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This unusual sculpture tells us a great deal about the history of the town we're visiting today, | 0:00:04 | 0:00:09 | |
which is Loughborough in the East Midlands. | 0:00:09 | 0:00:12 | |
Welcome to Flog it! | 0:00:12 | 0:00:14 | |
Sitting proud in the middle of Loughborough's market place is the sock man, | 0:00:39 | 0:00:44 | |
a bronze sculpture of a figure admiring his sock. | 0:00:44 | 0:00:47 | |
It's here to celebrate the knitting industry which has been key to the prosperity of the town. | 0:00:47 | 0:00:53 | |
It's a wonderful sculpture and over the years | 0:00:53 | 0:00:56 | |
it's raised quite a few eyebrows. That's maybe because, | 0:00:56 | 0:00:59 | |
apart from the sycamore leaf here and the sock he's wearing, | 0:00:59 | 0:01:03 | |
he hasn't got stitch on. | 0:01:03 | 0:01:04 | |
Later on in the show, I'll be returning to my childhood | 0:01:07 | 0:01:10 | |
when I explore the story of Ladybird Books, | 0:01:10 | 0:01:12 | |
a company founded here in Loughborough. | 0:01:12 | 0:01:15 | |
Since they were first printed in the 1960s they've sold well over 100 million copies worldwide, | 0:01:15 | 0:01:21 | |
teaching generations of children to read. | 0:01:21 | 0:01:24 | |
I don't know about you but I'm feeling rather nostalgic. | 0:01:24 | 0:01:27 | |
But first it's down to business at today's venue, Loughborough Town Hall. | 0:01:27 | 0:01:33 | |
Well this is where it all starts, a Flog It! valuation day. | 0:01:33 | 0:01:36 | |
It looks like all of Loughborough has turned out to see us. | 0:01:36 | 0:01:40 | |
Hundreds of people have lined the streets! | 0:01:40 | 0:01:42 | |
These two guys have got their work cut out, Elizabeth Talbot and Adam Partridge, our experts today. | 0:01:42 | 0:01:47 | |
The lucky ones will go through to auction, if you get a good valuation what you gonna do? | 0:01:47 | 0:01:51 | |
Flog it! | 0:01:51 | 0:01:53 | |
And it looks like Elizabeth has already found an item with an exotic past. | 0:01:58 | 0:02:03 | |
Deirdre, in this wonderful mahogany box you've brought an absolute delight, | 0:02:04 | 0:02:08 | |
which is a little concertina. | 0:02:08 | 0:02:10 | |
I open up the box, tell me what you can about the concertina. | 0:02:10 | 0:02:15 | |
How have you come by it and what's the story? | 0:02:15 | 0:02:18 | |
Right, well my grandfather came from the south | 0:02:18 | 0:02:21 | |
and we used to go and see his sister, who was my great Aunt. | 0:02:21 | 0:02:25 | |
Her husband's brother lived with them. | 0:02:25 | 0:02:28 | |
He was a bachelor. | 0:02:28 | 0:02:30 | |
In his youth he'd gone to Australia, | 0:02:30 | 0:02:33 | |
backwards and forwards mining opals. | 0:02:33 | 0:02:36 | |
-Right. -He bought this back and he said it was taken off a boat. | 0:02:36 | 0:02:39 | |
It was one of the sailors. How he'd come by it, I don't know. | 0:02:39 | 0:02:43 | |
I don't remember him ever playing it, I don't think anybody played it. | 0:02:43 | 0:02:46 | |
It was just something he'd collected... | 0:02:46 | 0:02:49 | |
And a story to tell behind it, one of his travels. | 0:02:49 | 0:02:51 | |
Do you play? Have you learned to play it? | 0:02:51 | 0:02:53 | |
Oh, no. | 0:02:53 | 0:02:56 | |
Well it's a nice example of its type. | 0:02:56 | 0:02:59 | |
Concertinas come in a variety of scales of quality. | 0:02:59 | 0:03:02 | |
What we have here is a very late 19th century concertina, which was English made. | 0:03:02 | 0:03:08 | |
It is English, is it? | 0:03:08 | 0:03:10 | |
It's English made and it's in a wonderful mahogany case, | 0:03:10 | 0:03:13 | |
so it's in a lovely piece of furniture in the outset and I love the fact we have the key. | 0:03:13 | 0:03:16 | |
-To be honest, I've kept this in the garage for years. -Oh, my goodness! | 0:03:16 | 0:03:20 | |
We looked everywhere for the key, when we took the concertina out the box, it was under the concertina. | 0:03:20 | 0:03:24 | |
The great thing is you've got it and that adds a huge amount of charm and originality to the casing. | 0:03:24 | 0:03:30 | |
It's actually encased in mahogany. | 0:03:30 | 0:03:33 | |
Now, the finest and most expensive concertinas were made of more important woods than this. | 0:03:33 | 0:03:39 | |
Rosewood examples are a next step up. | 0:03:39 | 0:03:41 | |
-Some concertinas actually have fret carved or fret pierced metal ends. -Yes. | 0:03:41 | 0:03:46 | |
