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Over the 12 series of Flog It! you've brought us | 0:00:13 | 0:00:16 | |
thousands of items, and we've valued and helped you sell | 0:00:16 | 0:00:19 | |
nearly £1 million worth of antiques. | 0:00:19 | 0:00:21 | |
In this series, I want to share with you some of the things | 0:00:29 | 0:00:32 | |
we've learnt about the fascinating objects | 0:00:32 | 0:00:35 | |
that have been passed over our valuation tables. | 0:00:35 | 0:00:38 | |
Welcome to Trade Secrets. | 0:00:38 | 0:00:40 | |
People, places and events can often add an extra layer of value | 0:01:07 | 0:01:12 | |
to an otherwise unremarkable item. | 0:01:12 | 0:01:14 | |
So in today's show, our team of Flog It! experts | 0:01:14 | 0:01:17 | |
are going to give you the low-down on items | 0:01:17 | 0:01:19 | |
that have been sprinkled with stardust. | 0:01:19 | 0:01:22 | |
Something associated with someone - or something - famous. | 0:01:22 | 0:01:25 | |
Coming up, autographs from some of the biggest names in the world | 0:01:25 | 0:01:30 | |
land on our blue tablecloths. | 0:01:30 | 0:01:32 | |
There are some pretty famous people in this book. | 0:01:32 | 0:01:35 | |
I just turned the page, and there's Sean. | 0:01:35 | 0:01:38 | |
-Do you know, you've made my day. -Really? Are you a Stones fan? | 0:01:38 | 0:01:41 | |
I'm a huge Stones fan. | 0:01:41 | 0:01:43 | |
-How lucky are you? -I know. | 0:01:43 | 0:01:45 | |
The Fab Four, all on one piece of paper. | 0:01:45 | 0:01:47 | |
'We find out that famous signatures can be worth their weight in gold.' | 0:01:47 | 0:01:51 | |
Oh! | 0:01:51 | 0:01:52 | |
-GAVEL BANGS -Yes! | 0:01:52 | 0:01:54 | |
That definitely is the back of the net. | 0:01:54 | 0:01:57 | |
'And our experts share some of their greatest treasures with us.' | 0:01:57 | 0:02:00 | |
A personal letter from a hugely important historical person. | 0:02:00 | 0:02:05 | |
And it now belongs to me. | 0:02:06 | 0:02:08 | |
Now, I can't help but admire those dedicated people who wait | 0:02:11 | 0:02:15 | |
for hours by a backstage door or by a players' entrance, | 0:02:15 | 0:02:20 | |
all hoping to beg an autograph from their idol. | 0:02:20 | 0:02:23 | |
As we now on this show, there is a ready market for autographs | 0:02:23 | 0:02:26 | |
or possessions once owned by the great and the good. | 0:02:26 | 0:02:30 | |
So, whose signature or former possession is ten-a-penny? | 0:02:30 | 0:02:33 | |
And whose could be worth a small fortune? | 0:02:33 | 0:02:36 | |
The rarity of a signature. | 0:02:36 | 0:02:38 | |
So if you think of somebody who was just so cutting edge, | 0:02:38 | 0:02:42 | |
so superb, but wasn't around for much. A real game-changer. | 0:02:42 | 0:02:46 | |
Somebody like Hendrix - his signatures are worth a fortune. | 0:02:46 | 0:02:50 | |
The general rule is that an autograph is worth more | 0:02:50 | 0:02:55 | |
if the person is dead. | 0:02:55 | 0:02:57 | |
Thinking of selling an autograph? | 0:02:57 | 0:03:00 | |
Check it's right. | 0:03:00 | 0:03:02 | |
If you saw the person sign it, there's no better proof. | 0:03:02 | 0:03:05 | |
Because, you know, there are some unscrupulous people out there | 0:03:05 | 0:03:08 | |
and signatures aren't that hard to fake. | 0:03:08 | 0:03:11 | |
When it comes to autographs, provenance is very, very important. | 0:03:11 | 0:03:15 | |
Over the years on Flog It!, we've seen many autographed items, | 0:03:15 | 0:03:19 | |
and I want to share with you some of the most fascinating. | 0:03:19 | 0:03:22 | |
Provenance was key when Anita valued an item | 0:03:22 | 0:03:26 | |
signed by Belfast's biggest heart-throb. | 0:03:26 | 0:03:29 | |
-Maureen, wasn't George Best a great-looking guy? -Oh, yes! | 0:03:30 | 0:03:35 | |
THEY LAUGH | 0:03:35 | 0:03:37 | |
Tell me where you got this signature. | 0:03:37 | 0:03:39 | |
He lives just across the street from my mother's house. | 0:03:39 | 0:03:43 | |
I knew his parents, knew his sisters, his brothers. | 0:03:43 | 0:03:46 | |
Now, Maureen lived in the same street as George Best. | 0:03:46 | 0:03:51 | |
She grew up with George Best. | 0:03:51 | 0:03:53 | |
She watched him playing football with the boys in the street. | 0:03:53 | 0:03:58 | |
She watched him kicking a ball over the buildings | 0:03:58 | 0:04:01 | |
when she was a wee girl. | 0:04:01 | 0:04:02 | |
Now, did he play football with the kids in the street and so on? | 0:04:02 | 0:04:06 | |
