Writers and Writing - Part 1 Flog It: Trade Secrets

For well over ten years now,

you've arrived in your thousands at our Flog It! valuation days

bringing all manner of items to put our experts through their paces.

-Ah!

-Hey presto! It's on a spring.

And we've helped you sell around £1 million worth of antiques and collectables.

-GAVEL BANGS

-Yes! 700 quid.

In this series, I want to share some of the things we've learnt

from handling all of those items over the years.

So stand by to hear our Flog It! trade secrets.

Literature has always played a large part in British life,

from the old English classic Beowulf through to William Shakespeare,

the narrative poems of the Romantic period,

the classic novels of the 19th century,

in fact, right up to the present day, we've all enjoyed a good read.

So today's show is dedicated to

all things connected with writers and writing.

We've got an epic episode in store for you...

Well, I think it's a children's book collector's dream.

..with more suspense than Agatha Christie...

Hopefully Sheila and Rowland will turn up? If not, it's going ahead.

-You can't stop an auction.

-No, you can't.

..more drama than Jackie Collins...

-GAVEL BANGS

-£1,025! Marion, fantastic.

..and more make-believe than JK Rowling.

I still believe in fairies, don't you?

Items once owned or associated with literary giants are highly sought after.

Universities are keen to own manuscripts so scholars can study their work.

And enthusiasts want to get their hands on something that was

once touched by the hand that penned something quite amazing.

So here are our experts' tips for all you budding bibliophiles.

My tip would be, if you look for illustrated books by well-known

illustrators that worked hand-in-hand with authors they liked.

If you can find an original watercolour by Arthur Rackham,

you're looking at £10,000 or more.

The more famous the person it's associated with is,

obviously the more valuable the piece is going to be.

Probably the most popular are by er...Shakespeare, Dickens, Scott.

Our literary odyssey begins in 2012 with Christina,

and a piece of pottery inspired by one of our most famous writers.

Sheila and Rowland, but you prefer to be called Bubbles, don't you?

OK, so we'll call you Bubbles for today. All right?

You've brought in this rather wonderful Royal Doulton jug.

Where did you get it from?

-We inherited it.

-OK.

It's a Royal Doulton commemorative jug,

Dickens commemorative jug,

and it's what they call the Dickens Master of Smiles and Tears jug.

And it's wonderful because it's relief moulded with all these

figures from Dickens literature.

And around the top as well, we've got

these London scenes from where the stories took place.

There do seem to be an awful lot of items made to commemorate Dickens.

He was the most popular author of his time and also the most prolific,

if you think about the number of books that he actually wrote.

-It's signed Noke.

-Noke?

-Noke. N-O-K-E.

Now, Charles Noke was a modeller and designer for Royal Doulton in the early part of the 20th century.

Now, when you originally had it, did it come with a certificate?

Somewhere or other it got mislaid.

Because it did originally come with a certificate.

Collectors do like to have the certificate and the piece

for their collection obviously, it's nice to have the two together.

But I think the certificate is often a repeat of what's

on the bottom of the piece, and there was such a lovely mark.

It actually tells us all about itself.

Which says, "The Dickens Jug,"

and then the title, "Master of Smiles and Tears,

"with the magic of his created personality. This is Jug No 64."

So it is No 64 from an edition of 1,000.

So it's great that it's actually quite early in the production run.

Collectors like earlier pieces or earlier runs from that production,

because if you think about it - it's the same with anything -

in the moulds they're produced in, over time, when they're producing such a huge run,

the moulds don't get quite as sharp

or they're just not quite right

as they were with the first pieces they produced.

I've had a good look over it, and it doesn't look as

if there is any kind of chips or cracks or any kind of damage.

Which, bearing in mind it's pre-war, is really quite impressive.

They make anywhere in the region of maybe £250 to £350.

'So would the Dickens jug measure up to Christina's "Great Expectations"?

'Well, it turned out there was more than one "Twist" to this particular tale.'

Hopefully Sheila and Rowland will turn up as we're speaking.

-If not, it's going ahead. You can't stop an auction.

-No, you can't.

