0:00:28 > 0:00:33Hello and welcome to Syon House, nestling on the River Thames, a few miles from Central London,
0:00:33 > 0:00:36and to this special series of Flog It! Ten of the Best.
0:00:36 > 0:00:40This estate is a living landscape that's simply teeming with history
0:00:40 > 0:00:44from Prehistoric Times right up to the present day.
0:00:44 > 0:00:48It was the site of an abbey, housing Britain's only Bridgettine Order.
0:00:48 > 0:00:51But all that came to an abrupt end in 1539
0:00:51 > 0:00:53when Henry VIII ordered its suppression,
0:00:53 > 0:00:56transferring it to royal occupation.
0:01:02 > 0:01:06But it's the antiques and artefacts that really bring the colourful past to life.
0:01:06 > 0:01:10Every room you walk in there's a real sense of history,
0:01:10 > 0:01:14from the classical marble columns to the stone statues,
0:01:14 > 0:01:17the furniture by Thomas Chippendale, oil paintings,
0:01:17 > 0:01:20wall mounts that date back to the 1500s.
0:01:20 > 0:01:22It is just quite amazing,
0:01:22 > 0:01:25a real sense of connection to the past.
0:01:25 > 0:01:27Well, Flog It! wouldn't be Flog It!
0:01:27 > 0:01:31without a lottery of pottery that comes bursting through our doors.
0:01:31 > 0:01:35Over the years, I've seen it all, from Majolica to Moorcroft,
0:01:35 > 0:01:38Clarice Cliff and my old favourite, Troika from Cornwall.
0:01:38 > 0:01:42All of these clay treasures are a tribute to their time in production.
0:01:42 > 0:01:47And of course, we've seen them make their owners a cracking fortune at auction.
0:01:47 > 0:01:49So be prepared to be fired up
0:01:49 > 0:01:54as we look back through the Flog It! archives at my top-prized pottery items.
0:01:54 > 0:01:55I hope you enjoy them.
0:01:58 > 0:02:02First, let me take you to Basingstoke, where, in 2008,
0:02:02 > 0:02:06James Lewis was bowled over by Christine's Roman pottery.
0:02:07 > 0:02:12You've brought in something that's probably the oldest thing in the room. Well done!
0:02:12 > 0:02:14Tell me all about that.
0:02:14 > 0:02:18Well, it's just a family friend, as usual, gave it to us,
0:02:18 > 0:02:21and we've kept it around in a box really.
0:02:21 > 0:02:25- Now and again, I get it out and have a feel, because it's so old.- Yes.
0:02:25 > 0:02:31And to imagine the people before you who'd used it is fantastic.
0:02:31 > 0:02:34- And where did your friend find it? - I don't know.
0:02:34 > 0:02:37- I haven't any idea at all.- Really? - No.
0:02:37 > 0:02:39It's just something that's cropped up.
0:02:39 > 0:02:45Well, what we're looking at there is a wonderful piece of Roman pottery.
0:02:45 > 0:02:50Known as Samian ware for this very shiny red glaze,
0:02:50 > 0:02:55and this is the sort of pottery that was made throughout the Roman Empire
0:02:55 > 0:02:59in the second, third and fourth century AD.
0:02:59 > 0:03:06Something that I find really interesting is this mark across the centre of the dish.
0:03:06 > 0:03:08"Priscuse". Strange really.
0:03:08 > 0:03:12I wonder why they've put that across the centre of the bowl.
0:03:12 > 0:03:17It reminds me of a Roman oil lamp that I brought back from Turkey.
0:03:17 > 0:03:20I got so excited, brought it home,
0:03:20 > 0:03:24and it had across the back "taklit".
0:03:24 > 0:03:28I thought, "I wonder what that is. I wonder if it's a Roman site!"
0:03:28 > 0:03:32I looked it up in my Turkish book and it said "Turkish word for fake".
0:03:32 > 0:03:36I thought, "Oh, no!" I was so excited!
0:03:36 > 0:03:39But I'm just hoping that this isn't!
0:03:39 > 0:03:43I'm confident now that this is a really good early piece.
0:03:43 > 0:03:48And this damage, all this surface damage here is exactly what you'd expect to see.
0:03:48 > 0:03:51And these sort of chips that you get out of the glaze
0:03:51 > 0:03:54are typical of the sorts of damage you find
0:03:54 > 0:03:57when something's been in the ground a long time.
0:03:57 > 0:03:59I am totally convinced that that's right.
0:03:59 > 0:04:02Value... Roman stuff doesn't make a lot of money.
0:04:02 > 0:04:05It should make so much more than it does.
0:04:05 > 0:04:08I think it's greatly undervalued.
0:04:08 > 0:04:12I think we ought to put an estimate of £60 to £100 on it.
0:04:12 > 0:04:14Let's protect it with a reserve of 50.
0:04:14 > 0:04:18If it doesn't make that, you might as well put your soap in it!
0:04:18 > 0:04:21If it's not worth £50, it's not worth selling.
0:04:21 > 0:04:25We'll see if that pottery made history at auction a little later.
0:04:25 > 0:04:27Now it's over to Barrow-In-Furness,
0:04:27 > 0:04:31where, in 2009, Bob and Melissa brought in a marvellous-looking
0:04:31 > 0:04:35Parian-ware heirloom for me to value.
0:04:36 > 0:04:41- Bob, Melissa, do you know what you've got here?- It's a lion.
0:04:41 > 0:04:46It's a naked lady riding a lion! It's a bit of Parian ware.
0:04:46 > 0:04:48- Yes.- It's a Victorian invention.
0:04:48 > 0:04:51This was made at the Minton factory
0:04:51 > 0:04:54and it was modelled by a guy called John Bell.
0:04:54 > 0:04:56The reason it's called Parian is because
0:04:56 > 0:05:00it's named after the pure, fine, white marble
0:05:00 > 0:05:03that came from the island of Paros in Greece.
0:05:03 > 0:05:06That's where it's quarried.
0:05:06 > 0:05:10But this isn't white marble. This is a hard-paste porcelain.
0:05:10 > 0:05:13This dates to round about 1860, 1870.
0:05:13 > 0:05:16That's about the time my great, great grandfather moved to Haughton.
0:05:16 > 0:05:21- Has this been in your family a long time?- I remember it when I was a child of about four,
0:05:21 > 0:05:25late '50s, early '60s, and it was on my grandparents' dresser.
0:05:25 > 0:05:29- With two ladies, as well.- Really? - Which have disappeared. I think my dad sold them.
0:05:29 > 0:05:32- Parian figures, as well?- I think so.
0:05:32 > 0:05:37And it is actually beautiful. And it's a good decorative height, not too small, not too big.
0:05:37 > 0:05:42It'll go anywhere in the house, and that's what it was designed for back in the 1860s.
