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It's the nation's favourite antiques experts... | 0:00:02 | 0:00:05 | |
I don't know what to do! HORN TOOTS | 0:00:05 | 0:00:07 | |
..with ?200 each, a classic car | 0:00:07 | 0:00:09 | |
and a goal - to scour Britain for antiques. | 0:00:09 | 0:00:12 | |
What a little diamond. | 0:00:12 | 0:00:13 | |
The aim - to make the biggest profit at auction. | 0:00:13 | 0:00:16 | |
But it's no mean feat. | 0:00:16 | 0:00:18 | |
Back in the game. Charlie! | 0:00:18 | 0:00:21 | |
There'll be worthy winners and valiant losers. | 0:00:21 | 0:00:23 | |
SHE GASPS | 0:00:23 | 0:00:25 | |
So, will it be the high road to glory | 0:00:25 | 0:00:27 | |
or the slow road to disaster? | 0:00:27 | 0:00:29 | |
Oh! This is the Antiques Road Trip! | 0:00:29 | 0:00:32 | |
Yeah! | 0:00:34 | 0:00:35 | |
Today, we're continuing our road trip in the company of two | 0:00:37 | 0:00:41 | |
charming antiques experts, Philip Serrell and Natasha Raskin. | 0:00:41 | 0:00:45 | |
Do you know, there's one thing that you can rely on in this country. | 0:00:45 | 0:00:49 | |
What's that? | 0:00:49 | 0:00:50 | |
Unreliable weather! | 0:00:50 | 0:00:51 | |
Esteemed auctioneer Philip has an eye for a bargain | 0:00:53 | 0:00:56 | |
and a nose to sniff out antiques in unlikely places. | 0:00:56 | 0:00:59 | |
This is just the best, this is much better than antique shops. | 0:00:59 | 0:01:02 | |
Joining him on this road trip is enchanting Glaswegian Natasha | 0:01:02 | 0:01:07 | |
with expertise in paintings, sculpture, | 0:01:07 | 0:01:10 | |
jewellery and female wiles. | 0:01:10 | 0:01:13 | |
Oh, my goodness, I'm going to have to be like Cupid and sort of... | 0:01:13 | 0:01:15 | |
throw a little arrow in your direction. | 0:01:15 | 0:01:18 | |
Our duelling duo set off in a 1957 Porsche with ?200 each. | 0:01:18 | 0:01:24 | |
As the penultimate leg of the road trip gets under way, | 0:01:24 | 0:01:27 | |
Philip edged in front with ?214.04 to spend. | 0:01:27 | 0:01:32 | |
Natasha, however, has just ?122.84. | 0:01:33 | 0:01:38 | |
Your purse is bulging now. You're over ?200. It's not bulging! | 0:01:41 | 0:01:45 | |
It's about 12 quid better than we started | 0:01:45 | 0:01:48 | |
I don't know how many days ago. | 0:01:48 | 0:01:50 | |
I'm almost ?100 worse off than when we started. | 0:01:50 | 0:01:53 | |
I've lost the plot. I think I got the rules wrong. | 0:01:53 | 0:01:56 | |
Natasha and Phil kicked off the week in Narberth in Pembrokeshire. | 0:01:56 | 0:02:01 | |
Their journey has seen them travel through the Home Counties. | 0:02:01 | 0:02:04 | |
Now they're heading to the south coast, | 0:02:04 | 0:02:07 | |
before heading to Salisbury, Wiltshire. | 0:02:07 | 0:02:09 | |
The fourth stretch has them going to an auction in Rayleigh in Essex. | 0:02:09 | 0:02:14 | |
But they're starting in Arundel. | 0:02:14 | 0:02:16 | |
Our experts' first stop is Arundel Antiques. | 0:02:17 | 0:02:20 | |
David's been trading in militaria for over 20 years | 0:02:20 | 0:02:23 | |
and has amassed quite a stock. | 0:02:23 | 0:02:25 | |
So, what do you know about militaria, Phil? Nothing. Nothing? | 0:02:25 | 0:02:29 | |
Most of it comes from the military. | 0:02:29 | 0:02:30 | |
Most of it. That's sounding good, yeah(!) Thanks. | 0:02:30 | 0:02:35 | |
Thankfully for Natasha, | 0:02:35 | 0:02:36 | |