Lot 360 is the Royal Doulton Charles Dickens jug. £200?

-He's bidding, he's bidding.

-Yeah.

220, 230, 240.

It soon became crystal clear that the auctioneer wasn't going

to have a hard time selling this particular literary lot.

410 telephone bid. 420.

We're on the phone now.

£420.

Brilliant.

Now selling then, last chance. At 420... 430 back in.

-He's back.

-440.

-He's keen.

One more? 450?

-No, he's out now.

-60?

At £460 ahead then, selling at £460.

-What a fabulous result.

-Yeah.

I just wish they were here, I really do.

It was a real shame, I think they would have loved to have seen it.

They literally arrived just after it sold.

-How much?

-How much do you think?

-I don't know.

-Come on, come on, top end, or lower end?

-Top end.

-Lower end.

A split decision there. Well, we actually made £460.

Oh, my word!

-Is that all right?

-Yes!

So it hasn't been too disappointing missing it?

Disappointed?

Oh, you've knocked 20, 50 years off me.

Royal Doulton produced a huge series of character jugs of Dickens characters

which were just their faces.

So I think this jug was an amalgamation of so many of those different characters

and of such a great size as well, and I think that's why it was so appealing.

Two very satisfied customers there.

Now, Dickens was born in February 1812.

And the anniversary of his birth in 2012 saw

a spike in the demand for memorabilia related to him.

So if you have any item associated with an author, research the key dates,

and if you can, sell it when interest is at its peak.

In 2011, literary characters of a different kind caught Elizabeth's eye.

They're a very good example of what is a very accessible and well-recognised collectable.

What a collection! There must be a story behind these?

Yeah, I think Peter Rabbit

-and Jemima Puddle-Duck were either my mum's or my nan's.

-Right.

And I really liked them so my mum said I could have it.

And my nan decided she would buy me them for my birthday and Christmas.

-Right, so you added to the family...

-Added to the collection.

Do you have a favourite amongst them?

I like Hunca Munca just because I like the story of Hunca Munca.

-You're a Beatrix Potter fan?

-Yeah.

We all have our own favourite childhood associations with

one or other of her characters, and I think we all have very secret

reasons why they are appealing and mean something to us.

-In 1933, the factory Beswick was established in Longton.

-Yes.

And by 1948 they had started to produce these little figures,

illustrating famous characters by Beatrix Potter.

And by 1950, within two years of having started the manufacture,

they had become an instant, collectable hit, and I don't think

they've ever not been collectable, sought after or very, very popular.

'Beatrix Potter's a very clever writer, she expresses some

'very fundamental human feelings'

or stories through these characters.

And therefore because those feelings and activities are applicable

to all generations, it's not gone out of fashion.

I think the most expensive figure ever to be sold at auction was one called Duchess.

-I think she individually made £2,000 at auction.

-Wow!

But obviously, being more realistic,

-can't promise you that sort of figure, I'm afraid.

-No, no.

Realistically at auction one should be looking at an average of about £10 each.

But to keep them as a collection, and offer them

with an estimate of £150 to £200, would you be happy with that?

Yeah, that would be lovely.

Peter Rabbit and friends made it safely to the auction -

but unfortunately without owner Julia.

-It's gone totally silent.

-Yes, tension is rising.

You can hear a pin drop.

I have interest here on the book, it starts with me at 75, 80.

90, thank you. And five? 100, and 10, 20, 30...

Reassuring sign.

50, 280. £280 in the centre.

-At 280, if you're done? 300 on the telephone.

-Telephone.

£300, it's on the telephone against you in the room, if you're all done?

-£300 on the telephone. Sold!

-I'm pleased with that.

-I bet you are.

I was reflecting what I had witnessed over the previous few months

in terms of what the market was doing for Beatrix Potter figures,

and I have to say the market had been dropping.

Well, Julia's collection certainly scampered through the top estimate

without a backward glance.

But the figurines are by no means in the bestseller's list of Beatrix Potter collectables.

An original copy of Peter Rabbit sold in 2013 for £20,000.

And in 2008, a Potter drawing sold for almost £300,000,

making it the most expensive book illustration ever sold.

