Outlander: From Screen Icons to Collectors’ Treasures

Posted on August 10, 2026August 13, 2026 by Jenny Serra

From the moment I stepped out of the London heat and into the calm leaf-lined corridor of 101 New Bond Street on August 5th I was transported into the captivating world of Outlander. Delighted to be attending the auction to bid on behalf of a Scottish client I’d been counting the days.

As soon as Outlander hit our screens here in the U.K in 2015, it was obvious that this historic/time travel series was going to be a hit. The name Outlander has become synonymous with Scottish history and romanticism and the show catapulted many of its stars to new heights of fame, creating an enormous international following. This had a remarkable impact on visitor numbers to Scotland in a largely positive way. However, the need for repairs to historic sites due to visitor numbers soon became evident. Growing up near Culloden Battlefield I took many Sunday walks on the moor, so as the seasons progressed it was distressing to witness first-hand the pressure that had been put on the area surrounding the Clan Fraser grave in particular, resulting in the need for cordons, replanting etc. Fortunately, the National Trust For Scotland handled this sensitively and on my last visit it had recovered well.

Following the conclusion of the final season of Outlander, plans were made to offer for sale many of the costumes and props from the various eight seasons. This decision was met with a mix of positive and negative opinions – some people wishing a museum could be opened to keep collection together. Sony have kept many originals for their archive, but overall, the numbers of props and costumes are vast, more than 10,000 garments were made for Season 2 alone.

Fans of the series were delighted to learn that Bonhams Auctioneers were to hold the auction of this iconic collection, following their huge successes with The Crown and Downton Abbey auctions. With an online only auction from June 18th till August 6th and a separate live auction in Bonhams flagship saleroom on August 5th there was something for everyone.

The craftsmanship and attention to detail in the costumes was evident when viewed up close, many were modern silks, hand embroidered in the 18th century manner. Some of the more elaborate outfits took months to make, with blowtorches and cheese graters used to simulate age and daily wear! The dressing rooms on set had to be altered, some of the dresses with cages would not fit through regular doors.

Following the costumes and props being on display to the public, the room was transformed for the day of the auction. After an Outlander trailer on the big screen behind the rostrum, we had a warm introduction by one of our auctioneers for the day, Charlie Thomas, (Head of House Sales and Private & Iconic Collections).

Bidding soon got underway with a real sense of anticipation amongst the room bidders and staff poised for telephone bids.

Lasting five hours, with each auctioneer taking an hour at a time, the pace was steady but exciting.

Auction highlights included;

Lots 2 a blue and white vase, and 4, a painted sign, brought £2,816 and £4,096 respectively. Both appear in the opening sequence of Series 1, Episode 1.

Lot 9: Claire’s white dress, which sets the story of her travelling back in time through the standing stones, realised an impressive £7,040 against a £1,500-2,000 estimate.

Lot 20: Claire’s rings. The tension was palpable in the room during this lot, with 2 online bidders battling it out, this group of three rings finally sold for £28,160, against a pre-auction estimate of £3,000-5,000.

Lot 38: Claire’s stunning red dress, the hammer came down at £12,160, against a £3,000-5,000 estimate, selling to an online bidder.

Lot 56: Jamie’s Culloden outfit, estimate £1,500-2,000, has a deep historical and emotional connection for many, the lot finally achieving £8,960. Rumour has it that it was purchased by an institution so hopefully it will be on display for years to come.

Lot 43: Sawny, the hand carved wooden snake took £4,000 to an absentee bidder, memorable as a poignant moment between Jamie and brother.

Lot 69: Claire’s Bat Suit was happily reunited with Terry Dresbach, (Costume Designer Seasons 1-4,) who secured it for £4,480.

For me lot 12, was a real bargain on the day. Fifteen large, hand-painted panels from Geillis’s attic room sold for just £2,816. Inspired by a painted ceiling at Culross Palace in Fife, and tarot cards magnified, these needed a fair amount of wall space!

Next came a surprise, as special guest Graham McTavish came out to auction lot 14. He brought his charm and charisma to the rostrum and really seemed to enjoy offering this lot. Stopping briefly to replace his white jacket with that of his character Dougal, (this was subsequently offered the following day at the online auction realising £1,664). This was a fabulous and unexpected moment to remember for those in the room and following online.

The costumes and props of Outlander Seasons 1-8 represent much more than their monetary value, they’re part of the show’s history and cultural legacy. Their function has changed forever, and will continue to be enjoyed in private collections, museums, institutions, and homes around the world for years to come.

With a 100% sell rate the auctioneer was presented with the customary white glove which was a fitting end to a wonderful day.

All realised prices include buyer’s premium. Please see www.bonhams.com

Why Famous Musical Instruments Sell for Millions

Posted on July 30, 2026July 30, 2026 by Jenny Serra

Guitars don’t make sense – I have a room full of them, and to most people, it’s a room full of guitars – to me it’s a pallete of colours and textures, all different and designed for different functions. As well as musical instruments, they are without doubt some of the most stunning things ever designed – if I was given £150,000 would I buy a Banksy? No, I would buy a 1959 Gibson Les Paul.

Anyone who has tried to explain why one room might reasonably require a Rickenbacker 330 twelve-string, a Gibson ES-330 and a Gretsch 6120 amongst many others already understands the first law of collecting: to the owner they are completely different; to everybody else they are three guitars.

I am therefore not entirely neutral. None of them were bought as a pension plan; they were bought because they look, feel and sound like nothing else. At the top of the market, the same instinct merely acquires several additional zeros.

The Black Strat

David Gilmour’s “Black Strat” is the clearest example. Made in 1969 and bought by Gilmour the following year, it was repeatedly altered, played, retired and restored. On an ordinary vintage guitar, so much modification might provoke a discussion normally reserved for disputed borders, seriously if you enquire on certain forums about this, there are grounds for more conspiracy theories than the ‘Paul is Dead’ fascination….(the long running urban legend and conspiracy theory alleging that English musician Paul McCartney of the Beatles died in 1966 and was secretly replaced by a look-alike.)

This was the guitar used during the making of The Dark Side of the Moon, Wish You Were Here, Animals and The Wall, including the solo on “Comfortably Numb”. Christie’s sold it in 2019 for approximately £3.13 million. It returned in March 2026, from the Jim Irsay Collection, and realised about £10.90 million, not a bad return. Now, I have never understood The Floyd, but the day after this sale, I happened to be in the property of possibly one of the 90s biggest musical stars and discussing this guitar and it’s legacy. He was in the market up to about half of the sold figure but drew the line because it would never be used and probably have to be hidden away.

That sale did not merely adjust the record; it opened the floodgates to every celebrity owned guitar suddenly being worth at least 6 figures. Jerry Garcia’s custom-built Doug Irwin “Tiger” followed at approximately £8.66 million, while Kurt Cobain’s 1969 Fender Mustang from the “Smells Like Teen Spirit” video reached £5.18 million, possibly the most anti guitar of guitars. One evening produced the three highest auction prices yet recorded for guitars.