-Yes, yes. He taught all the kids in the street. -He taught all the kids? | 0:04:06 | 0:04:10 | |
-Was he a nice guy? -Oh, yes, very down-to-earth. | 0:04:10 | 0:04:13 | |
George Best was a sort of wild guy | 0:04:13 | 0:04:16 | |
and he must have done plenty of dancing | 0:04:16 | 0:04:18 | |
with bonny girls in his time, so it was sort of fitting | 0:04:18 | 0:04:22 | |
'that it should be on this fitness record.' | 0:04:22 | 0:04:25 | |
-He's very good-looking. -Very good-looking. Blue-eyed beauty. | 0:04:25 | 0:04:28 | |
-Yeah, yeah. Did he have a lot of... -Oh, yes. -..girls running after him? | 0:04:28 | 0:04:32 | |
A lot, a lot. Especially models! | 0:04:32 | 0:04:35 | |
So what we have here is a very simple thing. | 0:04:35 | 0:04:38 | |
It's a Shape Up & Dance record. | 0:04:38 | 0:04:41 | |
And this sort of stuff was very popular in the '70s, | 0:04:41 | 0:04:45 | |
with our darling George Best there and a glamorous girl by the side. | 0:04:45 | 0:04:49 | |
Quite possibly, the autograph would have been of more value | 0:04:49 | 0:04:55 | |
if it had been related to the sport that George Best played. | 0:04:55 | 0:05:01 | |
If it had been on a football jersey or a football or something. | 0:05:01 | 0:05:06 | |
So people like something allied to the person whose autograph it is. | 0:05:06 | 0:05:13 | |
Very difficult to estimate accurately an item like this. | 0:05:13 | 0:05:19 | |
Because it's a record rather than | 0:05:19 | 0:05:21 | |
a football shirt or a piece of football memorabilia, | 0:05:21 | 0:05:25 | |
I'm going to put £40-£60. | 0:05:25 | 0:05:29 | |
Would you be happy, Maureen, with selling it at that price? | 0:05:29 | 0:05:33 | |
-At the highest, at the highest... -At the highest price? -Yeah. | 0:05:33 | 0:05:36 | |
Well, Maureen, we're looking for the highest price! | 0:05:36 | 0:05:40 | |
What we're doing by estimating it low is to encourage the bidding. | 0:05:40 | 0:05:46 | |
-If we put it too high, it can put people off. -Yeah. | 0:05:46 | 0:05:48 | |
Now, since the valuation, Maureen has had a word with the auctioneer. | 0:05:54 | 0:05:57 | |
You've upped the reserve to £80. | 0:05:57 | 0:06:00 | |
It's now fixed at 80. Why did you do that? | 0:06:00 | 0:06:03 | |
-I think it's worth more than that. -Fingers crossed it is. | 0:06:03 | 0:06:07 | |
He was one of the world's greatest footballers, | 0:06:07 | 0:06:10 | |
possibly the world's worst singer. | 0:06:10 | 0:06:11 | |
George Best signed sleeve. | 0:06:11 | 0:06:14 | |
At £80... New bidder at 90. | 0:06:14 | 0:06:17 | |
110, 120. | 0:06:17 | 0:06:19 | |
130. 140. | 0:06:19 | 0:06:22 | |
150, 160, 170. | 0:06:22 | 0:06:26 | |
There were two private bidders in the room who were determined | 0:06:26 | 0:06:32 | |
to buy this for themselves. | 0:06:32 | 0:06:34 | |
230, 240. | 0:06:34 | 0:06:37 | |
250. | 0:06:37 | 0:06:38 | |
All out at £260... | 0:06:38 | 0:06:41 | |
-Yes! -That definitely is the back of the net. | 0:06:41 | 0:06:45 | |
So, important that we should know where the autograph comes from. | 0:06:47 | 0:06:52 | |
Very, very important. | 0:06:52 | 0:06:54 | |
And it's not just provenance that counts. | 0:06:54 | 0:06:57 | |
It's also location, location, location. | 0:06:57 | 0:07:01 | |
Where an autographed item is sold can make the difference | 0:07:01 | 0:07:05 | |
between a hit or a flop, and Anita struck gold, | 0:07:05 | 0:07:08 | |
selling George Best's scrawl in his hometown of Belfast. | 0:07:08 | 0:07:13 | |
'But is location always key? | 0:07:13 | 0:07:15 | |
'Well, it depends on whose autograph it is.' | 0:07:15 | 0:07:18 | |
Film stars, I don't think it really matters, actually. | 0:07:18 | 0:07:21 | |
I don't think that Hollywood-cum-rest-of-the-world | 0:07:21 | 0:07:25 | |
battle has divided that much. | 0:07:25 | 0:07:28 | |
I think it is a big melting pot now with the internet. | 0:07:28 | 0:07:31 | |
-Ruth... -Hello there. -..thanks for coming to Flog It!. | 0:07:33 | 0:07:35 | |
-Oh, you're welcome. -You have brought a fantastic album of photographs. | 0:07:35 | 0:07:39 | |
'Ruth was tremendous.' | 0:07:39 | 0:07:41 | |
She obviously was very unassuming. | 0:07:41 | 0:07:43 | |
So charming when they are not the big I am and they come over | 0:07:43 | 0:07:46 | |
and present something to you and they sit down at the table. | 0:07:46 | 0:07:49 | |
And you start looking at it and you look up and you think, | 0:07:49 | 0:07:52 | |
