0:00:04 > 0:00:09This unusual sculpture tells us a great deal about the history of the town we're visiting today,
0:00:09 > 0:00:12which is Loughborough in the East Midlands.
0:00:12 > 0:00:14Welcome to Flog it!
0:00:39 > 0:00:44Sitting proud in the middle of Loughborough's market place is the sock man,
0:00:44 > 0:00:47a bronze sculpture of a figure admiring his sock.
0:00:47 > 0:00:53It's here to celebrate the knitting industry which has been key to the prosperity of the town.
0:00:53 > 0:00:56It's a wonderful sculpture and over the years
0:00:56 > 0:00:59it's raised quite a few eyebrows. That's maybe because,
0:00:59 > 0:01:03apart from the sycamore leaf here and the sock he's wearing,
0:01:03 > 0:01:04he hasn't got stitch on.
0:01:07 > 0:01:10Later on in the show, I'll be returning to my childhood
0:01:10 > 0:01:12when I explore the story of Ladybird Books,
0:01:12 > 0:01:15a company founded here in Loughborough.
0:01:15 > 0:01:21Since they were first printed in the 1960s they've sold well over 100 million copies worldwide,
0:01:21 > 0:01:24teaching generations of children to read.
0:01:24 > 0:01:27I don't know about you but I'm feeling rather nostalgic.
0:01:27 > 0:01:33But first it's down to business at today's venue, Loughborough Town Hall.
0:01:33 > 0:01:36Well this is where it all starts, a Flog It! valuation day.
0:01:36 > 0:01:40It looks like all of Loughborough has turned out to see us.
0:01:40 > 0:01:42Hundreds of people have lined the streets!
0:01:42 > 0:01:47These two guys have got their work cut out, Elizabeth Talbot and Adam Partridge, our experts today.
0:01:47 > 0:01:51The lucky ones will go through to auction, if you get a good valuation what you gonna do?
0:01:51 > 0:01:53Flog it!
0:01:58 > 0:02:03And it looks like Elizabeth has already found an item with an exotic past.
0:02:04 > 0:02:08Deirdre, in this wonderful mahogany box you've brought an absolute delight,
0:02:08 > 0:02:10which is a little concertina.
0:02:10 > 0:02:15I open up the box, tell me what you can about the concertina.
0:02:15 > 0:02:18How have you come by it and what's the story?
0:02:18 > 0:02:21Right, well my grandfather came from the south
0:02:21 > 0:02:25and we used to go and see his sister, who was my great Aunt.
0:02:25 > 0:02:28Her husband's brother lived with them.
0:02:28 > 0:02:30He was a bachelor.
0:02:30 > 0:02:33In his youth he'd gone to Australia,
0:02:33 > 0:02:36backwards and forwards mining opals.
0:02:36 > 0:02:39- Right.- He bought this back and he said it was taken off a boat.
0:02:39 > 0:02:43It was one of the sailors. How he'd come by it, I don't know.
0:02:43 > 0:02:46I don't remember him ever playing it, I don't think anybody played it.
0:02:46 > 0:02:49It was just something he'd collected...
0:02:49 > 0:02:51And a story to tell behind it, one of his travels.
0:02:51 > 0:02:53Do you play? Have you learned to play it?
0:02:53 > 0:02:56Oh, no.
0:02:56 > 0:02:59Well it's a nice example of its type.
0:02:59 > 0:03:02Concertinas come in a variety of scales of quality.
0:03:02 > 0:03:08What we have here is a very late 19th century concertina, which was English made.
0:03:08 > 0:03:10It is English, is it?
0:03:10 > 0:03:13It's English made and it's in a wonderful mahogany case,
0:03:13 > 0:03:16so it's in a lovely piece of furniture in the outset and I love the fact we have the key.
0:03:16 > 0:03:20- To be honest, I've kept this in the garage for years.- Oh, my goodness!
0:03:20 > 0:03:24We looked everywhere for the key, when we took the concertina out the box, it was under the concertina.
0:03:24 > 0:03:30The great thing is you've got it and that adds a huge amount of charm and originality to the casing.
0:03:30 > 0:03:33It's actually encased in mahogany.
0:03:33 > 0:03:39Now, the finest and most expensive concertinas were made of more important woods than this.
0:03:39 > 0:03:41Rosewood examples are a next step up.
0:03:41 > 0:03:46- Some concertinas actually have fret carved or fret pierced metal ends. - Yes.
0:03:46 > 0:03:49The more intrinsically valuable the ingredients
0:03:49 > 0:03:52- and the more valuable the instrument remains today.- Yes.
