

-Right.

-And I've been going through all the boxes now.

-And you found these.

What particularly fascinated me was this casket here.

It is English and it's Victorian.

-Oh, right.

-And I've had a quick look at the hallmark.

It's made by Nathan and Hayes of Birmingham.

What I'm intrigued by is it's 1890.

Now, there is no monarch's head.

In 1891, they took Queen Victoria's head off, not literally,

-but we have a ten-year period without her head on the hallmark.

-Oh, I see.

Now I always thought that was 1891.

On a little bit of further investigation, her head was on

until May 1890

which means we can date this to June to December 1890.

-That's very good.

-That's good, isn't it? It's a good size.

It's a trinket box. Would have lived on a lady's dressing table.

Would have had jewellery in it and what have you.

I noticed a little bit of damage, sadly.

But it's superficial. It's just the hinges.

I looked at the inside and there's a little bent wood liner here.

And I thought initially to myself, perhaps this had a glass liner.

Then I looked again and I'm pretty certain that this is contemporary.

So I think it would have had a silk or a satin liner round the outside of it,

-which would have shone through this open filigree work and looked beautiful.

-Yes. It would.

I like that. I think it's good. Now, the other box is Chinese.

-Yes.

-And you knew that.

-I did. Yes.

And you can tell from the decoration and I have to say I am not the world's expert on Chinese silver.

However, a little bit of research reveals it's got the name Luen Wo on the bottom

who were retailers in Shanghai and if you're really interested, they came from 43 Nanking Road.

Oh, even the address. Lovely.

They were silver and goldsmiths, 1875 to 1925.

I'd loved to have learnt that and pretend I knew it all but I think I'd have been cheating.

The other thing I like about this is the cartouche, which is this on the top, is vacant.

In other words, hasn't got an engraved name on it.

So somebody could still use it to give as a present and engrave the name...

a christening date or whatever, on the top, which is lovely.

What's it worth? This bit of old...

-I've no idea.

-Oh, come on. You must have an...

When you were driving along here you must have thought... I wonder if it's worth... X.

Karen, did you have an idea?

I didn't know what she'd brought until we got here.

It was all wrapped up.

-No idea.

-Right. You've got no idea.

-I've no idea at all.

-I think in that condition it's worth £100-£150.

-Right.

-Brilliant.

-Happy?

-Yes.

-Miserable?

-No.

-Perfectly all right.

-That, I think, is probably worth £30 or so.

-Right.

My intention is to put the two together.

I'm going to estimate 100-150 for the two.

-OK.

-And I think that's a very safe estimate.

I'd like to see a reserve at the bottom end estimate of £100.

-Lovely.

-We shouldn't sell it for a ha'penny less.

-Good.

They're not worth selling for less. Thanks for bringing them. They're charming.

Two lovely silver boxes ready to be packed up and sent off to auction.

So we have two items with one more needed for the sale room.

And Elizabeth has spotted a classic -

a Georg Jensen brooch belonging to Bridget.

I think this is a beautiful piece of jewellery,

but I understand that you're possibly not so keen.

No. It just doesn't do anything for me.

-I don't know why.

-So do you know what it is or who it's by?

-Yes. I know what it is.

-What do you know?

I know it's Georg Jensen and that's about all I know and he's Dutch.

-You've inherited this, have you? Yes.

-It was my grandmother's.

I mean, Georg Jensen, he lived from between 1866 and 1935.

So his advanced artistic eye, I suppose, perhaps caught a few people out.

I think you either do like his work or possibly don't and

and it suits some people and doesn't suit others.

I can understand there's a difference of opinion.

He originally trained as a sculptor which is probably why he had such an eye for detail

and certainly naturalistic images which he later referred to quite strongly.

The silver is Danish silver.

It's well-marked and he tended to mark his pieces very well.

But I've never seen this example of a design by him.

That might just mean I live a sheltered life.

His earlier works were silver inset with coloured stone cabochons,

but later on, in the 20s and 30s, his designs became more simplistic

and plainer in a way, almost silhouettes

with a hint of design rather than a lot...

-I've seen other ones on various programmes of sort of birds and flowers.