"Where did these come from?" | 0:07:52 | 0:07:54 | |
And she says, "I was an extra in a film." | 0:07:54 | 0:07:56 | |
Well, I used to be a film extra in the '70s and '80s | 0:07:56 | 0:07:58 | |
and I used to collect the signatures for my son. | 0:07:58 | 0:08:01 | |
-I've got some very interesting names in there. -You have, haven't you? -I have, yes. | 0:08:01 | 0:08:04 | |
I mean, I've got it open at a page which is rather lovely. | 0:08:04 | 0:08:07 | |
-It's Christopher Reeve. -Yes. -And he's done a little Superman there. | 0:08:07 | 0:08:10 | |
He definitely has, yeah. | 0:08:10 | 0:08:12 | |
And you go through the album | 0:08:12 | 0:08:14 | |
and there are some pretty famous people in this book. | 0:08:14 | 0:08:17 | |
And then I just turned the page, and there's Sean. What was he like? | 0:08:17 | 0:08:22 | |
-He was lovely. -Yeah? -Yes, he was a really nice man. | 0:08:22 | 0:08:25 | |
-A bit flirty, but he was very lovely. -Was he? -Yes! | 0:08:25 | 0:08:27 | |
'I bet she was stunning when she was younger. | 0:08:27 | 0:08:30 | |
'So I can quite imagine' | 0:08:30 | 0:08:32 | |
all the men falling over her. | 0:08:32 | 0:08:35 | |
And for me, especially, I've just put my eyeglass chain here | 0:08:35 | 0:08:39 | |
-so I can turn it over and talk about this one here. -Yes. | 0:08:39 | 0:08:42 | |
"Follow the Force! Mark Hamill." | 0:08:42 | 0:08:44 | |
I think that's a very rare signature. | 0:08:44 | 0:08:46 | |
-Right, OK. -Where did you meet him? | 0:08:46 | 0:08:48 | |
I worked on a film called Return Of The Jedi, | 0:08:48 | 0:08:50 | |
which was one of the Star Wars in... | 0:08:50 | 0:08:52 | |
I think it was 1985, or something like that. | 0:08:52 | 0:08:54 | |
-And he was also very, very friendly. -Was he? | 0:08:54 | 0:08:57 | |
He was lovely to work with and I just went up, | 0:08:57 | 0:09:00 | |
"Can I have your autograph?" and he obliged. | 0:09:00 | 0:09:02 | |
Mark Hamill played the lead role of Luke Skywalker | 0:09:02 | 0:09:05 | |
in the Star Wars trilogy from 1977-1983. | 0:09:05 | 0:09:10 | |
For me, a child of the '70s, growing up in the 1980s, | 0:09:12 | 0:09:18 | |
who went to the cinema to see Return Of The Jedi | 0:09:18 | 0:09:21 | |
with his grandmother, it was just so lovely. | 0:09:21 | 0:09:25 | |
And it's a wave of nostalgia which just flooded back to me, | 0:09:25 | 0:09:30 | |
which was just brilliant. | 0:09:30 | 0:09:32 | |
I think somebody like Mark Hamill | 0:09:32 | 0:09:33 | |
would probably be worth £30-£40 on its own. | 0:09:33 | 0:09:36 | |
Sean Connery, 20-30, Christopher Reeve, 40-60. | 0:09:36 | 0:09:40 | |
We're already at £80. | 0:09:40 | 0:09:41 | |
All the others on there, I think we've got some quite good signatures here. | 0:09:41 | 0:09:46 | |
Good. | 0:09:46 | 0:09:47 | |
There's lots of memories. They're in the book, but they're up here too. | 0:09:51 | 0:09:55 | |
OK, so which is your favourite? | 0:09:55 | 0:09:56 | |
I think probably Sean Connery. | 0:09:56 | 0:09:58 | |
-150, 160... -That's very good. -Yes! | 0:09:58 | 0:10:01 | |
£170. Against you on the phone at 170. | 0:10:01 | 0:10:04 | |
Are we all done, then? | 0:10:04 | 0:10:06 | |
At £170, last time, hammer up and down at £170. | 0:10:06 | 0:10:10 | |
-GAVEL BANGS -Well done, auctioneer. Yes, 170! | 0:10:10 | 0:10:14 | |
Good valuation, Thomas. | 0:10:14 | 0:10:15 | |
These albums are normally bought by autograph dealers, | 0:10:15 | 0:10:20 | |
and I can quite imagine the album would not stay as an album. | 0:10:20 | 0:10:25 | |
There's certainly a huge market in gaining a photograph | 0:10:25 | 0:10:30 | |
of the particular star and putting their signature below it. | 0:10:30 | 0:10:34 | |
Ruth's autograph album appealed to the collectors | 0:10:34 | 0:10:38 | |
due to the huge variety of signatures in her book | 0:10:38 | 0:10:41 | |
and the elusive one from actor Mark Hamill. | 0:10:41 | 0:10:43 | |
Rare autographs sell. | 0:10:43 | 0:10:46 | |
There is none rarer than William Shakespeare's, which is | 0:10:46 | 0:10:48 | |
believed to be the most expensive autograph in the world. | 0:10:48 | 0:10:52 | |
There are only six authentic examples of the Bard's signature | 0:10:52 | 0:10:56 | |
in existence, which are all held in institutions. | 0:10:56 | 0:10:59 | |
But if they were sold, they would cost around £2 million each. | 0:10:59 | 0:11:04 | |
There are exceptions to the rarity rule, though. | 0:11:04 | 0:11:06 | |