0:05:42 > 0:05:48And it was a way of introducing the naked female figure into the household.
0:05:48 > 0:05:52- She does look very cold.- She does look very cold, doesn't she?
0:05:52 > 0:05:57I can sit here and comfortably say we've seen a lot of Parian ware on the show before
0:05:57 > 0:06:00and it varies from 150
0:06:00 > 0:06:03all the way to six or £700.
0:06:03 > 0:06:06Let's give this a fair chance.
0:06:06 > 0:06:08I'll stick my neck out and say two to 300.
0:06:11 > 0:06:15- OK? Can we put a reserve on this at £170?- OK.
0:06:15 > 0:06:20It'll protect it and make sure it sells nothing under 170.
0:06:20 > 0:06:24- Otherwise, it means the buyers weren't there on the day.- Right.
0:06:24 > 0:06:28Keep it and put it in another auction on another day.
0:06:28 > 0:06:31If I kept it and it was on the mantelpiece, something would happen.
0:06:31 > 0:06:34It would get broken with four children about.
0:06:34 > 0:06:36I'm very clumsy.
0:06:36 > 0:06:40Well, I think she's beautiful. And it's so beautifully modelled,
0:06:40 > 0:06:42it's going to find a new home.
0:06:42 > 0:06:45It is realistic, isn't it? Very.
0:06:46 > 0:06:48Absolutely gorgeous.
0:06:50 > 0:06:53Now, I'm taking you back to 2003 to Bristol,
0:06:53 > 0:06:59where Peter had some unwanted pottery items to show James Braxton.
0:06:59 > 0:07:01Have you known these bits for a long time?
0:07:01 > 0:07:04- 50 years.- 50 years.
0:07:04 > 0:07:06And who bought them originally?
0:07:06 > 0:07:11Well, that I don't know for this one
0:07:11 > 0:07:15because I think my mother had it before I was born.
0:07:15 > 0:07:19This one I had when I was a little kid.
0:07:19 > 0:07:22I remember eating marmalade out of it.
0:07:22 > 0:07:28- It looks as though it's suffered a bit as a result! - A little bit. It's not too bad.
0:07:28 > 0:07:33- I think, regrettably, somebody's whacked the top off this one. - I think so.
0:07:33 > 0:07:35That's going to hold it back.
0:07:35 > 0:07:39- Now, Clarice Cliff, highly entrepreneurial lady.- Yes.
0:07:39 > 0:07:42Did amazing things. Revolutionised pottery.
0:07:42 > 0:07:45After the First World War, everything's a bit grim,
0:07:45 > 0:07:48she suddenly came upon this idea
0:07:48 > 0:07:52of producing highly decorative household ware
0:07:52 > 0:07:54that was affordable.
0:07:54 > 0:07:59She went, in fact, to the Paris Exhibition of 1925
0:07:59 > 0:08:03and really fell in love, absorbed all the influences which were on show,
0:08:03 > 0:08:05Cubism, Art Deco,
0:08:05 > 0:08:10and launched the Bizarre range as a result in 1928.
0:08:10 > 0:08:13- Now we have Bizarre. This one's apple-tree pattern.- Yes.
0:08:13 > 0:08:18There are the apples. It's a lovely conical sugar caster.
0:08:18 > 0:08:23- But it's suffered. Somebody's given it a fair old bash.- Yes, I think so.
0:08:23 > 0:08:27But in spite of that, it doesn't really seem to put people off too much.
0:08:27 > 0:08:29Turning to the preserve pot,
0:08:29 > 0:08:34a lovely sort of apple, tomato shape. Squat little fellow.
0:08:34 > 0:08:38Here we've got Bizarre Fantasque.
0:08:38 > 0:08:41- It's very nice. But as you say, it's a bit chipped.- Yes.
0:08:41 > 0:08:44We've got to bear in mind the fact that they're damaged,
0:08:44 > 0:08:47- and I'm going to say to you two, three hundred pounds.- Oh!
0:08:47 > 0:08:50- Would you be delighted?- Yes.
0:08:50 > 0:08:54- If we put two to three hundred, we'll have people flocking from all over.- Yes.
0:08:54 > 0:08:58- But I think we should protect it. £200 reserve?- Yes.
0:09:00 > 0:09:03It just wouldn't be Flog It! without Clarice Cliff.
0:09:03 > 0:09:06I'll let you know how those charming pieces faired
0:09:06 > 0:09:08when they went to auction in a minute.
0:09:10 > 0:09:13I'm taking you to Llandudno now, where, in 2005,
0:09:13 > 0:09:16David Barby thought he'd netted a real treasure
0:09:16 > 0:09:19with Kate's aquarium design green vase.
0:09:21 > 0:09:27Kate, my interest is in 19th and early 20th century ceramics
0:09:27 > 0:09:30and this is a lovely, lovely example.
0:09:30 > 0:09:35And I'm just trying to consider why on earth you want to sell it.
0:09:35 > 0:09:39It belongs to my mother. She inherited it from a friend.
0:09:39 > 0:09:45- I think she likes it, but declutterising...- Really?
0:09:45 > 0:09:48I think she's decided it's time to go.
0:09:48 > 0:09:51That's a common reason why people want to sell objects.
0:09:51 > 0:09:55- Declutter.- And they're always in my age group, which is quite worrying!
0:09:55 > 0:09:57Why I like 20th century ceramics
0:09:57 > 0:10:01is because there were so many innovations coming in with pottery.
0:10:01 > 0:10:05The different techniques, whether it was flambe or lustre,
0:10:05 > 0:10:09or whether it was copying Chinese or Japanese glazes,
0:10:09 > 0:10:11it all spans that period
0:10:11 > 0:10:15of the late 19th coming into the 20th century.
0:10:15 > 0:10:19It coincides with an art movement that we call Arts and Crafts,
0:10:19 > 0:10:22Art Nouveau,
0:10:22 > 0:10:25and this is all part and parcel of that movement.
0:10:25 > 0:10:28This piece here is a lovely English piece.
0:10:28 > 0:10:33This comes from the Pilkington Royal Lancastrian factory.
0:10:33 > 0:10:38Dated after 1913, because the mark has changed.
0:10:38 > 0:10:42So from having a "P" on the bottom with a "B",
0:10:42 > 0:10:45which was the early mark for Pilkington's,
0:10:45 > 0:10:48it changes to a rose for Royal Lancastrian.
0:10:48 > 0:10:54The mark, you can see it's the rose that replaced the P and the B,
0:10:54 > 0:10:57and if you look carefully, I'm just going to turn it round,
0:10:57 > 0:11:02- can you see that lustre initial interlinked monogram?- Yes.
0:11:02 > 0:11:08So we've got the R and the J, Richard Joyce, who specialised in fish,
0:11:08 > 0:11:14and this wonderful, almost encased or encapsulated, aquarium
0:11:14 > 0:11:18with all these glazes and lustre finishes.
