Showing posts with label concert posters. Show all posts
Showing posts with label concert posters. Show all posts

March Madness - Rock 'n Roll Style!


March 27th - April 3rd, 2011
"This is one auction you can't afford to miss!"

We are serving up our first-ever March Madness Auction featuring over 1,000 previously featured auction lots with insanely low opening bid prices

If you like vinyl, we've got tons of vinyl. If you like concert posters, we've got those, too. If you're more in the market for signed items, we've got plenty of signed items. 

Fantastic Deals on Rare Vinyl
If you're more of a band-specific collector, we've got loads of Beatles collectibles and amazing memorabilia featuring The Rolling Stones, Yes, Grateful Dead, Journey, Frank Zappa and Genesis...just pick a band from A- Z . We've got it all. 

The idea for the auction came about after we found ourself in a position to which most collectors can relate: Too many goodies, not enough room. Over the holidays, we took stock of physically how much we've got and started to look at our auction calendar for this year and next year (which by the way good things are on the horizon), and we started to realize that if we continue to put stuff on our shelves, we'd need a bigger place. Well that wasn't going to happen. 

So here are a few highlights: 

Grateful Dead Photos by Herb Greene
Vinyl records, primarily from the 1960s and 1970s, will comprise roughly half of the featured lots. The majority of the vinyl came from disc jockeys or record company executives and is in immaculate condition. Vinyl collectors who want to upgrade their collections but need to stick to set budgets will be pleasantly surprised.

It's a perfect opportunity to pick up a lot of attractive mementos and collectibles and keep what they want, or trade the rest or resell it. To put it simply, you can buy the large vinyl lots, break up the lots, and if you want to, sell or trade them and perhaps make a bit of pocket money for yourself, and possibly then some. The opening bid prices that are set for each of the lots featured in the auction are really going to excite everyone and we mean really excite you. 

Vintage Posters
The auction will also feature a variety of signed pieces, a collection of cool concert posters from the mid-1970s, gorgeous backstage passes, obscure recording reels from the original Agora in Cleveland and a handful of oversized photos of the Grateful Dead, taken in the 1960s by renowned San Francisco photographer Herb Greene. 

If you collect Beatles memorabilia then get ready to be amazed. The auction will feature nearly 100 Beatles lots, including rare vinyl, posters, toys & collectibles, magazines and books

It'll be awfully hard for collectors and fans to overlook lots featured in the March Madness Auction, especially when the opening bid prices are in most cases up to 75 percent off the original store price or previous auction price.

There are literally 1000s of amazing collectibles at a fantastic price, and if you have been eyeing a particular item for awhile and you haven't really been able to bite the bullet on it, now is your chance to buy that piece, and most likely, get it for a really great price.

100's of Beatles Lots
But that window of opportunity won't stay open forever. The one promise that we will make is that once the auction is over, we are not going to put any of the unsold items back in the store. This is it, last and final encore for these items. Once the auction ends, the items will no longer be available. 

We still have hundreds of awesome items in our online store featuring quite a selection of hard rock and heavy metal memorabilia from the private collections of Al Jourgensen of Ministry and heavy metal manager Walter O'Brien

The March Madness Auction event is scheduled to go live on Sunday, March 27th at 2:00 pm EST and run for a week, coming to a close on Sunday, April 3rd. See our website for more details and the Auction Rules

There will be NO PREVIEW so when the auction goes live it will be open for immediate bidding. 

With prices slashed up to 75% percent off the original price you simply can't afford to miss this opportunity. This auction is going to be a lot of fun and we are just as excited as you. If there are questions you need answered or if we can be of personal assistance, please let us know. 

We are looking forward to seeing you at the auction block!