The prices sound preposterous until one asks what was actually sold. There was wood, wire, and electronics, but also Pink Floyd, the Grateful Dead and Nirvana – three enormous bodies of music concentrated into objects that can be held. The instrument supplies the form. Johnny Marr of The Smiths (ok, no longer in The Smiths, but name me one of his solo records?) said that there is a specific song in every guitar, and he has had a few.

The guitar itself still matters. Mark Knopfler’s 1959 Gibson Les Paul Standard realised £693,000 in 2024, while Gilmour’s rare 1958 Gretsch White Penguin brought roughly £352,000 in 2019. Both have always been desirable models with people paying over the odds for the rare items that come up at auction, without the connections. Provenance changes the question from “What is this model worth?” to “What is this moment in music worth?” There doesn’t appear to be an upper limit for the latter at the moment, be it guitars or otherwise.

A perfectly rational collection

Unfortunately, no guitar becomes a cultural relic simply by entering my possession, which is disappointing, but probably correct. Yet the underlying impulse is recognisable. We connect a maker, shape and sound with musicians, records and periods of our own lives. At the top end, impeccable documentation and global fame magnify that feeling until the numbers cease to resemble the normal guitar market at all.

Kurt Cobain’s 1959 Martin D-18E, used for Nirvana’s MTV Unplugged, made around £4.87 million in 2020. Eric Clapton’s 1939 Martin 000-42, played during his Unplugged concert, rose from about £435,000 in 2004 to £3.07 million in 2026. Two old acoustics, two televised performances and two different legends. Provenance is not an extra – it is the market.

Pianos – the gloss black elephant in the room.

The ordinary second-hand piano can be chastening – heavy, expensive to move and occasionally worth less than the cost of persuading somebody to remove it. Add the right history and several hundred kilograms of wood, metal, and wire become something quite different.

John Lennon’s Victorian Broadwood upright, used to compose “Lucy in the Sky with Diamonds”, “A Day in the Life” and “Being for the Benefit of Mr. Kite!”, sold in 2026 for approximately £2.43 million, a normal Broadwood without any provenance, would be lucky to achieve in the low hundreds. Freddie Mercury’s Yamaha G2 baby grand, bought for around £1,000 in 1975 and used to compose “Bohemian Rhapsody” and much else – realised £1,742,000 in 2023….It is not just the music, but think of the stories that piano could tell.

Then there is the small salmon-coloured piano from Casablanca, at which Sam plays “As Time Goes By”. It brought approximately £2.17 million in 2014. Its appeal belongs as much to cinema as music, helped by one of the most famous lines never actually spoken: “Play it again, Sam.” Evidently, accuracy is not always essential to cultural immortality….

Four strings, eight figures

Violins reached this territory long before guitars. The 1721 “Lady Blunt” Stradivari sold for £9,808,000 in 2011. The circa 1714 “da Vinci, ex-Seidel” Stradivari realised approximately £12.23 million in 2022, while the 1714 “Joachim-Ma” brought about £9.06 million in 2025.

Here the mythology is older and the assessment more exacting. Maker, period, varnish, condition, provenance and playing history matter. The “Lady Blunt” was prized partly for its extraordinarily clean, unmodified condition. Paradoxically, an instrument may be valuable because it produced famous music, or because three centuries passed without overkeen fiddlers doing too much to it.

The beat of a different drumhead

The market’s delightful illogic continues elsewhere. In the 2026 Irsay sale, the Beatles “Drop T” drumhead seen during their first Ed Sullivan Show appearance realised approximately £2.16 million; Ringo Starr’s first Ludwig kit made £1.79 million. The bit without drums sold for around £366,000 more than the drums.

Musically absurd, however when we look at the symbolism of the logo that introduced those four young lads from Liverpool to the world, its possibly the most important piece of drumming ephemera that has ever existed – I say possibly, because I have seen something that I think would top it – but I can’t talk about that.

That is ultimately why these prices cannot be explained by materials, utility or even rarity alone. Great musical instruments can be masterpieces of craft, and the very greatest sales occur when craft collides with memory. We do not simply collect the object. We collect the sound we associate with it, our memories, our visions – and maybe, just maybe a little bit of the magic that was created with it.

Manbags – the Case for the Gentleman

Posted on June 25, 2026June 25, 2026 by Jenny Serra

For many years, I have often felt overlooked.

Not for the usual tragic reasons, you understand. Not because I have been denied a table in a restaurant, ignored by a waiter, or left out of a WhatsApp group involving horse racing, Burgundy, or both. No, I have felt overlooked by the makers of some of the best luggage and handbag manufacturers in the world.

I value ladies’ handbags on a regular basis that can only be swooned over and marvelled at. Hermès, Chanel, Louis Vuitton, Gucci, Fendi: they arrive in tissue, dust bags, boxes and occasionally with the sort of documentation one might more reasonably expect to accompany a 1960s racing car. Some are astonishing – some are so crisp, so untouched, so amazingly constructed, that one almost wants to take a few minutes before handling them.

And yet, for the gentleman? Historically, we have been fobbed off with a briefcase, a ‘gym bag’, a laptop case, or that battered weekend holdall which has seen more stag weekends than the entire Hangover film franchise. I have, on more than one occasion, looked at a black Birkin and thought, “How could I get away with that?” The answer, 99% of the time, has been immediate and brutal: “No. Don’t even think about it.”

Happily, there are now better people than me.

I should declare an interest. I have my own selection of manbags, and I am very fond of them. None of them trying to be a Birkin. They are doing something far more British: being useful, looking good without shouting, and quietly absorbing the daily detritus of modern life – keys, spectacles, phone, charger, notebook, loupe, tape measure, receipts of uncertain importance; all are contained with a dignity that trouser pockets simply cannot provide. A good manbag is not an affectation. It is a small act of universal civilisation.

That said, the World Cup has moved the gentleman’s bag from civilised convenience to full-blown theatre. PurseBlog’s World Cup bag report (yes, I read these things) observed that the focus has shifted beyond women’s handbags and into men’s sport, with footballers carrying not only large travel bags – but messenger bags, pouches and highly coveted pieces. The airport arrival has become the new runway.

Cristiano Ronaldo (Portugal) has kept things relatively simple with a Gucci Mega Web Trademark large duffle bag which Gucci UK currently lists at £3,090 and probably sounds a lot better in Italian. It is handsome, sporty and practical – very Ronaldo, in the sense that even the luggage appears to have a staff, and a stylist. Fairly universal in availability, it is one to purchase for use, rather than investment.

Hermès, of course, is where things become dangerous. Michael Olise (France) was reported carrying a black Hermès Birkin 40, with the current retail equivalent at about £15,350. Erling Haaland (Norway) went further still, arriving with the Hermès HAC Birkin 50 “Endless Road” in Gris Perle. There is no normal public UK retail price for that piece in the way one might quote a Gucci holdall. It is a rare, limited Hermès travel bag, and Journal des Femmes reported that the model now trades on the secondary market at about £34,400.