The more intrinsically valuable the ingredients | 0:03:46 | 0:03:49 | |
-and the more valuable the instrument remains today. -Yes. | 0:03:49 | 0:03:52 | |
If we take it out of its case, thank you very much, we'll take that out there. | 0:03:52 | 0:03:55 | |
You can see the wonderful bellows. | 0:03:55 | 0:03:58 | |
These are paper bellows with leather lining. | 0:03:58 | 0:04:00 | |
What's lovely about this is the bellows are in good order. | 0:04:00 | 0:04:04 | |
The fact that they're in such good order is a bonus there. | 0:04:04 | 0:04:07 | |
I'm not a player but we'll just see if it does make as much sound as good quality bellows suggest it should. | 0:04:07 | 0:04:12 | |
Ooh, yes. | 0:04:12 | 0:04:13 | |
-It's quite loud isn't it, really? -I can do a siren. There we go. | 0:04:14 | 0:04:17 | |
We've got high notes and low notes, so that's good. It's very playable. | 0:04:17 | 0:04:22 | |
This really is a collector's piece. | 0:04:22 | 0:04:24 | |
I think a collector would delight in owning this. | 0:04:24 | 0:04:26 | |
D'you have any idea of value? Have you brought it with expectations? | 0:04:26 | 0:04:30 | |
No, I'm surprised I haven't thrown it out, to be honest! | 0:04:30 | 0:04:33 | |
-Well, I think, in the current market, if it had a pre-auction estimate of, say, 180 to £250... -My goodness. | 0:04:33 | 0:04:41 | |
I don't think anybody'd balk at that. I think that would be... | 0:04:41 | 0:04:44 | |
I just did! | 0:04:44 | 0:04:47 | |
I'm pleased to have made your day. | 0:04:48 | 0:04:50 | |
-That's good if you're pleased with that. -I am, yes. | 0:04:50 | 0:04:53 | |
-But I do think it's important we put a reserve on it so that you're comfortable... -OK. | 0:04:53 | 0:04:57 | |
That on the day it'll be looked after. | 0:04:57 | 0:04:59 | |
If I say £150 firm I'm sure the auctioneer will promote it well. | 0:04:59 | 0:05:04 | |
It'll be picked up through the cataloguing and so on. | 0:05:04 | 0:05:07 | |
-We will see what we will see. -We will. | 0:05:07 | 0:05:10 | |
As the sailor said! | 0:05:10 | 0:05:12 | |
As the sailor said, yeah! | 0:05:12 | 0:05:14 | |
Well, Clodagh, Julie, are you related? | 0:05:23 | 0:05:26 | |
-Yes. -No. | 0:05:26 | 0:05:28 | |
THEY LAUGH Good start! | 0:05:28 | 0:05:30 | |
Sisters? Only joking! | 0:05:30 | 0:05:33 | |
-Mother and daughter. -So, you've brought in these very attractive vases here by James Macintyre. | 0:05:33 | 0:05:39 | |
Designed by a famous man, William Moorcroft. Whose are they? | 0:05:39 | 0:05:44 | |
-Mine. -You're here for moral support? -Yes. | 0:05:44 | 0:05:48 | |
-And how long have you had them? -About 25 years. | 0:05:48 | 0:05:52 | |
-How did you come to own them in the first place? -I think they came from Beaumanor Hall. | 0:05:52 | 0:05:57 | |
-I think they did, actually. -They used to hold a lot of antiques fairs at that time. | 0:05:57 | 0:06:02 | |
Do you like them still? | 0:06:02 | 0:06:03 | |
Yes. | 0:06:03 | 0:06:06 | |
-How about you? -No. | 0:06:06 | 0:06:08 | |
You like them, you don't like them. It makes me wonder why you're selling them, Clodagh? | 0:06:08 | 0:06:13 | |
Well, I've got so much stuff and I just need to get shot of some things. | 0:06:13 | 0:06:19 | |
-So, they aren't going to leave an empty patch on your mantelpiece? -No, no. | 0:06:19 | 0:06:23 | |
So, you presumably know a little bit about them anyway. | 0:06:23 | 0:06:26 | |
For auction purposes, I'm going to treat him as two separate lots. | 0:06:26 | 0:06:30 | |
Our job is to get you the best result we can. | 0:06:30 | 0:06:32 | |
I think offering them as a group at three won't be as good as splitting | 0:06:32 | 0:06:36 | |
them into a clear pair and a separate vase. | 0:06:36 | 0:06:39 | |
We'll treat the pair first. | 0:06:39 | 0:06:41 | |
These are all from the Aurelian Ware range, | 0:06:41 | 0:06:43 | |
which was designed by William Moorcroft for Macintyre and Co. | 0:06:43 | 0:06:48 | |
It was registered in 1897 to 1898. | 0:06:48 | 0:06:51 | |
So they're 110 years old now. | 0:06:51 | 0:06:54 | |
But it's very still fresh and bright and in pretty good condition. | 0:06:54 | 0:06:58 | |
This pair I'd estimate at 300 to £500. | 0:06:58 | 0:07:02 | |
And a reserve of £300 absolutely fixed, with no leeway at all. | 0:07:02 | 0:07:06 | |
-They've got to make 300 plus. -We'd expect them to. -Otherwise, they aren't sold. | 0:07:06 | 0:07:10 | |