There may be thousands of autographs in existence by a person or group, | 0:11:06 | 0:11:11 | |
but if their star shines extra bright, | 0:11:11 | 0:11:13 | |
the signature is bound to cause a sensation. | 0:11:13 | 0:11:17 | |
There is no doubt that the best group in the world is the Rolling Stones. | 0:11:17 | 0:11:20 | |
-Do you know, you've made my day. -Really? Are you a Stones fan? | 0:11:21 | 0:11:24 | |
-I'm a huge Stones fan. -They were the best music to dance to when I was... | 0:11:24 | 0:11:28 | |
-Did you used to dance like Mick Jagger? -Er... | 0:11:28 | 0:11:31 | |
-I'm not go to ask you to do it! -I'm sure I tried to. | 0:11:31 | 0:11:35 | |
-So have you got this signed? -It is signed, yes. | 0:11:37 | 0:11:39 | |
Ah, look at that. It's brilliant. | 0:11:39 | 0:11:41 | |
'Provenance is important, and with photographs,' | 0:11:41 | 0:11:45 | |
the buyer wants some comfort that, | 0:11:45 | 0:11:47 | |
if he's buying the signature of the Rolling Stones, | 0:11:47 | 0:11:50 | |
that it is actually | 0:11:50 | 0:11:52 | |
'the signature of the Rolling Stones.' | 0:11:52 | 0:11:54 | |
The Beatles, for example, were well-known for their roadie to sign | 0:11:54 | 0:11:59 | |
their signatures and also for them to sign one another's signatures. | 0:11:59 | 0:12:03 | |
And I think the Stones actually signed one another's signatures. | 0:12:03 | 0:12:06 | |
So the first issue is, are they all genuine? | 0:12:06 | 0:12:10 | |
And the second issue is, have you got five different | 0:12:10 | 0:12:14 | |
Rolling Stones on there and not Mick Jagger doing three of them? | 0:12:14 | 0:12:17 | |
How did you come by them? | 0:12:17 | 0:12:20 | |
I used to work with Charlie Watts' mother. | 0:12:20 | 0:12:22 | |
-Charlie Watts' mum? -Yes. 1964. | 0:12:22 | 0:12:25 | |
-Yeah. -Before they were famous. | 0:12:25 | 0:12:28 | |
And that's when she gave the pictures to me. | 0:12:28 | 0:12:31 | |
And the fact that this lady knew that they had come from Charlie | 0:12:31 | 0:12:35 | |
Watts' mum and that she worked with her, and that provenance, that gives | 0:12:35 | 0:12:40 | |
comfort to the person who is buying or the people who want to bid on it. | 0:12:40 | 0:12:44 | |
And it's going to make it make more money, basically. | 0:12:44 | 0:12:47 | |
What we will ask the auctioneers to do is to say in the catalogue | 0:12:47 | 0:12:52 | |
that it's a signed photograph of the Rolling Stones, | 0:12:52 | 0:12:56 | |
and that the photograph was given to you by Charlie Watts' mother. | 0:12:56 | 0:13:02 | |
And I think it is important, really important, | 0:13:02 | 0:13:04 | |
that we put that in the catalogue. | 0:13:04 | 0:13:06 | |
'I think any auction house worth its salt, if someone brings you' | 0:13:06 | 0:13:10 | |
the signatures of the Beatles or Rolling Stones or whoever to sell, | 0:13:10 | 0:13:13 | |
I think you need to check out where they've come from, | 0:13:13 | 0:13:15 | |
who got them, who was there at the time, | 0:13:15 | 0:13:17 | |
did you actually see the Rolling Stones sign these? | 0:13:17 | 0:13:21 | |
Or did you know Charlie Watts' mum? Or whatever. | 0:13:21 | 0:13:24 | |
And all of those details, that goes to providing this sort of | 0:13:24 | 0:13:28 | |
package that makes the whole thing more attractive to a buyer. | 0:13:28 | 0:13:32 | |
I'm going to suggest that you put a £200-£400 estimate on it. | 0:13:32 | 0:13:36 | |
I think, if you strike lucky... | 0:13:36 | 0:13:39 | |
..it wouldn't surprise me if they made... | 0:13:41 | 0:13:44 | |
-three to five times that. -Mm-hm. | 0:13:44 | 0:13:46 | |
There's no doubt the Rolling Stones | 0:13:46 | 0:13:48 | |
are one of the biggest bands the world has ever seen, | 0:13:48 | 0:13:51 | |
and clearly Philip is a huge fan, | 0:13:51 | 0:13:53 | |
but was he right in pricing the band's signed photograph so highly? | 0:13:53 | 0:13:58 | |
340, 360, 380, 400. | 0:13:58 | 0:14:03 | |
420, 440, 460, 480. | 0:14:03 | 0:14:07 | |
-Yeah? 500, 520... -It's going up, anyway. | 0:14:07 | 0:14:10 | |
Selling on the balcony at £520. | 0:14:10 | 0:14:12 | |
£520! It was a smash hit. | 0:14:14 | 0:14:16 | |
If you are selling an autographed item at auction, | 0:14:18 | 0:14:20 | |
always make sure the provenance is included in the catalogue. | 0:14:20 | 0:14:25 | |
There's no doubt the fantastic provenance of the signed | 0:14:25 | 0:14:27 | |
Rolling Stones card helped it fly away, as well as the fact | 0:14:27 | 0:14:31 | |