Now, Philip is not a man prone to flights of fantasy,

but a pair of Shakespearean characters did manage to cast a spell on him.

This is a very, very rare figure, but it is a piece of Worcester from my home town

-and I think this is one of a set of four from the Midsummer Night's Dream.

-Yeah.

And they're really, really nice.

The fact that Shakespeare's our greatest author

means that we're going to use him

as an influence to produce paintings, to produce pots, to produce models.

My wife and I went to a sale, this one was there

and it was called Puck and Bottom and she said, "It's never Puck..."

-Snout.

-That's right, it's Snout.

This is produced by Kerr & Binns.

We can see on the bottom just here we've got this Kerr & Binns shield.

If you see a piece with Kerr & Binns on the bottom,

just have a real good look at it because it should smell quality to you.

And they were in action really, I suppose, in about the 20 years

before Royal Worcester became into being, which was 1862.

Everybody thinks Royal Worcester has been Royal Worcester since day one. It wasn't.

The porcelain factory was set up in 1751 and lots of little factories evolved.

And it wasn't until 1862 that the whole lot was drawn together to form

the Royal Worcester porcelain factory.

It's kept well, then.

-I wouldn't mind being as good as that, Arthur, if I was that old.

-Me too.

I'm getting that way, but...

It could do well. I can't see it making much more than 600,

but a 300 to 500 estimate's fair.

What a gorgeous piece of porcelain.

But would the Shakespearean figurines inspire the bidders?

Someone certainly hoped so.

If this doesn't sell, I'll be like Bottom with a donkey's head.

As per catalogue, fair interest, here. Start us here at 500.

And 20. 540.

-Straight in.

-Good. Well done, Arthur.

-600, at £600?

-Superb.

All done with it at 600, then?

Excellent, that was short and sweet, straight in. No messing around.

Well, that was a fairy-tale ending for Arthur.

There's absolutely no doubt the characters' pristine condition

helped whisk them high above the top estimate.

Once you've damaged them,

I would say almost 60-70% of the value has just gone out of the window.

And so condition is everything. And these were in top order.

When Michael went to Blackburn in 2010,

he was pleasantly surprised to be transported to Neverland.

Marion, you've, I think, made my day today

by bringing in this wonderful children's book

which we can see is Peter Pan.

-Have you had this since a child?

-I've had it from childhood.

It was given to me by two very great and gracious ladies that lived across the way from us.

And, during the war, they turned their cellar into bunk beds

for a few of the local children in the area, so we could stay all night in safety.

They gave me a birthday party,

and that was the present they gave me at the party.

-What a fantastic present.

-Yes.

-I've... I've never had a...

I don't want to do my parents down, I never had a present like this!

There's a large market for children's books.

Either people buy them for their children

to put them away as a form of investment,

or they're just charmed by the literature, the medium.

It's rather accessible to everybody.

We've got this lovely full vellum binding.

So the most expensive way to do it.

Often you'll just have the spine done, and the corners.

It was that expensive. But they've tooled, in gilt,

"Peter Pan", and there he is on the back of a...

of a fairly ferocious looking goat!

But that's the name we look for, "Illustrated by Arthur Rackham."

Arthur Rackham was one of the leading

late-Victorian, early-Edwardian illustrators.

He did these most detailed and complicated illustrations

with fairies and pixies and grotesques.

And they're rather charming.

I've not met anyone yet

who doesn't find a Rackham drawing ravishing, I think is the word.

And we've got Arthur Rackham's signature there.

I think people are beginning to

regard his work less as children's illustrations and more as...

It was good skilful draughtsmanship. It's exquisite.

-Carried away by the winds.

-Is that with the balloons? Yes.

-With the balloon. The balloon seller being taken away.

-Yes, that's it.

No-one would be buying it to break out the illustrations from it.

It's the complete package that is appealing to a collector.

And that's wonderful. "This edition is limited to 500 copies,

"numbered and signed by the artist, of which this is No 111."

So it's even quite a low number.

There's an element of the stamp collector in all of us,

and I'm afraid, if two collectors were to have a copy of the same book,

if you had an earlier number,

you would consider yours possibly a better edition.