there's another floor of items she can get her teeth into. | 0:02:36 | 0:02:40 | |
OK. This looks a bit more my cup of tea. Less militaria, more stuff. | 0:02:41 | 0:02:45 | |
But it's very nicely set out, isn't it? | 0:02:45 | 0:02:49 | |
Better if you take the covers off, Phil. | 0:02:51 | 0:02:53 | |
What about that? Oh, yeah. That's quite a good old piece. | 0:02:54 | 0:02:58 | |
A good, solid piece. How much is that? 35 quid. | 0:02:58 | 0:03:01 | |
It might benefit from a polish up, but... Wouldn't we all! | 0:03:01 | 0:03:05 | |
Speak for yourself. | 0:03:05 | 0:03:07 | |
Is 35 the best, or can we get under 30? Er, 28. How about that? OK. | 0:03:07 | 0:03:12 | |
I might just have a go at you with that. | 0:03:12 | 0:03:14 | |
Let me just have a wander around see if there's anything else I can see. | 0:03:14 | 0:03:17 | |
As Philip continues his search, Natasha finds David. | 0:03:17 | 0:03:20 | |
What do you have in mind? | 0:03:20 | 0:03:22 | |
Well, I think these are quite interesting, | 0:03:22 | 0:03:24 | |
two albums of cigarette cards from the 1930s. | 0:03:24 | 0:03:26 | |
Right, OK. Something I've never bought before. Always a popular subject. | 0:03:26 | 0:03:30 | |
So you've got all the insignias in there. Are they totally complete? | 0:03:30 | 0:03:33 | |
They're totally complete and in marvellous condition. | 0:03:33 | 0:03:36 | |
Cigarette cards were introduced to stiffen the packaging | 0:03:37 | 0:03:40 | |
and to advertise brands. | 0:03:40 | 0:03:42 | |
The first in the UK were introduced by John Player Sons in 1893. | 0:03:43 | 0:03:48 | |
The ticket price is ?25. | 0:03:49 | 0:03:51 | |
What about 20 for the two, a tenner apiece? | 0:03:51 | 0:03:53 | |
Oh, I don't know. Can I have a look? Naturally. I think they're a really good subject matter. | 0:03:53 | 0:03:57 | |
Because I don't have a clue. I'm just worried about the rarity value, | 0:03:57 | 0:04:00 | |
because I don't really think there is one, is there? | 0:04:00 | 0:04:02 | |
The most that I'm prepared to pay is probably eight quid. | 0:04:02 | 0:04:06 | |
Eight pounds sounds like a good deal to me. Really? Yeah, I think so. | 0:04:06 | 0:04:09 | |
I'm quite surprised. No, because I'm going to be stuck with them otherwise. | 0:04:09 | 0:04:12 | |
Oh, really? I get it. Well, shall we do it then? | 0:04:12 | 0:04:15 | |
Yeah, we'll do it. Eight quid. | 0:04:15 | 0:04:17 | |
What an incredible deal. | 0:04:17 | 0:04:18 | |
Natasha has persuaded David to part with | 0:04:18 | 0:04:20 | |
these at a third of their ticket price. | 0:04:20 | 0:04:22 | |
And with one deal done, David makes his way over to Philip. | 0:04:24 | 0:04:28 | |
He's spotted a 19th-century boxwood truncheon. | 0:04:28 | 0:04:31 | |
It's got a ribbed handle. | 0:04:33 | 0:04:34 | |
Leather here, which looks suspiciously like it's been replaced | 0:04:34 | 0:04:37 | |
at some point in time. Replaced, yes. | 0:04:37 | 0:04:39 | |
And it's got a not overly subtle screw in there and there, | 0:04:39 | 0:04:43 | |
and then this is lead-filled. | 0:04:43 | 0:04:45 | |
And they used to call these life preservers, didn't they? | 0:04:45 | 0:04:48 | |
Which is actually the last thing in the world they did, | 0:04:48 | 0:04:50 | |
cos when you got that on the back of the head, | 0:04:50 | 0:04:53 | |
that really would just see you out, wouldn't it? Mmm. | 0:04:53 | 0:04:56 | |