that the band is one of the most successful the world has ever seen. | 0:14:31 | 0:14:35 | |
Ever since the 1960s, | 0:14:35 | 0:14:37 | |
there's been a huge rivalry between the Rolling Stones | 0:14:37 | 0:14:40 | |
and their fans, and the other iconic stellar British band, the Beatles. | 0:14:40 | 0:14:45 | |
And the argument about who is best still rages today. | 0:14:45 | 0:14:49 | |
But in a world of superstar music group autographs, | 0:14:49 | 0:14:52 | |
which is worth more - the Rolling Stones or the Beatles? | 0:14:52 | 0:14:55 | |
# Love, love, love... # | 0:14:55 | 0:14:57 | |
-How lucky are you? -I know. | 0:14:57 | 0:14:59 | |
-The Fab Four, all on one piece of paper, all signed by the band. -Yes. | 0:14:59 | 0:15:04 | |
Now, it says, "To Carol, from the Beatles." Then it says, | 0:15:04 | 0:15:09 | |
-"George Harrison". So, obviously, George wrote that. -Yes, he did. | 0:15:09 | 0:15:12 | |
Did you get these autographs? | 0:15:12 | 0:15:15 | |
No, a friend of mine who I used to work with, | 0:15:15 | 0:15:17 | |
she was a friend of the Beatles. Her and her husband. | 0:15:17 | 0:15:20 | |
-And I think they spent quite a lot of time with them. -OK. | 0:15:20 | 0:15:23 | |
They were spending a weekend with them at the Grand Hotel in... | 0:15:23 | 0:15:26 | |
-In Llandudno? -Yes. | 0:15:26 | 0:15:28 | |
What does devalue yours is the fact that it's signed "To Carol". | 0:15:28 | 0:15:33 | |
-I know, personalised, yeah. -But you never know! -There could be... | 0:15:33 | 0:15:36 | |
A Carol might like to buy them, but it's got to be Carol without an "E". | 0:15:36 | 0:15:39 | |
I am very adamant about my "E". | 0:15:39 | 0:15:41 | |
-You're a Carole with an "E", aren't you? -Yeah. | 0:15:41 | 0:15:43 | |
-George got that wrong, didn't he? -He did, unfortunately. -Oh, bless him! | 0:15:43 | 0:15:46 | |
I think we put a fixed reserve on this. | 0:15:46 | 0:15:49 | |
-This is not going to be given away. -No. | 0:15:49 | 0:15:51 | |
-A fixed reserve of £2,000. A value of 2,000-3,000. -Lovely. | 0:15:51 | 0:15:56 | |
-Let's see what happens. -Lovely, thank you very much, yes. | 0:15:56 | 0:15:59 | |
I hope this is going to be pick of the pops and a smash hit later on. | 0:15:59 | 0:16:02 | |
Carole's Beatles signatures were auctioned | 0:16:02 | 0:16:04 | |
just 23 miles from their home town of Liverpool. | 0:16:04 | 0:16:08 | |
-Hopefully, all the collectors are here. -Hope so. -Good luck, Carole. | 0:16:08 | 0:16:12 | |
-Here we go. -Thank you. | 0:16:12 | 0:16:13 | |
Two-two. Two-two. Two-two. | 0:16:13 | 0:16:16 | |
Two-three. Two-four, two-four. | 0:16:16 | 0:16:20 | |
-2,400... -Are you shaking? -Yeah. -2,400. 2,450. | 0:16:20 | 0:16:25 | |
What about your client? 2,500. | 0:16:25 | 0:16:28 | |
2,500. All done at 2,500, then? | 0:16:28 | 0:16:32 | |
-Oh! -Yes! Carole, fantastic. You were right, weren't you? | 0:16:33 | 0:16:37 | |
£2,500 for the Beatles autographs. | 0:16:37 | 0:16:40 | |
-Thank goodness you save it and kept it safe though. -Yes. | 0:16:40 | 0:16:43 | |
-That's what it's all about really. -Yes. | 0:16:43 | 0:16:45 | |
You can argue till the cows come home about who, musically, | 0:16:47 | 0:16:50 | |
is the best band - the Beatles or the Rolling Stones. | 0:16:50 | 0:16:54 | |
But in the world of the auction house, the Beatles won hands down. | 0:16:54 | 0:16:58 | |
What a winning combination - | 0:16:58 | 0:17:00 | |
the Fab Four's autographs all signed the same way up | 0:17:00 | 0:17:03 | |
on the same piece of paper and auctioned near their hometown. | 0:17:03 | 0:17:07 | |
Like the Beatles themselves, | 0:17:07 | 0:17:09 | |
Carole's autographs were top of the pops with the bidders. | 0:17:09 | 0:17:13 | |
Everything touched by the band turned to gold. | 0:17:14 | 0:17:16 | |
In 2013, a signed copy of the Beatles' album Sgt Pepper's Lonely Hearts Club | 0:17:16 | 0:17:22 | |
sold in the US at auction for a staggering £191,000. | 0:17:22 | 0:17:27 | |
So when it comes to collectables associated with famous people | 0:17:27 | 0:17:31 | |
and autographed items, what things guarantee a big hit? | 0:17:31 | 0:17:35 | |
Look out for rare signatures. | 0:17:36 | 0:17:38 | |
If the star was only alive for a short while or ended up shunning | 0:17:38 | 0:17:41 | |
the spotlight, the chances are they will have signed fewer autographs. | 0:17:41 | 0:17:46 | |
The more elusive a signature, the higher price it can command. | 0:17:46 | 0:17:50 | |