Don't forget, it's the auctioneer's job to get as much as he can, cos that's how he earns his money. | 0:07:10 | 0:07:15 | |
-That's right. -And then you've got this separate one, here, | 0:07:15 | 0:07:18 | |
which is a very nice shape, isn't it? Very attractive shape. | 0:07:18 | 0:07:22 | |
A vase with a cover. Unnecessary, really, to have the cover, but it's nice that you've still got it. | 0:07:22 | 0:07:27 | |
A lot of people would bring that in and never realise it had a cover, | 0:07:27 | 0:07:30 | |
cos there's no sign of it having a cover. So, that really helps it. | 0:07:30 | 0:07:35 | |
Again, you'd hope to get 250, 300 after everyone has had a go at it. | 0:07:35 | 0:07:40 | |
To sum up, we've got 200 to 300 there, 300 to 500 there. | 0:07:40 | 0:07:44 | |
If they both make the top of the estimate, that's 800 quid. | 0:07:44 | 0:07:47 | |
That's a real good result that would be, and the bottom end, £500. I'm looking forward to the auction. | 0:07:47 | 0:07:53 | |
Hopefully, they're going to do pretty well and we'll see you there. | 0:07:53 | 0:07:58 | |
Yes, that's fine. | 0:07:58 | 0:08:00 | |
Katherine, thank you for bringing in this lovely book, | 0:08:08 | 0:08:11 | |
The Magic Of A Line. It's the autobiography of Laura Knight. | 0:08:11 | 0:08:14 | |
What story do you have behind it? | 0:08:14 | 0:08:16 | |
Well, I was sent it as a Christmas present in 1965. | 0:08:16 | 0:08:19 | |
Right. | 0:08:19 | 0:08:20 | |
-My uncle was the bursar at the Royal Academy and Laura Knight was the Royal Academician. -Yes. | 0:08:20 | 0:08:26 | |
I suppose she was promoting her book at the Royal Academy. | 0:08:26 | 0:08:29 | |
He asked her to sign it for me. | 0:08:29 | 0:08:32 | |
-Right. -She said, well I'll draw a picture for her as well. | 0:08:32 | 0:08:34 | |
-How wonderful. -I was actually living in India at the time, so it was sent to me in India as well. | 0:08:34 | 0:08:39 | |
-It's very exciting. -It's travelled a long way and you obviously weren't expecting such a present? | 0:08:39 | 0:08:43 | |
Not at all, no. I'm always pleased to get books as a present | 0:08:43 | 0:08:47 | |
but when I opened it and saw that it was signed and the picture, that made it really special. | 0:08:47 | 0:08:52 | |
Interestingly enough, the book itself, which is a first edition, 1965, | 0:08:52 | 0:08:55 | |
-can actually still be bought for 45. -Gosh. | 0:08:55 | 0:08:58 | |
-So the book itself is really modest and straight forward. -Yes. | 0:08:58 | 0:09:02 | |
As you point out, the exciting, exciting piece is this frontispiece which is just lovely. | 0:09:02 | 0:09:08 | |
Now, it's personalised to Katherine. | 0:09:08 | 0:09:10 | |
This wonderful clown, which Dame Laura Knight was very well-known for doing. | 0:09:10 | 0:09:13 | |
-Yes. -Of course her designs of clowns went on to everything, including ceramics. -Oh, right. | 0:09:13 | 0:09:19 | |
Her designs were seen in art form, picture form, | 0:09:19 | 0:09:23 | |
but also commandeered for some of the mid-20th century factories that produced quirky ceramics of the time. | 0:09:23 | 0:09:31 | |
You've kept it well. It's obviously been happy in its travels, | 0:09:31 | 0:09:34 | |
on its bookshelf, and that's important. | 0:09:34 | 0:09:36 | |
So, the paper is in good condition, the ink hasn't run | 0:09:36 | 0:09:40 | |
and it's not been manhandled or torn or anything so that's fantastic. | 0:09:40 | 0:09:45 | |
Laura, Dame Laura Knight's art work is now highly sought after which can make vast sums of money. | 0:09:45 | 0:09:52 | |
-Yes. -Have you any idea what you think that that might, what the value might be added to in terms of...? | 0:09:52 | 0:09:57 | |
-Not at all, no. -I think it would certainly fetched 300 to £500. | 0:09:57 | 0:10:02 | |
-Gosh. -With a fixed reserve of £300 to protect it... | 0:10:02 | 0:10:05 | |
-Yes, that's fine. -It'll be an exciting day on the day it auctions to see exactly how it's responded to. | 0:10:05 | 0:10:11 | |
I might need to apologise to my Uncle. | 0:10:11 | 0:10:13 | |
You can say that he was a canny man. | 0:10:13 | 0:10:16 | |
-He was, yes. -Thank you for bringing it in. | 0:10:16 | 0:10:18 | |
-That's wonderful. -Thank you very much. | 0:10:18 | 0:10:20 | |
-It's a great honour for me to see it because it's quite a rarity. -Thank you very much. | 0:10:20 | 0:10:25 | |