If you are not registered for your FREE VIP Access - Click here: Full VIP Access

Collectors still feel plenty of love for Elvis memorabilia

It’s good to be The King — or at the very least, to collect him.
The prices that Elvis’ fans are happy to pay for his albums, posters and memorabilia show he’s still alive and well in the collectors’ market.
“There’s sort of an expiration date on artists, and I think artists that, let’s say, have their peaks back in the ’50s and ’60s, for them to still be collectible and highly collectible to date is really unusual,” said Jacques van Gool of Backstage Auctions.
Elvis collectibles stacks up extremely well with the likes of The Beatles, The Stones, The Who, The Grateful Dead, Pink Floyd and others, which is impressive when you consider that his roots go back a solid 10 to 15 years before those other artists made it on the scene, van Gool said.
The Beatles probably do outrank Elvis in overall collectibility, largely because The Beatles are a global phenomenon among collectors, while most Elvis collectors are here in the U.S., he said. That said, Elvis is no shrinking violet, particularly when it comes to personally owned pieces, such as one of Elvis’ cars, jumpsuits or autographed pieces.
“You’ll see some mind-blowing numbers when it comes to Elvis, the same types of numbers you’d see for the The Beatles,” van Gool said.
There hasn’t been a lot of change in the Elvis market in the last 10 to 20 years, he said, and the market for Elvis-related collectibles remains strong and steady.
“The fact that they’re still, every year, coming out with new merchandise is a very healthy sign that the market is there,” van Gool said. Toys, calendars, T-shirts, vinyl records, movie posters, books, commemorative plates, DVDs … the list of Elvis-related collectibles is almost endless.
“I know that Graceland draws a lot of people every year, and just about everyone will walk out of there buying something,” van Gool said. “I truly believe that collectors are born in the gift shop. Graceland is very important.”
If you’re wondering where to get the most bang for your Elvis buck, look toward the elite items, where demand far outstrips supply, such as Elvis’ autograph, a piece of his jewelry or clothing, or any of the first five Sun Records singles, van Gool said. Items from the 1950s command the best prices, followed by those from the 1960s and 1970s, he added. Just be careful to choose authenticated items, as everything from Elvis’ jumpsuits his signature have been replicated.
If you’re just getting started collecting Elvis memorabilia, the options for collecting can be overwhelming, as Elvis had so many different eras in his career. The rule of thumb is that items from the 1950s are the most expensive, followed by those from the 1960s and 1970s.
“With Elvis, if you want to start working your ways backwards, start with everything from 1977. When he passed away, there must’ve been 50 different magazine specials and 100 newspapers that wrote about him, and commemorative coins and commemorative everything. That can be a great point to start,” he said. From there, you might want to look at old tour programs or Vegas pieces.
Whatever route, van Gool recommends following a basic rule of thumb.
“I would rather spend $10 on something that’s 30 years old than spend $10 on something that was released yesterday,” van Gool said. “Everything that was released today comes out at a premium, and for the next 10 years, the price will drop.”
By Susan Sliwicki
Backstage Auctions Elvis Memorabilia: New Store Items

An Insiders View of the Memorabilia Scene

By Stephen M.H. Braitman

It never fails that our truly personal “Rosebud” is humble, perhaps common, and not what others expect. When asked what he would save if the flood waters were rising, Jacques van Gool reflected a moment and then said without embarrassment: a 1975 issue of the Dutch magazine Muziek Express with Kiss on the cover.
Apparently it was the first time Kiss had made the cover. “Emotionally, that magazine brings home more memories to me than anything else.” It was, as he said, “a life-changer.”
Jacques van Gool - Backstage Auctions 
That change in life turned van Gool into a music collector, growing a personal collection into a significant leisure activity apart from his main gig in the globetrotting corporate world. When he and his wife Kelli became fed up with relentless travel and no home life, they seized on the opportunity to capitalize on their obsession with music memorabilia. Jacques and Kelli now run Backstage Auctions in Houston, focusing on collectibles personally owned by artists, managers, producers and promoters.
We wanted to hear from van Gool as someone totally immersed in the world of music memorabilia for a perspective many collectors simply can’t have. Like other professionals in his field, he has a view that is helpful on many levels to understand the dynamics of the market. Like, what the heck is happening now? And should I buy everything in sight?
We’ve had a certain amount of controversy over what constitutes “music memorabilia” lately, like Elvis’ medicine bottles. How do you define it? Is absolutely everything worth buying and selling?