0:03:52 > 0:03:55If we take it out of its case, thank you very much, we'll take that out there.
0:03:55 > 0:03:58You can see the wonderful bellows.
0:03:58 > 0:04:00These are paper bellows with leather lining.
0:04:00 > 0:04:04What's lovely about this is the bellows are in good order.
0:04:04 > 0:04:07The fact that they're in such good order is a bonus there.
0:04:07 > 0:04:12I'm not a player but we'll just see if it does make as much sound as good quality bellows suggest it should.
0:04:12 > 0:04:13Ooh, yes.
0:04:14 > 0:04:17- It's quite loud isn't it, really? - I can do a siren. There we go.
0:04:17 > 0:04:22We've got high notes and low notes, so that's good. It's very playable.
0:04:22 > 0:04:24This really is a collector's piece.
0:04:24 > 0:04:26I think a collector would delight in owning this.
0:04:26 > 0:04:30D'you have any idea of value? Have you brought it with expectations?
0:04:30 > 0:04:33No, I'm surprised I haven't thrown it out, to be honest!
0:04:33 > 0:04:41- Well, I think, in the current market, if it had a pre-auction estimate of, say, 180 to £250...- My goodness.
0:04:41 > 0:04:44I don't think anybody'd balk at that. I think that would be...
0:04:44 > 0:04:47I just did!
0:04:48 > 0:04:50I'm pleased to have made your day.
0:04:50 > 0:04:53- That's good if you're pleased with that.- I am, yes.
0:04:53 > 0:04:57- But I do think it's important we put a reserve on it so that you're comfortable...- OK.
0:04:57 > 0:04:59That on the day it'll be looked after.
0:04:59 > 0:05:04If I say £150 firm I'm sure the auctioneer will promote it well.
0:05:04 > 0:05:07It'll be picked up through the cataloguing and so on.
0:05:07 > 0:05:10- We will see what we will see. - We will.
0:05:10 > 0:05:12As the sailor said!
0:05:12 > 0:05:14As the sailor said, yeah!
0:05:23 > 0:05:26Well, Clodagh, Julie, are you related?
0:05:26 > 0:05:28- Yes.- No.
0:05:28 > 0:05:30THEY LAUGH Good start!
0:05:30 > 0:05:33Sisters? Only joking!
0:05:33 > 0:05:39- Mother and daughter.- So, you've brought in these very attractive vases here by James Macintyre.
0:05:39 > 0:05:44Designed by a famous man, William Moorcroft. Whose are they?
0:05:44 > 0:05:48- Mine.- You're here for moral support?- Yes.
0:05:48 > 0:05:52- And how long have you had them? - About 25 years.
0:05:52 > 0:05:57- How did you come to own them in the first place?- I think they came from Beaumanor Hall.
0:05:57 > 0:06:02- I think they did, actually. - They used to hold a lot of antiques fairs at that time.
0:06:02 > 0:06:03Do you like them still?
0:06:03 > 0:06:06Yes.
0:06:06 > 0:06:08- How about you?- No.
0:06:08 > 0:06:13You like them, you don't like them. It makes me wonder why you're selling them, Clodagh?
0:06:13 > 0:06:19Well, I've got so much stuff and I just need to get shot of some things.
0:06:19 > 0:06:23- So, they aren't going to leave an empty patch on your mantelpiece?- No, no.
0:06:23 > 0:06:26So, you presumably know a little bit about them anyway.
0:06:26 > 0:06:30For auction purposes, I'm going to treat him as two separate lots.
0:06:30 > 0:06:32Our job is to get you the best result we can.
0:06:32 > 0:06:36I think offering them as a group at three won't be as good as splitting
0:06:36 > 0:06:39them into a clear pair and a separate vase.
0:06:39 > 0:06:41We'll treat the pair first.
0:06:41 > 0:06:43These are all from the Aurelian Ware range,
0:06:43 > 0:06:48which was designed by William Moorcroft for Macintyre and Co.
0:06:48 > 0:06:51It was registered in 1897 to 1898.
0:06:51 > 0:06:54So they're 110 years old now.
0:06:54 > 0:06:58But it's very still fresh and bright and in pretty good condition.
0:06:58 > 0:07:02This pair I'd estimate at 300 to £500.
0:07:02 > 0:07:06And a reserve of £300 absolutely fixed, with no leeway at all.
0:07:06 > 0:07:10- They've got to make 300 plus. - We'd expect them to.- Otherwise, they aren't sold.
0:07:10 > 0:07:15Don't forget, it's the auctioneer's job to get as much as he can, cos that's how he earns his money.