0:11:18 > 0:11:20It's absolutely exquisite,
0:11:20 > 0:11:23particularly with this rim all the way around here.
0:11:23 > 0:11:27Although Pilkington's was set up at the end of the 19th century to produce tiles,
0:11:27 > 0:11:31a brilliant chemist by the name of William Burton
0:11:31 > 0:11:34introduced these lustre glazes.
0:11:34 > 0:11:38Hence this wonderful subject that we have in front of us.
0:11:38 > 0:11:42This is a beautiful piece. If it goes up for auction,
0:11:42 > 0:11:46it should realise something in the region of,
0:11:46 > 0:11:50dare I say, 250 to 350.
0:11:50 > 0:11:54Maybe tucking on to about 400. That sort of price range.
0:11:54 > 0:11:57I think we've got to box clever on the reserve...
0:11:57 > 0:12:00- OK.- ..and not appear to be too avaricious.
0:12:00 > 0:12:04I'd be inclined to put the reserve round about 200.
0:12:04 > 0:12:08- That sounds good.- Marvellous! I hope somebody loves it as much as I do.
0:12:10 > 0:12:14But before I reveal whether that vase made waves when it went to auction,
0:12:14 > 0:12:17let me just give you a quick recap.
0:12:17 > 0:12:21Bob and Melissa's Minton ornament made a big impression on me
0:12:21 > 0:12:25and I was convinced it would make a mint at auction.
0:12:25 > 0:12:30James thought Peter's Clarice Cliff sugar bowl and pepper shaker were divine,
0:12:30 > 0:12:34but did they score high when they went under the hammer?
0:12:36 > 0:12:41David Barby couldn't believe Kate wanted to offload her exquisite fish-themed green vase,
0:12:41 > 0:12:44and with an estimate of £250 to £350,
0:12:44 > 0:12:47he was convinced it would hook a buyer.
0:12:49 > 0:12:51And James Lewis thought Christine's Roman relic
0:12:51 > 0:12:55would unearth a great price when it went up for sale.
0:12:57 > 0:13:03That's the first under the hammer, but, sadly, James couldn't join Christine and I that day.
0:13:03 > 0:13:07It's unbelievable really, Roman pottery and artefacts,
0:13:07 > 0:13:09200 to 400 years Anno Domini
0:13:09 > 0:13:14- and they're worth an awful lot less than antiques that are only 100 years old.- I know.
0:13:14 > 0:13:20- Can you imagine the people that have handled it? - And the stories it could tell!
0:13:20 > 0:13:22If only this little saucer could speak!
0:13:24 > 0:13:28This is the Anglo-Roman bowl.
0:13:28 > 0:13:31Start me at £60. £60 bid.
0:13:31 > 0:13:34Thank you. And five. 65.
0:13:34 > 0:13:3970. At £65. Any more? At £65, are you all done?
0:13:39 > 0:13:44£65 with you, sir. 70 down here.
0:13:44 > 0:13:47And five. 80? And five. 90.
0:13:47 > 0:13:49And five? 100.
0:13:49 > 0:13:52- And ten?- Look at this!- 120. 130. - This is more like it!
0:13:52 > 0:13:58£120 seated. 130 at the back. 140.
0:13:58 > 0:14:01They love it!
0:14:01 > 0:14:04£130 with you, sir. £130.
0:14:04 > 0:14:07Is there any more? Last time, then.
0:14:07 > 0:14:11- Good! Wow!- £130!- Lovely.
0:14:11 > 0:14:14- Isn't that incredible? - It is, actually.
0:14:14 > 0:14:17A solid result for Christine.
0:14:17 > 0:14:21Now to Somerset to see if Peter's Clarice Cliff pieces
0:14:21 > 0:14:23would deliver the business.
0:14:23 > 0:14:27The auctioneer told me earlier that he's very optimistic
0:14:27 > 0:14:30that this is going to do not just three, not just four,
0:14:30 > 0:14:32but maybe five to six hundred.
0:14:32 > 0:14:37- Really?- Yes. So we're going to find out in a few seconds.
0:14:37 > 0:14:40So don't go away, don't put the kettle on. Here we go.
0:14:42 > 0:14:46We've got some Clarice Cliff. We've got the apple design sugar sifter,
0:14:46 > 0:14:49which has been restored or repaired,
0:14:49 > 0:14:51and a jam pot.
0:14:51 > 0:14:53There we are. Two items there.
0:14:53 > 0:14:55Considerable interest here.
0:14:55 > 0:15:00- Considerable interest! - £500. 550. £600.
0:15:00 > 0:15:02650. 700.
0:15:02 > 0:15:06750. 800. 850.
0:15:06 > 0:15:10£900 with me. 950?
0:15:10 > 0:15:13950. 1,000? 1,100?
0:15:13 > 0:15:181,100? 1,200 with me. 1,300 now?
0:15:18 > 0:15:22£1,300?
0:15:23 > 0:15:29£1,300? All done with me at £1,250, then.
0:15:29 > 0:15:31£1,250!
0:15:31 > 0:15:34- Jesus Christ! - THEY LAUGH
0:15:34 > 0:15:36£1,250.
0:15:36 > 0:15:41If it pours down with rain tomorrow, what will you go out and spend money on?
0:15:41 > 0:15:43Put it in the bank!
0:15:44 > 0:15:48Good old Clarice Cliff! £1,250.
0:15:48 > 0:15:51What a fantastic result.
0:15:51 > 0:15:54Now to Kendal, where I joined Bob and Melissa
0:15:54 > 0:15:58to see if their lion Parian ware would be a roaring success
0:15:58 > 0:16:00when it went up for sale.
0:16:00 > 0:16:03I hope I don't let you both down, do you know that?
0:16:03 > 0:16:09I think we have to put our fingers together. Let's cross our fingers. Mel's already done it.
0:16:13 > 0:16:17I have commission bids, so I'm going to have to start this one
0:16:17 > 0:16:20and go at £320.
0:16:20 > 0:16:24- Yes! Straight in at the top end. - Fantastic.- With me at 320.
0:16:24 > 0:16:30340 anywhere? At £320 now, with the commission at 320.
0:16:31 > 0:16:36Straight in at £320, Mel! What's the money going towards?
0:16:36 > 0:16:41- Recarpeting my dad's house. - He's doing his house up, is he?
0:16:41 > 0:16:45Are you going to get any money? What would you like to do?
0:16:45 > 0:16:50- I'd like to go to London.- You'd like to go to London, would you?
0:16:50 > 0:16:53Do you really want to go? You get stuck in traffic!
0:16:53 > 0:16:57- I want to go sightseeing. - Daddy will take you one day.
0:16:57 > 0:17:00- At least it's not going shopping! - Not shopping!
0:17:00 > 0:17:03Let's hope with that £320,
0:17:03 > 0:17:07Bob managed to give his daughter a great time in London.