Buyer beware - we bang on about it time and time again on Flog It!, | 0:17:50 | 0:17:54 | |
but provenance is all-important, especially when it comes | 0:17:54 | 0:17:58 | |
to autographs, which can easily be forged. | 0:17:58 | 0:18:01 | |
Make sure you know where an autograph came from | 0:18:01 | 0:18:05 | |
before parting with your cash. | 0:18:05 | 0:18:07 | |
Consider location when selling. | 0:18:07 | 0:18:09 | |
Superstars, such as Marilyn Monroe, Bob Dylan | 0:18:09 | 0:18:12 | |
and James Dean will find their market price anywhere, | 0:18:12 | 0:18:16 | |
but celebrities who only found fame in their own country | 0:18:16 | 0:18:20 | |
may sell for more if auctioned closer to home. | 0:18:20 | 0:18:23 | |
And, finally, on Flog It! people often bring us items | 0:18:23 | 0:18:26 | |
that have been hiding in their attics or treasures they've found | 0:18:26 | 0:18:30 | |
rummaging through car-boot sales. | 0:18:30 | 0:18:32 | |
But if there's one thing you can get for free, it's an autograph. | 0:18:32 | 0:18:36 | |
With just a pen, a piece of paper and a lot of persistence, | 0:18:36 | 0:18:39 | |
you could bag yourself a signature which, in a few years, | 0:18:39 | 0:18:42 | |
could be worth thousands. | 0:18:42 | 0:18:44 | |
At our valuation day in Herne Bay, | 0:18:48 | 0:18:50 | |
Mark Stacey discovered yet more hand-written treasures with a famous connection. | 0:18:50 | 0:18:55 | |
You've brought a charming little handwritten postcard, really, | 0:18:56 | 0:19:00 | |
from Enid Blyton. And it's to your husband, I believe. | 0:19:00 | 0:19:04 | |
-Yes, he wrote to her when he was nine. -How wonderful. | 0:19:04 | 0:19:07 | |
He was thrilled to get it at the time. He was a great Enid Blyton fan. | 0:19:07 | 0:19:11 | |
-I bet. -He still is. -We all are. | 0:19:11 | 0:19:12 | |
-Noddy and Big Ears and, of course, the Famous Five. -That's right. | 0:19:12 | 0:19:16 | |
It's a shame she didn't send lashings of ginger beer | 0:19:16 | 0:19:19 | |
-at the same time. -Yes, isn't it? | 0:19:19 | 0:19:21 | |
Does your husband know you've brought this along? | 0:19:21 | 0:19:24 | |
Yes, he does. He was quite happy for me to bring it. | 0:19:24 | 0:19:27 | |
-Why hasn't he come today himself? -He was working this morning. -OK. | 0:19:27 | 0:19:30 | |
But hopefully we'll get him to the auction. | 0:19:30 | 0:19:34 | |
Now, this is all about you, really, isn't it? | 0:19:37 | 0:19:39 | |
You got this postcard from Enid Blyton. What a piece of history. | 0:19:39 | 0:19:43 | |
40, I'm bid. Who's in at 50. 50 for someone? | 0:19:43 | 0:19:46 | |
50, I have. 60, 70. | 0:19:46 | 0:19:48 | |
Who's in at 70? The bid is standing at £60 now. | 0:19:48 | 0:19:51 | |
Any further offer? | 0:19:51 | 0:19:53 | |
Any further bid? If not, I will sell at £60. | 0:19:53 | 0:19:56 | |
If we're all done at 60... | 0:19:56 | 0:19:58 | |
Yes, the hammer's gone down! | 0:19:58 | 0:19:59 | |
In all honesty, I think the value of the postcard | 0:19:59 | 0:20:03 | |
lay in its whimsical nature, | 0:20:03 | 0:20:05 | |
rather than a huge financial one. | 0:20:05 | 0:20:06 | |
The Enid Blyton postcard was special as it had double appeal. | 0:20:06 | 0:20:11 | |
It attracted both the autograph and the postcard collectors. | 0:20:11 | 0:20:15 | |
We see a huge amount of postcards on Flog It!, and their interest | 0:20:15 | 0:20:18 | |
lies in the fact that they depict a wide variety of subject matters. | 0:20:18 | 0:20:23 | |
We have some humorous, we have some local, | 0:20:23 | 0:20:27 | |
we have some quite serious, and we have some very collectable. | 0:20:27 | 0:20:31 | |
These are a complete sort of cavalcade of history | 0:20:31 | 0:20:34 | |
at the beginning of the 20th century. | 0:20:34 | 0:20:36 | |
These sort of saucy seaside postcards have had a long history. | 0:20:36 | 0:20:40 | |
These cards are called fantasy head cards. | 0:20:42 | 0:20:46 | |
They are very, very poignant. | 0:20:48 | 0:20:51 | |
I mean, a lot of them are of ruins, First World War ruins, | 0:20:51 | 0:20:54 | |
obviously, in France. | 0:20:54 | 0:20:56 | |
Postcard collecting is big business today. | 0:20:58 | 0:21:01 | |
There are around 200 major postcard fairs every year in Britain | 0:21:01 | 0:21:05 | |
and around 10,000 serious collectors. | 0:21:05 | 0:21:08 | |
It's a hobby which suits every pocket | 0:21:08 | 0:21:10 | |
as a postcard can range from a few pennies to a few thousand pounds. | 0:21:10 | 0:21:15 | |