Hermès as a wider category remains extraordinarily strong: Rebag’s 2025 Clair Report placed Hermès at 138% value retention, a useful reminder that with the right model, leather, colour, size and condition, retail or insurance value may differ a dramatic amount.

France, unsurprisingly, arrived as though the Vogue staff had chosen the baggage collection. Ousmane Dembélé was seen with an Hermès HAC, Rayan Cherki with another historic Hermès Haut à Courroies, and Marcus Thuram’s green Chanel x Pharrell XXL Flap Bag is a different animal altogether: a discontinued investment piece rather than a current boutique item, with recent fashion coverage placing comparable resale levels around £12,000 – so it’s nice to see that some of the items are reused, which isn’t always the case!

Louis Vuitton supplied the dependable theatre of travel. These are magnificent objects and excellent travel companions, and dare I say it – actually good value, but unless one is dealing with a scarce collaboration or discontinued special order, they are not generally the grey-market fireworks of Hermès. Maxence Lacroix’sChanel x Pharrell XXL Flap Bagr, currently £4,370, belongs in the same category: highly desirable, beautifully made, but not necessarily an above-retail speculation.

Unfortunately, the suggested rumour that Scotland have arrived with bespoke Chanel Sporrans, has proven to be untrue.

Nor is this only football. Actor Jacob Elordi has become almost a patron saint of the modern male handbag, having been photographed with a Bottega Veneta Andiamo Medium in Fondant, at about £3,700.

Singer Harry Styles helped normalise the Gucci manbag moment with the Gucci Jackie; a current black leather medium Jackie 1961 is £2,820, though many standard Jackie examples trade below retail on resale platforms, proving that style and investment are not always the same thing.

Rapper A$AP Rocky (never knowingly under-accessorised) was seen with a Bottega Veneta Large Cabat, about £8,250.

When valuing designer bags, women’s or men’s – Condition, receipts, box, dust bag, hardware, colour, leather, year, repairs and, where relevant, exotic-skin documentation all count. A Chanel tote carried by a footballer is exciting; a properly documented Chanel tote in the correct condition is valuable.

So yes, the gentleman’s bag is having its moment. Quite right too. Pockets were never designed for phones, keys, sunglasses, chargers, wallets, or passports. The manbag is not a surrender of masculinity. It is a triumph of organisation.

The next time I look at a black Birkin and wonder whether I could get away with it, I shall think of Haaland, Thuram, Elordi and Styles, and then think better of it…..possibly.

Collecting Original Disney Animation Cels

Posted on June 25, 2026June 25, 2026 by Jenny Serra

Like many of my fellow specialist colleagues at Doerr Dallas I have been a collector of one thing or another all my life. I began with early English porcelain and pottery in my teens and then onto original book illustrations in my 20’s and 30’s. As part of my Book illustration collecting phase, I was drawn towards original Disney animation cels which fitted in very well with my love of animated movies which neatly combined art, history, and nostalgia.

These art works are known as ‘cels’, short for Celluloid which is an early type of flexible plastic made from cellulose nitrate and Camphor. It became the base for all photographic and movie film material. Basically what I was collecting were original film stills, all hand-painted on single sheets of transparent celluloid, usually smallish, around 12 x 16 inches that were used to create the classic animated films and cartoons before the arrival of computer animation.

From the 1930s until the late 1980s, Disney artists painted characters in gouache (a type of water based poster paint) onto clear cels (sheets of clear celluloid). These cels were then placed over painted backgrounds and photographed one frame at a time. Thousands of cels and hundreds of artists were needed to make a feature film. Famous movies such as Snow White and the Seven Dwarfs, Pinocchio, Fantasia, Cinderella, and The Jungle Book were all made using this process.

For collectors, an original Disney cel is much more than a production tool. It is a piece of animation history. Each cel was once handled by artists working in the Disney studio and was part of the creation of a beloved film or cartoon. Owning a cel can feel like owning a small slice of Disney movie magic.

The value of a cel depends on several factors. The most important is usually the character shown. Cels featuring famous characters such as Mickey Mouse, Donald Duck, Goofy, Snow White, or Cinderella are often more desirable than those showing minor characters. The condition of the cel is also important. Collectors look for cels that have strong colours and little damage as the cellulose can degrades over time and lose its natural flexibity.

Rarity is another major factor. Some characters appeared only briefly on screen, making certain cels much harder to find. A cel showing a close-up of a main character may be worth significantly more than one showing a distant figure in a crowd scene.

Authentication is very important when buying Disney cels. Many genuine cels are accompanied by certificates of authenticity from Disney, galleries, or reputable dealers. Buyers should also research the seller carefully and ask questions about the cel’s history and provenance. A documented ownership history can add confidence and value.

Collectors can buy Disney cels from specialist galleries, auction houses, art fairs, and reputable online dealers. Auction houses occasionally offer exceptional examples from important films, while galleries often provide expert advice for new collectors.

Proper care is essential. Original animation cels are delicate and can be damaged by sunlight, heat, humidity, and poor framing materials. Conservation-quality framing with ultraviolet-protective glass can help preserve the artwork for future generations.

Many collectors focus on a particular character, film, or period of Disney history. Some specialise in early black-and-white Mickey Mouse cartoons, while others collect cels from the Disney Renaissance films of the 1980s and 1990s. Building a focused collection can make the hobby more rewarding and educational.

Today, original Disney animation cels remain highly sought after. They appeal not only to Disney fans but also to art collectors and animation historians. Whether purchased for investment, enjoyment, or nostalgia, an original Disney cel represents a unique connection to one of the most influential animation studios in the world. My small collection included Mickey Mouse, Winnie the Pooh and Snow White cels and I made a small profit when it came to sell them which was pleasing. The market is mainly in the USA and is where I bought and sold mine mainly at auction.

Since then, many specialist dealerships have opened up online so it’s now very easy to start browsing and collecting cels. I would suggest to begin with finding what you like or what triggers your memory of a particular movie and go from there.

I never spent more than $500 and it’s still possible to start small like I did. I have illustrated what I hope is an appealing selection of cells that most probably reflect my taste which are all available to buy currently.

*All prices are the retail price and do not include tax or shipping. If looking to insure, we recommend insuring at full purchase price initially, and then getting a professional valuation from us after 18 months.

Diane Keaton: A Life in Lots

Posted on June 17, 2026June 17, 2026 by Jenny Serra

Last week Bonhams USA held a fascinating four-day auction dedicated to the life and legacy of actress Diane Keaton. Diane Keaton (1946 – 2025) was one of the most celebrated actors of her generation, winning an Academy Award, two Golden Globes and a BAFTA.