0:17:07 > 0:17:09Now I'm taking you to Colwyn Bay
0:17:09 > 0:17:15to see whether Kate's vase made any bidders green with envy.
0:17:15 > 0:17:19We're looking at, what, £250 for this, hopefully £300?
0:17:19 > 0:17:23- That would be wonderful. - That would be swimming along nicely! Let's hope we get 400.
0:17:23 > 0:17:26There are other pieces that are quite interesting.
0:17:26 > 0:17:31If the collectors are here, they'll push up the price. It's the collectors that are buying.
0:17:31 > 0:17:34There's some heavy prices already achieved in this room.
0:17:34 > 0:17:37- I'm keeping my fingers crossed. - How exciting!
0:17:37 > 0:17:42That's come from our very own Mr B, he's optimistic. It's under the hammer now.
0:17:43 > 0:17:48Huge interest, as would be expected. It has to start at 480.
0:17:48 > 0:17:49Straight in!
0:17:49 > 0:17:53At 480? At 480?
0:17:53 > 0:17:55500.
0:17:55 > 0:17:58520. 550.
0:17:58 > 0:18:03At £550. At 550. 580.
0:18:03 > 0:18:05600.
0:18:05 > 0:18:08- Do you need a seat?- 625.
0:18:08 > 0:18:10650.
0:18:10 > 0:18:12680.
0:18:12 > 0:18:16- Oh, my God!- 700. - It really is that special.
0:18:16 > 0:18:20I'm jumping to £840. 840's on the book.
0:18:20 > 0:18:23- You're shaking, aren't you?- Yes. - 880.
0:18:23 > 0:18:25880. 900.
0:18:25 > 0:18:30- £900.- I'm shaking now!- 925. - Crikey, I've gone cold all over!
0:18:31 > 0:18:33975.
0:18:33 > 0:18:36£975.
0:18:36 > 0:18:38£1,000.
0:18:38 > 0:18:42And 25. We should be going 50s now. 50.
0:18:42 > 0:18:451,100 I'd like. £1,100.
0:18:45 > 0:18:48What is so special about this?
0:18:48 > 0:18:52- At £1,150.- Why didn't you pick up on that in your valuation?
0:18:52 > 0:18:56£1,200. Have you all done for the final call?
0:18:56 > 0:19:001,200 on the telephone.
0:19:00 > 0:19:02The hammer's gone down. That is a sold sound.
0:19:02 > 0:19:07That is £1,200.
0:19:07 > 0:19:11Staggering. Absolutely unbelievable. Another brilliant Flog It! moment.
0:19:11 > 0:19:16Kate, come on, speak, say something!
0:19:16 > 0:19:19- You were shaking like a leaf. - Absolutely shaking.
0:19:19 > 0:19:21That is incredible.
0:19:29 > 0:19:34There was nothing fishy about that vase. It smashed through David Barby's estimate.
0:19:34 > 0:19:37The art of pottery making has changed over the years,
0:19:37 > 0:19:41with new technology invented to remove all the hassles of production,
0:19:41 > 0:19:46things like the potter's wheel, electronically-controlled kilns that are fan assisted.
0:19:46 > 0:19:50But it's still no mean feat to make a prize-winning piece,
0:19:50 > 0:19:54as I found out on a visit to the Moorcroft factory back in 2008,
0:19:54 > 0:19:57when I decided to get my hands dirty.
0:20:01 > 0:20:07To find out more about Moorcroft, I've come to the heart of the British pottery industry.
0:20:07 > 0:20:12This area is so synonymous with the trade that it's referred to as the Potteries.
0:20:12 > 0:20:15You may know it as Stoke-On-Trent.
0:20:17 > 0:20:20Today, Staffordshire boasts some 350 potteries.
0:20:20 > 0:20:23Renowned names like Clarice Cliff, Royal Doulton
0:20:23 > 0:20:26and, of course, Moorcroft with its exquisitely vibrant style,
0:20:26 > 0:20:30were all born and based here, producing everything from the little egg cup
0:20:30 > 0:20:34to the most expensive, highly sought-after bowls and vases.
0:20:34 > 0:20:40They may be all the rage with the collectors, but the industry has been around for centuries.
0:20:40 > 0:20:44Pottery was established in the West Midlands in the early 1700s.
0:20:44 > 0:20:50But it wasn't until 1897 that the world was introduced to a style legend.
0:20:50 > 0:20:53Moorcroft caught the attention of a local pot manufacturer,
0:20:53 > 0:20:55James Macintyre & Company,
0:20:55 > 0:21:00and that moment marked the official birth of an artistic genius.
0:21:00 > 0:21:04William had already gained an enviable reputation as a gifted painter,
0:21:04 > 0:21:06even though he was just a recent graduate.
0:21:06 > 0:21:10He started working for Macintyre's as a lead designer.
0:21:10 > 0:21:15With his vibrant, colourful designs, inspired by nature, he soon captured a market.
0:21:15 > 0:21:20He even boldly placed his signature on the bottom of every pot.
0:21:20 > 0:21:25He was a visionary designer, and revolutionary in his approach to ceramic art.
0:21:25 > 0:21:30Demand for William's work soon exceeded any other designer in the firm.
0:21:30 > 0:21:33In 1912, aided by money from Liberty of London,
0:21:33 > 0:21:35Moorcroft left Macintyre's,
0:21:35 > 0:21:39taking with him 12 members of staff, to start up his own factory.
0:21:39 > 0:21:44They marched the 500 metres from the old premises to Moorcroft's new factory,
0:21:44 > 0:21:47taking with them sketches, designs, pot moulds and tools.
0:21:47 > 0:21:52A new age of ceramics had dawned and the iconic Moorcroft was born.
0:21:52 > 0:21:56Today, Moorcroft is a much loved worldwide brand.
0:21:56 > 0:22:00Its delicate but intricate detail delights thousands upon thousands
0:22:00 > 0:22:03and it's been a bit of a regular for us on Flog It!.
0:22:03 > 0:22:05How about 150, 250?
0:22:05 > 0:22:07- Yes!- Definitely!
0:22:07 > 0:22:09- They're not worth that.- BOTH: Oh.
0:22:09 > 0:22:12- They're worth three to 500. - You are kidding?
0:22:12 > 0:22:16It doesn't often disappoint us when it comes to selling on at auction.
0:22:16 > 0:22:172,050.
0:22:17 > 0:22:23That is a great Flog It! moment. £2,050!
0:22:24 > 0:22:28To find out why it's so sought after, I've come to the Moorcroft Visitor Centre
0:22:28 > 0:22:31to meet MD Elise Adams
0:22:31 > 0:22:34and take a look at their stunning collection.
0:22:36 > 0:22:38What an incredible room.