0:07:15 > 0:07:18- That's right.- And then you've got this separate one, here,
0:07:18 > 0:07:22which is a very nice shape, isn't it? Very attractive shape.
0:07:22 > 0:07:27A vase with a cover. Unnecessary, really, to have the cover, but it's nice that you've still got it.
0:07:27 > 0:07:30A lot of people would bring that in and never realise it had a cover,
0:07:30 > 0:07:35cos there's no sign of it having a cover. So, that really helps it.
0:07:35 > 0:07:40Again, you'd hope to get 250, 300 after everyone has had a go at it.
0:07:40 > 0:07:44To sum up, we've got 200 to 300 there, 300 to 500 there.
0:07:44 > 0:07:47If they both make the top of the estimate, that's 800 quid.
0:07:47 > 0:07:53That's a real good result that would be, and the bottom end, £500. I'm looking forward to the auction.
0:07:53 > 0:07:58Hopefully, they're going to do pretty well and we'll see you there.
0:07:58 > 0:08:00Yes, that's fine.
0:08:08 > 0:08:11Katherine, thank you for bringing in this lovely book,
0:08:11 > 0:08:14The Magic Of A Line. It's the autobiography of Laura Knight.
0:08:14 > 0:08:16What story do you have behind it?
0:08:16 > 0:08:19Well, I was sent it as a Christmas present in 1965.
0:08:19 > 0:08:20Right.
0:08:20 > 0:08:26- My uncle was the bursar at the Royal Academy and Laura Knight was the Royal Academician.- Yes.
0:08:26 > 0:08:29I suppose she was promoting her book at the Royal Academy.
0:08:29 > 0:08:32He asked her to sign it for me.
0:08:32 > 0:08:34- Right.- She said, well I'll draw a picture for her as well.
0:08:34 > 0:08:39- How wonderful.- I was actually living in India at the time, so it was sent to me in India as well.
0:08:39 > 0:08:43- It's very exciting.- It's travelled a long way and you obviously weren't expecting such a present?
0:08:43 > 0:08:47Not at all, no. I'm always pleased to get books as a present
0:08:47 > 0:08:52but when I opened it and saw that it was signed and the picture, that made it really special.
0:08:52 > 0:08:55Interestingly enough, the book itself, which is a first edition, 1965,
0:08:55 > 0:08:58- can actually still be bought for 45.- Gosh.
0:08:58 > 0:09:02- So the book itself is really modest and straight forward.- Yes.
0:09:02 > 0:09:08As you point out, the exciting, exciting piece is this frontispiece which is just lovely.
0:09:08 > 0:09:10Now, it's personalised to Katherine.
0:09:10 > 0:09:13This wonderful clown, which Dame Laura Knight was very well-known for doing.
0:09:13 > 0:09:19- Yes.- Of course her designs of clowns went on to everything, including ceramics.- Oh, right.
0:09:19 > 0:09:23Her designs were seen in art form, picture form,
0:09:23 > 0:09:31but also commandeered for some of the mid-20th century factories that produced quirky ceramics of the time.
0:09:31 > 0:09:34You've kept it well. It's obviously been happy in its travels,
0:09:34 > 0:09:36on its bookshelf, and that's important.
0:09:36 > 0:09:40So, the paper is in good condition, the ink hasn't run
0:09:40 > 0:09:45and it's not been manhandled or torn or anything so that's fantastic.
0:09:45 > 0:09:52Laura, Dame Laura Knight's art work is now highly sought after which can make vast sums of money.
0:09:52 > 0:09:57- Yes.- Have you any idea what you think that that might, what the value might be added to in terms of...?
0:09:57 > 0:10:02- Not at all, no.- I think it would certainly fetched 300 to £500.
0:10:02 > 0:10:05- Gosh.- With a fixed reserve of £300 to protect it...
0:10:05 > 0:10:11- Yes, that's fine.- It'll be an exciting day on the day it auctions to see exactly how it's responded to.
0:10:11 > 0:10:13I might need to apologise to my Uncle.
0:10:13 > 0:10:16You can say that he was a canny man.
0:10:16 > 0:10:18- He was, yes. - Thank you for bringing it in.
0:10:18 > 0:10:20- That's wonderful. - Thank you very much.
0:10:20 > 0:10:25- It's a great honour for me to see it because it's quite a rarity. - Thank you very much.
0:10:34 > 0:10:37- Good morning.- Good morning. - Welcome to Flog It!.
0:10:37 > 0:10:40Thank you. What a lovely smile! You seem very cheerful.
0:10:40 > 0:10:42What is your name, do you mind?