-Good morning. -Good morning. -Welcome to Flog It!. | 0:10:34 | 0:10:37 | |
Thank you. What a lovely smile! You seem very cheerful. | 0:10:37 | 0:10:40 | |
What is your name, do you mind? | 0:10:40 | 0:10:42 | |
-Evelyn. -Evelyn, am I all right to call you that? -Fine! | 0:10:42 | 0:10:44 | |
-I remember seeing this in the queue. It was on a big trolley, wasn't it? -That's right. | 0:10:44 | 0:10:49 | |
And I made a silly joke of admiring the trolley instead of the figure. | 0:10:49 | 0:10:53 | |
-Because it's quite...striking, would be a polite way of putting it. -Yes. | 0:10:53 | 0:10:57 | |
What can you tell me about it? Where did you get it from? | 0:10:57 | 0:11:00 | |
My husband bought it. It was supposed to be a house-warming present, when we moved house. | 0:11:00 | 0:11:06 | |
-So, he came home with this and said "Evelyn, here we are, here is your house-warming present." -More or less. | 0:11:06 | 0:11:11 | |
And what was your reaction? | 0:11:11 | 0:11:12 | |
"What the hell have you bought that for?!" | 0:11:12 | 0:11:15 | |
HE LAUGHS | 0:11:15 | 0:11:16 | |
So, you weren't impressed. | 0:11:16 | 0:11:18 | |
I was quite polite, but... | 0:11:18 | 0:11:20 | |
No, I wasn't impressed at all. | 0:11:20 | 0:11:22 | |
-I believe there you have a name for this chap. -Yes, Fred. | 0:11:22 | 0:11:26 | |
Fred. And what about the lady? | 0:11:26 | 0:11:28 | |
Oh, I've never named her. You've never named the lady. Poor thing! | 0:11:28 | 0:11:32 | |
We just assumed she was from a harem. | 0:11:32 | 0:11:35 | |
Fred and Frieda, perhaps? | 0:11:35 | 0:11:37 | |
-That sounds all right. -That would be appropriate, wouldn't it? | 0:11:37 | 0:11:41 | |
-I don't suppose you'll ever know what he paid for it? -No, no. | 0:11:41 | 0:11:44 | |
-Hopefully it wasn't too much. -No, that's what I think! | 0:11:44 | 0:11:47 | |
Well, we've got some markings on here, which is "Koenig and Lengsfeld", from Germany. | 0:11:47 | 0:11:53 | |
They made things at the turn of the century, | 0:11:53 | 0:11:56 | |
1900s to 1920s, that sort of period. | 0:11:56 | 0:11:59 | |
They did this type of composition figure in plaster and in terracotta. | 0:11:59 | 0:12:05 | |
Very decorative. It's one of those things that you either love or hate. | 0:12:05 | 0:12:08 | |
-There's no middle ground with that. -No. -I'm not a fan myself, | 0:12:08 | 0:12:12 | |
but some people out there will love that, like your husband did. | 0:12:12 | 0:12:15 | |
-Yes, but my daughters don't want it. -None of them? -No. | 0:12:15 | 0:12:19 | |
-My thoughts are to put an estimate of 100 to £200 on it. -That sounds all right. | 0:12:19 | 0:12:25 | |
If it's all right with you, I'd say put 75 as a bottom line | 0:12:25 | 0:12:28 | |
and hopefully it'll make up to £200. You never know. | 0:12:28 | 0:12:31 | |
Thank you very much for bringing Fred in, and his female companion. | 0:12:31 | 0:12:36 | |
I look forward to seeing it in the auction. | 0:12:36 | 0:12:38 | |
And fingers crossed for a good result. | 0:12:38 | 0:12:41 | |
Now, are you sitting comfortably? Because | 0:12:45 | 0:12:47 | |
I'm going to tell you the story of some remarkable children's books. | 0:12:47 | 0:12:52 | |
Well, you've just caught me genning up on one of my favourite subjects, the history of television. | 0:12:56 | 0:13:01 | |
Now, I know this is a little out of date but actually what I've got here is an iconic guide. | 0:13:01 | 0:13:06 | |
You see, for nearly 95 years Ladybird books have been opening up | 0:13:06 | 0:13:11 | |
our reading horizons with imaginative storytelling. | 0:13:11 | 0:13:14 | |
Wonderful illustrations. | 0:13:14 | 0:13:16 | |
But best of all, accessible knowledge. | 0:13:16 | 0:13:18 | |
You can learn so much from one of these little books, | 0:13:18 | 0:13:21 | |
all manner of subjects. | 0:13:21 | 0:13:22 | |
And, as the home town of Ladybird, | 0:13:22 | 0:13:24 | |
it's no wonder the people of Loughborough hold these little books really close to their hearts. | 0:13:24 | 0:13:30 | |
The story of Ladybird began in 1873, when a businessman and printer called Henry Wills | 0:13:32 | 0:13:38 | |
bought the Angel Press in Loughborough's market place. | 0:13:38 | 0:13:42 | |
The company established itself by printing a range of commercial material. | 0:13:42 | 0:13:46 | |
When the war threatened in 1914, the firm, | 0:13:46 | 0:13:50 | |
now operating as Wills and Hepworth, decided to try their hand at printing children's books. | 0:13:50 | 0:13:56 | |
