0:00:03 > 0:00:06Welcome to the show that aims to help you get in the know
0:00:06 > 0:00:09when it comes to buying and selling antiques and collectables.
0:00:09 > 0:00:13Your daughter is sitting there just off-camera, listening in. She can hear everything we are saying.
0:00:13 > 0:00:17- What are you going to do with the money?- I might spend it all on myself.
0:00:17 > 0:00:20We've got well over ten years of Flog It! behind us.
0:00:20 > 0:00:22That's literally hundreds of shows
0:00:22 > 0:00:24and thousands of your items sold in auction.
0:00:24 > 0:00:28So if there's something you need to know, you're more than likely
0:00:28 > 0:00:31to find it right here on Trade Secrets.
0:00:59 > 0:01:04It's fair to assume that the most valuable collectables are old.
0:01:04 > 0:01:07But it's a theory that doesn't always hold water.
0:01:07 > 0:01:10The decades since World War II have seen enormous changes
0:01:10 > 0:01:13in the UK and beyond.
0:01:13 > 0:01:17And we've seen many objects that turn up at our valuation days
0:01:17 > 0:01:19that reflect those changing times.
0:01:19 > 0:01:23And the best ones of all are the ones that come with the fascinating stories.
0:01:23 > 0:01:24Your stories.
0:01:26 > 0:01:29So in today's show, we're taking a close look at objects that
0:01:29 > 0:01:32were made within living memory.
0:01:32 > 0:01:35Coming up, we uncover the secrets of making riches
0:01:35 > 0:01:38from 20th-century buys.
0:01:38 > 0:01:41We've got a northern artist, in a northern saleroom,
0:01:41 > 0:01:45with northern collectors. You can't fail, really.
0:01:45 > 0:01:47What a great investment.
0:01:47 > 0:01:51James discovers a thriller of a tale about the King Of Pop.
0:01:51 > 0:01:53- It was him!- It was Michael Jackson.
0:01:53 > 0:01:57And this was a photograph I got from Michael as well.
0:01:57 > 0:02:00And Philip and Charlie realise a boyhood dream.
0:02:00 > 0:02:03Arriving at the Aston Martin works...
0:02:03 > 0:02:07in an Aston Martin, being driven by a James Bond lookalike.
0:02:07 > 0:02:09- Oddjob! - HE LAUGHS
0:02:15 > 0:02:16As well as having wonderful stories,
0:02:16 > 0:02:21antiques bought within living memory may often come with solid provenance.
0:02:21 > 0:02:24And this can make all the difference to their desirability.
0:02:24 > 0:02:27All provenance is... It's something's passport.
0:02:27 > 0:02:29It tells you where it's been all its life.
0:02:29 > 0:02:31Collectors, you know, want to make sure,
0:02:31 > 0:02:34if they are paying a lot of money for something, that there
0:02:34 > 0:02:38is proof there. Whether it is photographic or written evidence.
0:02:38 > 0:02:41But you can't go from word of mouth, somebody saying,
0:02:41 > 0:02:43"OHh I bought it from suchand-such a gallery."
0:02:43 > 0:02:46You need a little bit more tangible evidence than that.
0:02:46 > 0:02:49Because provenance can make such a potential difference to the value
0:02:49 > 0:02:52of an item, it's always a good idea to keep a record of where
0:02:52 > 0:02:56family possessions came from, assuming you know.
0:02:56 > 0:03:00Talk to relatives, rummage around in boxes of old paperwork,
0:03:00 > 0:03:04looking for invoices, bills of sale and receipts, and also photographs.
0:03:04 > 0:03:07And if you find anything, keep it in a safe place.
0:03:09 > 0:03:12In 2011, Will discovered just what a difference having this
0:03:12 > 0:03:15kind of provenance can make.
0:03:15 > 0:03:18Simon, you've brought in this really striking studio pottery bowl
0:03:18 > 0:03:22for us to look at today, and I see also a letter.
0:03:22 > 0:03:24Tell me, how does that pertain to the bowl?
0:03:24 > 0:03:27Well, the letter is from the artist, who is Lucy Rie,
0:03:27 > 0:03:29who wrote it to my late aunt
0:03:29 > 0:03:33following a visit that my aunt had made to the V&A.
0:03:33 > 0:03:36- And she had seen a bowl that was very similar to this...- Yes.
0:03:36 > 0:03:40..written to Lucy and asked her if it was for sale.
0:03:40 > 0:03:43The letter says, "The bowl is not for sale,
0:03:43 > 0:03:45- "but I can make you another one." - Amazing.
0:03:45 > 0:03:48And this is her reply, and that's the bowl that she made.
0:03:48 > 0:03:53Here on the base, we can see a nice studio pottery mark for Lucy Rie.
0:03:53 > 0:03:58Lucy Rie is really one of the main names in studio pottery.
0:03:58 > 0:04:03And what is most noticeable about Lucy's pieces is this very
0:04:03 > 0:04:07sort of flared rim, standing on this almost tiny little foot.
0:04:07 > 0:04:10Bowls of hers can get up to this sort of size.