This sale explored facets of Keaton’s life and style, with auctions dedicated to; ‘The Architecture of an Icon’, ‘Tailored and Timeless’, ‘At Home With Diane’ and ‘Chapters in an Edited Life’. While each day had its own focus, the overall sale gave a portrait of not only a movie star, but an artist in the truest sense.

Black and white visuals, Californian aesthetic, and Americana were all central themes, alongside key pieces from her career.
Keaton clearly possessed an unmistakeable sense of style, beyond that of her instantly recognisable wardrobe. The collection demonstrated how her distinctive aesthetic was applied in property development, interior design, and as a collector. The auction included photographic works produced by Keaton herself, highlighting her talents as an artist.

Unsurprisingly, the highest price paid over the four days was for Diane’s ‘Annie Hall’ script. The iconic, era defining movie, was written, directed and starred Woody Allen. Yet, it arguably remains Keaton’s most celebrated role and the one most closely associated with her.

Keaton was regarded as Allen’s muse. The pair had been in a relationship in the 1960s, and the script is believed to loosely reflect that period in their lives. ‘Keaton’ was the stage name she adopted, taken from her mother’s maiden name. The film’s title was reflective of her birth name; ‘Diane Hall’, with friends also calling her ‘Annie’. Her characters wardrobe was directly inspired by Diane’s unique personal style.

Given this background the script was estimated at a very conservative $2,000 – $3,000. Scripts can be difficult to estimate and prices usually lower than that for principal movie props. However, this was not the case here. The unassuming cover was captioned ‘Untitled Film Script’ and dated 1976, it ultimately sold for a staggering $394,200 including buyer’s premium.

Although Oscar statuettes typically can never be sold, the rule does not apply to Academy Award’s certificates of nomination. Keaton won the Best Actress Oscar in 1978 for her role in ‘Annie Hall’. Her certificate of nomination for the performance was offered on the final day during the online only sale. This time estimated at $500 – 700, it realised $9,600 (inc. BP).

Diane’s close relationship with fellow actors provided an interesting element to the sale. Unexpectedly, art produced by legendary actor Jack Nicholson was on offer. Keaton and Nicholson worked on two films together, and clearly formed a bond. A still life watercolour depicting a bouquet of flowers in a vase was included. Painted by Nicholson in 2003, it was guided at $200 – 300. With strong interest the virtual gavel fell at just over $11,500 (inc. BP).

Letters from fellow actors and friends provided an insight into her working relationships and all generated significant interest. The highest price paid was for three letters from Steve Martin, selling for just over $10,000. Whilst letters from Michael Douglas and Meryl Streep (offered as separate lots) sold for identical prices of $5,120.

Keaton built a personal collection of important photography. Yet the sale highlighted Keaton’s own skill behind the camera. One of my favourite lots, was a series of photographs taken by Diane in Trafalgar Square, London during the 1980s. Shot whilst on a break from shooting ‘Reds’ (1983) the set of eight images captures people feeding the pigeons. They sold for just over $1,000 each, totalling $9,600.

Keaton also experimented with photo booths to manufacture unusual compositions. Amongst these was lot 4031, a collection of five strips featuring self-portraits with a pair of sneakers. Taken during the 1970s and offered at just $200 – 300, the lot had fierce online demand, ultimately achieving a hammer price of $11,000 (just over $14,000 including buyer’s premium).

Keaton created collage art throughout her life, an approach that seemed to shape her eye for design. One lot reflected both her artistic practice and film career. Lot 4097 comprised four collage artworks, believed to be stylised poster designs for the movie ‘Reds’. Inspired by the Russian Constructivist movement – central to the era in which the film was set – and more dynamic than the final release poster, they sold for a collective price of $6,400.

Her fascination with art and design, was further evident in the large number of carefully curated coffee table art and design books available. These were offered in lots, arranged as they had been displayed in her home, organised by colour and theme.

Lot 3185, was a stylised collection of art books displayed on a stand, including volumes gifted to Keaton by her friend Larry McMurtry. McMurtry (1936 – 2021), was a Pulitzer Prize winning author, known for his notable works including ‘The Last Picture Show’ and ‘Terms of Endearment’, both widely recognised through their acclaimed film adaptations. He gifted Keaton more than 500 artbooks, reflected in the collection here. The combination of provenance and presentation contributed to a final selling price of $5,888. Meanwhile, Diane’s presentation copy of McMurtry’s novel ‘Lonesome Dove’ estimated at $600 – 800, reached $8,320 (inc. BP).

Keaton’s aesthetic echoed the subjects of Larry McMurtry’s stories, with Americana, California, and the old West all strong themes. Diane was born in California, loved her home state, and had a great respect for the Spanish Colonial design tradition of the region.

Her collection of furniture included over 35 lots of ‘Monterey Furniture’, a collective name given to describe pieces predominantly produced by Mason Manufacturing of California, between the 1920s to 1940s. Characterised by their use of iron and wood, a restrained palette with a vernacular aesthetic, they were clearly a favourite. Amongst the standout results, was lot 3141, a tile inset buffet sideboard which she used in the bedroom of her Beverley Hills home. Guided at $500 – 700, the piece sold for a hammer price of $11,000. Similarly, a pair of club chairs, estimated at $700 – 900, reached $12,000.

Textiles were also a visually striking part of the sale. In a similar vein, Keaton collected textiles produced by Diné (Navajo) weavers, of cultural importance within the United States. Seventeen lots were created by these craftspeople. Lot 3217 was a Diné woven ‘Crystal’ rug, in natural sheep’s wool colours, it sold for $12,160.

Another example, lot 3173, was woven with a depiction of the Shiprock monadnock, a stunning feature of the New Mexico landscape, significant to the Navajo. Four lots included in the sale were Diné woven depictions of Shiprock. This piece featured in Keaton’s 2017 book ‘The House That Pinterest Built’. It was the most affordable of the four, selling for $7,040.

Finally, to Keaton’s wardrobe – clothes were clearly important to the star. She was notable for her strong tailoring, hats and willingness to wear clothing traditionally associated with men’s fashion. During the sale dedicated to her ‘Tailored & Timeless’ collection, luxury pieces from Thom Browne, Prada, Gucci, Bottega Veneta, Ralph Lauren and Comme des Garçons were all offered.

The joint highest price paid here, was for a custom made wide brimmed hat, catalogued as having been worn on multiple occasions. Produced by California based hatmaker Nick Fouquet, the stylish piece of headwear achieved $20,480 (inc. BP).

However, it was lot 1, a Ralph Lauren ensemble, sold together with a Nick Fouquet hat which achieved the top price for clothing. Conceived in 2018, Keaton wore the outfit to the Academy Awards in 2020, where she presented the Best Original Screenplay Oscar. Obviously a favourite, she wore it again on the cover of her 2024 book ‘Fashion First’. When the gavel fell here the total reached $40,960.

With black and white always her signature, Keaton would no doubt have approved of the ‘white glove’ moniker for the sale – with over 700 lots sold during the four days, the final total was $4.2 million.