Jacques van Gool: Honestly, I try not to define it. To me, memorabilia is anything that you enjoy collecting. And if you ask a thousand people why they collect, you probably get a thousand different answers. So, if collecting medicine bottles is your thing, then by default those bottles become memorabilia to that collector.
Having said that, I personally don’t believe that absolutely everything is worth buying and selling. We’ve been offered many very personal items over the years and that’s where I draw the line. Sure, I’ll take Bruce Springsteen’s boots, jeans and sweaty shirt any day, but I’ll pass on socks and underwear. I’ll gladly offer up Bob Dylan’s handwritten lyrics or letters, but an expired passport or a hospital bill with a social security number goes a step too far. I realize that the lines have been blurred over time, but I still believe that true music memorabilia is comprised of items that were meant to be collected: records, posters, shirts, autographs, photos, instruments, lyrics, magazines, etc.
Fortunately, that still makes up 95% of what’s out there, so I think we can easily group the remaining 5% as novelty items, which, by nature and design, attract mostly a different audience than the traditional collector.
At what point do you recommend that an object be authenticated? How rampant in the industry are counterfeits and frauds? And what categories of memorabilia are most suspect?

Jacques van Gool: Oh man, you sure know how to ask the tough questions, don’t you? I guess that once it became clear that there was money to be made in music memorabilia (and this goes back to the 1970s), you started seeing the first counterfeits. It likely began with autographs but has since spilled over to high-end concert posters, rare vinyl, vintage T-shirts, toys, tour programs, you name it.
It’s really no different than what you see among sports or movie memorabilia, or art, coins, stamps, jewelry — heck, even wine for that matter. I’m not sure that you can weed it out, but as an auctioneer you have an obligation to your buyers to protect them from fraudulent practices. We’ve eliminated it by exclusively representing the authentic source of whatever we auction, which creates huge peace of mind for everyone involved.
Short of that, if you want to sell or buy an item that comes from a secondary source, you really need to do your homework. Fortunately, there are many experts in many different fields who can help you authenticate. I must add, though, that you have to make sure that this expert is truly independent and has no other agenda but to serve you with the highest level of integrity.
Naturally, the most suspect area is that of signed memorabilia, simply because we all want a fully signed Beatles photo or poster from 1964. The reality is that only so many true signed pieces are in circulation and once the prices start to hit the four and five-digit levels, it’ll bring out the crooks from around the world. I’ve seen loads of fake autographs coming from Australia and Europe and Canada, so it’s not an American problem per se.
I’m not even going to touch the whole subject of whether to use a forensic expert or an autograph expert. At the end of the day, even though this is a massively complex issue, I believe that it’ll come down to something very simple: If you, as a buyer — in heart and mind — are happy and satisfied with the item you bought, than that’s all there is to it.
Every collector has a unique standard to which they measure their own collection. Some may need three independent reviews, letters and documents to pull the trigger, whereas the next buyer acts on impulse and buys simply because he or she likes what they see. That’s something that we (the sellers) can’t control. But what we can do — and must do — is take every step possible to provide the right stuff. After all, we are being looked upon to uphold a standard, and I like to believe that — since we have seen it all — we should know how to separate right from wrong.
There are many auction houses and retailers dealing in music items, and there’s tons of stuff out there — and not even counting eBay! Is there too much stuff? Is this a bubble market?

Jacques van Gool: I agree that there is a ton of stuff out there and naturally, from a competitive viewpoint, I’d like to see less; but that’s a bit of a double edged-sword. The fact that so many generic auction houses have jumped on the music memorabilia market also helps the rest of us in that it supports and promotes the overall hobby. The more places there are where you can buy collectibles, the more potential there is to create or generate new collectors, something that in the end is always good for our business.
I don’t believe it is a bubble market, though. Collecting music memorabilia is something that I see continuing for as long as there is music. The only fluctuations you will see is in the number of sellers. When the market is strong, there will always be an increase in auctioneers, retailers and stores that want a piece of that pie. When the market slows down, some will retreat and move on to something else. The diehards will always remain loyal and fortunately, there are some great music memorabilia stores and sellers who have truly been dedicated to serving the market for decades.

What type of people are actually spending thousands of dollars on higher-priced items and objects? Are there enough rich or well-off collectors out there, or is the market mixed with pure investors?