0:04:10 > 0:04:13If you are talking a bowl that sort of size,
0:04:13 > 0:04:15you're talking many thousands of pounds.
0:04:15 > 0:04:17- I'm growing to like it more and more.- Are you?
0:04:17 > 0:04:19Well, it is quite an important piece,
0:04:19 > 0:04:22actually, in the sort of whole history of British studio pottery.
0:04:22 > 0:04:25I mean, she is one of the Premier League names.
0:04:25 > 0:04:26And this letter here...
0:04:26 > 0:04:30I mean, if I look at it, it is handwritten by Lucy Rie.
0:04:30 > 0:04:32"The exhibition is not for sale.
0:04:32 > 0:04:36"I could make you a similar one for you. It will never be the same.
0:04:36 > 0:04:40"Should you consider it, do ring me and come and see me."
0:04:40 > 0:04:42Well, that's typical of Lucy Rie.
0:04:42 > 0:04:45She was well known for taking guests into her studio.
0:04:45 > 0:04:47It is also dated 1982, I see.
0:04:47 > 0:04:52It really just almost topped it off beautifully, really.
0:04:52 > 0:04:56It shows Lucy Rie's involvement in the piece, and it is lovely,
0:04:56 > 0:05:01it just gives a real insight into the person behind the object, which,
0:05:01 > 0:05:05again, collectors like to get under the skin of designers and makers.
0:05:05 > 0:05:09Unfortunately, what they are not looking for is damage.
0:05:09 > 0:05:12And there is a rather nasty hairline crack.
0:05:12 > 0:05:15The mantra is with porcelain, ceramics,
0:05:15 > 0:05:17"Condition, condition, condition."
0:05:17 > 0:05:19The estimate I said... 100, 150,
0:05:19 > 0:05:23and I was probably being a bit mean, with hindsight.
0:05:23 > 0:05:26But auctioneer Claire Rawle knew because of the letter, the pot was
0:05:26 > 0:05:29destined to create fireworks in the saleroom.
0:05:29 > 0:05:34She has an appeal worldwide and she is now very expensive
0:05:34 > 0:05:35and very collected.
0:05:35 > 0:05:39Well, let's find out what the bidders think, because this is a name to go for.
0:05:39 > 0:05:42And it is going under the hammer right now.
0:05:42 > 0:05:46And I have to start straight in at £200.
0:05:46 > 0:05:49At 200, do I see 220 anywhere?
0:05:49 > 0:05:53- At £200. 220. 250 with me. - Got a telephone bidder.
0:05:53 > 0:05:56280 on the telephone. At 280.
0:05:56 > 0:05:58Do I see 300?
0:05:58 > 0:06:01- At 280. 300.- WILL:- Excellent.
0:06:01 > 0:06:04- 320.- There's two telephone bidders.
0:06:04 > 0:06:07- That's what we wanted.- 350. - Fighting this out.- 380.
0:06:07 > 0:06:10- The purist knows...- 400.
0:06:10 > 0:06:12Imagine what... It would be perfect.
0:06:12 > 0:06:15No. 420 on the first telephone here.
0:06:15 > 0:06:19At £420. At 420, you all sure?
0:06:19 > 0:06:21At 420.
0:06:21 > 0:06:25Yes, £420. Simon, top, top money. Put it there.
0:06:25 > 0:06:29That's brilliant. The letter. The letter did it.
0:06:29 > 0:06:33You know, a good price, really. Certainly bearing in mind it wasn't a massive piece,
0:06:33 > 0:06:36and it was damaged. But I think whoever bought it would have been chuffed,
0:06:36 > 0:06:40because it's not often you get a chance to buy a piece like that,
0:06:40 > 0:06:41with that letter of provenance.
0:06:41 > 0:06:44The bowl, had it been on its own without the letter,
0:06:44 > 0:06:47would have sold perhaps for about 100. Because people expect...
0:06:47 > 0:06:50She was quite prolific, and they expect to find items in perfect order.
0:06:50 > 0:06:53So having that letter with it, I think, for a collector,
0:06:53 > 0:06:56that really boosted the interest and the price.
0:06:57 > 0:07:01We prefer it on "Flog It!" when art is marked or signed.
0:07:01 > 0:07:05And the signature of a good artist can be valuable in its own right.
0:07:05 > 0:07:08Particularly if the person in question is a household name.
0:07:08 > 0:07:12LS Lowry, June 22, 1950.
0:07:12 > 0:07:14How did you come by this?
0:07:14 > 0:07:18We found this in a box of books about the Manchester Ship Canal.
0:07:18 > 0:07:21- We found it inside one of the books. - Where? In an auction room?
0:07:21 > 0:07:25- In a junk shop?- It was in a car-boot sale.- How long ago?
0:07:25 > 0:07:28- About three years ago. - And how much did you pay for it?
0:07:28 > 0:07:29We only paid...
0:07:29 > 0:07:33It was certainly less than £5 for the whole box of books.
0:07:33 > 0:07:36- This was just something inside. - 'His signature isn't that rare.'
0:07:36 > 0:07:39Later in life, when he was producing limited edition prints,
0:07:39 > 0:07:43he was signing things all day long, and I think he even got to
0:07:43 > 0:07:46a stage where he charged you a few quid just for a signature.