0:22:38 > 0:22:43Moorcroft is vying for my attention everywhere! I'm surrounded!
0:22:43 > 0:22:45- What's this room called? - This is the Moorcroft Museum,
0:22:45 > 0:22:49it's part of the Moorcroft Heritage Visitor Centre in Burslem.
0:22:49 > 0:22:55- Wow. How long have you been here? - I've been at Moorcroft for 12 years and slowly worked my way up.
0:22:55 > 0:23:00Every day is a new day, and that's the nice thing about living art pottery.
0:23:00 > 0:23:03- We've got a few that you've pulled out.- I have.
0:23:03 > 0:23:05I've started with some early pieces.
0:23:05 > 0:23:08This is where William started out at Macintyre's,
0:23:08 > 0:23:11a local firm that was founded back in the 1830s.
0:23:11 > 0:23:14He started with pieces like this. This is Aurelian ware.
0:23:14 > 0:23:18It's flat to the touch, not like the Moorcroft that we then come to know,
0:23:18 > 0:23:21- which have the raised... - Tube linings.
0:23:21 > 0:23:25- Where did he get his inspiration from?- From his environment around him.
0:23:25 > 0:23:30A lot of British flowers, forget-me-nots and daisies, things he would see day to day.
0:23:30 > 0:23:34And these pieces lead on to other pieces that come forward.
0:23:34 > 0:23:36He was very clever at this stage,
0:23:36 > 0:23:40because he was signing his wares, although he worked for Macintyre.
0:23:40 > 0:23:43- Yes, he was. - How did he get away with that?
0:23:43 > 0:23:48He was a very canny businessman. Macintyre's don't seem to have objected, from what we know.
0:23:48 > 0:23:54Pieces like this, as I said, it's a Macintyre piece, it's got their stamp on it,
0:23:54 > 0:23:57but quite clearly in green is William's signature.
0:23:57 > 0:23:59He's branding his own name there,
0:23:59 > 0:24:03he's setting himself up for when he goes it alone and sets up his own factory.
0:24:03 > 0:24:07So people know these pieces as Moorcroft when, in fact, they're actually Macintyre.
0:24:07 > 0:24:12- What's distinctive about this piece? - This is the first range that William designed
0:24:12 > 0:24:15when he moved to this new factory in 1913.
0:24:15 > 0:24:18This follows the following year, in 1914. It's called Persian ware.
0:24:18 > 0:24:22The shape was inspired by Middle Eastern culture.
0:24:22 > 0:24:25William starts to work with Liberty and Co in London
0:24:25 > 0:24:28and they start buying pieces of Macintyre ware,
0:24:28 > 0:24:32and he starts designing specific ranges exclusively for them,
0:24:32 > 0:24:36such as this powder blue ware, which they used in their tearooms.
0:24:36 > 0:24:39- Flambe.- Wonderful! From blue to red.
0:24:39 > 0:24:43This was his technique, wasn't it? His little invention.
0:24:43 > 0:24:45This was something that he held close to his heart.
0:24:45 > 0:24:48He took the recipe with him to his deathbed
0:24:48 > 0:24:52and only passed it on to his son, Walter, on his deathbed in 1945.
0:24:52 > 0:24:57He didn't let anyone else fire or load the kilns. He was very protective over it.
0:24:57 > 0:25:02- What period are we looking at? - We're coming forward a little bit to more contemporary pieces,
0:25:02 > 0:25:06pieces by Walter, who takes over the factory in 1945.
0:25:06 > 0:25:11But as you can see, we start to get away from what Moorcroft's all about here.
0:25:11 > 0:25:14There's very little tube lining,
0:25:14 > 0:25:17which exactly the opposite to what William had advised.
0:25:17 > 0:25:22Let's talk about the new designers. Do they have to have a good archive knowledge of previous designs?
0:25:22 > 0:25:26They do. They're all very aware of pieces that have gone before.
0:25:26 > 0:25:30They have access to the museum. You often find them in here looking at old shapes and designs,
0:25:30 > 0:25:33but they're careful to always be moving forward.
0:25:33 > 0:25:37But the process of Moorcroft has changed very little.
0:25:37 > 0:25:42It's still tube-lined by hand, painted by hand, dipped by hand and so on.
0:25:42 > 0:25:46So from that point of view, in 112 years, very little's changed.
0:25:46 > 0:25:48I think that's great, to see some animals.
0:25:48 > 0:25:52It's by Kerry Goodwin, one of the newest members of the design studio.
0:25:52 > 0:25:55She works here on our factory and is here today.
0:25:55 > 0:25:59- If you would like to come and meet her...- I'd love to.
0:25:59 > 0:26:03- ..we can see how this piece is made. - That'll be interesting.
0:26:03 > 0:26:06The first stage of the process is mould making.
0:26:06 > 0:26:09The craftsman hand-makes each mould with plaster of Paris.
0:26:16 > 0:26:18Next, the piece is cast.
0:26:18 > 0:26:22The mould is filled with liquid clay and then emptied,
0:26:22 > 0:26:23leaving a wet shell.
0:26:23 > 0:26:27When the clay has dried, the mould is removed, revealing the shape.
0:26:27 > 0:26:31The vase is then placed in a damp room overnight to harden.
0:26:32 > 0:26:36The dried vase needs to be smoothed. It's mounted on a lathe
0:26:36 > 0:26:38and any seams removed by hand.
0:26:38 > 0:26:40That's precision work.
0:26:40 > 0:26:45Excess flakes of clay are removed with a sponge dipped in water,
0:26:45 > 0:26:49and those familiar stamps are then pressed into the base.
0:26:49 > 0:26:52The pattern is inked onto a clear sheet of paper
0:26:52 > 0:26:54with a special ink mixed at the factory.
0:26:54 > 0:26:57Then the wet design is pressed onto the pot,
0:26:57 > 0:27:00with the tube liners to follow.
0:27:01 > 0:27:04Once the pattern has been pressed onto the pot,
0:27:04 > 0:27:08the famous Moorcroft tube lining can begin.
0:27:09 > 0:27:12They follow the pattern precisely, laying it onto the pot.
0:27:12 > 0:27:15It's a good job my work is being overseen
0:27:15 > 0:27:18by the designer who created this piece, Kerry Goodwin.
0:27:19 > 0:27:25My hands are so thick and clumsy, I'm worried I might break off what's already been done!
0:27:25 > 0:27:27That's hard. That's very difficult.
0:27:27 > 0:27:32- It's not going. It's not running. - You're doing quite well.
0:27:32 > 0:27:35Come the final glaze, that'll be very vibrant, like this.
0:27:35 > 0:27:38Yes, the glaze is the main part,
0:27:38 > 0:27:41because the colour soaks into the pot itself.
0:27:41 > 0:27:44Once you put the glaze on, it turns into precious jewels.
0:27:44 > 0:27:48All the colours come through, all the reds and the greens.
