Once the dust had settled, I had hoped to come up with some conclusions about the Morphets bus and train extravaganza of last week. But the more I look at the results, the more my brain becomes addled. This isn’t just the result of the scale of it all, although that hasn’t got any better, it’s also because I’m not entirely sure there are that many conclusions to be drawn.
So let’s start with some simple thoughts. Expensive posters sold for lots of money.
This went for £2400, which is pretty much what I’ve seen it go for every time.
People still like to buy pictures of trains. It seems that they also like to buy pictures of motorbikes too.
Any other reason for that fetching £300 rather escapes me.
People like pictures which look like real things in general. So this Riley fetched £500,
while the Amstutz of the same subject only went for £240. (Apparently it is possible to go and stay on restored camping coaches even today. I must investigate further.)
Most of all though, what people like to buy most of all are nice pictures of landscapes which look a bit like proper art. So posters like these,
are highly desirable and go for £600 and £750 respectively.
This rule seems to work for bus posters too – this Lander reached a very respectable £340.
Although even I can see the appeal of that one.
But as I mentioned before, things which looked less like fields and more like design didn’t do so well. The Paddens, Coopers and their like didn’t reach anything like the prices I expected. There were a few exceptions to this which are worth taking a look at.
Firstly, kitschy 50s graphics seemed to be selling well – this Bromfield fetched £440.
While at a lower level, this rather nice Studio Seven pair fetched £70, more than most coach posters were managing to do.
Even more odd was that, in a complete reversal of the normal situation, artworks fetched more than the original posters. Royston Cooper’s airport artwork went for £320,
when you could have picked up the poster, as one of a pair, for £38.
While this Daphne Padden ark-work sold for £240, more than any of her individual posters made. Go figure.
But there was one big exception to the rule that good design didn’t sell – although perhaps not quite so much of an exception considering that it is a picture of a field as well.
Tom Eckersley’s Lincolnshire reached £550. Two readers of this blog battled with us over it – we lost but it’s going to a good home over in Norfolk so I don’t mind. Not too much anyway.