Today, Loughborough's Charnwood Museum is the home of the Ladybird archive. | 0:14:02 | 0:14:08 | |
I have been given special permission to go behind the scenes and take a good look around. | 0:14:08 | 0:14:13 | |
This is what I'm after, one of the first Ladybird books published by Wills and Hepworth. | 0:14:16 | 0:14:23 | |
It's titled Billy And The Treasure. | 0:14:23 | 0:14:25 | |
If I open this very carefully, | 0:14:25 | 0:14:27 | |
on the inside sleeve you can see it says there Ladybird Series. | 0:14:27 | 0:14:32 | |
This is the forerunner to the Ladybird symbol. | 0:14:32 | 0:14:35 | |
Hepworth was a keen gardener and rose grower. | 0:14:35 | 0:14:39 | |
With this in mind, his wife suggested the name. | 0:14:39 | 0:14:42 | |
This book dates to the 1920s. | 0:14:42 | 0:14:46 | |
It's quite large, it's more like a children's annual. | 0:14:46 | 0:14:51 | |
The paper is very thick and the illustrations are very basic, as you can see. | 0:14:51 | 0:14:56 | |
But in its day, this book wasn't basic. | 0:14:56 | 0:14:59 | |
It was so well received. | 0:14:59 | 0:15:01 | |
I can see now, I can understand how the Ladybird books that I grew up with have evolved from this. | 0:15:01 | 0:15:09 | |
It was in 1940 that the Ladybird pocket book was born. | 0:15:12 | 0:15:15 | |
The first series featured animal stories like Downy Duckling. | 0:15:15 | 0:15:20 | |
This time round, the printing was higher quality, with full-colour illustrations. | 0:15:20 | 0:15:25 | |
The pocket book was perfect for tiny, small hands to hold. | 0:15:28 | 0:15:33 | |
This one is called Bunnikin's Picnic Party. | 0:15:33 | 0:15:36 | |
If I open it up inside and show you the illustrations, | 0:15:36 | 0:15:39 | |
now, they're perfectly clear and vibrant. | 0:15:39 | 0:15:43 | |
Look at that, isn't that lovely? | 0:15:43 | 0:15:46 | |
Each little book was printed from one large sheet of paper, which I can show you here. | 0:15:46 | 0:15:52 | |
It's also printed on both sides. | 0:15:52 | 0:15:54 | |
It meant that a quality book could be printed relatively cheaply. | 0:15:54 | 0:15:59 | |
In the decades that followed, that formula was put to good use in many different ways. | 0:15:59 | 0:16:05 | |
After the war, the pocketbook format was used for a pioneering series of education books. | 0:16:06 | 0:16:12 | |
Factual titles, like the Uncle Mac books and, later, | 0:16:12 | 0:16:16 | |
the What To Look For books were a great success with young readers. | 0:16:16 | 0:16:21 | |
It was the 1960s that proved to be the defining era of the pocket book. | 0:16:23 | 0:16:28 | |
This decade saw the launch of the Key Words reading scheme, featuring Peter and Jane. | 0:16:28 | 0:16:34 | |
Based on educational research which showed that just 12 words make up a quarter of our speech, | 0:16:35 | 0:16:41 | |
the Peter and Jane stories used those key words and phrases to help children learn to read. | 0:16:41 | 0:16:48 | |
That, coupled with these wonderful | 0:16:48 | 0:16:50 | |
colour illustrations, really did bring these stories to life. | 0:16:50 | 0:16:55 | |
Since they were first printed in the 1960s, | 0:16:55 | 0:16:58 | |
they've sold well over 100 million copies worldwide, | 0:16:58 | 0:17:01 | |
teaching generations of children to read. | 0:17:01 | 0:17:04 | |
I don't know about you, but I'm feeling rather nostalgic. | 0:17:04 | 0:17:07 | |
Key to the success of Peter and Jane, and so many of the pocket books, | 0:17:11 | 0:17:15 | |
was the expertise of the authors and the illustrators who created them. | 0:17:15 | 0:17:20 | |
Kathie Layfield was one of those talented artists. | 0:17:20 | 0:17:23 | |
She's come in to the museum to talk to me about her work. | 0:17:23 | 0:17:28 | |
Kathie, it's great to meet you. | 0:17:28 | 0:17:29 | |
I can see why you love painting in vibrant colours, just by the way you're dressed. | 0:17:29 | 0:17:33 | |
-You look fabulous! -Thank you. | 0:17:33 | 0:17:35 | |
Were you always an illustrator? And how did you get your big break? | 0:17:35 | 0:17:39 | |
I trained actually in textile design at Loughborough College of Art, | 0:17:39 | 0:17:43 | |
and I went in as an amateur and joined Leicester Drama Society. | 0:17:43 | 0:17:49 | |
I got into designing costumes, although I can't sew for toffee. | 0:17:49 | 0:17:53 | |
I had a little exhibition of my work. | 0:17:53 | 0:17:56 | |