Pokémon….Gotta insure them all……?

Posted on April 22, 2026April 23, 2026 by Jenny Serra

For anyone in the UK still tempted to describe Pokémon as children’s toys, or cards, I implore you to read on and realise why this could be about as important as that Babe Ruth baseball card that your long lost American cousin once gave you….

I should remember Pokémon far better than I do, I imagine I was at the prime target age for such a thing, but what strikes me constantly with this ‘game’ is the way in which it has grown and evolved and people of my age now lust after rarities, and have started to pay exorbitant amounts of money for bits of cardboard.

For the insurance market, Pokémon is no longer something to be filed under ‘children’s bits and pieces’ – it’s as major a player in the game as a lot of the other items I write about.

Officially, the franchise began with the Game Boy games in Japan in February 1996, with the Trading Card Game following in October of the same year, and 2026 marks its 30th anniversary.

That means an object many of us once associated with playground bartering has had a longer life than many bands, politicians, and certainly a lot of other collectibles. I find that faintly unsettling, largely because I still think of 1996 as fairly recent.

Its popularity was never especially mysterious. The Pokémon Company’s own business summary is quite open about it: the card game took the battle appeal of the video games and brought it into the real world. In plain English, it allowed children to collect favourite creatures, compare them with friends, argue over them, and then hit each other with rules – it basically created a great community that relied upon people buying more stuff, which is basically a recipe for commercial gains.

More importantly, Pokémon was not just a game. It was a game, a collection, a social ritual and, eventually, a nostalgia engine. Even people who never properly played it still understood the thrill of pulling a shiny card from a pack. That, as it turns out, was the gateway drug.

Britain, for its part, did not exactly play hard to get. A former UK trading-card executive involved in the game’s early rollout recalled that a first-year sales target of £17 million turned into £82 million in a single calendar year so the UK has been in on the act for a very long time – what began as a simple retail sideline has matured into a proper secondary market with grading, provenance, specialist buyers and all the other joys that eventually mean valuers like us can create far more detailed reports.

In February 2026, Guinness World Records recorded a PSA 10 Pikachu Illustrator at over £12,000,000 and noted that it was not merely the most expensive Pokémon card sold at auction, but the most expensive trading card sold at auction, full stop. This was the item owned by a chap called Logan Paul, whom had a £75,000 diamond encrusted holder made for it, so he could wear it around his neck to wrestling events – imagine doing that with your Panini sticker of Peter Beardsley from Italia ’90.

Name me another piece of art that is more valuable per square inch? Answers in the comments…..

At the more recognisable British end of the scale, a first-edition shadowless Charizard that would have cost roughly £2 in 1999 sold in the UK this year for £30,000. Headlines of that sort tend to make people look that little bit harder in the loft.

What also tends to surprise people outside the hobby is that the market is not confined to cards in binders. It now sprawls into sealed boxes, promotional pieces, tournament items, display material, uncut sheets, packaging oddities and original artwork. Recent record-setting sales in the United States for a Pokémon/Magic test-print uncut sheet and for signed original Pokémon art show that collectors are often buying not just the game itself, but the history around it. There is footage somewhere on YouTube of a collector that shows their whole house decorated in ‘Point of Sale’ posters and stands – slightly extreme, but at least you would know what to get them for Christmas.

The point is that it’s not just the cards, its everything surrounding the hobby.

For insurers, it shouldn’t be complicated, but that always means that it is – unglamorous things such as; condition, edition, rarity, authenticity, provenance and grading. Two cards that look nearly identical to the untrained eye can have very different market values.

Worse, not everything in the market is what it claims to be….. In February 2026, U.S. Law enforcement released details of a fraud case involving sports and Pokémon cards sold with fake grades purportedly issued by PSA. That is a useful reminder that paperwork is not administrative fluff here; it is part of the object’s value. A certification number, a purchase trail and a proper photograph are not niceties. They are the difference between confidence and a very awkward conversation.

That, really, is why Pokémon matters to the modern collectors market, I cannot personally pretend that I thought it would last this long, or actually continually increase in market dominance, but it has, and that proves my point.

It became popular because it was clever enough to bring children in as the initial target market, charming enough to be a collection, and broad enough to survive its first generation of fans growing up. In the UK, it has long since moved beyond fad status, it is a serious collectible category with a lively market, a growing body of ephemera and the occasional price result that makes you think that you shouldn’t have bought those Panini stickers instead.

Wuthering Heights Jewellery: Antique Pieces and Modern Interpretations

Posted on February 18, 2026February 19, 2026 by Jenny Serra

This year’s hotly anticipated Valentine’s Day blockbuster is upon us! Something our specialists have paid particular notice to has been the jewellery worn in the run-up to the film, at previews, interviews and press engagements. With film preview tours becoming much more thematic in styling, we are delighted that this has now extended to the jewellery worn in the promotion of the film, with antique, sentimental and storied pieces on display. Here are some of our highlights:

Brontë Hair Bracelet

Significantly, Margot Robbie wore a replica of Charlotte Brontë’s hairwork and garnet memorial bracelet, woven with Anne and Emily’s hair. Housed at the Brontë Parsonage Museum, this sentimental piece was painstakingly replicated by Haworth-based Wye Weaving, and formed the inspiration for her hairwork dress by Dilara Findikoglu.

Taj Mahal Diamond Necklace

Fitting for a Hollywood romance film (however gothic) – Margot Robbie wore the historic Taj Mahal diamond necklace. Set with a central heart shaped diamond, inscribed with Persian text Love Is Everlasting, this significant stone was believed to have been gifted by Mughal Emperor Jahangir to his wife Nur Jahan in the early 17th century. It passed to his son, Shah Jahan, who famously built the Taj Mahal in memory of his wife. Fast forward three hundred years, the diamond was set by Cartier and purchased by Richard Burton as a gift to Elizabeth Taylor for her 40th birthday in 1972. A deeply storied and highly romantic piece, it is not without controversy, and sold at Christie’s in 2011 for $8 million which was rescinded – resulting in a law suit between Christies and Elizabeth Taylor’s estate.

The Duchess of Devonshire’s Cartier Opal Tiara/Necklace

Director Emerald Fennell (daughter of jewellery designer Theo Fennell) wore a spectacular black opal and diamond necklace by Cartier, loaned by Sotheby’s and featuring in their upcoming auction. This piece was commissioned by Lady Mary Cecil as a tiara for King George VI’s coronation in 1937. Lady Mary went on to become the Duchess of Devonshire just one year later. The piece was on display last year as part of the V&A’s Cartier Exhibition, but has not been worn in pubic in over 70 years, and is estimated at £700,000 – £1,000,000. Following Bonhams’ 2025 sale of the Cartier Astor Tiara for £889,400 it will be interesting to see the result for this significant piece.