0:10:42 > 0:10:44- Evelyn.- Evelyn, am I all right to call you that?- Fine!
0:10:44 > 0:10:49- I remember seeing this in the queue. It was on a big trolley, wasn't it?- That's right.
0:10:49 > 0:10:53And I made a silly joke of admiring the trolley instead of the figure.
0:10:53 > 0:10:57- Because it's quite...striking, would be a polite way of putting it.- Yes.
0:10:57 > 0:11:00What can you tell me about it? Where did you get it from?
0:11:00 > 0:11:06My husband bought it. It was supposed to be a house-warming present, when we moved house.
0:11:06 > 0:11:11- So, he came home with this and said "Evelyn, here we are, here is your house-warming present."- More or less.
0:11:11 > 0:11:12And what was your reaction?
0:11:12 > 0:11:15"What the hell have you bought that for?!"
0:11:15 > 0:11:16HE LAUGHS
0:11:16 > 0:11:18So, you weren't impressed.
0:11:18 > 0:11:20I was quite polite, but...
0:11:20 > 0:11:22No, I wasn't impressed at all.
0:11:22 > 0:11:26- I believe there you have a name for this chap.- Yes, Fred.
0:11:26 > 0:11:28Fred. And what about the lady?
0:11:28 > 0:11:32Oh, I've never named her. You've never named the lady. Poor thing!
0:11:32 > 0:11:35We just assumed she was from a harem.
0:11:35 > 0:11:37Fred and Frieda, perhaps?
0:11:37 > 0:11:41- That sounds all right.- That would be appropriate, wouldn't it?
0:11:41 > 0:11:44- I don't suppose you'll ever know what he paid for it?- No, no.
0:11:44 > 0:11:47- Hopefully it wasn't too much. - No, that's what I think!
0:11:47 > 0:11:53Well, we've got some markings on here, which is "Koenig and Lengsfeld", from Germany.
0:11:53 > 0:11:56They made things at the turn of the century,
0:11:56 > 0:11:591900s to 1920s, that sort of period.
0:11:59 > 0:12:05They did this type of composition figure in plaster and in terracotta.
0:12:05 > 0:12:08Very decorative. It's one of those things that you either love or hate.
0:12:08 > 0:12:12- There's no middle ground with that.- No.- I'm not a fan myself,
0:12:12 > 0:12:15but some people out there will love that, like your husband did.
0:12:15 > 0:12:19- Yes, but my daughters don't want it.- None of them?- No.
0:12:19 > 0:12:25- My thoughts are to put an estimate of 100 to £200 on it. - That sounds all right.
0:12:25 > 0:12:28If it's all right with you, I'd say put 75 as a bottom line
0:12:28 > 0:12:31and hopefully it'll make up to £200. You never know.
0:12:31 > 0:12:36Thank you very much for bringing Fred in, and his female companion.
0:12:36 > 0:12:38I look forward to seeing it in the auction.
0:12:38 > 0:12:41And fingers crossed for a good result.
0:12:45 > 0:12:47Now, are you sitting comfortably? Because
0:12:47 > 0:12:52I'm going to tell you the story of some remarkable children's books.
0:12:56 > 0:13:01Well, you've just caught me genning up on one of my favourite subjects, the history of television.
0:13:01 > 0:13:06Now, I know this is a little out of date but actually what I've got here is an iconic guide.
0:13:06 > 0:13:11You see, for nearly 95 years Ladybird books have been opening up
0:13:11 > 0:13:14our reading horizons with imaginative storytelling.
0:13:14 > 0:13:16Wonderful illustrations.
0:13:16 > 0:13:18But best of all, accessible knowledge.
0:13:18 > 0:13:21You can learn so much from one of these little books,
0:13:21 > 0:13:22all manner of subjects.
0:13:22 > 0:13:24And, as the home town of Ladybird,
0:13:24 > 0:13:30it's no wonder the people of Loughborough hold these little books really close to their hearts.
0:13:32 > 0:13:38The story of Ladybird began in 1873, when a businessman and printer called Henry Wills
0:13:38 > 0:13:42bought the Angel Press in Loughborough's market place.
0:13:42 > 0:13:46The company established itself by printing a range of commercial material.
0:13:46 > 0:13:50When the war threatened in 1914, the firm,
0:13:50 > 0:13:56now operating as Wills and Hepworth, decided to try their hand at printing children's books.
0:14:02 > 0:14:08Today, Loughborough's Charnwood Museum is the home of the Ladybird archive.
0:14:08 > 0:14:13I have been given special permission to go behind the scenes and take a good look around.