And how much is that? It's ?45. | 0:04:57 | 0:05:00 | |
Phil's still keen on the bronze propeller, too. | 0:05:00 | 0:05:04 | |
Total ticket price for both items is ?80. | 0:05:04 | 0:05:07 | |
What could you do the two for? | 0:05:07 | 0:05:08 | |
40. 20 quid each. | 0:05:08 | 0:05:11 | |
?40 for the two? Yep. | 0:05:11 | 0:05:13 | |
You've caught me by surprise, cos I thought they were going to be more than that. | 0:05:13 | 0:05:16 | |
I'd better pay you now. | 0:05:16 | 0:05:17 | |
Yeah, and with that both experts leave their first shop | 0:05:17 | 0:05:21 | |
with some promising purchases for auction. | 0:05:21 | 0:05:23 | |
Next stop for Natasha is just along the coast, in Peacehaven. | 0:05:25 | 0:05:30 | |
Her next shop may be small, but it's certainly crammed full. | 0:05:31 | 0:05:34 | |
I'm really into a little bit of pokerwork, | 0:05:36 | 0:05:39 | |
and these are really sweet, these wee napkin rings. | 0:05:39 | 0:05:42 | |
It's called pokerwork because that's exactly what it is. | 0:05:42 | 0:05:45 | |
It's a hot poker that goes in and actually makes the design. | 0:05:45 | 0:05:47 | |
We've got the actual stylised flowers...have been lined out by the poker. | 0:05:47 | 0:05:53 | |
And then the background has been, typical of its style, dot-dot-dotted in. | 0:05:53 | 0:05:56 | |
Then they've been filled in in colour. | 0:05:56 | 0:05:58 | |
But they're a little bit lacking in their colour. | 0:05:58 | 0:06:00 | |
It's all come off, to be honest with you. | 0:06:00 | 0:06:02 | |
And then I think maybe from the same sort of set is this one here. | 0:06:02 | 0:06:06 | |
Let me just get it. There we go. | 0:06:06 | 0:06:08 | |
Because I think this one's the most obviously Art Nouveau in its style, | 0:06:08 | 0:06:12 | |
because this here, you've got the lovely soft yellow | 0:06:12 | 0:06:16 | |
and then the green and the blue all working together in harmony. | 0:06:16 | 0:06:19 | |
Yes, there's a wee bit of paint loss and it's not in the world's best condition, | 0:06:19 | 0:06:23 | |
but I think for its age, that's just such a lovely thing. | 0:06:23 | 0:06:26 | |
The Arts and Crafts pokerwork pot has a ticket price of ?20. | 0:06:26 | 0:06:31 | |
One to think about. | 0:06:31 | 0:06:33 | |
Dealer Steve is on hand to help Natasha find some more goodies. | 0:06:33 | 0:06:37 | |
There are some sweet wee things in here. | 0:06:37 | 0:06:39 | |
There's one down here that's lovely, | 0:06:39 | 0:06:41 | |
the enamelled one with the 19 on it. Yeah, that's really sweet. | 0:06:41 | 0:06:45 | |
What's that - 12 quid? Oh, it's a tie clip! Yes. | 0:06:45 | 0:06:48 | |
And it's the 19th hole. Yes, indeed. | 0:06:48 | 0:06:51 | |
So, I thought that when I saw the price tag from above it said 120, | 0:06:51 | 0:06:55 | |
because I presumed it was going to be in nine-carat gold. But it's not. | 0:06:55 | 0:06:58 | |
It's just in a sort of rolled gold, or gold plate. | 0:06:58 | 0:07:01 | |
I mean, the enamel's all right. It's not in the worst order you've ever seen. | 0:07:01 | 0:07:05 | |
But it's kind of cool, isn't it? | 0:07:05 | 0:07:07 | |
That's now two items Natasha has her eye on. | 0:07:08 | 0:07:11 | |
Anything else? | 0:07:11 | 0:07:13 | |
I absolutely love this little pillbox. | 0:07:13 | 0:07:15 | |
Do you mind if we do a closer look at that? No, indeed. Thank you. | 0:07:15 | 0:07:20 | |
This pillbox has a 1992 hallmark. | 0:07:20 | 0:07:23 | |