0:07:46 > 0:07:47So the signature isn't rare.
0:07:47 > 0:07:50On the side of a limited edition print,
0:07:50 > 0:07:53his signature would make it worth between £500 and £1,500.
0:07:53 > 0:07:57I think you could put this into auction with a value of £80-£120.
0:07:57 > 0:08:01- Oh, wow.- That would be superb. - That's very good.
0:08:01 > 0:08:02HE LAUGHS
0:08:02 > 0:08:04'Signature, it's 50. Yes, we're off.
0:08:04 > 0:08:07'60, 70. Are you 80? 90.'
0:08:07 > 0:08:11Perhaps even 100. Yes, 100 I'm bid there.
0:08:11 > 0:08:13And 10. And 20 now. At 30.
0:08:13 > 0:08:16140. 150. 160.
0:08:16 > 0:08:19170. 180. Are you 90?
0:08:19 > 0:08:23190, then I'm selling. For £190.
0:08:23 > 0:08:27- Thank you.- No way!- £190.
0:08:27 > 0:08:29HE LAUGHS
0:08:31 > 0:08:34Not bad for a £5 purchase.
0:08:35 > 0:08:37But signatures can be easily faked,
0:08:37 > 0:08:41so provenance in this field will always stand you in good stead.
0:08:41 > 0:08:46This is a real thriller. Sorry to start on that, I couldn't resist it.
0:08:46 > 0:08:49- I was going to say, "Is it bad?" I don't know.- It's dangerous.
0:08:49 > 0:08:50HE LAUGHS
0:08:50 > 0:08:53It is a great thing to have on "Flog It!"
0:08:53 > 0:08:54It's a powerful image.
0:08:54 > 0:08:56It's great to see it signed.
0:08:56 > 0:09:00The thing that was so good about that was it was huge.
0:09:00 > 0:09:05It was... You could not miss who that autograph was from.
0:09:05 > 0:09:07You look at that and it's got a Michael Jackson image
0:09:07 > 0:09:09on a Michael Jackson poster
0:09:09 > 0:09:12with a great, big, wonderful Michael Jackson signature.
0:09:12 > 0:09:14What's the story?
0:09:14 > 0:09:16Well, my wife and I moved down...
0:09:16 > 0:09:19After 30 years in the Army, we moved down south, to Hampshire.
0:09:19 > 0:09:23We befriended a Portuguese couple who lived across the road.
0:09:23 > 0:09:25They approached me one day and said,
0:09:25 > 0:09:27"David, I won't see you for two weeks
0:09:27 > 0:09:30"because we have some VIPs coming here
0:09:30 > 0:09:33"and I've signed this secrecy document not to say who it is."
0:09:33 > 0:09:36- It was him! - It was Michael Jackson.- No...
0:09:36 > 0:09:39I didn't know at the time, but Tony had a word with him and said,
0:09:39 > 0:09:41"David and Jenny, they love your music
0:09:41 > 0:09:43"and they've been unable to see you."
0:09:43 > 0:09:46He said, "Tony, I'm going to sign this for David and Jenny,"
0:09:46 > 0:09:49and this was a photograph I got from Michael, as well.
0:09:49 > 0:09:51It was taken with Tony's family.
0:09:52 > 0:09:55Provenance is so important with autographs.
0:09:55 > 0:09:59It's very, very easy to get conned on autographs.
0:09:59 > 0:10:03So any time you've got somebody who can say,
0:10:03 > 0:10:06well, this is who he was with, this is why he was there,
0:10:06 > 0:10:09this is the photograph of him being there
0:10:09 > 0:10:11and this is the provenance of where it came from - brilliant.
0:10:11 > 0:10:14Can't get any better than that.
0:10:14 > 0:10:18Now, a Michael Jackson signed poster, it's got a great image.
0:10:18 > 0:10:20It's a fantastic size.
0:10:22 > 0:10:26In a way, one of the things that makes it genuine is the fact
0:10:26 > 0:10:29- that it's been signed and personalised to you.- Yes.
0:10:29 > 0:10:34- But that is against it in terms of value.- Of course it is, yeah.
0:10:34 > 0:10:37Because not everybody wants a Michael Jackson signature
0:10:37 > 0:10:40- with "David" written on the front of it.- Yeah.
0:10:40 > 0:10:43It's something that I think is worth £300 to £500.
0:10:43 > 0:10:45Fantastic, absolutely.
0:10:45 > 0:10:47Let's give it a chance. I'm sure it will do well.
0:10:49 > 0:10:50# I'm bad
0:10:50 > 0:10:51# I'm bad
0:10:51 > 0:10:52# Jump on... #
0:10:52 > 0:10:55Michael Jackson was an important figure,
0:10:55 > 0:10:59so his autograph is really quite important
0:10:59 > 0:11:02and probably a good one to get
0:11:02 > 0:11:04if you're an autograph collector
0:11:04 > 0:11:07of the entertainment industry.
0:11:07 > 0:11:09What can we say for it?