-Yes. Exactly.

It's a bit difficult cos I haven't seen this exact design sell before,

but I think instinctively, a pre-auction estimate

of between 150 and 250 would not be unrealistic and I think

it could on a better day, with some nice jewellery amongst it,

-make 300 or so.

-That'd be nice.

But I think if you're comfortable with a £150-£250 estimate,

it will encourage people to look further at it.

Place a reserve of £150 on it which I think should be firm.

-Yeah.

-And we'll see how the market responds to it

but I think they'll like it.

-I think it's a good time to be selling it.

-Thank you.

Our experts have found their first batch of items so we're off to the sale room.

Somebody could be going home with a lot of money.

Who's it going to be? And what's it worth?

Well, stay tuned and you'll find out.

Here's a rundown of the items coming with us to auction.

Claire and Irene brought in a Clarice Cliff biscuit barrel

and they won't be too sad to see it go.

Charlie liked these silver boxes belonging to Jenny and Karen

but he had to phone a friend for help when valuing one of them.

And Elizabeth really took a shine to Bridget's Georg Jensen brooch.

Our auction is just over the border in the historic town

of Stamford, in Lincolnshire, at Batemans Auctioneers.

Coming up now, a bit of 20th century modern by Danish designer Georg Jensen.

It's a gorgeous brooch and it belongs to Bridget here

who doesn't like it. We've got a valuation of £150-£250.

-Happy with that?

-Yeah.

-Yeah. Let's see what we can do.

-Hope to get that top end.

-I hope so, too.

I think it's gorgeous. It's one of my favourite things in the sale today.

I know it's something you would wear.

I would. I would wear this, absolutely.

Unfortunately, I can't, but I'd love to.

We need lots of ladies to bid on this one so it's going under the hammer right now.

Georg Jensen sterling silver brooch.

Straight in. £50. 50. Five.

It's that low.

65 now. Down then at 65. 70, 75,

80, 85, 90, 95,

100, 110, 120, new bidder.

-At £120. Done then at 120.

-Gosh.

Come on. We need more.

At £120 with you?

It's not going to sell. I don't believe that.

At 125, 130. At 130 now.

At 130, 135, 140.

Just short, aren't we.

Go one and a half.

At £140. Anybody else? All done...

I just have this feeling that you really want to bid.

At 140 it is against you.

-At 140.

-No. Can't believe it.

-Someone lend him a tenner!

150. Oh, go on, sir.

150. Everyone here is behind you.

Yes!

150.

140 against you. Done then at £140.

-150 at the back now.

-Yes. New bidder!

Right at the back, at 150. At £150.

That was close, Bridget. 150.

It sold.

That was agonizing. It shouldn't have been that agonizing.

Sold, only just, though.

-Well... Happy?

-Yeah.

-Good.

I've never seen an auctioneer work so hard but it was worth it to scrape through on the reserve.

More silver now with Jenny and Karen.

We're looking for £150 at the top end because all the money is going to charity.

-Yes.

-Tell us about the charity.

-It's Hillside Animal Sanctuary in Norfolk.

-Brilliant. What sort of animals are you rescuing?

-Anything.

-That's what I like to hear.

-They keep them forever.

-Do they?

-Yes, they do.

-Do they take in old auctioneers?

-I could ask them if you like.

-I like these boxes though.

-They've lovely.

-I like the heart-shaped one.

What is unusual is its size, it's a really good size.

-It's a shame it hasn't got its silver side.

-Yeah. Yeah.

-Yeah. Somebody'll do that.

-Good luck.

-Thank you.

The wait is over. This is it.

Silver boxes. Very nice ones.

50 for these. Straight in. 50 I'm bid. 50. Five.

Take 60 now.

60, 65, 70, 75, 80, 85,

90, 95, 100.

Here in the corner at 100, 110, 120,

130, 140,

-150, 160.

-This is very good.

-This is encouraging.

-That is good, isn't it.

-Yeah.

Look. Very keen bidding going on.

Oh, don't do that.

Back of the room. At £210.

All done at 210. Finished at 210.

-That's very good. £210.

-Lovely. Very nice.