Cece Jewellery

Margot Robbie and Jacob Elordi commissioned matching signet rings from Cece Jewellery to commemorate their roles. With enamel skeleton detailing, and the book’s famous line “Whatever our souls are made of, his and mine are the same…”

Jessica McCormack

During the run-up to the premiere, Margot wore a few pairs of Jessica McCormack earrings, the antique inspired ‘button back’ and ‘gypset’ settings worked particularly well with the Gothic Victorian inspired styling of the film.

Robbie also wore a pair of heart shaped ruby gypset earrings by Jessica McCormack, retailing at £6,750, a pair of diamond and pearl cut-down earrings, retailing at £6,000, and a custom-made pair of garnet, pearl and diamond drop earrings.

Barron London

Creating the soundtrack for the film, Charlie XCX was not to be outdone with her jewellery. She attended the premiere wearing exquisite jewels sourced from Barron London, including a pair of Burmese sapphire and diamond earrings in platinum, and a 6.02ct old mine cut diamond ring. These remarkable gems were paired with a custom pink gown by Erdem.

To arrange a jewellery valuation, call us on 01883 722736 or email us at [email protected].

Valuation Trends and Risks to Know in 2026

Posted on January 28, 2026January 29, 2026 by Jenny Serra

Valuation Trends are shifting as we move into 2026, shaped by changing collector behaviour, evolving tastes and ongoing volatility across global markets. From jewellery, watches and handbags to art, rare books, silver and collectables, understanding where values are moving and why has never been more important. In this article, our specialists share their insight into the key valuation trends to watch in 2026 and explain what they mean for owners, collectors and those responsible for ensuring assets are accurately insured.

Jewellery

Liz Bailey, Jewellery, Watch & Silver Specialist

“As we have seen in 2025, the price of gold has reached record breaking levels and I can see no slowing of this trend into 2026. With a near 60% price increase last year, it will be crucially important to maintain regular valuations. We would expect to see a stabilisation in the market for natural diamonds, particularly steady in round brilliants under 2ct, and price spikes continuing for elongated fancy shapes and unique cuts over 2ct. In the gemstone market, a continued and constant premium placed on natural, saturated and high-quality gemstones of a favourable origin, which may prove increasingly difficult to source on the international market. Antique, signed, and unique pieces to remain in high demand, and designer price hikes to only push replacement values for insurance. If I could urge clients one thing for their jewellery collection this year, please ensure that you have a comprehensive and up to date valuation that accounts for these market factors – inadequate cover is not a trend that we want to see in 2026!“

Collectibles & Memorabilia

Stephanie Connell, Senior Valuer & Collector Specialist

“With a new generation evident in the market, acquiring pieces coveted in their youth I anticipate continuing growth in modern collectables. The trend towards objects from the early 2000s is gaining momentum with record prices recently in sports trading cards, and movie memorabilia from this period. With 2026 being a World Cup year football memorabilia may also be one to watch.”

Rare Books & Comics

Richard Fattorini, Rare Books & Manuscripts, Historical Photographs and Maps Consultant

“In 2026 I expect the rare book market to remain resilient and quietly buoyant with steady growth rather than a speculative boom. Auction activity continues to expand, driven by online platforms and new online auction houses specialising in rare books and works on paper that have widened access for collectors. Top-tier works selling for £100,000+ with strong provenance, historical importance or exceptional condition are likely to hold or increase in value. By contrast, more ordinary collectible titles may see flatter prices. A younger, more diverse generation of buyers in the 35-50 age bracket is reshaping tastes, with increased interest in genre fiction, science and books that tell compelling stories rather than simply fitting a traditional canon.

In 2025 the global top 10 books and works on paper sold at auction were dominated by Americana and American sports cards, together with a first Superman comic from 1939, an 18th century Mughal manuscript of an epic based on the Shahnama, and one of four copies of William Blake’s Songs of Experience (1793).

The results demonstrate that there are buyers out there for the best items, and collecting has never been easier with so many online platforms. The challenge for booksellers and auctioneers in 2026, as always, is finding the great material to meet the demands of collectors.”

Luxury Handbags

Helen Doyle, Jewellery, Watch & Handbag Specialist

“In 2026, the resurgence of the tote is a defining trend. These large handbags have become essential for fashionistas who need a single bag that they can use for the gym, take to the office or on a weekend shopping trip. Chanel continues to offer a great variety of shopping totes, while the Louis Vuitton Neverfull remains a staple and is available in various sizes and designs. Other brands leading this movement are The Row and Saint Laurent, for those seeking ultimate luxury, the bold Hermes Birkin 40 is the standout choice for a high-end tote. These designs can be priced anywhere from £1500 up to £55,000.

2026 also sees a significant revival of old classics, as several iconic handbags from previous decades return to the spotlight. At Celine, Michael Rider has reintroduced Phoebe Philo’s classic Phantom handbag, adding a “smiley” zip to lean into its long-standing nickname. Likewise, we are seeing refreshed iterations of the Lady Dior and the Fendi Baguette, alongside a sharp rise in the popularity of the Chloé Paddington and the Balenciaga City bag.

In terms of aesthetics and materials, specific hardware and textures define the 2026 look. Chains have become a dominant feature across many collections; while Chanel has historically been central to this style, brands such as Ferragamo, Valentino, and Stella McCartney are now heavily incorporating chain details into their newest designs. Additionally, the tactile trends of 2025 are proving to have staying power. Shearling remains a popular choice for added texture, while the colour palette for the year is grounded in sophisticated neutral tones and rich brown suedes.”

Silver

Jenny Knott, Jewellery & Silver Specialist

“If you’ve been watching silver at all, it feels a little like observing the quiet underdog of the precious-metals family suddenly step into the spotlight. The reliable, understated sibling has started to make the headlines, although it’s not a completely straightforward story.

Over the past five years, silver has shifted from a relatively modest performer to one of the standout commodities in global markets. The spot price – the price at which sterling silver is traded – more than doubled between 2021 and 2025, reaching £50–£60 per ounce by the end of 2025 and then peaking at £73 per ounce last week. By historical standards, this is extraordinary, even when set against previous market surges.

There is, however, a more disconcerting side to the story. While silver’s financial prominence has grown, its role as a domestic commodity, for example, in flatware, tea sets and decorative pieces, has continued to weaken. These uses once formed a central part of silver’s cultural cachet but rising prices and changing tastes have led consumers to step back from buying some traditional silverware.

For those who already own silver, this shift has had dramatic consequences. The intrinsic value of household silver has risen sharply, although this is partly offset by dealers being forced to cut their margins. Put bluntly, a single silver table fork is now likely to contain around £140 in silver value alone.

Therefore, what was a relatively quiet market until around 2023 has become strikingly dynamic. The gains seen in 2025 and early 2026 would once have seemed almost unimaginable outside the gold market. The result is a fascinating intersection of macroeconomic forces and cultural change, making silver one of the most compelling commodities to watch.”