0:11:09 > 0:11:14Michael Jackson, an iconic figure of the 20th century.
0:11:14 > 0:11:18Will you start me at £200?
0:11:18 > 0:11:20260, 280.
0:11:20 > 0:11:24I'll take 10, 290,
0:11:24 > 0:11:26300.
0:11:26 > 0:11:29£300. With you, sir.
0:11:29 > 0:11:32At £300.
0:11:34 > 0:11:35- She's sold it.- Good.
0:11:35 > 0:11:38That's a very good price.
0:11:38 > 0:11:42All done at 300. 300.
0:11:42 > 0:11:45- Anita's done well.- Yes, she has.
0:11:45 > 0:11:48It's most valuable when he's most well-known,
0:11:48 > 0:11:50when he's most in the media and, of course,
0:11:50 > 0:11:55when he passed away, that's when he was most in the media.
0:11:55 > 0:11:59I reckon that was probably worth more then than it is now.
0:11:59 > 0:12:00# Just to tell you once again
0:12:00 > 0:12:02# Who's bad? #
0:12:02 > 0:12:07So what are the dos and don'ts of collecting autographs?
0:12:07 > 0:12:09Do find an area that fascinates you
0:12:09 > 0:12:13and do buy the very best that you can.
0:12:13 > 0:12:17Do try to find out the provenance of the autograph,
0:12:17 > 0:12:21because this is the thing which will authenticate it.
0:12:21 > 0:12:24Do be aware of fakes and facsimiles.
0:12:26 > 0:12:31Another 20th-century collectable worth looking out for is technology.
0:12:31 > 0:12:35In our lifetimes, we've seen huge advances in this field.
0:12:35 > 0:12:38And with such a glut of gadgets on the market,
0:12:38 > 0:12:41collectors are always looking out for that little added extra.
0:12:41 > 0:12:43Does this set-up belong to you?
0:12:43 > 0:12:47No, it doesn't. It belonged to my late brother.
0:12:47 > 0:12:49He was a very keen photographer.
0:12:49 > 0:12:51Do you know what date he bought it?
0:12:51 > 0:12:53Yes, he bought it in 1951.
0:12:53 > 0:12:56OK, and do you know how much he paid for it?
0:12:56 > 0:12:59He paid £125 for it.
0:12:59 > 0:13:03- How do you know that?- Unfortunately, I haven't got the receipt with me
0:13:03 > 0:13:06this morning, but that's how I was aware how much it cost,
0:13:06 > 0:13:10how much he paid for it and when he bought it.
0:13:10 > 0:13:14He's obviously decided to pay that little bit extra for a good name,
0:13:14 > 0:13:18because the Leica name is one that is well collected.
0:13:18 > 0:13:20Leica are particularly collected
0:13:20 > 0:13:24because they were pioneers in camera design.
0:13:24 > 0:13:28It was 1913 that the first prototype came out
0:13:28 > 0:13:32and the idea was to quite simply make a small, lightweight,
0:13:32 > 0:13:36compact camera for taking landscape photographs.
0:13:36 > 0:13:39What it was reacting against were the big Victorian plate cameras,
0:13:39 > 0:13:42where you had to lug 100 things with you.
0:13:42 > 0:13:44You had to put a towel over your head.
0:13:44 > 0:13:47You've got this phosphorus flash.
0:13:47 > 0:13:51What they wanted - small, compact, portable and good quality.
0:13:51 > 0:13:54That's why they're important in the history of cameras.
0:13:54 > 0:13:58- Date-wise, you say he bought it in 1951.- Yes.
0:13:58 > 0:14:00So he would have probably bought it new, I suspect?
0:14:00 > 0:14:02I would think so, yes.
0:14:02 > 0:14:05Because I've had a look at the serial number, which is
0:14:05 > 0:14:09how you date the cameras, the Leicas, and it's dating it 1950.
0:14:09 > 0:14:12- Oh, so it was new. - It ties in nicely, doesn't it?- Yes.
0:14:12 > 0:14:15So the fact that one owner, fresh to market, you know,
0:14:15 > 0:14:18that's two boxes ticked where a collector is concerned.
0:14:18 > 0:14:22The more important bits here are going to be the camera itself,
0:14:22 > 0:14:26the lens that's already with it, and then you've got the spare lens
0:14:26 > 0:14:29and the original box, which is a nice touch. That does add value.
0:14:29 > 0:14:33If I said to you, can we put it in the sale at £200 to £300,
0:14:33 > 0:14:38- would you be happy with that?- Yes, I would. That would be very nice.
0:14:38 > 0:14:43Fortunately, Dorothy found the receipt and added it to the lot.
0:14:43 > 0:14:45- You've got the original receipt now? - I have.
0:14:45 > 0:14:47You've brought that in today and that's always a nice touch
0:14:47 > 0:14:50when you're selling things. It adds a bit of provenance to something.
0:14:50 > 0:14:53- People like that.- Yes.
0:14:53 > 0:14:55I'd like to start the bidding here at 120 on the book with a bid.
0:14:55 > 0:14:58At 120, is it 130?
0:14:58 > 0:15:00130, 140, 150, 160,
0:15:00 > 0:15:02170, 180, 190.