Every penny going to the charity. Keep up all the good work as well, won't we?

Yes. Great. I'm really pleased.

That's more like it. We're really motoring now

and next up we have that Clarice Cliff biscuit barrel

brought in by Claire.

And she's brought along her mum, Jill, for moral support.

Now, Claire, you bought this into the valuation day with mum.

-Jill, hello.

-Hello.

But you couldn't make the filming at the very end.

You waited all day long and you had to go.

Well, you made it now, look. Here we are.

Well, it's never let us down before. You know that.

There are a lot of collectors that love Clarice Cliff.

I thought the pattern suited the shape of the barrel.

It all went well together.

The condition was good. Original handle - often they've dropped off.

Couple of little chips around the edge.

Little chips. Chocolate chips.

Chocolate chips. Yeah. Forgivable chips.

Well, look, good luck.

Hopefully, we'll get the £300 plus.

-Yes.

-That's what we're after.

It's going under the hammer now.

Should have two phone bids on this.

Where are you? Clarice Cliff Bizarre biscuit barrel. Let's start at £100.

Straight in. 100. At 100 only. 110,

120, 130, 140, 150, 160, 170, 180,

-190, 200, 210, 220, 230.

-Fantastic.

At 240. I've got 240.

Where are the phones?

-270.

-Great.

-Come on. Come on.

-290. 290. Can't see you, sir.

300, 310.

-Go on.

-320, 330, 340, 350.

-Go on.

-360, 370.

-Go on.

-380, 390.

Brilliant.

390 with a phone bid here. 390.

-You in at four?

-Yeah.

-400.

410. Back down here at 410.

This phone at 410. At 410.

-I sell to the phone.

-Go on.

-420, 430, 440?

-She can have it.

430. It goes then at £430.

Yes. What a lot of money.

-That was sweet, wasn't it?

-That was lovely. Yes.

Great result, Jill. Great result.

-It was worth the wait then in the queue and coming to the sale.

-Yes.

-Thank you for coming in, both of you.

-Thank you.

Well, that chap really wanted the biscuit barrel

but in the end the phone bidder had it.

We'll be back at the auction room later in the programme

to witness some heavy weight bidding on one of our items.

Our valuation day is being held in the stunning cathedral of Ely.

I found a quiet time to have a look at some of its hidden treasures.

Like all of Britain's great cathedrals,

this place just oozes history.

Wonderful architecture and of course, art throughout the ages.

Ely is over 800-years-old so you will find wonderful stone carvings,

beautiful sculptures and magnificent stained-glass windows,

but there's something else you'll find here that's totally unexpected.

Something far more modern.

As you enter the cathedral through the west entrance,

you literally walk straight onto this magnificent Victorian marble floor.

It's designed as a labyrinth. It's symbolic of a spiritual journey

with all of its twists and turns taking you off in many directions.

And I've been told if you add the length of these black marble slits together,

if you put them one on top of the other,

it's the exact distance from this floor to that ceiling above.

But what I want to show you is this wonderful sculpture of a cross above me. Look at that.

And it does one thing. It makes you tilt your head right back so you can go right up into the heavens.

That's wonderful.

It was designed by the artist Jonathan Clark

and it's entitled Way Of Life.

And again, it's symbolic of a spiritual journey,

very much like the floor I'm standing on.

It starts in the darkness at the bottom as you can see,

working its way up with all the twists and turns.

And then it comes into the daylight where you see the cross of Christ.

It was installed in the year 2001 in a pioneering new scheme to introduce high-quality contemporary art,

hopefully to encourage more people into the Christian faith.

That's wonderful.

The cathedral management had made a conscious decision to use contemporary art

to promote and to provoke the thought about Christianity.

In a way, that's pleasing to look at.

The Way Of Life is made of cast aluminium and it has nine sections,

each differently joined, representing the journey of faith.

Its path is irregular and unpredictable.

The cathedral is not just a gallery.

The art is also earning a living. The latest piece to be commissioned

is this magnificent watercolour by Alexander Creswell,

possibly the country's finest contemporary watercolour artist.