I went into the bar one day and a guy came up to me and said, | 0:17:56 | 0:17:59 | |
"I can see you draw figures, how do you feel about illustrating books?" | 0:17:59 | 0:18:03 | |
I said, "Yeah, lovely", and it turned out he worked for Ladybird. | 0:18:03 | 0:18:07 | |
He just said, "Bring in a portfolio," | 0:18:07 | 0:18:09 | |
and I did and got my break. | 0:18:09 | 0:18:11 | |
Have you particular favourite that you worked on? | 0:18:11 | 0:18:14 | |
I loved most of them, but I particularly liked Puss In Boots. | 0:18:14 | 0:18:17 | |
That illustration over there, because I love cats. | 0:18:17 | 0:18:20 | |
Also, because I had freedom to choose something which I could set in costume. | 0:18:20 | 0:18:24 | |
I love the history of costume, so I decided I was going to do it in the period of Louis XIV. | 0:18:24 | 0:18:30 | |
And you set yourself these difficult tasks, because you had to be very careful in Ladybird books | 0:18:30 | 0:18:37 | |
that you didn't make any mistakes, historically. | 0:18:37 | 0:18:40 | |
-Because it's a reference book as well. -Exactly. | 0:18:40 | 0:18:43 | |
If you did, you got people writing in, particularly children. | 0:18:43 | 0:18:46 | |
They'd write in and say, "You got that wrong." | 0:18:46 | 0:18:48 | |
Just looking at some of these images, there's a lot to see. | 0:18:48 | 0:18:51 | |
I always like to put something in that's a distraction, something funny. I remember when I was a child, | 0:18:51 | 0:18:55 | |
loving in comics where there would be something else going on | 0:18:55 | 0:18:59 | |
in the background, some little tiny thing happening. | 0:18:59 | 0:19:02 | |
-I try to do that in my books. -Cos kids find that. -That's right, yeah. | 0:19:02 | 0:19:05 | |
I was looking at this, and you just see, although you're looking | 0:19:05 | 0:19:09 | |
at the main picture with all of the fisher men and the octopus, | 0:19:09 | 0:19:11 | |
you kind of see the little fishes' mouths looking up like that. | 0:19:11 | 0:19:14 | |
Also in that one, I did a recurrent thing were one of the sailors starts | 0:19:14 | 0:19:20 | |
getting a green face and in about three pictures, he's gradually being more sick. | 0:19:20 | 0:19:25 | |
He's sick over the side. | 0:19:25 | 0:19:28 | |
It's those sort of things I like putting in. | 0:19:28 | 0:19:31 | |
Kathie, thank you so much for bringing these illustrations in. | 0:19:31 | 0:19:34 | |
I can't wait to start reading them again with my little son, when he's able to read. | 0:19:34 | 0:19:38 | |
-Thank you so much, it's been a pleasure. -Thank you. | 0:19:38 | 0:19:41 | |
So, now it's time for our trip to the auction room, and here's a reminder of what we're taking. | 0:19:45 | 0:19:51 | |
Deidre's concertina has plenty of sea shanties left in it | 0:19:51 | 0:19:56 | |
and Elizabeth thinks it'll sail away at auction for 180 - £250. | 0:19:56 | 0:20:02 | |
I don't think anybody would balk at that. | 0:20:02 | 0:20:04 | |
I just did! | 0:20:04 | 0:20:06 | |
Adam thought Clodagh's Moorcroft vases were in good condition, | 0:20:08 | 0:20:12 | |
but advised her to sell them as two lots. | 0:20:12 | 0:20:15 | |
I think offering them as a group of three won't be as good | 0:20:15 | 0:20:18 | |
as splitting them into a clear pair and a separate vase. | 0:20:18 | 0:20:22 | |
And Evelyn's striking statue was a gift from her husband, but she's never really liked it. | 0:20:22 | 0:20:27 | |
So, he came home with this and he said, "Evelyn, here we are, here is a house-warming present." | 0:20:27 | 0:20:31 | |
-And what was your reaction? -What the hell have you bought that for? | 0:20:31 | 0:20:35 | |
THEY LAUGH | 0:20:35 | 0:20:37 | |
And with its personal dedication by Dame Laura Knight, | 0:20:37 | 0:20:40 | |
Katherine's book is a rare find. | 0:20:40 | 0:20:42 | |
Now, will we hold the front page for this one? | 0:20:42 | 0:20:46 | |
This is where we put all our expert's valuations to the test, | 0:20:54 | 0:20:58 | |
courtesy of Gilding's auction rooms in Market Harborough. | 0:20:58 | 0:21:01 | |
As you can see it's packed, isn't it? | 0:21:01 | 0:21:03 | |
I hope they're here to bid on all our lots. | 0:21:03 | 0:21:06 | |
Don't go away, we're gonna find out. | 0:21:06 | 0:21:08 | |
Wielding the gavel this morning is auctioneer Mark Gilding. | 0:21:08 | 0:21:12 | |
let's see how Clodagh's two lots of Moorcroft vases do in the auction. | 0:21:12 | 0:21:18 | |