Well, I think it's a children's book collector's dream...

-I would think so.

-Really. I mean, it is the luxury edition.

There are a few faults,

there's a little bit of wear to the gilt edging and the covers

have started to bow slightly.

I think we would be sensible to put it into auction

-with an attractive estimate of say, £400 to £600.

-Yes.

Who knows? We might be touching the four figures, but...

-That would be nice.

-That would be if Peter was flying overhead...

-Yes, yes, yes.

-..wishing us luck.

A beautiful copy of the ultimate children's classic.

Surely someone would be hooked?

The Peter Pan In Kensington Gardens with drawings by Arthur Rackham.

-It's a signed limited edition.

-It's wonderful.

-Absolutely brilliant.

-£200. £200. 225. 250. 250. 275. I've 300 here.

325. 350. 350.

-375...

-He's got a commission bid on the book, he's looking down.

425. 450. 475. 500.

And 25. 550. 575.

At 575. And 600, madam. £600. 625.

-They've travelled up specially, haven't they, today?

-675. 700.

And 25. 750. 75.

800. And 25.

-Oh, dear, oh, dear!

-Oh, dear!

-850.

875. 900.

And 25. 950. 975. 1,000.

And 25. 1,025.

This is exciting!

Are you all done at 1,025 for Peter Pan?

GAVEL BANGS

Marion, fantastic.

-What a lot of money!

-That was exciting!

-Well done.

-It was worth every penny.

-Oh, it was very nice, wasn't it?

There's a tear in your eye now.

Marion's copy of that wonderful children's classic certainly flew away in the auction room.

That's because it had everything going for it.

Now, if you come across a book of such quality,

take my advice, snap it up immediately.

But what else should eager bookworms consider

when starting a writing-themed collection?

Well, first off, when you buy antique books,

keep in mind that earlier copies in a print run are more valuable.

This rule of thumb also applies to memorabilia related to writers and writing.

The lower the production number, the better.

These days, spin-offs for many popular books are de rigueur.

But that's not to say merchandising wasn't around in the past.

Beatrix Potter, for example, actively encouraged merchandising.

So keep your eyes peeled for vintage memorabilia.

If a collectable is part of a set,

it's obvious that having the entire set is going to be more profitable.

But if you have a collection of individual items,

you may actually make more money by splitting them up in the auction.

Try and resist the temptation to leaf through your treasured tomes.

If you want to make a packet at the auction room,

they have simply got to be in tiptop condition.

We saw earlier how Arthur's beautiful 19th-century porcelain figurines flew away at auction.

Inspired, as they were, by Shakespeare's A Midsummer Night's Dream,

they give a clue to a particular quirk of Victorian society.

The Victorians were absolutely obsessed with fairies.

All those elements the Victorians liked. A bit of nature, cheekiness.

If you're a Victorian, it was Bob's your uncle.

Both Tennyson and Walter Scott wrote poems about fairies.

And even Dickens couldn't resist a wry description

of smoking chimney stacks as "fairy palaces".

But the Victorian fascination with fairies was by no means confined to the written word.

The period from 1840 to 1870 was the golden age of Victorian fairy painting.

It was a way that Victorian artists could get away

with portraying the nude female form.

If they put wings on it, and called it either a fairy or a cherub,

it became art.

The Fairy Feller's Master-Stroke by Richard Dadd

is one of the most famous works in the genre.

In the painting, King Oberon and Queen Titania

from A Midsummer Night's Dream take centre stage,

making its Shakespearean influences clear for all to see.

Dadd was brilliant, but unstable.

He ended his days in Broadmoor, having murdered his father.

By 1917, interest in fairies had waned

when two girls from Cottingley, Bradford,

claimed to have taken five photographs of fairies.

The story captured the public imagination

and found an unlikely champion

in the novelist and committed spiritualist Arthur Conan Doyle -

himself the son of a Victorian fairy painter.

There were, of course, no fairies in Bradford,

but they HAD begun to appear in Staffordshire around that time.

The most wonderful fairies

are those depicted in Wedgwood Fairyland Lustre.