It's only the second time in Creswell's career that he's agreed to let a limited edition print

be lifted from one of his masters and this being the master,

a few hundred will be taken, signed and numbered,

with the hope of raising well over £100,000 for the cathedral restoration fund.

He's captured this so beautifully, look at the colours. It's a kaleidoscope of colour

with the light beaming right through in great big shafts,

lighting up the cathedral.

And there is a glimpse of the Octagon,

that wonderful piece of medieval engineering by Alan of Walsingham.

That's smashing.

Ely Cathedral is a melting pot of old and new,

and it's not afraid to embrace modern styles of art.

It brings together a unique collection that adds to what must be

one of the most beautiful cathedrals in the world.

At our valuation day, the crowds are still buzzing with excitement.

But first, to Elizabeth,

who's with Liz and a rather impressive WMF silver table piece.

I believe I know what it is, but what do you know of it?

I know very little about it.

I think it's beautiful.

It belonged to my great uncle who used to buy all sorts

of bits and pieces at the turn of the century and a little later.

I know nothing at all about it. I know there is a mark on it

-but I haven't been able to decipher it.

-Right. OK.

-You say you like it.

-I like it. Yes.

So why is it here today?

Well, I like art nouveau, I like the design but I haven't really got

anywhere to display it as I think it should be displayed.

I'm rather frightened of damaging it

and I think it needs to be somewhere where it's better displayed.

-Centre stage.

-Yeah.

-It's certainly centre stage this afternoon which is lovely.

The mark you find difficult to decipher, but I think if I told you

what it was you would only be able to interpret it,

is a stamp WMF which I know has appeared many times on Flog It.

It has a full-blown German name which unlike my colleagues and fellow valuers,

I'm unable to pronounce correctly so I shall not even try.

But it's the shortened version of the factory name.

It was a foundry that was established in 1880 in Germany.

-And they specialised in pewter and silver and also plated wares.

-Yes.

They were very much at the heart of the art nouveau style.

This is high art nouveau.

It really couldn't be more sort of sinuous and it looks as though

it's about to wobble off the table, it's just got this

-lovely motion about it.

-Especially the handles.

This is quite extraordinary.

This is electroplated. It's stamped EP so it's electroplated pewter.

-It may originally have had slightly more of a silvered finish, a bit more of a shine.

-Right.

I particularly like the butterflies.

They've used the silhouettes of two butterflies head-to-head

surrounded by berries and tendrils and then scrolls and leaves.

It's just magnificent. And the sad thing is that over time,

many of these creations have lost their glass liners

because they are fragile, obviously.

So it's fantastic that you have that lining there.

-I do notice on inspection there is a little bit of damage.

-Yes.

It has been, I think, soldered on, this handle.

It's lost a little bit of a tendril on that handle,

which to a perfectionist and the true collector will obviously have an impact on value.

-Of course.

-Nonetheless, I just think it's a very exciting exuberant piece.

Had it been in perfect condition,

it would have been likely to fetch in the region of between £400 and £600.

-Right.

-I think, realistically, in the current market,

the damage will bring that back down to nearer sort of £250-£350.

-Right. Right.

-Would you be happy at that sort of level?

-I think with a reserve of 250, I would.

-You would.

-Yes.

-Good.

-I would.

-Well, we'll enter that.

We'll put £250 firm on it and then you know where we stand with that.

And send it on its way and see what happens.

See what happens.

Well, from centre table to centre stage.

And John's brought in a concertina.

But can I get him to play it?

-Can you play this concertina, then?

-Well, when I was a teenager,

I did have a go at trying to tinker out a tune on it

-but without much success.

-Yeah. Was it Dad's?

It was my father's, yeah, and possibly my grandfather's.

-Could well be, because this dates to 1910, 1920.

-Really?

Oh, I didn't know it was that old.

-This is nice.

-Yes. It comes with the case.

-Yes.

-Original case.

When it's not being used, it's always been locked away in the case.

Let's move that aside and I'm so pleased you've got that

because it's got its original maker's label.

Charles Wheatstone. Made in London.

They were the first to patent the free-reed vibrating bellows

and this was first patented in 1844.