0:14:16 > 0:14:23This is what I'm after, one of the first Ladybird books published by Wills and Hepworth.
0:14:23 > 0:14:25It's titled Billy And The Treasure.
0:14:25 > 0:14:27If I open this very carefully,
0:14:27 > 0:14:32on the inside sleeve you can see it says there Ladybird Series.
0:14:32 > 0:14:35This is the forerunner to the Ladybird symbol.
0:14:35 > 0:14:39Hepworth was a keen gardener and rose grower.
0:14:39 > 0:14:42With this in mind, his wife suggested the name.
0:14:42 > 0:14:46This book dates to the 1920s.
0:14:46 > 0:14:51It's quite large, it's more like a children's annual.
0:14:51 > 0:14:56The paper is very thick and the illustrations are very basic, as you can see.
0:14:56 > 0:14:59But in its day, this book wasn't basic.
0:14:59 > 0:15:01It was so well received.
0:15:01 > 0:15:09I can see now, I can understand how the Ladybird books that I grew up with have evolved from this.
0:15:12 > 0:15:15It was in 1940 that the Ladybird pocket book was born.
0:15:15 > 0:15:20The first series featured animal stories like Downy Duckling.
0:15:20 > 0:15:25This time round, the printing was higher quality, with full-colour illustrations.
0:15:28 > 0:15:33The pocket book was perfect for tiny, small hands to hold.
0:15:33 > 0:15:36This one is called Bunnikin's Picnic Party.
0:15:36 > 0:15:39If I open it up inside and show you the illustrations,
0:15:39 > 0:15:43now, they're perfectly clear and vibrant.
0:15:43 > 0:15:46Look at that, isn't that lovely?
0:15:46 > 0:15:52Each little book was printed from one large sheet of paper, which I can show you here.
0:15:52 > 0:15:54It's also printed on both sides.
0:15:54 > 0:15:59It meant that a quality book could be printed relatively cheaply.
0:15:59 > 0:16:05In the decades that followed, that formula was put to good use in many different ways.
0:16:06 > 0:16:12After the war, the pocketbook format was used for a pioneering series of education books.
0:16:12 > 0:16:16Factual titles, like the Uncle Mac books and, later,
0:16:16 > 0:16:21the What To Look For books were a great success with young readers.
0:16:23 > 0:16:28It was the 1960s that proved to be the defining era of the pocket book.
0:16:28 > 0:16:34This decade saw the launch of the Key Words reading scheme, featuring Peter and Jane.
0:16:35 > 0:16:41Based on educational research which showed that just 12 words make up a quarter of our speech,
0:16:41 > 0:16:48the Peter and Jane stories used those key words and phrases to help children learn to read.
0:16:48 > 0:16:50That, coupled with these wonderful
0:16:50 > 0:16:55colour illustrations, really did bring these stories to life.
0:16:55 > 0:16:58Since they were first printed in the 1960s,
0:16:58 > 0:17:01they've sold well over 100 million copies worldwide,
0:17:01 > 0:17:04teaching generations of children to read.
0:17:04 > 0:17:07I don't know about you, but I'm feeling rather nostalgic.
0:17:11 > 0:17:15Key to the success of Peter and Jane, and so many of the pocket books,
0:17:15 > 0:17:20was the expertise of the authors and the illustrators who created them.
0:17:20 > 0:17:23Kathie Layfield was one of those talented artists.
0:17:23 > 0:17:28She's come in to the museum to talk to me about her work.
0:17:28 > 0:17:29Kathie, it's great to meet you.
0:17:29 > 0:17:33I can see why you love painting in vibrant colours, just by the way you're dressed.
0:17:33 > 0:17:35- You look fabulous!- Thank you.
0:17:35 > 0:17:39Were you always an illustrator? And how did you get your big break?
0:17:39 > 0:17:43I trained actually in textile design at Loughborough College of Art,
0:17:43 > 0:17:49and I went in as an amateur and joined Leicester Drama Society.
0:17:49 > 0:17:53I got into designing costumes, although I can't sew for toffee.
0:17:53 > 0:17:56I had a little exhibition of my work.
0:17:56 > 0:17:59I went into the bar one day and a guy came up to me and said,
0:17:59 > 0:18:03"I can see you draw figures, how do you feel about illustrating books?"
0:18:03 > 0:18:07I said, "Yeah, lovely", and it turned out he worked for Ladybird.
0:18:07 > 0:18:09He just said, "Bring in a portfolio,"
0:18:09 > 0:18:11and I did and got my break.
0:18:11 > 0:18:14Have you particular favourite that you worked on?