0:15:02 > 0:15:04It's creeping up there.
0:15:04 > 0:15:05200, 210. 200 on my left.
0:15:05 > 0:15:07At 200, I'm going to sell it at £200.
0:15:07 > 0:15:09Is there any further advance?
0:15:09 > 0:15:12All done.
0:15:12 > 0:15:13I'm very happy.
0:15:13 > 0:15:16- Thank you very much. I'm very happy, thank you.- Oh, good.
0:15:16 > 0:15:18When it comes to cameras, like I said,
0:15:18 > 0:15:19Leica really is the top name.
0:15:19 > 0:15:21I mean, you're talking Premier League there
0:15:21 > 0:15:24and the collectors will pay a lot of money for the right camera.
0:15:24 > 0:15:28When I say right camera, I'm talking pre-war for a start,
0:15:28 > 0:15:30before mass production,
0:15:30 > 0:15:34say prototypes or short production runs of a certain model.
0:15:34 > 0:15:37I think the Leica, is it Lexus?
0:15:37 > 0:15:39A very small number made.
0:15:39 > 0:15:42At auction, you're talking £500,000.
0:15:42 > 0:15:46I mean, that is big money for a camera.
0:15:49 > 0:15:53If you want to invest in something produced during your lifetime,
0:15:53 > 0:15:57very modern items can be surprisingly valuable.
0:15:57 > 0:16:00And, as Philip discovered at a valuation day in Stockport,
0:16:00 > 0:16:03the right place, time and subject matter can create magic
0:16:03 > 0:16:05in the saleroom.
0:16:05 > 0:16:08- Tell me, what do you know about these, then?- Um...
0:16:08 > 0:16:10What's the artist's name?
0:16:10 > 0:16:12- Well, it's Trevor Grimshaw. - Trevor Grimshaw.
0:16:12 > 0:16:15He was a local artist, he came from this area.
0:16:15 > 0:16:17How local?
0:16:17 > 0:16:22He lived in Hyde, which is probably about eight miles from here.
0:16:22 > 0:16:25Until I went to that valuation day, I've got to hold my hand up.
0:16:25 > 0:16:27Grimshaw was not a man that I'd heard of.
0:16:27 > 0:16:30Philip phoned me from the valuation day
0:16:30 > 0:16:32and he said I've got two drawings here
0:16:32 > 0:16:35by a fellow called Trevor Grimshaw. Tell me all about him.
0:16:35 > 0:16:38Well, Trevor Grimshaw is one of the leading artists
0:16:38 > 0:16:40of the northern area.
0:16:40 > 0:16:44I suppose he was a Stockport-based artist, born in 1947.
0:16:44 > 0:16:48He was an extremely talented draughtsman, very accurate,
0:16:48 > 0:16:50fine pencil drawings.
0:16:50 > 0:16:52He was very fond of the industrial landscape,
0:16:52 > 0:16:55as all the northern school were, inspired by Lowry etc,
0:16:55 > 0:16:57but these ones were the best I've ever seen.
0:16:57 > 0:16:59Did you buy them in a gallery?
0:16:59 > 0:17:04No, we went to his house and we bought them at his house.
0:17:04 > 0:17:06I have a bit of a connection with Trevor
0:17:06 > 0:17:09because I had some insurance business with his families.
0:17:09 > 0:17:13So you were an insurance agent to Mr Grimshaw.
0:17:13 > 0:17:15What period in time was this?
0:17:15 > 0:17:19Dating from the late 1970s
0:17:19 > 0:17:21up to 2000and-something.
0:17:21 > 0:17:25We decided one Christmas we'd buy each other something a bit different,
0:17:25 > 0:17:27so we thought let's get each other a picture.
0:17:27 > 0:17:31The thing that I liked about the two was that you had the one with
0:17:31 > 0:17:34the train and the other one with the sort of landscape
0:17:34 > 0:17:38and I think, in a way, for me, it was a little bit out of period
0:17:38 > 0:17:41because the train looked very much like it was Art Deco
0:17:41 > 0:17:45and nothing this chap painted in the 1980s/1990s.
0:17:45 > 0:17:48I mean, these are trying to be '30s? '20s or '30s?
0:17:48 > 0:17:51They are depicting northern scenes,
0:17:51 > 0:17:53how they were with the chimneys
0:17:53 > 0:17:56and the smoke, you know, and the canals.
0:17:56 > 0:17:58Natasha, what did you pay for this one?
0:17:58 > 0:18:00This one was 150
0:18:00 > 0:18:01and this one was 100.
0:18:01 > 0:18:04I would put an estimate on this one of
0:18:04 > 0:18:06£800 to £1,200.
0:18:06 > 0:18:07This one I think's a little bit less
0:18:07 > 0:18:10and we could perhaps put £600 to £900 on it.
0:18:10 > 0:18:14I wouldn't be surprised, you know, if these went and made
0:18:14 > 0:18:16£2,000, £2,500.
0:18:16 > 0:18:20Northern artists are massively, massively sought-after.
0:18:20 > 0:18:24And you are going to just the right place to sell these.