0:27:48 > 0:27:50And then the whole thing just comes to life.
0:27:50 > 0:27:54- Do you want to finish this? - I think it'd take me two days, not three hours!
0:27:54 > 0:27:57- Can you finish it off for me? - Yes, I'll finish it off
0:27:57 > 0:28:00- and send it through the kiln. - Thank you!
0:28:00 > 0:28:03Thanks, everybody. They've shown me Moorcroft's secrets.
0:28:03 > 0:28:06It's well and truly alive and kicking!
0:28:13 > 0:28:16But first, let me take you to Coventry.
0:28:18 > 0:28:22In 2002, Alistair wet David Barby's lips
0:28:22 > 0:28:26with his pristine condition 1930s Shelley's tea service.
0:28:29 > 0:28:35I'm looking at this tea service, um, and it doesn't look as though it's ever been used.
0:28:35 > 0:28:38I don't believe that is has. Not in my lifetime anyway.
0:28:38 > 0:28:41- Does it belong to you? - No, it belonged to my mother.
0:28:41 > 0:28:46- It was something that she was given by her mother when she was in her early teens.- Right.
0:28:46 > 0:28:50I believe that she put it away in her bottom drawer for when she got married.
0:28:50 > 0:28:55She may have used it once or twice, but the idea was that she would put it away for best
0:28:55 > 0:29:00and, as far as I know, it's not been used, apart from the condiment set, with any kind of regularity.
0:29:00 > 0:29:04- So, your mother must be aged, what, 85 to 90?- She's 85.
0:29:04 > 0:29:07Same generation as my mother. We have a "Sunday best" room.
0:29:07 > 0:29:09I didn't dare go in that room!
0:29:09 > 0:29:12- So, this is your Sunday best china? - It would be.
0:29:12 > 0:29:16- Do you know how I can tell it's Sunday best?- No. - We have this unusual piece here,
0:29:16 > 0:29:19- the one with the pierced bottom. - Yes?
0:29:19 > 0:29:22And this was made for cress.
0:29:22 > 0:29:27And you have the little shallow bowl which would catch drips of water.
0:29:27 > 0:29:32You don't get them together very often, so that's nice to be part and parcel of this service.
0:29:32 > 0:29:35The other thing to look at is, you've got not only a Sunday best,
0:29:35 > 0:29:38but you've got a breakfast service, as well.
0:29:38 > 0:29:41- So we have these extra-large cups and saucers.- Yes.
0:29:41 > 0:29:45This is a very attractive service. The pattern is called Melody.
0:29:45 > 0:29:49It dates from about 1932, 1934.
0:29:49 > 0:29:54It's not in its extreme Shelley design, but a Cubist pattern with angular-shaped handles.
0:29:54 > 0:29:58This is a very accommodating middle-class pattern.
0:29:58 > 0:30:02But the beauty is that you've got so many components to this service.
0:30:02 > 0:30:06- The only thing that I can see is, there's a bit of damage on the condiment set.- Yes.
0:30:06 > 0:30:12- Was this used elsewhere? - It was used fairly regularly during my childhood.
0:30:12 > 0:30:16That was the one piece that she did want to get some use out of.
0:30:16 > 0:30:21Well, it's very nice to handle. I would estimate, if this came up for auction,
0:30:21 > 0:30:25that we should get between three and £400, if not more.
0:30:25 > 0:30:30But I would want to accommodate with a reserve in the region of about £280.
0:30:30 > 0:30:34- That's fine.- That sort of price. Would you be happy with that?- Yes.
0:30:34 > 0:30:39- I'm sure the auctioneers will be happy to sell that. - I look forward to the auction.- Good!
0:30:39 > 0:30:43Stay tuned to see how it did when it went up for auction.
0:30:44 > 0:30:47But first, here are three memorable pottery items
0:30:47 > 0:30:50that I just have to show you again.
0:30:51 > 0:30:53Here's one I didn't make earlier,
0:30:53 > 0:30:55a fabulous example of Moorcroft design,
0:30:55 > 0:31:00which was spotted in Nantwich back in 2009.
0:31:00 > 0:31:02Has it been cherished by you?
0:31:02 > 0:31:06I've got to be honest, when I first inherited it, we used it as an umbrella stand.
0:31:06 > 0:31:08You are joking?
0:31:08 > 0:31:11It made owner Alan a whopping £960.
0:31:11 > 0:31:15David Barby thought this unusual 18th century heirloom of Bob and Peggy's
0:31:15 > 0:31:18would drum up a great price in Melksham.
0:31:18 > 0:31:23To all intents and purposes, it's a working miniature longcase clock.
0:31:23 > 0:31:25And it didn't disappoint,
0:31:25 > 0:31:28making £800.
0:31:28 > 0:31:31And Anthony got to savour some serious success
0:31:31 > 0:31:36when his Majolica strawberry bowl went under the hammer in Norwich back in 2003.
0:31:36 > 0:31:41At £950, that was definitely a fruitful result.
0:31:43 > 0:31:48I'm taking you to Milton Keynes now where we join Nigel Smith,
0:31:48 > 0:31:51who was simply lusting after Andrew's Lancastrian lustre vase.
0:31:51 > 0:31:56Andrew, you've brought quite an interesting little pot here, something I particularly like.
0:31:56 > 0:32:00- Tell me what you know about it. - I know it's my great-grandmother's
0:32:00 > 0:32:03and it's passed down from my granny, then to my mum.
0:32:03 > 0:32:08It's stayed with my mum, but I've loved it every time I've gone home.
0:32:08 > 0:32:10- You've inherited it?- Yes.
0:32:10 > 0:32:12Is it something you particularly like?
0:32:12 > 0:32:14Oh, yes! Yes, I do.
0:32:14 > 0:32:18But I've got little children, so I'm always petrified they'll break it,
0:32:18 > 0:32:23so I thought, "Well, I could do something with the money."
0:32:23 > 0:32:28- What would you do with the money? - I'd like to send my parents on a cruise, as it's theirs.
0:32:28 > 0:32:32That's a nice idea, but you'll probably have to put a bit to it!
0:32:32 > 0:32:36I'll put some money towards it, as well!
0:32:36 > 0:32:39Not unless it's really valuable, a Ming or whatever!
0:32:39 > 0:32:41It is quite well marked on the underside.
0:32:41 > 0:32:46If we turn it over, it's got a date code in Roman numerals.
0:32:46 > 0:32:50- XII, so 1912.- Oh, right.
0:32:50 > 0:32:53This is made by the Lancastrian Art and Tile Pottery.
0:32:53 > 0:32:56- That's her maiden name, Lancaster. - Is it?- Yes!
0:32:56 > 0:33:02- So, do your family come from that part of the world? - Yes, Formby.- Right.
0:33:02 > 0:33:04There's an artist's monogram. It's badly worn.