0:18:14 > 0:18:17I loved most of them, but I particularly liked Puss In Boots.
0:18:17 > 0:18:20That illustration over there, because I love cats.
0:18:20 > 0:18:24Also, because I had freedom to choose something which I could set in costume.
0:18:24 > 0:18:30I love the history of costume, so I decided I was going to do it in the period of Louis XIV.
0:18:30 > 0:18:37And you set yourself these difficult tasks, because you had to be very careful in Ladybird books
0:18:37 > 0:18:40that you didn't make any mistakes, historically.
0:18:40 > 0:18:43- Because it's a reference book as well.- Exactly.
0:18:43 > 0:18:46If you did, you got people writing in, particularly children.
0:18:46 > 0:18:48They'd write in and say, "You got that wrong."
0:18:48 > 0:18:51Just looking at some of these images, there's a lot to see.
0:18:51 > 0:18:55I always like to put something in that's a distraction, something funny. I remember when I was a child,
0:18:55 > 0:18:59loving in comics where there would be something else going on
0:18:59 > 0:19:02in the background, some little tiny thing happening.
0:19:02 > 0:19:05- I try to do that in my books. - Cos kids find that. - That's right, yeah.
0:19:05 > 0:19:09I was looking at this, and you just see, although you're looking
0:19:09 > 0:19:11at the main picture with all of the fisher men and the octopus,
0:19:11 > 0:19:14you kind of see the little fishes' mouths looking up like that.
0:19:14 > 0:19:20Also in that one, I did a recurrent thing were one of the sailors starts
0:19:20 > 0:19:25getting a green face and in about three pictures, he's gradually being more sick.
0:19:25 > 0:19:28He's sick over the side.
0:19:28 > 0:19:31It's those sort of things I like putting in.
0:19:31 > 0:19:34Kathie, thank you so much for bringing these illustrations in.
0:19:34 > 0:19:38I can't wait to start reading them again with my little son, when he's able to read.
0:19:38 > 0:19:41- Thank you so much, it's been a pleasure.- Thank you.
0:19:45 > 0:19:51So, now it's time for our trip to the auction room, and here's a reminder of what we're taking.
0:19:51 > 0:19:56Deidre's concertina has plenty of sea shanties left in it
0:19:56 > 0:20:02and Elizabeth thinks it'll sail away at auction for 180 - £250.
0:20:02 > 0:20:04I don't think anybody would balk at that.
0:20:04 > 0:20:06I just did!
0:20:08 > 0:20:12Adam thought Clodagh's Moorcroft vases were in good condition,
0:20:12 > 0:20:15but advised her to sell them as two lots.
0:20:15 > 0:20:18I think offering them as a group of three won't be as good
0:20:18 > 0:20:22as splitting them into a clear pair and a separate vase.
0:20:22 > 0:20:27And Evelyn's striking statue was a gift from her husband, but she's never really liked it.
0:20:27 > 0:20:31So, he came home with this and he said, "Evelyn, here we are, here is a house-warming present."
0:20:31 > 0:20:35- And what was your reaction?- What the hell have you bought that for?
0:20:35 > 0:20:37THEY LAUGH
0:20:37 > 0:20:40And with its personal dedication by Dame Laura Knight,
0:20:40 > 0:20:42Katherine's book is a rare find.
0:20:42 > 0:20:46Now, will we hold the front page for this one?
0:20:54 > 0:20:58This is where we put all our expert's valuations to the test,
0:20:58 > 0:21:01courtesy of Gilding's auction rooms in Market Harborough.
0:21:01 > 0:21:03As you can see it's packed, isn't it?
0:21:03 > 0:21:06I hope they're here to bid on all our lots.
0:21:06 > 0:21:08Don't go away, we're gonna find out.
0:21:08 > 0:21:12Wielding the gavel this morning is auctioneer Mark Gilding.
0:21:12 > 0:21:18let's see how Clodagh's two lots of Moorcroft vases do in the auction.
0:21:18 > 0:21:20Tell me a little bit about the vases. Why you want to sell them?
0:21:20 > 0:21:23I thought I'd get my garden a makeover.
0:21:23 > 0:21:26- It's at bit, you know, needs a facelift.- Really?
0:21:26 > 0:21:28So, we're going to do a bit of landscaping and sorting out.
0:21:28 > 0:21:30Pruning and strimming.
0:21:30 > 0:21:32Will we get the top end?
0:21:32 > 0:21:36- We're looking at 300 to 500. - I think it's accurate for Aurelian Ware. End of the 19th century,
0:21:36 > 0:21:40Macintyre and Co, it's a stable, steady seller.