Hardly antique, but as it's not terribly old it is in pristine condition. | 0:07:23 | 0:07:29 | |
It sports a ticket price of ?24. | 0:07:29 | 0:07:32 | |
OK, Steve. | 0:07:32 | 0:07:33 | |
There are things that I like in your shop, truly. | 0:07:33 | 0:07:36 | |
I really like the pokerwork box. | 0:07:36 | 0:07:38 | |
And I really like the tiepin. | 0:07:38 | 0:07:41 | |
Then you've got this gorgeous hallmarked bit of silver as well. | 0:07:41 | 0:07:44 | |
I wonder if you would be open to a sort of a deal. | 0:07:44 | 0:07:48 | |
You can tempt me, Natasha. | 0:07:48 | 0:07:49 | |
And how often do you fall for temptation? | 0:07:49 | 0:07:53 | |
I'm a fool for temptation. You're a fool for temptation! | 0:07:53 | 0:07:55 | |
Just say...?30 the lot. I'm just going to say it, Steve. | 0:07:55 | 0:08:00 | |
Make it 35 and it's yours. | 0:08:00 | 0:08:02 | |
35? For the whole lot? Yeah. | 0:08:02 | 0:08:05 | |
Steve, I can't resist. I'm now falling for you. | 0:08:05 | 0:08:08 | |
I think that's an absolute deal. | 0:08:08 | 0:08:10 | |
Natasha has picked up three items | 0:08:10 | 0:08:12 | |
that had a total ticket price of ?56 for just ?35. | 0:08:12 | 0:08:17 | |
And with that, time for a rest. | 0:08:17 | 0:08:20 | |
Nighty-night, you two. | 0:08:20 | 0:08:22 | |
Today, our pair will be hoping for more deals, | 0:08:25 | 0:08:28 | |
and they are making the journey north | 0:08:28 | 0:08:30 | |
to the beautiful village of Golden Cross. | 0:08:30 | 0:08:34 | |
Bye! Bye. | 0:08:34 | 0:08:36 | |
Philip is first to shop this morning. | 0:08:36 | 0:08:38 | |
Time to introduce yourself to owner Rhoda. | 0:08:38 | 0:08:40 | |
He's really casing the joint. | 0:08:42 | 0:08:44 | |
These are quite interesting, Rhoda. How old do you think those are? | 0:08:50 | 0:08:54 | |
I would imagine about 1910, something like that? | 0:08:54 | 0:08:58 | |
What do you think? Yeah, I think you're right. | 0:08:58 | 0:09:01 | |
Philip's keen. | 0:09:01 | 0:09:02 | |
I think they're quite interesting. | 0:09:02 | 0:09:04 | |
And I don't blame him. They're in the style of William Benson, | 0:09:04 | 0:09:07 | |
one of the most forward-thinking of the Arts and Crafts designers, | 0:09:07 | 0:09:11 | |
known for producing well-thought-out functional items, | 0:09:11 | 0:09:13 | |
particularly light fittings. | 0:09:13 | 0:09:15 | |
This is a drip pan. Yes. | 0:09:15 | 0:09:17 | |
So, you put your candle in there, and this is a drip pan. | 0:09:17 | 0:09:19 | |
Quite clever, really, | 0:09:19 | 0:09:21 | |
so it catches the wax so you're not forever getting | 0:09:21 | 0:09:24 | |
wax off your damask tablecloth. | 0:09:24 | 0:09:26 | |
If they're by Benson, they could be worth a few quid. | 0:09:26 | 0:09:29 | |
However, there's no maker's mark, and Philip's spotted a problem. | 0:09:29 | 0:09:34 | |
That's just... It's been dropped, hasn't it? | 0:09:34 | 0:09:36 | |
If you look at that one... Yes. | 0:09:36 | 0:09:38 | |
If you look at that one there... And look at that one there... Yes. | 0:09:38 | 0:09:42 | |
And it's just been absolutely... It's been dropped. | 0:09:42 | 0:09:44 | |
Yeah, maybe Rhoda will drop a bit off her ?25 ticket price. | 0:09:44 | 0:09:48 | |
I could do them for... | 0:09:48 | 0:09:50 | |
I could do them for 20. | 0:09:52 | 0:09:53 | |
Is that your very, very best, or can I squeeze you down to 15? | 0:09:55 | 0:09:59 | |