0:18:24 > 0:18:27You've got a northern artist in a northern saleroom,
0:18:27 > 0:18:29with northern collectors.
0:18:29 > 0:18:33You know, if you tick those three boxes, you can't fail, really.
0:18:35 > 0:18:38Adam was also pretty confident these were going to fly.
0:18:38 > 0:18:40I've sold loads of Grimshaws but those, I think,
0:18:40 > 0:18:43are probably the best I've seen and the biggest I've seen.
0:18:43 > 0:18:45- I'm really excited about them. - How are we on the value?
0:18:45 > 0:18:48Just right, really. Just where you want them,
0:18:48 > 0:18:50enough to promote them, to entice people to bid on them.
0:18:50 > 0:18:53I've got a chance kind of thing at 800, I've got a chance.
0:18:53 > 0:18:55Everybody's queueing up to bid £800.
0:18:55 > 0:18:57No-one's going to get them anywhere near.
0:18:57 > 0:19:00They're going to be four figures each, without a doubt.
0:19:02 > 0:19:05950, yeah, I'll take £1,000 in the room.
0:19:05 > 0:19:08At 950, take 1,050.
0:19:08 > 0:19:111,150. 1,250.
0:19:11 > 0:19:131,300 in the room now.
0:19:13 > 0:19:151,300. I'll take 50.
0:19:15 > 0:19:181,350. 1,400. 1,450.
0:19:18 > 0:19:191,500...
0:19:19 > 0:19:222,400. 2,500.
0:19:22 > 0:19:242,600. 2,700.
0:19:24 > 0:19:272,800. 2,900.
0:19:27 > 0:19:29It's a pity you didn't buy a few more.
0:19:29 > 0:19:31£3,800 for the first one.
0:19:31 > 0:19:33Is there 3,900?
0:19:35 > 0:19:36£3,800.
0:19:36 > 0:19:39Are you all done on the first one now?
0:19:39 > 0:19:41£3,800.
0:19:41 > 0:19:42Whoo!
0:19:42 > 0:19:44Thank you very much.
0:19:44 > 0:19:47£3,800. Let's see what the second one does.
0:19:47 > 0:19:49What a great investment.
0:19:50 > 0:19:52OK, onto 609.
0:19:52 > 0:19:54It's the next Trevor Grimshaw.
0:19:54 > 0:19:57Industrial landscape with canal.
0:19:57 > 0:20:00You've got 600. I've got 800 to start. Take 20.
0:20:00 > 0:20:02820. 840. 860.
0:20:02 > 0:20:04880. 900, and 20.
0:20:04 > 0:20:06940. 960. 980.
0:20:06 > 0:20:081,000. 1,050. 1,150.
0:20:08 > 0:20:101,200. 1,250 in the room.
0:20:10 > 0:20:131,300. 1,350. 1,400. 1,450.
0:20:13 > 0:20:161,500. 1,550. 1,600.
0:20:16 > 0:20:181,650...
0:20:18 > 0:20:21- 2,100...- Pleased?
0:20:21 > 0:20:242,300. 2,400...
0:20:24 > 0:20:272,500. 2,600...
0:20:28 > 0:20:312,700. 2,800...
0:20:31 > 0:20:32Try not to be disappointed.
0:20:32 > 0:20:34That's not a bad guess, is it?
0:20:34 > 0:20:362,800. We're back on, 2,800.
0:20:36 > 0:20:37It's not over. 2,900.
0:20:37 > 0:20:403,000...
0:20:40 > 0:20:42At £2,900...
0:20:42 > 0:20:44Are you done?
0:20:44 > 0:20:45Thank you very much.
0:20:46 > 0:20:48- I never expected it.- No.
0:20:48 > 0:20:51£6,700.
0:20:51 > 0:20:55That's what we call a great "Flog It!" surprise.
0:20:55 > 0:20:57- We paid 250. - Is that what you paid?- Yes.
0:20:57 > 0:21:00For the two, yes.
0:21:00 > 0:21:03I was surprised that they made quite that much.
0:21:03 > 0:21:06I did think they might make a couple of thousand each,
0:21:06 > 0:21:08based on similar ones that we've had,
0:21:08 > 0:21:09but there's lots of buyers for these
0:21:09 > 0:21:13and they're all private collectors and they're a passionate bunch,
0:21:13 > 0:21:15and they all want to own the best possible works.
0:21:15 > 0:21:19People like to be reminded of home, you know.
0:21:19 > 0:21:22If you come from the north, and you buy northern art,
0:21:22 > 0:21:23you might not necessarily live there
0:21:23 > 0:21:25but it's an area of collectability
0:21:25 > 0:21:28that just reminds you of where you come from.
0:21:28 > 0:21:30He seems to get missed quite a lot by people.
0:21:30 > 0:21:33We quite often see people come in having bought his at charity shops
0:21:33 > 0:21:36and car-boot sales. He's one of the major ones that, I suppose,
0:21:36 > 0:21:39if you're out there bargain-hunting, you might just have a chance.