0:21:40 > 0:21:43It never goes mad. I'd say, it's about right this time.
0:21:43 > 0:21:47- Book price.- Touch something... - Touch some wood!
0:21:47 > 0:21:49Good luck, good luck. Here we go.
0:21:49 > 0:21:52One pair of Moorcroft Macintyre octagonal vases,
0:21:52 > 0:21:56I'm bid 190, 190 bid here. 190.
0:21:56 > 0:21:59200, 210, 220, 230.
0:21:59 > 0:22:01230, bid, at 240. 250,
0:22:01 > 0:22:05260, 270, 280, 290, 300.
0:22:05 > 0:22:09Selling away at £300.
0:22:09 > 0:22:11£300. And our second lot now,
0:22:11 > 0:22:13fingers crossed we get 200 to £300.
0:22:13 > 0:22:17Another bit of Moorcroft here, Macintyre vase and cover.
0:22:17 > 0:22:21I'm bid £110 on this, at 110, I'm in at 110.
0:22:21 > 0:22:24120, 130, 140, 150, 160,
0:22:24 > 0:22:25170, 180, 190,
0:22:25 > 0:22:28£200. I'm out.
0:22:28 > 0:22:30- It's done it. - £200, right at the back.
0:22:30 > 0:22:32It will sell, at 200,
0:22:32 > 0:22:35selling in the room then at £200.
0:22:35 > 0:22:39Yes, let's see, bedding plants,
0:22:39 > 0:22:43- shrubs...- Yes. Probably a tree.- That's good.
0:22:43 > 0:22:46- Fruit trees, blossoms. - Yes. Cherry or something.
0:22:46 > 0:22:50A cherry tree would be nice, wouldn't it? Or plums, I like plums.
0:22:58 > 0:23:01Next up, we've got that wonderful autobiography.
0:23:01 > 0:23:04It's a first edition by Dame Laura Knight and it belongs to Katherine.
0:23:04 > 0:23:06It's signed to you as well.
0:23:06 > 0:23:10What a privilege. She's one of my favourite artists.
0:23:10 > 0:23:14Now, she specialises in sort of dancing, clowns, those kinds of things.
0:23:14 > 0:23:17- We've got a clown image in there.- We have, yes.- It could fetch top money.
0:23:17 > 0:23:22That's what we're here for, that's what auctions are all about. Here we go, we're gonna find out.
0:23:22 > 0:23:25220, Laura Knight, The Magic Of A Line
0:23:25 > 0:23:28with inscription and a sketch of a clown.
0:23:28 > 0:23:32Bidding starts, £190.
0:23:32 > 0:23:36190 bid here, 190, 200, 210,
0:23:36 > 0:23:37220, 230,
0:23:37 > 0:23:41230, I'll take 40 if you like,
0:23:41 > 0:23:43it's with me at 230, watching it carefully.
0:23:43 > 0:23:47230, here with me at 230 and away now at £230.
0:23:47 > 0:23:50- Oh, it didn't. - I'm disappointed with that.
0:23:50 > 0:23:51Maybe it's not meant to go.
0:23:51 > 0:23:55I did say to my son, "Perhaps I should have let you have it."
0:23:55 > 0:24:00Yeah, I think what does devalue it is the fact that it's got your name, it's to Katherine.
0:24:00 > 0:24:05- That's right.- If it was just signed by her and dated with that little clown in the edge of the sketch,
0:24:05 > 0:24:06yes, we'd have got it.
0:24:06 > 0:24:08My sister has one with a better sketch.
0:24:08 > 0:24:10Oh, does she?
0:24:10 > 0:24:12A clown on horseback.
0:24:12 > 0:24:14I wish I'd got one.
0:24:20 > 0:24:22Next up, something for all you music lovers.
0:24:22 > 0:24:26It's a concertina and it belongs to Deidre. So why are you selling it?
0:24:26 > 0:24:29Well, I'm clearing my house out and having alterations done,
0:24:29 > 0:24:32trying to get low-maintenance, as everybody is,
0:24:32 > 0:24:37it's been in the garage for years, unfortunately it's such a shame,
0:24:37 > 0:24:42- just to send it...- Lots of DIY? - Not myself, no. No.
0:24:42 > 0:24:46- I'm allergic to that as well. - I'm not that talented!
0:24:46 > 0:24:48It does haemorrhage money, doesn't it?
0:24:48 > 0:24:53Somebody said DIY stood for do it for years if you do it yourself!
0:24:53 > 0:24:58I like that. We're going to do a bit of DIY right now because we are just about to flog, hopefully,
0:24:58 > 0:25:02fingers crossed, this wonderful little squeeze box. Here we go.