No, not really as far as 15. What could I squeeze you to? | 0:09:59 | 0:10:02 | |
18. OK. | 0:10:02 | 0:10:03 | |
I'll have those, my love. Thank you very much indeed. | 0:10:03 | 0:10:06 | |
That's most kind, Rhoda. | 0:10:06 | 0:10:08 | |
Philip's leaving with the brass candlesticks for ?18. | 0:10:08 | 0:10:11 | |
Natasha has taken the Porsche onwards to the village of Burwash. | 0:10:13 | 0:10:18 | |
She's visiting a house deep in the wooded landscape | 0:10:18 | 0:10:22 | |
of the Sussex Weald which became sanctuary to a world-famous writer. | 0:10:22 | 0:10:26 | |
Hello, hi. I'm Tasha. | 0:10:26 | 0:10:27 | |
Hello. Welcome to Bateman's. | 0:10:27 | 0:10:29 | |
Thank you so much. Bateman's, indeed! This is... | 0:10:29 | 0:10:32 | |
a spectacular home | 0:10:32 | 0:10:33 | |
and the residence of one particularly important gentleman. | 0:10:33 | 0:10:36 | |
An extraordinary man with an extraordinary story. | 0:10:36 | 0:10:39 | |
In 1902, Rudyard Kipling was at the height of his fame. | 0:10:39 | 0:10:43 | |
His Just So Stories were ready to go to print | 0:10:43 | 0:10:46 | |
and The Jungle Book had been published globally | 0:10:46 | 0:10:49 | |
and translated into many languages. | 0:10:49 | 0:10:52 | |
As a man of great wealth and fame, | 0:10:52 | 0:10:53 | |
Rudyard could have chosen to live anywhere, | 0:10:53 | 0:10:56 | |
but he fell in love with Bateman's in the secluded Dudwell Valley. | 0:10:56 | 0:11:01 | |
And it was here he experienced some of his greatest joys | 0:11:01 | 0:11:05 | |
and deepest sorrows. | 0:11:05 | 0:11:07 | |
Rudyard Kipling comes to Bateman's in the autumn of his life, really. | 0:11:07 | 0:11:10 | |
But where did it all begin for him? | 0:11:10 | 0:11:12 | |
He was born in India. | 0:11:12 | 0:11:14 | |
His father was a head teacher who had set up a school in India, | 0:11:14 | 0:11:18 | |
and that Indian influence, | 0:11:18 | 0:11:20 | |
those early years in Bombay, really had a big influence on him. | 0:11:20 | 0:11:23 | |
His father managed to get him a job as a reporter | 0:11:23 | 0:11:26 | |
on one of the English newspapers in India | 0:11:26 | 0:11:28 | |
and he started writing little stories. | 0:11:28 | 0:11:30 | |
One day, the editor asked Rudyard if he'd mind writing a story | 0:11:30 | 0:11:33 | |
to sort of fill half-a-dozen pages. | 0:11:33 | 0:11:36 | |
That became really successful, | 0:11:36 | 0:11:38 | |
and so they were serialised into little booklet forms | 0:11:38 | 0:11:40 | |
and they sold by an extraordinary amount, as well. | 0:11:40 | 0:11:43 | |
By the age of 32, he was the highest-paid author in the world. | 0:11:45 | 0:11:50 | |
Rudyard married and had three children. | 0:11:50 | 0:11:52 | |
Life could not be better. | 0:11:52 | 0:11:54 | |
But all the riches in the world were no compensation | 0:11:54 | 0:11:56 | |
for the loss of the eldest of his three children to pneumonia. | 0:11:56 | 0:12:00 | |
So, Josephine died, and that really did influence him. | 0:12:00 | 0:12:04 | |
It took a long time to get over it. | 0:12:04 | 0:12:07 | |
Josephine was just six years old. | 0:12:07 | 0:12:09 | |
Overcome with grief and wishing to escape public glare, | 0:12:09 | 0:12:12 | |
Rudyard bought Bateman's, and he threw his energies into writing, | 0:12:12 | 0:12:16 | |
drawing inspiration from his new surroundings. | 0:12:16 | 0:12:18 | |