But where did it all begin? Well, across Europe, | 0:21:15 | 0:21:18 | |
picture postcards began to be sent in earnest in the 1870s, | 0:21:18 | 0:21:22 | |
but it wasn't until 1894 | 0:21:22 | 0:21:24 | |
that they were in general use in Great Britain. | 0:21:24 | 0:21:27 | |
The turn of the 20th century up until the First World War | 0:21:29 | 0:21:32 | |
was the golden age of postcards. | 0:21:32 | 0:21:34 | |
Today, specialist collections of postcards | 0:21:34 | 0:21:37 | |
of a single subject matter can be extremely collectable. | 0:21:37 | 0:21:41 | |
My word! It's a complete volume of postcards | 0:21:43 | 0:21:48 | |
and they're all P&O cruise liners. | 0:21:48 | 0:21:51 | |
800. 820 with me. | 0:21:51 | 0:21:53 | |
840. Selling for ever at £840. | 0:21:53 | 0:21:57 | |
-£840. -Very nice. -Congratulations. It's all down to you. -Thank you. | 0:21:59 | 0:22:03 | |
You put it together. You should be proud of yourself. | 0:22:03 | 0:22:07 | |
It's definitely worth keeping an eye out for collections | 0:22:07 | 0:22:10 | |
of P&O-themed postcards, as they can be worth | 0:22:10 | 0:22:13 | |
a significant amount of money. | 0:22:13 | 0:22:15 | |
In 2010, a new record was set for the sale of a single postcard. | 0:22:15 | 0:22:20 | |
The card in question was sent by a Titanic survivor | 0:22:20 | 0:22:25 | |
called Rosa Abbott to a Mrs Lessman in remembrance of the ship. | 0:22:25 | 0:22:28 | |
The postcard featured a photograph of Rosa herself | 0:22:28 | 0:22:32 | |
and it was sold for an astonishing £35,000. | 0:22:32 | 0:22:36 | |
So, what should you look out for? | 0:22:37 | 0:22:39 | |
Postcards which show places that no longer exist are very collectable. | 0:22:39 | 0:22:44 | |
Anything that depicts well-known events or people | 0:22:44 | 0:22:47 | |
will be of more value. | 0:22:47 | 0:22:48 | |
Consider what has been written on the card, as well. | 0:22:48 | 0:22:51 | |
If it's of historical interest, such as a censored card | 0:22:51 | 0:22:54 | |
sent from the trenches, this could add to the value. | 0:22:54 | 0:22:58 | |
And, finally, Philip has some advice. | 0:22:58 | 0:23:02 | |
Go through the cards, make sure there's no rare stamps on the back | 0:23:02 | 0:23:06 | |
or there's nothing that's, I don't know, addressed to | 0:23:06 | 0:23:09 | |
Mr Eisenhower from Winston Churchill or something like that. | 0:23:09 | 0:23:12 | |
Famous people throughout history | 0:23:19 | 0:23:21 | |
have influenced fashion and politics. | 0:23:21 | 0:23:24 | |
The notoriety have had their clothing and their haircuts copied. | 0:23:24 | 0:23:28 | |
But it may surprise you to know that sometimes | 0:23:28 | 0:23:30 | |
even their furniture was worth replicating. | 0:23:30 | 0:23:34 | |
Samuel Pepys is known today as a great diarist of the 17th century, | 0:23:34 | 0:23:38 | |
and in his lifetime he was a well-regarded civil servant, | 0:23:38 | 0:23:42 | |
MP and bibliophile. | 0:23:42 | 0:23:44 | |
Pepys amassed a huge collection of books during his lifetime | 0:23:44 | 0:23:48 | |
and, by the time of his death in 1703, he had over 3,000 of them. | 0:23:48 | 0:23:52 | |
Now, he is the first person on record in this country | 0:23:52 | 0:23:55 | |
to have a bookcase especially commissioned for his needs | 0:23:55 | 0:23:59 | |
during his tenure as the Secretary of Admiralty. | 0:23:59 | 0:24:02 | |
Now, this bookcase is an exact replica built by the same craftsman. | 0:24:02 | 0:24:07 | |
It's freestanding and it's got glazed doors. | 0:24:07 | 0:24:10 | |
This was built by Thomas Simpson, | 0:24:10 | 0:24:13 | |
a master cabinet maker at the Woolwich yard circa 1670, | 0:24:13 | 0:24:17 | |
a couple of years after Pepys's bookcase. | 0:24:17 | 0:24:21 | |
That one is at the V&A Museum - that's how important it is. | 0:24:21 | 0:24:24 | |
You have to bear in mind, this was so unusual in the day | 0:24:24 | 0:24:27 | |
to have something freestanding, something movable, | 0:24:27 | 0:24:30 | |
because all other bookcases were actually built into the walls, | 0:24:30 | 0:24:34 | |
fixed permanently. And, of course, glass was so expensive | 0:24:34 | 0:24:37 | |
nobody had ever thought about putting it on the doors of a bookcase. | 0:24:37 | 0:24:42 | |
It's quite mesmerising to look at | 0:24:42 | 0:24:44 | |
and it's a remarkable survivor from the reign of King Charles II, | 0:24:44 | 0:24:48 | |
late 17th century. | 0:24:48 | 0:24:50 | |