But the company goes back further than that because Charles Wheatstone Senior

tinkered with the free-reed moving instrument in the late 1700s.

-This is fantastic. This is an English-standard 24-button.

-Yeah.

And by the 1850s, Charles Wheatstone took on a Swiss guy.

He was a screw maker and he was responsible for all the metalwork

so it really did push the production on a lot further.

Now, I'm not going to pretend that I can play one of these.

Would you like to have a go?

-Not really. No.

-But the bellows...

-In very good shape, aren't they?

-In very good shape.

I wondered about that when I got it down from the loft, whether it would be in good shape

-because it hasn't been looked at for the last 50-odd years.

-Wow.

50 years, the last time you clapped eyes on it.

-That's right.

-Thank goodness for that case

because that really has...

-It really does the job.

-Look at that and you've not even polished it...

-I did rub the duster over it this morning.

-Did you?

Yeah. I must say that I did put a duster over it briefly.

Look, there's the manufacturer's label. Charles Wheatstone.

-And you see it also on the straps.

-Very good. Yeah. Yes.

And I have a feeling if we put this into auction

with its case, you'll be looking

at a price guide of £300-£400.

-Really?

-But I'm hoping, I'm really hoping, we'll top that.

-On a good day.

-On a good day.

Yeah. Do you want to sell this?

-Yes. Yes.

-Why do you want to sell it now, though?

It's been stuck in the loft for donkeys years

-and we've got seven grandchildren.

-Right.

If we could make 350 it'd be great.

-We could give them £50 each.

-Yes. I suppose so really.

We'll put a fixed reserve of £250 on this with a valuation of 250-350.

Right, yes.

-Fingers crossed on a good day.

-Fingers crossed.

-400-500...

And our next item's hardly seen the light of day, either.

-Where's it been all its life?

-In a box.

-In a box?

Derek and his granddaughter, Ria, are showing Charlie a vase.

-Why did you buy it?

-I bought it in the box with other bits and bobs.

-You wanted the other bits and bobs more than you wanted this?

-Yeah.

-For decorating the pub.

-Oh, right. So you bought a box for...?

-About ten quid.

-Ten quid.

-Yeah.

-How long ago did you buy it?

-About 20 years.

20 years ago.

-Do you know who made it?

-Well, it's got Moorcroft on it.

-What's it got on the bottom?

-Moorcroft, is it?

-Moorcroft!

Any other names on there?

-No. I don't think so.

-Have you heard of Moorcroft pottery?

-Only through watching Flog It.

-The guy, William Moorcroft,

who was born in 1872 worked for a company called MacIntyre.

And then in 1913, he formed his own factory.

-Hence the Moorcroft factory and a lot of Moorcrofts made to this day.

-Yeah.

And this is a series known as Florian Ware.

It's got some beautiful blue colours round the flowers and gilt decoration

round the top and this dates from the period when William Moorcroft,

W Moorcroft, was working for the MacIntyre factory.

So we know that this is early Moorcroft.

-Yeah.

-This is dated pre-1913...

-Yeah.

..which gives it its value.

-Makes it valuable?

-Yeah. It's collectable. So there we are.

So what's come in a box for nothing is worth something.

-What do you think it's worth? Have you ever had it valued?

-Never. No.

I think you should both have a stab at it. Ria, what do you think?

-£100.

-£100. What do you think?

Dunno, £150?

We're going up all the time. Right.

Have you ever noticed something about it?

Well, there is a little chip on the bottom.

There's quite a big chip in the bottom.

And this is a real problem with regard to its value, sadly.

If you look at the gilding here, can you see the difference in colour?

See how nice and smooth and gold it is here? And you come to here.

It's been chipped. And somebody's restored it.

It was done before I had it. Yeah.

-Oh, yes. I wouldn't accuse you of doing this, Derek, would I.

-No.

And the problem is it hasn't been done very well but restoring gilt is

incredibly difficult to get the right colour and texture onto the gilt.

So this pot,

wait for it, without the damage,

-would probably be worth £300-£500.

-U-huh.

But with the chip,

it's probably still worth between your values, £100-£150

which is not bad for a bit of chipped pottery, is it, really?