0:33:04 > 0:33:07Again, in lustre. It's a sort of wheel mark.
0:33:07 > 0:33:13If we look there, we can see that it's a cipher for Gordon Forsyth.
0:33:13 > 0:33:17The downside to this is the fact that it's misfired.
0:33:17 > 0:33:21If we turn it round, it's pale on one side and towards the bottom.
0:33:21 > 0:33:23I thought it had faded!
0:33:23 > 0:33:29- It doesn't actually fade.- Oh, right. - This is a firing fault.
0:33:29 > 0:33:33But it's beautifully decorated, with rampant lions all the way round
0:33:33 > 0:33:35and then these scrolly leaves,
0:33:35 > 0:33:38and then this lovely border, this sort of, er,
0:33:38 > 0:33:41lappet border going all the way round.
0:33:41 > 0:33:46It's a beautiful thing. The market is strong for this type of pottery.
0:33:46 > 0:33:47That's good.
0:33:47 > 0:33:51- Have you got an inkling about its value?- I have no idea at all.
0:33:51 > 0:33:55- Very cautiously, we could estimate two to £300.- Oh, gosh!
0:33:55 > 0:33:57- You'd be happy with that, would you? - Definitely.
0:33:57 > 0:34:01I think it'll make that and more. It should make more.
0:34:01 > 0:34:05- Your parents might have a cruise! - Yes.- A small one.
0:34:06 > 0:34:09Let's hope it doesn't misfire at auction.
0:34:09 > 0:34:13Next, I'm heading to Northampton,
0:34:13 > 0:34:17where, in 2004, James Lewis hunted down a real find
0:34:17 > 0:34:20in Janet and Alan's Beswick figurines.
0:34:21 > 0:34:24We see a lot of Beswick on the Flog It! show,
0:34:24 > 0:34:27but I haven't seen a collection this good for a while.
0:34:27 > 0:34:31- What can you tell me about it? - Originally, they were my father's.
0:34:31 > 0:34:34- Dad was a Grafton Hunt supporter. - Ah, OK.
0:34:34 > 0:34:37And so he was very much into all this sort of thing.
0:34:37 > 0:34:40- Do you follow the hunt?- We don't.
0:34:40 > 0:34:43- No.- No, nor me.
0:34:43 > 0:34:48It's a good set. And we've got some good figures there, as well.
0:34:48 > 0:34:52Some are rarer than others. Also, we've got different backstamps.
0:34:52 > 0:34:54We've got the post-war backstamp on all of them,
0:34:54 > 0:34:57but this one is different to this.
0:34:57 > 0:34:59If you turn her over,
0:34:59 > 0:35:04- this mark is a more modern mark. - Right.- OK?
0:35:04 > 0:35:06So she's slightly more recent.
0:35:06 > 0:35:09And looking at him, he's got a tiny chip to his ear.
0:35:09 > 0:35:14So they're not perfect as a set and they're made in different dates,
0:35:14 > 0:35:16but they're still a good set.
0:35:16 > 0:35:20Now, when it comes to the children on horseback,
0:35:20 > 0:35:24there's one pony and rider that's incredibly rare.
0:35:24 > 0:35:27I can't remember which one it is.
0:35:27 > 0:35:31I think it might be that one.
0:35:31 > 0:35:35Before the auction, we need to do some research and confirm it for you.
0:35:35 > 0:35:38But as a whole, there's quite a lot of value there.
0:35:38 > 0:35:40Have you ever thought about value?
0:35:40 > 0:35:44Well, having visited the Doulton factory...
0:35:44 > 0:35:45Oh, OK!
0:35:45 > 0:35:50..we did see some actually being made, some figures,
0:35:50 > 0:35:54and we've also got a few books, and friends with books...
0:35:54 > 0:35:57- OK.- ..so we think, possibly,
0:35:57 > 0:36:02- we're talking about £100 for the big ones.- Those two.
0:36:02 > 0:36:07- This is our estimate. - That one's more modern, though.
0:36:07 > 0:36:11- And he's got a chip to his ear.- Yes. - That does make a difference.
0:36:11 > 0:36:15But they are good figures. I think if you average it out,
0:36:15 > 0:36:20I reckon you're going to get three to £500 for them.
0:36:20 > 0:36:21Something like that.
0:36:21 > 0:36:24- On that basis, are you happy to go ahead?- Yes.
0:36:24 > 0:36:27- Yes, we'll go ahead with that.- Yes? - Fine.
0:36:28 > 0:36:33But did they deliver a good price? We'll find out in just a minute.
0:36:33 > 0:36:36First, let me refresh your memory with a quick summary.
0:36:37 > 0:36:42David was humming with excitement for Alistair's Shelley "Melody" tea service in Coventry.
0:36:42 > 0:36:45But did the bidders agree?
0:36:45 > 0:36:49Janet and Alan's Beswick hunting set made a big impression on James.
0:36:49 > 0:36:54He was convinced that they'd snare a good price when they went under the hammer.
0:36:54 > 0:36:59Andrew was terrified his kids would break his beautiful Lancastrian heirloom.
0:36:59 > 0:37:02Was it a smash in the sale room?
0:37:03 > 0:37:08Let's find out, as it goes under the hammer first in Woburn, with Charlie Ross.
0:37:08 > 0:37:12This is the first auction room you've been to,
0:37:12 > 0:37:16you're selling something, hopefully, and you're going to buy something if you get lucky.
0:37:16 > 0:37:19I know. I'm nervous, though. It's going to be good.
0:37:19 > 0:37:24- That's half the fun, though!- Yes. - Hopefully, it will start a love affair in antiques.
0:37:24 > 0:37:26- This is your lot now.- Right.
0:37:26 > 0:37:31I can start at £100 exactly. Ten I will take. 20.
0:37:31 > 0:37:34130. 140. 150.
0:37:34 > 0:37:36160. 170. Your bid.
0:37:36 > 0:37:40170, back of the room. 180. 190.
0:37:40 > 0:37:43- 200. 210?- This is good.- 20. 30.
0:37:43 > 0:37:46240. 250. 260.
0:37:46 > 0:37:50270. 280. No?
0:37:50 > 0:37:54270. At £270. 280 behind you.
0:37:54 > 0:37:59290, sir? 300, madam? I'll take 20. 340.
0:37:59 > 0:38:03360. 380. 400.
0:38:03 > 0:38:05420. 440.
0:38:05 > 0:38:07460. 480.
0:38:07 > 0:38:09500. 520.
0:38:09 > 0:38:12540. No. 520.
0:38:12 > 0:38:16The gentleman's bid, then. £520.
0:38:16 > 0:38:19He's all at sea now!
0:38:19 > 0:38:22I can buy more stuff now!
0:38:23 > 0:38:28- How brilliant was that? - That's excellent! That's nearly double the estimate.