0:21:39 > 0:21:43Look for very fine quality draughtsmanship and for trains
0:21:43 > 0:21:46and for gloominess and for northern industrial,
0:21:46 > 0:21:49and his signature is often quite hard to make out. Have a punt.
0:21:49 > 0:21:53There's an area that you might make a few pounds.
0:21:55 > 0:21:57So here are a few things to remember
0:21:57 > 0:22:01if you're interested in collectables made in living memory.
0:22:01 > 0:22:03Provenance is key.
0:22:03 > 0:22:07It can make the difference between pounds and pence if you're selling.
0:22:07 > 0:22:10If you're into gadgets, look for those manufactured before
0:22:10 > 0:22:13mass production made them commonplace.
0:22:13 > 0:22:15And even if you've never heard of them,
0:22:15 > 0:22:19an artist whose work perfectly captures a time and a place
0:22:19 > 0:22:21could prove a fantastic investment.
0:22:27 > 0:22:29We see many toy cars
0:22:29 > 0:22:33and much motoring memorabilia at our valuation days.
0:22:33 > 0:22:35HORN WHIRS
0:22:36 > 0:22:40But love it or hate it, what is it that makes these things
0:22:40 > 0:22:43so collectable and, potentially, so valuable?
0:22:43 > 0:22:45"Flog It!" regulars Charlie Ross and Philip Serrell
0:22:45 > 0:22:47are lovers of antiques and collectables,
0:22:47 > 0:22:51but they also have another shared passion - classic cars.
0:22:51 > 0:22:53I'm not talking about the toy variety.
0:22:53 > 0:22:58MUSIC: Goldfinger by Shirley Bassey
0:22:58 > 0:23:01So they went to Aston Martin to explore our love affair with
0:23:01 > 0:23:05the British legend that every big boy dreams of being part of.
0:23:05 > 0:23:07ENGINE REVS
0:23:07 > 0:23:09Charlie, here we are.
0:23:09 > 0:23:11Fantastic. Gosh.
0:23:11 > 0:23:15Arriving at the Aston Martin works in an Aston Martin,
0:23:15 > 0:23:18- being driven by a James Bond lookalike.- Oddjob!
0:23:19 > 0:23:21I am so looking forward...
0:23:21 > 0:23:23What got you into Astons, Charlie?
0:23:23 > 0:23:27I'll tell you what, when I left school, my first day of work,
0:23:27 > 0:23:29my boss said I've got to go to Newport Pagnell
0:23:29 > 0:23:31and pick up something. "Come with me." I went downstairs.
0:23:31 > 0:23:34What car did he have? An Aston Martin DB4.
0:23:34 > 0:23:35Heaven, heaven, heaven.
0:23:35 > 0:23:37We picked up his other car,
0:23:37 > 0:23:40so I had to drive the DB4 back home!
0:23:40 > 0:23:43For me, it all started in 1960-something,
0:23:43 > 0:23:46- we went to see Goldfinger and I just fell in love...- Honor Blackman.
0:23:46 > 0:23:49I fell in love with her, as well, but that's another story, Charlie.
0:23:49 > 0:23:50Who have we got to see?
0:23:50 > 0:23:53- Kingsley.- Kingsley's the man.
0:23:53 > 0:23:57# Goldfinger...
0:23:58 > 0:24:00# He's the man
0:24:00 > 0:24:01# The man with the... #
0:24:01 > 0:24:04- Kingsley.- Good morning. - Charlie Ross.- Good to meet you.
0:24:04 > 0:24:06- Philip, how are you? - Very well, thank you.
0:24:06 > 0:24:09Clearly, there's no new Astons here, these are all...
0:24:09 > 0:24:13In this particular area, everything here is what we class as heritage.
0:24:13 > 0:24:15- This is a second-hand department, is it?- No, no, no!
0:24:15 > 0:24:18Some of these are better than new!
0:24:18 > 0:24:22This is where non-current cars are serviced, repaired, rebuilt,
0:24:22 > 0:24:23whatever. Whatever's needed.
0:24:25 > 0:24:28Kingsley, can you tell us about the history of Aston Martin?
0:24:28 > 0:24:30The company was originally formed as Bamford and Martin
0:24:30 > 0:24:33back on the 13 January 1913.
0:24:33 > 0:24:37But, of course, the big significant point for Aston Martin really was
0:24:37 > 0:24:40when David Brown bought the company in 1948.
0:24:40 > 0:24:43If you look at a '60s Aston, it's got DB, which is David Brown
0:24:43 > 0:24:46- and that's... He's left us with that legacy, hasn't he?- Absolutely.
0:24:46 > 0:24:49That's carried on through the company, all the way through the years.
0:24:49 > 0:24:53For me, Astons have always been an iconic shape,
0:24:53 > 0:24:56with one exception.
0:24:56 > 0:24:59In the '70s, they became, for a short while, very angular,
0:24:59 > 0:25:02- didn't they?- Oh, yes, the Lagonda.- You've got one...
0:25:02 > 0:25:05It looks like it should have been out of Thunderbirds or something.
0:25:05 > 0:25:08I think you have to go back to understand why we did that.
0:25:08 > 0:25:11This is when Concorde went into service
0:25:11 > 0:25:14and you think about how Concorde looked.