Tell me a little bit about the vases. Why you want to sell them? | 0:21:18 | 0:21:20 | |
I thought I'd get my garden a makeover. | 0:21:20 | 0:21:23 | |
-It's at bit, you know, needs a facelift. -Really? | 0:21:23 | 0:21:26 | |
So, we're going to do a bit of landscaping and sorting out. | 0:21:26 | 0:21:28 | |
Pruning and strimming. | 0:21:28 | 0:21:30 | |
Will we get the top end? | 0:21:30 | 0:21:32 | |
-We're looking at 300 to 500. -I think it's accurate for Aurelian Ware. End of the 19th century, | 0:21:32 | 0:21:36 | |
Macintyre and Co, it's a stable, steady seller. | 0:21:36 | 0:21:40 | |
It never goes mad. I'd say, it's about right this time. | 0:21:40 | 0:21:43 | |
-Book price. -Touch something... -Touch some wood! | 0:21:43 | 0:21:47 | |
Good luck, good luck. Here we go. | 0:21:47 | 0:21:49 | |
One pair of Moorcroft Macintyre octagonal vases, | 0:21:49 | 0:21:52 | |
I'm bid 190, 190 bid here. 190. | 0:21:52 | 0:21:56 | |
200, 210, 220, 230. | 0:21:56 | 0:21:59 | |
230, bid, at 240. 250, | 0:21:59 | 0:22:01 | |
260, 270, 280, 290, 300. | 0:22:01 | 0:22:05 | |
Selling away at £300. | 0:22:05 | 0:22:09 | |
£300. And our second lot now, | 0:22:09 | 0:22:11 | |
fingers crossed we get 200 to £300. | 0:22:11 | 0:22:13 | |
Another bit of Moorcroft here, Macintyre vase and cover. | 0:22:13 | 0:22:17 | |
I'm bid £110 on this, at 110, I'm in at 110. | 0:22:17 | 0:22:21 | |
120, 130, 140, 150, 160, | 0:22:21 | 0:22:24 | |
170, 180, 190, | 0:22:24 | 0:22:25 | |
£200. I'm out. | 0:22:25 | 0:22:28 | |
-It's done it. -£200, right at the back. | 0:22:28 | 0:22:30 | |
It will sell, at 200, | 0:22:30 | 0:22:32 | |
selling in the room then at £200. | 0:22:32 | 0:22:35 | |
Yes, let's see, bedding plants, | 0:22:35 | 0:22:39 | |
-shrubs... -Yes. Probably a tree. -That's good. | 0:22:39 | 0:22:43 | |
-Fruit trees, blossoms. -Yes. Cherry or something. | 0:22:43 | 0:22:46 | |
A cherry tree would be nice, wouldn't it? Or plums, I like plums. | 0:22:46 | 0:22:50 | |
Next up, we've got that wonderful autobiography. | 0:22:58 | 0:23:01 | |
It's a first edition by Dame Laura Knight and it belongs to Katherine. | 0:23:01 | 0:23:04 | |
It's signed to you as well. | 0:23:04 | 0:23:06 | |
What a privilege. She's one of my favourite artists. | 0:23:06 | 0:23:10 | |
Now, she specialises in sort of dancing, clowns, those kinds of things. | 0:23:10 | 0:23:14 | |
-We've got a clown image in there. -We have, yes. -It could fetch top money. | 0:23:14 | 0:23:17 | |
That's what we're here for, that's what auctions are all about. Here we go, we're gonna find out. | 0:23:17 | 0:23:22 | |
220, Laura Knight, The Magic Of A Line | 0:23:22 | 0:23:25 | |
with inscription and a sketch of a clown. | 0:23:25 | 0:23:28 | |
Bidding starts, £190. | 0:23:28 | 0:23:32 | |
190 bid here, 190, 200, 210, | 0:23:32 | 0:23:36 | |
220, 230, | 0:23:36 | 0:23:37 | |
230, I'll take 40 if you like, | 0:23:37 | 0:23:41 | |
it's with me at 230, watching it carefully. | 0:23:41 | 0:23:43 | |
230, here with me at 230 and away now at £230. | 0:23:43 | 0:23:47 | |
-Oh, it didn't. -I'm disappointed with that. | 0:23:47 | 0:23:50 | |
Maybe it's not meant to go. | 0:23:50 | 0:23:51 | |
I did say to my son, "Perhaps I should have let you have it." | 0:23:51 | 0:23:55 | |
Yeah, I think what does devalue it is the fact that it's got your name, it's to Katherine. | 0:23:55 | 0:24:00 | |
-That's right. -If it was just signed by her and dated with that little clown in the edge of the sketch, | 0:24:00 | 0:24:05 | |
yes, we'd have got it. | 0:24:05 | 0:24:06 | |
My sister has one with a better sketch. | 0:24:06 | 0:24:08 | |
Oh, does she? | 0:24:08 | 0:24:10 | |
A clown on horseback. | 0:24:10 | 0:24:12 | |
I wish I'd got one. | 0:24:12 | 0:24:14 | |
Next up, something for all you music lovers. | 0:24:20 | 0:24:22 | |
It's a concertina and it belongs to Deidre. So why are you selling it? | 0:24:22 | 0:24:26 | |
Well, I'm clearing my house out and having alterations done, | 0:24:26 | 0:24:29 | |
trying to get low-maintenance, as everybody is, | 0:24:29 | 0:24:32 | |
it's been in the garage for years, unfortunately it's such a shame, | 0:24:32 | 0:24:37 | |
-just to send it... -Lots of DIY? -Not myself, no. No. | 0:24:37 | 0:24:42 | |
-I'm allergic to that as well. -I'm not that talented! | 0:24:42 | 0:24:46 | |
It does haemorrhage money, doesn't it? | 0:24:46 | 0:24:48 | |