0:25:02 > 0:25:07Lot number 70, Lachenal & Co concertina, mahogany frame,
0:25:07 > 0:25:09numbered and within a mahogany carrying case.
0:25:09 > 0:25:13A nice concertina this and reflected in commission bids with me here.
0:25:13 > 0:25:15- Let's hope we hit the right note. - Oh, yes.
0:25:15 > 0:25:18Reflected in commission bids with me here,
0:25:18 > 0:25:20I have to start bidding at £300.
0:25:20 > 0:25:23- How much?!- 300.- Oh, my God!
0:25:23 > 0:25:26I'll take 25.
0:25:26 > 0:25:28300, I'm bid at 300.
0:25:28 > 0:25:32You're out, commissions at 300, will sell here at £300.
0:25:32 > 0:25:36Selling away now at £300.
0:25:36 > 0:25:39Well, that'll help towards the home improvements.
0:25:39 > 0:25:42Yes, it will, it certainly will. Thank you very much.
0:25:50 > 0:25:53Going under the hammer now is Evelyn's statue.
0:25:53 > 0:25:56It's a composition of two figures, and the figures we've got on this
0:25:56 > 0:25:59are £100 to £200, put on by our expert, Adam, here.
0:25:59 > 0:26:03We know we need the money, don't you, to go to Tenerife, that's right isn't it?
0:26:03 > 0:26:05Who are you going with?
0:26:05 > 0:26:08Two of my daughters. And a granddaughter.
0:26:08 > 0:26:11Oh, bless! A whole family holiday.
0:26:11 > 0:26:14I know Evelyn can't wait to see the back of this, can you?
0:26:14 > 0:26:18You told Adam you didn't like it. You've has it 33-odd years.
0:26:18 > 0:26:19Never liked it.
0:26:19 > 0:26:22The good news is, is definitely going, that's for sure.
0:26:22 > 0:26:25I know we put £100 to £200 on this, and I quite agree with you.
0:26:25 > 0:26:29I asked the auctioneer what he thinks it might make.
0:26:29 > 0:26:34It's what he thinks it might make - he said 400 to £500!
0:26:34 > 0:26:39- So in that case, you're going. - Does he have some prior information, or is that his instincts?
0:26:39 > 0:26:41- I don't know.- I hope so.
0:26:41 > 0:26:45Fingers crossed he's got a few bids on the book. Let's find out.
0:26:45 > 0:26:49We can't discuss this any more, it really is up to the bidders. Here we go.
0:26:49 > 0:26:53Lot Number 10 is a painted plaster and spelter figure.
0:26:53 > 0:26:56Fantastic lot this one, lots of interest on the bidding here.
0:26:56 > 0:27:00Bids start at 80, 90, 100, 120,
0:27:00 > 0:27:04140, 160 with me. 160, 180,
0:27:04 > 0:27:06200, 220, 240,
0:27:06 > 0:27:08240 bid with me. At 240?
0:27:08 > 0:27:09Are you all out at 240?
0:27:09 > 0:27:12I think you're going to split the difference there.
0:27:12 > 0:27:15280, I'm in at 280. 300,
0:27:15 > 0:27:20- 320? 320 here? 320, 340... - There's somebody on the phone.
0:27:20 > 0:27:23360 here with me, at 360, I'll take 80 if you like?
0:27:23 > 0:27:25- 380, 400?- There's another phone bid!
0:27:25 > 0:27:28- 400 with me, 420? - Two people on the phone.
0:27:28 > 0:27:31All commissions out, that's 420.
0:27:31 > 0:27:34Telephone is in at 420, selling away at £420.
0:27:36 > 0:27:40- £420!- What do you reckon?
0:27:40 > 0:27:45- Say bye to Fred?- Definitely!- It's a good moment all round, really.
0:27:45 > 0:27:51- Evelyn is glad to see the back of that but also, you're off to Tenerife.- Definitely.
0:28:02 > 0:28:05That's it. It's all over for our owners.
0:28:05 > 0:28:06The auction's still going on.
0:28:06 > 0:28:10We've had a brilliant day here in Market Harborough.
0:28:10 > 0:28:16The highlight for me had to be the big smile on Evelyn's face as we got £424 for her statue.
0:28:16 > 0:28:19I think that's a great result. A lot more than we anticipated.
0:28:19 > 0:28:21Join me again for many more surprises.
0:28:21 > 0:28:25For now, from Market Harborough, cheerio.
0:28:32 > 0:28:35Subtitles by Red Bee Media Ltd