0:38:28 > 0:38:30Back to the drawing board for me!
0:38:30 > 0:38:33Well, yes! Gosh, that was really amazing.
0:38:33 > 0:38:35I can't believe it's gone for so much.
0:38:35 > 0:38:40A good result. Andrew looked extremely pleased.
0:38:41 > 0:38:44Time for tea now, as we head off to Wolverhampton
0:38:44 > 0:38:48to find out how that wonderful Shelley set went down with the bidders.
0:38:48 > 0:38:51Alistair, you look really smart. Turned out well for the auction.
0:38:51 > 0:38:54I've never been on TV before, so...!
0:38:54 > 0:38:58The set is now complete because you found the little toast rack.
0:38:58 > 0:39:02- Let's hope it increases the value. - I'm hoping.- You can have breakfast with it now.
0:39:02 > 0:39:06- There's just one little chip on one of the condiments.- Yes.
0:39:06 > 0:39:10- Because they've been using it. - That was my fault. - Antiques are supposed to be used!
0:39:13 > 0:39:15There we go. Super set.
0:39:15 > 0:39:18280. In the room at 280. 290.
0:39:18 > 0:39:21300. 310.
0:39:21 > 0:39:23320. 330.
0:39:23 > 0:39:26- 340.- Excellent.- This is good.
0:39:26 > 0:39:28360. 370.
0:39:28 > 0:39:30380. 390.
0:39:30 > 0:39:33400.
0:39:33 > 0:39:36And 20, sir? 420.
0:39:36 > 0:39:41- 440. 460.- It's top money for this, isn't it?- Very good.
0:39:41 > 0:39:46540. 560. 580. 600.
0:39:46 > 0:39:49- 620.- 620!
0:39:49 > 0:39:52- 660. 680. 700.- That's unbelievable.
0:39:52 > 0:39:56- And 20.- There's two keen buyers bidding against each other.
0:39:56 > 0:39:59- This is what we want.- They're actually bidding against each other.
0:39:59 > 0:40:01- 800!- They're going to fight for it.
0:40:01 > 0:40:03£860.
0:40:03 > 0:40:06- That went bonkers!- All done at 860.
0:40:06 > 0:40:10- 860!- Gosh! Wow!
0:40:10 > 0:40:12THEY LAUGH
0:40:12 > 0:40:14It's done at 900.
0:40:14 > 0:40:19- 900?- Congratulations. - I'm absolutely staggered!
0:40:19 > 0:40:22- Get on the phone to your mother! - That is fantastic!
0:40:22 > 0:40:26- It is.- That's amazing.- That's a world record for a bit of Shelley.
0:40:26 > 0:40:29Would you have sold it had it not been for Flog It!?
0:40:29 > 0:40:32- Possibly not, no.- Brilliant. - There you go.
0:40:32 > 0:40:38And it caused a real stir, delivering a fantastic triple estimate result.
0:40:38 > 0:40:41Back to Woburn now to 2004.
0:40:41 > 0:40:45Let's see how Janet and Alan's hunting set got on.
0:40:47 > 0:40:50James's valuation ended with a reserve of 300.
0:40:50 > 0:40:53Since then, you've had a chat with Charlie. You wanted 800.
0:40:53 > 0:40:57Charlie's talked you into 600. We've gone up, down, up, down.
0:40:57 > 0:40:59- Are you happy with that?- BOTH: Yes.
0:40:59 > 0:41:02You're adamant they'll do well, aren't you?
0:41:02 > 0:41:05- Absolutely.- Oh, yes. - I think they're going to do well.
0:41:05 > 0:41:08- James?- They're going to fly. The market is so buoyant for them.
0:41:08 > 0:41:12What will they do, James? He hates me doing this!
0:41:12 > 0:41:15OK, let's say... I'll say 1,100.
0:41:15 > 0:41:19- I agree.- Do you really? - Yes.- OK, well, that's not fixed!
0:41:19 > 0:41:22- Well done.- We hope so!
0:41:22 > 0:41:25I'll get punched in t'face if they don't sell!
0:41:27 > 0:41:31- HE MIMICS FANFARE - I can start here at £600.
0:41:31 > 0:41:33I'll take 20. 620.
0:41:33 > 0:41:38- There we go.- 640. 660. 680. 700.
0:41:38 > 0:41:4120. 740. 760. 780.
0:41:41 > 0:41:43800. 20.
0:41:43 > 0:41:47840. 850. 860.
0:41:47 > 0:41:50880. Your bid. 900.
0:41:50 > 0:41:53- 20. 940.- Tally-ho!
0:41:53 > 0:41:56I'll come to you at the back in a minute! 960. Have a rest!
0:41:56 > 0:41:59980? No. Now 980!
0:41:59 > 0:42:04- 980.- Please get the 1,100! - 1,000. And 50. 1,100.
0:42:04 > 0:42:07And 50. 1,200.
0:42:08 > 0:42:121,150. The middle of the room, 1,200. Fresh bidding.
0:42:12 > 0:42:161,250. You're both out now. 1,200.
0:42:16 > 0:42:21All done, then, at 1,200...
0:42:21 > 0:42:25- Brilliant, Janet!- That's wonderful! - £1,200!
0:42:25 > 0:42:28- I can't believe that!- Wonderful. - They are so collectable.
0:42:28 > 0:42:32I don't understand it, I don't like them, but there you go!
0:42:32 > 0:42:35- You don't have to, do you? - £1,200! No, I don't have to!
0:42:35 > 0:42:38- James, you were right.- So were you! - Yes!
0:42:38 > 0:42:40Thank you!
0:42:40 > 0:42:43- It's wonderful.- Now, there's a holiday, isn't there?
0:42:43 > 0:42:46- There is. Where are you off to? - BOTH: South Africa.
0:42:46 > 0:42:49- Have you been before?- No. - Trip of a lifetime.- Absolutely.
0:42:49 > 0:42:52Fantastic! That's what Flog It! is all about!
0:42:52 > 0:42:55Get rid of the stuff you don't like and go on a trip!
0:42:55 > 0:42:58- Thank you very much. Enjoy it. - BOTH: Thank you.
0:42:58 > 0:43:03- My daughter's crying like anything. - Where is she?- Over there!- Oh, yes!
0:43:07 > 0:43:09That was an incredible result!
0:43:09 > 0:43:14It certainly brought tears to Janet and Alan's daughter's eyes.
0:43:20 > 0:43:24Well, that's all the glorious glazes we have time for today, sadly.
0:43:24 > 0:43:25I hope you've enjoyed the show
0:43:25 > 0:43:29and I hope you join me again for another trip through the archives.
0:43:29 > 0:43:32Until then, it's goodbye from Syon House.
0:43:32 > 0:43:36Subtitles by Red Bee Media Ltd
0:43:36 > 0:43:40E-mail subtitling@bbc.co.uk