0:25:14 > 0:25:17The company really needed to make a new, bold statement,
0:25:17 > 0:25:19it needed to go out to the world.
0:25:19 > 0:25:22So in 1976 at the Earls Court Motor Show,
0:25:22 > 0:25:24the car was shown for the first time.
0:25:24 > 0:25:27Over 600 of these have been built since then.
0:25:27 > 0:25:31I suppose I became aware of Astons, in a way, with James Bond
0:25:31 > 0:25:33so that's where the living memory thing is.
0:25:33 > 0:25:37- Bond and Aston sit side-by-side, don't they?- They do.
0:25:37 > 0:25:42And always will do. Silver Birch with black trim, absolutely.
0:25:42 > 0:25:46No, it's very much a sign of a DB5, that is.
0:25:46 > 0:25:49- Now, Charlie, if one of these came into "Flog It!"...- Yes.
0:25:49 > 0:25:51What would you tell them it was worth?
0:25:51 > 0:25:53- You sell these, don't you? - I do sell these
0:25:53 > 0:25:55and I've sold one or two, and we got
0:25:55 > 0:25:571 million for a DB5
0:25:57 > 0:25:59in Pebble Beach California,
0:25:59 > 0:26:02£600,000-£700,000.
0:26:02 > 0:26:05- That's right.- You know, unbelievable, the way they've gone up
0:26:05 > 0:26:07in the last few years.
0:26:07 > 0:26:10# Live and let die
0:26:11 > 0:26:14# Live and let die... #
0:26:17 > 0:26:20These characterful cars command astronomical prices,
0:26:20 > 0:26:25but there is an area of collecting more accessible automobilia,
0:26:25 > 0:26:28and even Aston Martin is in on the act.
0:26:28 > 0:26:32The thing is, Charlie, if you can't afford the real thing,
0:26:32 > 0:26:35- this is the area of collecting to get into.- Yeah.
0:26:35 > 0:26:37This tells me a lovely story, you know.
0:26:37 > 0:26:40When I was a kid, in about 1960-something,
0:26:40 > 0:26:43my dad bought me a Scalextric set and I loved it and I loved it
0:26:43 > 0:26:45and I loved it, but I always wanted one of these.
0:26:45 > 0:26:49About five years ago, I found one of these in a box.
0:26:49 > 0:26:51It cost me 300 quid.
0:26:51 > 0:26:54- £300?- 300 quid.- It's extraordinary.
0:26:54 > 0:26:58The thing is, a tip for everybody at home, if you can get one of these, get it in a box.
0:26:58 > 0:26:59So what's your toy, Charlie?
0:26:59 > 0:27:01Oh, my favourite...
0:27:01 > 0:27:03Really?
0:27:03 > 0:27:04How about that?
0:27:04 > 0:27:06- Now look at that. - That's got everything, hasn't it?
0:27:06 > 0:27:11This has got the whole lot. It's got a wonderful ejector seat.
0:27:11 > 0:27:16We've got machine guns at the front which come in and out like that.
0:27:16 > 0:27:20We have got that wonderful, iconic device
0:27:20 > 0:27:22that used to shoot outside and shred your tyres
0:27:22 > 0:27:24when someone was trying to move alongside you.
0:27:24 > 0:27:27We've got the gun shield in case anybody's shooting at you.
0:27:27 > 0:27:29But the thing is, if you put that into auction,
0:27:29 > 0:27:32- you'd estimate it between £50 and £150.- Yes.
0:27:32 > 0:27:35But if you've got a collection of these and this is the only one
0:27:35 > 0:27:38- you haven't got, it's worth £1,000, isn't it?- Absolutely.
0:27:38 > 0:27:40There's so much stuff here.
0:27:40 > 0:27:44There's car badges, there's a gold stick pin with a diamond in it.
0:27:44 > 0:27:47- There's something for everybody's pocket.- That's the key thing.
0:27:47 > 0:27:50You don't have to have Aston Martin.
0:27:50 > 0:27:54There's car badges of every car that's ever been made
0:27:54 > 0:27:56and the less number that were made,
0:27:56 > 0:27:59the rarer the lot and probably the more valuable.
0:27:59 > 0:28:02- Absolutely, Charlie. - Dig around in your boot fairs.
0:28:02 > 0:28:03Look for these things.
0:28:03 > 0:28:06# He loves gold! #
0:28:06 > 0:28:10- The chrome's going a bit here. - Yeah, I wonder if we could take that for restoration?
0:28:10 > 0:28:12We're probably in the right place, actually.
0:28:12 > 0:28:15- I would think we could take this back to Kingsley.- Yeah, absolutely!
0:28:22 > 0:28:26Collectables don't always have to be old to be valuable.
0:28:26 > 0:28:29Our own fond memories can be the springboard to buying
0:28:29 > 0:28:31and selling successes.
0:28:31 > 0:28:33THEY LAUGH
0:28:35 > 0:28:37That's it for today's show.
0:28:37 > 0:28:40Go on, go out there, have some fun, buy some antiques and join us
0:28:40 > 0:28:42again soon for more Trade Secrets.