Very, very collectable.

I mean, a decent-sized Wedgwood Fairyland Lustre bowl,

a good sized punchbowl, is going to be into the thousands.

£3,000, £4,000, £5,000 for a good one.

A top tip, though, if you are buying Fairyland Lustre,

be wary of wear to the gilt

and the decoration on the enamel.

If you're going to buy a piece, invest in a perfect one.

Flog It! favourite Mabel Lucie Attwell

also produced fairy illustrations around that time,

including her famous Boo Boo Elf.

And at JM Barrie's request, she also illustrated editions

of Peter Pan, which were reissued many times.

It's clear that today, little folk of the right vintage

can still work their magic in the auction room.

-That's a sold sound! £2,300!

-Oh, goodness!

Even if many of us have stopped believing in them!

I still believe in fairies, don't you?

For those of us who admire the great themes in history,

the Romantic novels of the 19th century are a good place to start.

And some of the best books penned were written in the early 1800s

by Sir Walter Scott, a man who's come to epitomise the Romantic novel -

and a man whose legacy Anita Manning greatly admires.

Abbotsford. One of the most famous houses in the world.

It was designed and built by Sir Walter Scott in his beloved Borders.

Scott was one of the most important literary figures in the 19th century,

and the first English-language author

to have a truly international career.

But he is perhaps best known as the inventor of the historical novel.

After suffering polio as a child,

he was sent to stay with relatives in the Borders

and it was here that he fell in love with that region, its history,

its tales and its folklore.

At Abbotsford, Scott played host to the great and the good of the day.

He called it "the Delilah" of his imagination.

And it's still a place of pilgrimage to his many thousands of admirers.

Today, I'm here on a pilgrimage to uncover the treasures of that fantastic house.

It's filled with his own collection of antiquities

thought to inspire his writings.

It shows the preoccupations, the passions

and the life of the man himself.

This is Scott's library,

and for me, it's the jewel in the crown at Abbotsford.

This collection consists of over 7,000 volumes

on every conceivable subject

and in 17 different languages.

These were Scott's working tools,

and many of these books have been annotated by him.

The scope of the library is immense

and many of these printed works are unique.

But what is fascinating about this collection

is that it is EXACTLY as it was in Scott's day.

And this is rare, because often a collection is broken up

or added to after the owner dies.

First editions are usually what collectors look for.

But in Scott's day,

when books were printed in editions of tens or hundreds,

Scott's editions were coming out in runs of thousands -

and in some cases, 25,000. So his first editions are not rare,

but what the collector should be looking for are those books

which are signed by the author,

and those lovely early calf-bound volumes.

But books weren't the only thing that Scott collected.

This is the armoury. Scott used this as his sitting room.

He called it his "little boudoir".

And there are some weapons on this wall which belonged to a character

from one of my favourite Scott books, Rob Roy.

Rob Roy was a real person.

He was a Highland chieftain, a Scottish folk hero

and outlaw of the 18th century.

Here, we see his sporran, his broadsword,

his dirk and his gun.

And Scott would often use objects to inspire him in his writings.

It was as if handling these objects

seemed to breathe life into the character on the page.

And finally, this is Scott's study.

The very soul of Abbotsford.

His later novels,

including the magisterial nine volumes of Napoleon's biography

and the delightful Tales Of A Grandfather,

were written at this desk.

We see his paper knife, his spectacles, his quill,

and, rather sadly, a chequebook.

And this tells us the story of the latter part of Scott's life.

In 1826, the publishing company that he was a partner in

crashed during the recession. and led him into debt of £126,000.

Rather than going bankrupt,

he determined to write himself out of debt.

And here we have this little chequebook

and we can imagine him here,

scoring off his debts one by one.

But the legacy that Scott left behind is amazing.

Not only do we have his astonishing body of work,

but we have Abbotsford,

which provides inspiration for the thousands of enthusiasts

who make a literary pilgrimage here every year.

The world of literary antiques and collectables is fascinating.

There's something for every budding bibliophile,

from fanciful figures to signed first editions.

If you want more inside information on antiques and collectables,

then join us next time for more trade secrets.