Watches

Alastair Meiklejon, Senior Valuer & Watch Specialist

“In 2026 the watch market has reached the ‘calmly tidying up’ era….prices are well off the post-pandemic peak (about 33% down), but they’ve stopped face-planting at a rate of knots and even crept up 5%(ish) over the last year, but this is only in some markets.

Many watch retailers January 2026 updates back that up – the “Overall Market Index rose +1.1% in December 2025, with Rolex +0.6%”not exactly fireworks, but a lot steadier than 2022–23 vibes when some people were crying into their watch boxes.

Where it still gets spicy is the ‘coloured dial tax’, especially on Rolex. For example, secondary market currently puts the Rolex Oyster Perpetual 41 (124300) at £6500 market vs £4750 retail, so still over list.
And the brighter variants are another level – the yellow dial is £12,500, while the celebration turquoise is £11,500 – so yes, the market’s cooled, but the right dial still makes people forget what retail means.”

Contemporary Art

Jonathan Horwich, Contemporary Art Specialist

“Looking ahead to 2026, you can expect a continued and growing focus on female artists at auction. This spans all periods, from contemporary practitioners through to Old Masters and 19th-century European painters. Demand is no longer confined to a single category, and this broader interest is already reflected in stronger and more consistent prices.

There is also sustained momentum behind African and regional African art. While figurative work has dominated in recent years, attention is shifting towards abstract painting. This is bringing a wave of new artists to market, supported by increased institutional and collector interest. Given the depth and quality of material available, this area is likely to remain a key growth sector, with valuation levels continuing to evolve as the market matures.”

Antique Furniture

Alastair Meiklejon, Senior Valuer & Watch Specialist

“In 2026, antique furniture is a simple equation – the headline pieces still go bananas, while the everyday stuff stays more price-sensitive. Last year gave us a perfect top end vs. normal world contrast – J.R.R. Tolkien’s Merton College desk made £330,200 at Christie’s which I wrote about not so long ago, and was pure provenance power. And in the broader furniture-as-trophy bracket, François-Xavier Lalanne’s Hippopotame Bar hit $31.4m at Sotheby’s in December 2025, whilst not exactly antique furniture, it does indicate that market changing and becoming just as important…

At the other side of the market, though, it’s much more selective.

Victorian sideboards, mixed-condition dining sets, and ‘perfectly nice’ brown case furniture can still be surprisingly attainable because buyers are picky….

Where people will stretch is for the right, unmolested examples – original surfaces, honest wear, good colour, and clean provenance. Major auction houses these days literally frame desirability around provenance and patina – and collectors are widely wary of heavy refinishing because it strips character and can dent value. So, clients should take note that actually, that stain from 50 years ago, might not have been as bad as imagined….”

With valuation trends moving quickly across multiple markets, regular professional valuations remain the simplest way to stay informed and properly protected. If you would like advice or need an updated valuation, get in touch with our team to arrange a valuation.

Vintage Movie Posters: The Frighteningly High Value of Classic Horror Art

Posted on October 30, 2025October 23, 2025 by Jenny Serra

“Do you like scary movies?” – it’s spooky season, so to get ourselves in the Halloween mood I will be looking at some of the world’s most desirable horror movie posters. Be prepared, the replacement costs can be ‘frightening’!

Silent Movie Posters

Nosferatu (1922) is arguably, the most recognisable horror film of the Silent era. A masterpiece of German expressionist cinema it has remained influential for over a century. Yet Count Orlok had a brush with an horrific fate – to vanish from existence!

The plot for Nosferatu was taken directly from Bram Stoker’s ‘Dracula’, but without permission! Despite altering the character names to avoid suspicion of breach of copyright, Stoker’s name and the word ‘Dracula’ were used to promote the premiere.

Bram Stoker had died just 10 years prior to Nosferatu’s release. His widow, Florence Stoker, was alerted to the films existence by an anonymously sent copy of the Berlin premiere programme. A legal battle with the producers ensued. The resulting court judgement stated that all copies of the film should be destroyed. And yet Nosferatu survived!

The stunning production design and promotional design were created by occultist artist Albin Grau (1884 – 1981). Due to the copyright issues surrounding Nosferatu, original ephemera is rare. In 2019 a German magazine advertisement from 1922 (see below), sold at auction for $52,800. Although this type of ephemera is usually of limited value, have a piece from Nosferatu in your collection? Expect to insure it for around £70,000.

In Hollywood the biggest star of Silent horror was Lon Chaney (1883 – 1930). Chaney was an inventive actor. However, Chaney’s real legacy was as a skilled makeup artist and prosthetics designer. In an age when makeup was seldom used on screen Chaney crafted looks which continue to startle audiences.

One of his most famous roles was as Quasimodo in the 1923 adaptation of ‘The Hunchback of Notre Dame’. Copyright lapsed on ‘The Hunchback of Notre Dame’ in the 1950’s, so like many silent pictures, it’s available to watch for free online. An original theatrical release poster was offered at auction by Bonhams, Los Angeles in 2019. The eerie scene, with stunning artwork typical of the silent period, sold for $212k (including buyer premium). The insurance replacement cost here is in the region of £350k.

One of the highest prices ever paid for a poster at auction was for Chaney’s horror ‘London After Midnight’ (1927) (below).

‘London After Midnight’ is one of the great lost ‘pictures’ of the silent era. The last known copy of the film, featuring; vampires, Scotland yard detectives and hypnotism, was destroyed in the MGM vault fire during the 1960s. Should the movie itself ever be rediscovered, it would likely be worth over six-figures.

The only known copy of the original American one-sheet poster (see below) was unveiled during an auction at Heritage, Dallas in 2014. With collectors clamouring to own this unique piece of horror history, it sold for a startling $478,000. Insurance values for a piece of this calibre would be in the region of £750,000.

Horror Movie Posters from the 1930’s

By the late 1920s, the arrival of ‘talking pictures’ brought new horror movies and new stars.

The first major horror ‘talkie’ was ‘Dracula’ (1931) starring Bela Lugosi. An enormous commercial success, the film has defined the image of the character for generations, inspiring countless Halloween costumes.

Its worth noting the market for some ‘Golden Age of Hollywood’ posters has slightly cooled in recent years. Prices overall for horror remain high.

An original poster for ‘Dracula’ was sold by Prop Store auctions, Los Angeles earlier this year, fetching $264,600 (against an estimate of $150k – $300k). Dracula’s poster had several versions, this one being ‘Style F’. A scarcer ‘Style A’ was offered by Heritage Auctions in 2017. As one of only two known copies, it made a record of over half a million dollars ($525,800 including BP).

The British director James Whale, though you may not be aware of it, will have influenced what you consider horrors icons. In 1931 he directed ‘Frankenstein’ starring Boris Karloff. Karloff’s ‘Frankenstein’ was one of these icons. Elements may seem cliché to today’s audiences, but these scenes were revolutionary.