Jacques van Gool:  Well, you never can have enough rich collectors as far as I consider, but in reality, the real high-rollers make up for perhaps 5 or at best 10 percent of collectors. The beauty of collecting is that literally everyone can do it — and does do it. As such, you’ll see a perfect bell-shaped graph, which I believe to be a reasonable reflection of the income classes in the industrial world.
You’ll always have a good chunk of collectors that solely operate at the lower value end, the largest population is to be found in the middle, and only a small percentage operates at the very top of the curve. I have always operated on that principle and, as such, aim to have our auctions reflect all three levels. In other words, I always want to have something to offer for every wallet, and no one should ever feel left out.
As for who buys the higher-end collectibles, in my experience that’s an exotic blend of clients. Naturally they have one thing in common, which is sufficient disposable income, but as far as their motives for collecting, I think only a small portion buys for the purpose of “investing.” Most high-end collectors are still true fans and motivated by the exclusivity of the item.
Are the voracious buying habits of showplace retail establishments like Hard Rock Cafe and museums like the Rock And Roll Hall of Fame and Experience Museum drying up collectibles and driving up prices?

Jacques van Gool: The museums used to buy in the very beginning, but once they established themselves, they have for the largest part relied on donations. The HRC has many deals directly with musicians who will provide them constantly with new material. By the way, most of the products you’ll see these days are reproductions.
The Hall of Fame is almost exclusively donations, which are mostly on temporary loan. They rotate their pieces fairly quickly and at some point, most of it will be returned to the consignor.
If your question is whether places like these generate a positive effect on collecting as a whole, I’d say the answer is yes. Everyone who likes music has visited at least once a Hard Rock CafĂ©, and you can’t help but be excited about the cool stuff that’s hanging on the walls. As a true collector, you naturally would love to have a piece just like that, whether it’s a signed guitar, a vintage concert poster or a record award. And that’s where the auctioneers and memorabilia sellers come into play. I’m all in support of places like the Rock Hall and the Hard Rock Cafes because, in the end, it’s good for the hobby, thus it’s good for business.
Is there any comprehensive database yet for music memorabilia similar to those available for fine art, like Artfact.com? Or is it still the Wild West — nobody really knows what’s out there, and new stuff is always being discovered? In other words, how mature is the field of collecting music memorabilia?

Jacques van Gool:  I don’t think it’s mature, but it is certainly maturing. Ever since the ’70s, people — mostly dedicated fans — have been putting together price guides which, if anything, are often helpful sources to knowing what is out there. You can find books these days dedicated solely to guitars, vinyl, T-shirts, posters, etc. On top of that, there are great band- or artist-related price guides for The Beatles, Kiss, Madonna, Rolling Stones and so on. Also, with the continued accessibility of the Internet, you’ll start to find more and more decent Web sites dedicated to pricing and inventory.
So I believe the hobby is getting better. That said, I believe this hobby is still too young to have established a reliable and consistent platform for pricing. I still see too many extremes in pricing to be able to say that a certain poster or shirt or autograph is worth “X” and “X” only. The best you have these days are ranges. But on the upside, the ranges have become more defined and more reliable, which is the result of collectors and Web sites comparing sales data.
What doesn’t make it any easier is the fact that new discoveries are being made on an almost daily basis, and many will have an effect (up or down) on what was established previously.
But, in a way, that’s the beauty of collecting music memorabilia. Unlike cars, coins or stamps, where you pretty much know what’s there, music memorabilia is much more diverse.
Lastly, we shouldn’t forget that this isn’t an exact science. We collect mostly because of our passion, and when you translate passion into value, the number in the end will be different for most of us. To me, that’s also the beauty of collecting music memorabilia. One collector will pay $50 for a certain poster, whereas the next collector will pay $500.
I find absolute pricing to be a bit of a dangerous undertaking, and I personally would like to see us concentrate more on ranges instead. Once we have widely established and accepted ranges, it’s up to the collector to decide whether on not to follow those guidelines. It certainly will make the whole negotiating part a little easier and, better yet, will provide a great aid in assessing the true value of a collectible.
Stephen M.H. Braitman is a music appraiser, writer, collector, and fan.