-No. No. Not at all.

-So I think if you're happy to sell it,

which presumably you are, cos it's doing no good living in a box.

-No.

-We're going to put this in the auction and estimate it at 100-150.

The auctioneers will have to put in the catalogue

that it has some damage, so we're going to say 100-150.

I think we'll put a reserve on at 100 with the auctioneer's discretion

-so that if he gets close we'll sell it.

-Yeah.

And it's by an important man and it was done early

in his career which makes it even better.

And it is a shame about the damage,

but nevertheless, somebody will buy it.

They'll probably re-restore it, do a better job with the restoration

and they'll live with it and love it

-which is just as well, cos neither of you two want it!

-No. No.

-Thank you very much for bringing it along.

-Thank you.

So, we've got another three items ready to go off to the sale room

in Stamford, and here's a reminder of what we're taking with us.

This impressive table item needs to take centre stage

if it's to impress at the auction house.

Elizabeth's convinced it's worth £250.

John's had this concertina stuck away in the attic for 50 years.

And Derek and Ria don't really like this Moorcroft vase.

Charlie's worried the damage on the base will slash its value at auction.

The auctioneer's ready so let's get on with our first item.

It's Derek and Ria's damaged Moorcroft vase.

Bit of damage to the foot which Charlie, you noticed,

you picked up on that. It's not mint, Derek,

-unfortunately, we'd be looking at 400-500, wouldn't we?

-We would.

-You know, I still think it will do the £150 mark.

-I'm sure it will.

Somebody doesn't want to spend £500 on a perfect one,

and when it's on a shelf you can't tell. Turn it round.

I didn't notice it actually.

-Did you not notice it? No.

-No. We'd had it all them years.

-Yeah.

-Never even noticed.

You hadn't learnt much about Moorcroft until watching Flog It, had you? So you brought it along.

Why is he selling it? Do you know?

For money for his little blue van.

For his little blue van.

What's wrong with the little blue van?

-Has he got a little blue van?

-Yeah.

The most attractive of all the Moorcroft vases we've had today.

Straight in. £50 for that.

50 I'm bid, 50, 55, 60, 65, 70,

75, 80, 85, 90, 95,

100, 110, 120, 130. At 130 now.

At 140, 150, 160.

At 160. Here in the room at 160.

Net, what are you doing? 180 on the net. 190 on the net.

With the net at 200.

I love the net. Keep going, net.

200, 220. At 220.

There's two people on the net bidding against each other.

240 with the net.

Keep going, net. At 240.

My voice is in your house.

LAUGHTER

With the net. At £240. Anyone else in the room?

Done at 240.

250. Back in the room at 250.

Net, I'll take 260.

In the room at 250. Net, you need to go 260.

Are they going 260? I sell in the room at £250.

Well done.

£250.

That's a cracking result considering it was damaged.

-Yeah.

-A cracking result.

Wow. Little blue van gets some money

-and I think that you deserve some money, don't you.

-Yeah.

I think that's four bars of chocolate, a respray and four new tyres.

Once again, the power of the internet bidding helped push the price up on the vase.

Next it's Liz's WMF table ornament.

Liz couldn't make it but her daughter Goldie is here instead.

I've never met a Goldie before.

-No.

-Never ever.

-I just blame hippy parents.

Nothing wrong in that, I tell you.

-It's a lovely piece, isn't it?

-Yeah, it is quite pretty.

-Do you like it?

-Yeah.

-Could have been your inheritance.

I'll be reasonably sad to see it go, but we probably need more room in the house.

-Well, I know Elizabeth fell in love with it.

-I did.

And I totally agree with your valuation, 250-350.

It's there and it looks good for its money, doesn't it?

It does. It's a super example and it's got real presence.

A lot of WMF you put on the mantel shelf against the wall.

This you can have in the middle and enjoy it from all 360 degrees which is lovely.

It's nice to have the blue glass as well.

-It is.

-Original.

-Absolutely.

WMF silver-plated centre piece.

There we are. Very attractive.

And as our item goes under the hammer it seems our auctioneer

David Palmer knows something we don't about Goldie.