Earlier this year, a copy of ‘Frankenstein’ went under the hammer, again at Prop Store L.A. This American ‘Style A’ version was one of just seven or eight known to exist. It sold for just over $200k. As with ‘Dracula’ different styles were produced for the original American ‘Frankenstein’ release. If you are lucky enough to own a copy it should potentially be insured for upwards of £250,000.

Frankenstein’s sequel ‘The Bride of Frankenstein’ (1935) is one of the most eye-catching posters of the era. Starring British actress Elsa Lanchester as ‘The Bride’ an extraordinary half sheet poster, one of only two known, was offered for sale by Heritage in 2023. When the gavel fell, the price was $100k. Interestingly a remake ‘Bride!’ is due for release in early 2026.

British Horror 1940s – 1970s

One of the greatest pieces of cinema created by Ealing Studios was ‘Dead of Night’ (1945). An anthology the plot features several spooky stories told over the course of one evening. It is most famous for the section featuring a ventriloquist’s dummy, but to those who collect antiques the haunted mirror sequence is probably the most terrifying.

The original poster for the British release is relatively uncommon. Bonhams offered a copy during 2021 – despite being backed onto card (an undesirable method of restoration) it sold for £11,475.

The movies made by Hammer Productions from the late 1950s to 1970s are the pinnacle of British horror collecting. Dubbed ‘Hammer Horror’ the London based studio released 50 horror films. Their most successful starred legendary pairing of Sir Christopher Lee and Peter Cushing. The combination of colourful gore with glamourous villains was a successful one. Hammer brought versions of Dracula, Frankenstein, and Sherlock Holmes to new audiences.

Unsurprisingly, original posters for Hammer’s Dracula (1958) starring Lee and Cushing are the most valuable. Dracula was such a hit Hammer released eight sequels! Don’t let ‘Dracula’ come back to bite you, British quad posters from the original release should be insured for at least £50,000. With Hammer in demand, many of their major motion pictures should be looked at for insurance.

1960s and later

More recent releases may not have posters achieving over £100k yet, but don’t be afraid to get them appraised.

Alfred Hitchcock’s Psycho (1960) is a key poster for anyone building a collection. Almost all cinephiles will be aware of the shower scene, yet Psycho still surprises and shocks!

Released under a veil of mystery, with audiences sworn to secrecy about the plot, Psycho was a massive box office drawer and an instant classic. If you are looking to start a collection, a copy of the US one-sheet for Psycho can typically be secured for around £3,000.

George Romero’s ‘The Night of the Living Dead’ (1968) redefined horror and created the modern zombie movie recognisable today. It was shot on a shoestring, with a budget of just $100,000, it eventually grossed over $30 million!

The British poster for the 1968 release is probably the most visually striking. If you are looking to acquire a copy or insure, anticipate around £2,750.

Finally, to John Carpenter’s Halloween. Released in 1978 Halloween captures an essence of the many films which precede, while popularising a new genre, the ‘slasher’ movie.

Unusually, the most valuable poster for the movie is Australian (Australian posters are ordinarily among the most affordable). Unlike other copies it features a strong image of the character Michael Myers. A typical replacement price is between £2,500 and £3,500.

The defining poster image however is the American version including artwork by Robert Gleason. Have a copy? Insurance should be a minimum of £2,000.

If you have a collection that needs valuing, drop us a line at [email protected] or call us on 01883 722736.

Balls, Boots, and Bidding Wars

Posted on October 9, 2025October 9, 2025 by Jenny Serra

If you are anything like me, over the past twelve months you will have enjoyed many sporting events, including The British and Irish Lions tour, which started with a narrow defeat by the Argentinian Pumas in a great game in Dublin then with a massively successful tour in Australia.

In the same month Royal Ascot came about with all the glitz and glamour that it normally does, with a fantastic array of horses – and of course hats! with a great season of racing that followed this year.

Both of these events have not only a strong following from armchair enthusiasts such as myself, but also people enthuse on a whole different level, those that wish to take their support or interest to the next level, I am of course talking about the sporting ephemera collector.

We have all been to charity auctions, and some of us have even taken them, where a football star decides that (or is told that) giving a pair of his (or her) boots should be sold for the benefit of a charity, and usually this is greeted with tremendous appreciation, and means a lot of money raised for good causes, but the upper echelons of sports memorabilia can make some people wince with the thought of how much one can pay for such items…

If we are talking about the big leagues, you can only really start with the major league of sports collectibles, the ‘home run’ if you will…..
The Babe Ruth ‘Called Shot’ World Series Jersey – $24.12 million dollars of baseballs finest, sold in 2024, it was and remains the most expensive piece of sports memorabilia, which is incredible really, when you consider that the vast majority of the world has no comprehension of how baseball actually works…Just be thankful there is nothing about cricket to follow.

For anyone that watched the fantastically interesting recent Michael Jordan documentary, you probably won’t be surprised to see that pairs of his sneakers (trainers to those in the United Kingdom) have sold for millions of dollars in the past, with this jersey from the 1998 “Last Dance” final, selling in 2022 for $10.1 million dollars, which again is an American sport that has a slightly larger global outreach than baseball.

In August 2025 another Michael Jordan collectible, (yes, he really is that popular) came to the market amongst a lot of anticipation within the sports collectibles field. The ‘Logoman’ collectors trading car that features both the signatures of Jordan, and fellow basketball icon, – the late, great Kobe Bryant. With the two most well-known players in history on one card, you would think that it should make a lot of money at auction, and you would be very, very right. $12.9 Million dollars, beating the previous record of $12.6 million for baseball’s second most famous son – Mickey Mantle, which sold in 2022.

The Stanley Wakefield Jersey worn by the player during the Lions 1924 tour of South Africa is probably one of the holy grails of all Lions items, selling at a local sports auction in 2023 for £18,500. Wakefield, considered one of the greatest all round sportsmen of his generation wore this blue shirt (quite different from the current bright red version) for the tour and enjoyed a healthy sports life of being ballroom champion, South African boxing champion, Olympian, International Tennis and Polo player, all that whilst serving with distinction in both world wars – not something you see from many modern sports stars!

So, whilst we are looking at Rugby, possibly the most impressive item to have ever come up for auction was the 1973 Barbarians jersey worn by Gareth Edwards against the All Blacks…

Cardiff Arms Park on the 27th January 1973, and universally regarded as the best try to have ever been scored by a mere mortal against an opposing team who were virtually unbeatable in this period, Edwards ran the entire length of the pitch and scored for the Baa-Baas, in an almost impossible fashion.

The jersey made £288,000 at a local saleroom in 2023 and became the most expensive piece of rugby memorabilia ever sold.

Has this last tour brought such career defining moments? Despite the clear success, it’s very difficult to tell, but putting on the Lions Jersey will always be one of the most important and proudest moments of a Rugby Union players professional life.

Looking forward to 2026, of course the Football World Cup, Winter Olympics, and many other annual events will take place, and undoubtedly more memories and memorabilia will be created.