And, also, it's a great example of how famous people | 0:24:50 | 0:24:53 | |
have influenced design throughout history. | 0:24:53 | 0:24:56 | |
It's great to think that following celebrity trends didn't start | 0:24:57 | 0:25:01 | |
with the Beckhams or the Beatles, but in fact it began centuries ago. | 0:25:01 | 0:25:05 | |
Charlie Ross loves antiques of all shapes and sizes, | 0:25:09 | 0:25:12 | |
but he has a particular fondness for items that capture | 0:25:12 | 0:25:15 | |
a slice of our social history. | 0:25:15 | 0:25:17 | |
Now, here he explains why there was one auction lot | 0:25:17 | 0:25:19 | |
that he couldn't resist bidding on. | 0:25:19 | 0:25:22 | |
How exciting is this? A bundle of random correspondence. | 0:25:22 | 0:25:28 | |
You may think it's random, but who wrote the letters? | 0:25:28 | 0:25:32 | |
None other than Ramsay MacDonald, Prime Minister of this country. | 0:25:32 | 0:25:37 | |
And there's a particular letter here that was written in 1931, | 0:25:37 | 0:25:42 | |
shortly after his party, the Labour Party as it turned out, | 0:25:42 | 0:25:45 | |
had lost the election. | 0:25:45 | 0:25:47 | |
It's a letter written to a friend of his - | 0:25:47 | 0:25:49 | |
and I'm sure it's not for the consumption of anybody else - | 0:25:49 | 0:25:53 | |
really being rude about his own party. | 0:25:53 | 0:25:56 | |
Subsequently, he carried on being Prime Minister | 0:25:56 | 0:25:59 | |
of a coalition government shortly after that, | 0:25:59 | 0:26:01 | |
and he allowed some Conservatives into his coalition parliament, | 0:26:01 | 0:26:07 | |
his governing body, and because of that, the Labour Party said, | 0:26:07 | 0:26:11 | |
"We're not having them," and booted him out of the Labour Party. | 0:26:11 | 0:26:15 | |
So he was Prime Minister of a coalition government | 0:26:15 | 0:26:18 | |
having been kicked out by his party. It's just fascinating. | 0:26:18 | 0:26:21 | |
To be able to find something like this in a saleroom | 0:26:21 | 0:26:24 | |
is just extraordinary. | 0:26:24 | 0:26:26 | |
Obviously, put in for sale by the recipient of these letters | 0:26:26 | 0:26:31 | |
who is one Griff Jones of Swansea - | 0:26:31 | 0:26:34 | |
no doubt a stalwart member of the Labour Party. | 0:26:34 | 0:26:36 | |
If you're going through boxes in salerooms, | 0:26:36 | 0:26:39 | |
look for correspondence and, like I did, | 0:26:39 | 0:26:42 | |
you might find the most fascinating things relating to history. | 0:26:42 | 0:26:47 | |
And I will read you the one letter. | 0:26:47 | 0:26:50 | |
Private and confidential. | 0:26:53 | 0:26:55 | |
Prime Minister, 10 Downing Street, Whitehall. 31st October 1931. | 0:26:55 | 0:27:02 | |
"My dear Griff, | 0:27:02 | 0:27:04 | |
"none of the many letters I received during the contest | 0:27:04 | 0:27:07 | |
"gave me more pleasure than yours. | 0:27:07 | 0:27:10 | |
"The deplorable way in which the opposition Labour Party | 0:27:10 | 0:27:13 | |
"was led and advised is the most heartbreaking thing | 0:27:13 | 0:27:18 | |
"I have known in public life. | 0:27:18 | 0:27:20 | |
"It was a combination of nearly all the vices | 0:27:20 | 0:27:23 | |
"and the blunders of politics." | 0:27:23 | 0:27:25 | |
It goes on and on and on, and then it says, | 0:27:25 | 0:27:28 | |
"Under the control of the TUC | 0:27:28 | 0:27:30 | |
"the Daily Herald has become a mere gutter rag, | 0:27:30 | 0:27:34 | |
"untruthful and dishonest. | 0:27:34 | 0:27:37 | |
"The smash of the Party, owing to its own action, | 0:27:37 | 0:27:41 | |
"is even more astounding than the very embarrassing result | 0:27:41 | 0:27:45 | |
"of the election itself. | 0:27:45 | 0:27:47 | |
"With kindest regards to your wife and yourself, | 0:27:47 | 0:27:50 | |
"I am, yours always sincerely, Ramsay MacDonald." | 0:27:50 | 0:27:57 | |
The Prime Minister! | 0:27:57 | 0:27:59 | |
I mean, a personal letter from a hugely important historical person. | 0:27:59 | 0:28:04 | |
And it now belongs to me. | 0:28:06 | 0:28:08 | |
So we've passed on some wisdom of how to get | 0:28:15 | 0:28:17 | |
the best from your penned treasures. | 0:28:17 | 0:28:20 | |
Now, if you've got any antiques and collectables you want to sell, | 0:28:20 | 0:28:24 | |
bring them along to one of our valuation days | 0:28:24 | 0:28:27 | |
and we'll see what we can do for you. | 0:28:27 | 0:28:29 | |
That's it for today. Join me again soon for many more trade secrets. | 0:28:29 | 0:28:32 |