Does he know what you do?

He doesn't know what you do.

Ask her what records she holds.

What sort of records do you hold?

I just throw the javelin so I competed in...

-For the country?

-Olympic Athlete...

-Are you really?!

-So I was at the last Olympics.

-Fantastic!

Anyway, we'll carry on and sell this lot.

-Talk to you about that later.

-£200.

100 I'm bid. At 100 now.

At 100 only. Take ten?

Goes then, at £100. And ten, 120,

130, 140, new money.

150, 160. At 160.

This side at 160. Is that it?

-At 160. You know it's worth more.

-Come on.

-Surely more...

At 160. Done and finished then.

At £160. Net, are you in on this?

At £160. All done then.

At 160. Marked WMF.

-It's not selling, is it.

-No.

At 160. 170, new bidder. 180. 190.

Come on. New lease of life.

At 200 I'll take your ten. Done and finished then at £200.

-All done at 200.

-Didn't sell.

-Didn't sell.

-No. Didn't sell.

-Not sold, I'm afraid.

-We had a reserve of £250.

-It'll have to go back on the wardrobe.

-That's a shame.

But that's the good thing about protecting things with a reserve.

-It was worth every penny of that estimate.

-I think so.

If no-one's here to bid for it, at least no-one's scalped a bargain either. So that's good.

Another day, another auction room, but quite honestly, I'd get mum to treasure it.

-Keep it a for a few years.

-Yeah. It's a pretty thing.

It's gorgeous. It's gorgeous. We'll look out for you at the Olympics.

Well, Goldie should keep it and maybe she'll win a few medals

at the Olympics to join it on the mantelpiece.

Well, I've a feeling our next item will hit gold.

It's John's concertina.

You said as long as you get over £300 you don't mind.

We don't mind. 350 would be better.

Yeah. We've seen them on the show.

32 buttons, as you know, do over £2,000.

This has got a few less buttons,

might not quite get there or it might just.

-You never know, do you?

-No.

-Yeah.

-It just might.

-Fingers crossed.

-Yes.

It could be, as they say in musical terms, a crescendo, in a moment.

You reckon!

This is it. It's going under the hammer.

The concertina. 200 to start, straight in. 200.

Got to be worth 200. 200 I'm bid.

At 200 now. 210, 220, 230, 240, 250.

-It's made its reserve.

-At 250.

Make no mistake. 260. 270.

Net or phones?

Phones come in on this one now.

Get in early. 280, 300.

At 300. Take 20.

At £300. 320, 340.

At 340. Net, keep going.

-Come on.

-340.

360, 380. At 380.

At 380. 400, 420.

At 420. 440 off any of you guys.

440, 450, 480.

Fighting it out now, look, on the internet and on the telephone.

500? 500, 520.

550, 580,

600, 620,

650? 650, 680, 700,

720.

750, 780, 800, 820,

850, 880.

Let's get four figures, shall we?

Could we be that lucky?

-There we go. Just done it.

-1,100.

-1,200.

-Unbelievable! Coo!

This is more like it.

1,300, 1,400.

Yes. 1,500? 1,400 now.

At 1,400. Are you in over here?

1,500. 1,600.

At 1,600. Have you lost your man on the phone?

It's a good result.

-There's your spending money.

-That's it.

-A few boat repairs.

Grandchildren. Seven grandchildren will do well, won't they?

-Excellent.

-Yes.

-Well done, that's brilliant, well done.

-£1,600.

You know how to pick your subjects, don't you? Great.

Good job you brought that in, that's all I can say. Put it there.

Only done on the day, Paul. Only done on the day.

-Well done, Paul. Excellent.

-What are you putting that money towards?

Well, the grandchildren will have a share.

We're going to go on holiday and we want to get the new boat cover for the boat, side of the boat.

That'll sort all of that out.

-I think that'll sort it out.

-Thank you for bringing that in.

If you've got anything like that, we want to flog it.

Sadly, we're running out of time here in Stamford. We've had a wonderful day.

I hope you've enjoyed the show. So, until the next time, cheerio.

Subtitles by Red Bee Media Ltd