Somebody said DIY stood for do it for years if you do it yourself! | 0:24:48 | 0:24:53 | |
I like that. We're going to do a bit of DIY right now because we are just about to flog, hopefully, | 0:24:53 | 0:24:58 | |
fingers crossed, this wonderful little squeeze box. Here we go. | 0:24:58 | 0:25:02 | |
Lot number 70, Lachenal & Co concertina, mahogany frame, | 0:25:02 | 0:25:07 | |
numbered and within a mahogany carrying case. | 0:25:07 | 0:25:09 | |
A nice concertina this and reflected in commission bids with me here. | 0:25:09 | 0:25:13 | |
-Let's hope we hit the right note. -Oh, yes. | 0:25:13 | 0:25:15 | |
Reflected in commission bids with me here, | 0:25:15 | 0:25:18 | |
I have to start bidding at £300. | 0:25:18 | 0:25:20 | |
-How much?! -300. -Oh, my God! | 0:25:20 | 0:25:23 | |
I'll take 25. | 0:25:23 | 0:25:26 | |
300, I'm bid at 300. | 0:25:26 | 0:25:28 | |
You're out, commissions at 300, will sell here at £300. | 0:25:28 | 0:25:32 | |
Selling away now at £300. | 0:25:32 | 0:25:36 | |
Well, that'll help towards the home improvements. | 0:25:36 | 0:25:39 | |
Yes, it will, it certainly will. Thank you very much. | 0:25:39 | 0:25:42 | |
Going under the hammer now is Evelyn's statue. | 0:25:50 | 0:25:53 | |
It's a composition of two figures, and the figures we've got on this | 0:25:53 | 0:25:56 | |
are £100 to £200, put on by our expert, Adam, here. | 0:25:56 | 0:25:59 | |
We know we need the money, don't you, to go to Tenerife, that's right isn't it? | 0:25:59 | 0:26:03 | |
Who are you going with? | 0:26:03 | 0:26:05 | |
Two of my daughters. And a granddaughter. | 0:26:05 | 0:26:08 | |
Oh, bless! A whole family holiday. | 0:26:08 | 0:26:11 | |
I know Evelyn can't wait to see the back of this, can you? | 0:26:11 | 0:26:14 | |
You told Adam you didn't like it. You've has it 33-odd years. | 0:26:14 | 0:26:18 | |
Never liked it. | 0:26:18 | 0:26:19 | |
The good news is, is definitely going, that's for sure. | 0:26:19 | 0:26:22 | |
I know we put £100 to £200 on this, and I quite agree with you. | 0:26:22 | 0:26:25 | |
I asked the auctioneer what he thinks it might make. | 0:26:25 | 0:26:29 | |
It's what he thinks it might make - he said 400 to £500! | 0:26:29 | 0:26:34 | |
-So in that case, you're going. -Does he have some prior information, or is that his instincts? | 0:26:34 | 0:26:39 | |
-I don't know. -I hope so. | 0:26:39 | 0:26:41 | |
Fingers crossed he's got a few bids on the book. Let's find out. | 0:26:41 | 0:26:45 | |
We can't discuss this any more, it really is up to the bidders. Here we go. | 0:26:45 | 0:26:49 | |
Lot Number 10 is a painted plaster and spelter figure. | 0:26:49 | 0:26:53 | |
Fantastic lot this one, lots of interest on the bidding here. | 0:26:53 | 0:26:56 | |
Bids start at 80, 90, 100, 120, | 0:26:56 | 0:27:00 | |
140, 160 with me. 160, 180, | 0:27:00 | 0:27:04 | |
200, 220, 240, | 0:27:04 | 0:27:06 | |
240 bid with me. At 240? | 0:27:06 | 0:27:08 | |
Are you all out at 240? | 0:27:08 | 0:27:09 | |
I think you're going to split the difference there. | 0:27:09 | 0:27:12 | |
280, I'm in at 280. 300, | 0:27:12 | 0:27:15 | |
-320? 320 here? 320, 340... -There's somebody on the phone. | 0:27:15 | 0:27:20 | |
360 here with me, at 360, I'll take 80 if you like? | 0:27:20 | 0:27:23 | |
-380, 400? -There's another phone bid! | 0:27:23 | 0:27:25 | |
-400 with me, 420? -Two people on the phone. | 0:27:25 | 0:27:28 | |
All commissions out, that's 420. | 0:27:28 | 0:27:31 | |
Telephone is in at 420, selling away at £420. | 0:27:31 | 0:27:34 | |
-£420! -What do you reckon? | 0:27:36 | 0:27:40 | |
-Say bye to Fred? -Definitely! -It's a good moment all round, really. | 0:27:40 | 0:27:45 | |
-Evelyn is glad to see the back of that but also, you're off to Tenerife. -Definitely. | 0:27:45 | 0:27:51 | |
That's it. It's all over for our owners. | 0:28:02 | 0:28:05 | |
The auction's still going on. | 0:28:05 | 0:28:06 | |
We've had a brilliant day here in Market Harborough. | 0:28:06 | 0:28:10 | |
The highlight for me had to be the big smile on Evelyn's face as we got £424 for her statue. | 0:28:10 | 0:28:16 | |
I think that's a great result. A lot more than we anticipated. | 0:28:16 | 0:28:19 | |
Join me again for many more surprises. | 0:28:19 | 0:28:21 | |
For now, from Market Harborough, cheerio. | 0:28:21 | 0:28:25 | |
Subtitles by Red Bee Media Ltd | 0:28:32 | 0:28:35 |