Look at the view! His surroundings...! | 0:12:20 | 0:12:22 | |
And being at Bateman's and being in such a beautifully beamed study | 0:12:22 | 0:12:26 | |
with this view... | 0:12:26 | 0:12:28 | |
He can't have lacked inspiration in here. No, he certainly didn't. | 0:12:28 | 0:12:31 | |
He really did... His whole focus had slightly changed | 0:12:31 | 0:12:33 | |
by the time he moved to Bateman's. | 0:12:33 | 0:12:35 | |
He was really influenced by the Sussex countryside, | 0:12:35 | 0:12:37 | |
by this valley, this environment. It really did influence his work. | 0:12:37 | 0:12:42 | |
He doesn't have to write for money, monetary reasons, any longer. | 0:12:42 | 0:12:47 | |
He can actually just write for the enjoyment. | 0:12:47 | 0:12:49 | |
And so he writes his stories for his children. | 0:12:49 | 0:12:52 | |
Rudyard welcomed many guests to Bateman's | 0:12:52 | 0:12:55 | |
and kept a meticulous record of every visitor. | 0:12:55 | 0:12:58 | |
So, you've got extraordinary people. | 0:12:58 | 0:13:01 | |
You've got politicians - so, Stanley Baldwin. | 0:13:01 | 0:13:03 | |
You've also got people like Scott and Shackleton, the explorers. | 0:13:03 | 0:13:07 | |
And you've got American presidents. | 0:13:07 | 0:13:10 | |
George Clemenceau, the President of France, he comes here. | 0:13:10 | 0:13:12 | |
He was the man to visit, I was going to say. Yeah. | 0:13:12 | 0:13:15 | |
And even Mother gets a mention. In fact, she's highlighted! | 0:13:15 | 0:13:19 | |
Mother came on August the 4th, 1920. | 0:13:19 | 0:13:21 | |
"About 6.30pm." | 0:13:21 | 0:13:23 | |
And he's annotated that "FIP". | 0:13:23 | 0:13:26 | |
Yes, that's a bit of a personal joke that Rudyard made. | 0:13:26 | 0:13:29 | |
For many, many years no-one actually knew, really, what it meant. | 0:13:29 | 0:13:32 | |
And it was only a maid, many years after Rudyard's death, | 0:13:32 | 0:13:35 | |
was able to come back and explain what "FIP" meant. | 0:13:35 | 0:13:37 | |
It turns out it was Kipling's little personal joke | 0:13:37 | 0:13:39 | |
for people that fell in the pond. Fell in the pond?! | 0:13:39 | 0:13:42 | |
Yeah... It's interesting, because the pond here is not that dangerous. | 0:13:42 | 0:13:45 | |
And considering the amount of people that did seem to... | 0:13:45 | 0:13:48 | |
that it did seem to happen to, | 0:13:48 | 0:13:49 | |
I've got a feeling it might've been closer to PIP, or Pushed In Pond. | 0:13:49 | 0:13:52 | |
Pushed! And it may show you a little bit more of the sort of high jinks | 0:13:52 | 0:13:56 | |
and the japes he would get up to | 0:13:56 | 0:13:58 | |
and how he was very much an interesting figure | 0:13:58 | 0:14:02 | |
that would love to have a good time. That's wild! | 0:14:02 | 0:14:04 | |
You can't throw your mum in the pond! | 0:14:04 | 0:14:06 | |
Well, Rudyard certainly did, by the look...! | 0:14:06 | 0:14:08 | |
But this idyll was soon to be shattered. | 0:14:08 | 0:14:11 | |
The world lurched towards the Great War, | 0:14:11 | 0:14:14 | |
and Rudyard was to know personal tragedy for a second time. | 0:14:14 | 0:14:17 | |
His son John, he then struggles to get into the military | 0:14:17 | 0:14:21 | |
during the First World War, eventually manages to go away, | 0:14:21 | 0:14:26 | |
partly because of Rud pulling a few strings for him. | 0:14:26 | 0:14:29 | |
And, of course, John disappears during the Battle of Loos | 0:14:29 | 0:14:32 | |
never to be seen again. | 0:14:32 | 0:14:34 | |
Rud not only then blames himself for Josephine's death | 0:14:34 | 0:14:36 | |
but very much also for John's death, as well. | 0:14:36 | 0:14:39 | |
While Rudyard continued to write for the next two decades, | 0:14:39 | 0:14:41 | |
he never again returned to the bright, cheery children's tales | 0:14:41 | 0:14:46 | |
he had once so delighted in crafting. | 0:14:46 | 0:14:49 | |
Health issues eventually caught up with Rudyard, | 0:14:49 | 0:14:52 | |
the result of age but also of grief. | 0:14:52 | 0:14:54 | |
I mean, Kipling must have been a man of extraordinary character | 0:14:55 | 0:14:58 | |
to really carry that burden of outliving two of your children. | 0:14:58 | 0:15:02 | |
Throughout all this tragedy, | 0:15:02 | 0:15:04 | |
for a man that has so much to give and gives so much to the world | 0:15:04 | 0:15:08 | |
with his literary genius and stuff, | 0:15:08 | 0:15:10 | |
he experiences so much tragedy himself. | 0:15:10 | 0:15:12 | |
And so it is very strange how that all comes out, | 0:15:12 | 0:15:15 | |
all this literary genius comes out of all that tragedy, as well. | 0:15:15 | 0:15:18 | |
Philip has hit the road | 0:15:20 | 0:15:22 | |
and journeyed to just outside the East Sussex town of Battle. | 0:15:22 | 0:15:25 | |
Although this doesn't look like an antiques shop. | 0:15:25 | 0:15:28 | |
Philip's known for going rogue, | 0:15:29 | 0:15:32 | |
and, true to form, he's making an unscheduled stop | 0:15:32 | 0:15:35 | |
at a fencing contractor. | 0:15:35 | 0:15:37 | |
And it looks like busy managing director Jon Hobden | 0:15:37 | 0:15:40 | |
is humouring him. | 0:15:40 | 0:15:43 | |
Where exactly is he taking our Phil? | 0:15:43 | 0:15:45 | |
There's a few bits of old woodworking kit in there | 0:15:47 | 0:15:50 | |
you're welcome to have a look at. Can I have a wander? | 0:15:50 | 0:15:52 | |
Let me see what... I can find all the company records in here. | 0:15:52 | 0:15:55 | |
Only Serrell would go looking for a bargain by torchlight. | 0:15:55 | 0:15:59 | |
Jon, I think I might... | 0:15:59 | 0:16:02 | |
Can I drag this out? | 0:16:02 | 0:16:03 | |
Lord above...! | 0:16:06 | 0:16:08 | |
I don't know what that is, | 0:16:08 | 0:16:09 | |
but could we take that outside and put it in some daylight? | 0:16:09 | 0:16:13 | |
So that's presumably bolted to the floor... | 0:16:13 | 0:16:15 | |
Hopefully John will know what it is. You know, I've no idea! Oh. | 0:16:15 | 0:16:19 | |
These clearly go round and round. | 0:16:19 | 0:16:20 | |
Come on, chaps! | 0:16:20 | 0:16:22 | |
Everyone knows that's a cast-iron saw-sharpening stand, right?! | 0:16:22 | 0:16:25 | |
It does all work, doesn't it? | 0:16:25 | 0:16:28 | |
It does all work. It's all freed up, which I'm amazed... | 0:16:28 | 0:16:31 | |
It's been sitting up there for... years and years. | 0:16:31 | 0:16:33 | |
Decades, probably. | 0:16:33 | 0:16:35 | |
When would be the last time this was used? 20 years ago, at least. | 0:16:35 | 0:16:38 | |
That it was used. At least. It's cool thing, though, isn't it? | 0:16:38 | 0:16:42 | |
Philip knows there's value in bygone machinery | 0:16:42 | 0:16:44 | |
that can be upcycled into something trendy. | 0:16:44 | 0:16:47 | |
Well, I tell you what, when I saw it dragged out, I thought 20 quid. | 0:16:47 | 0:16:50 | |
That's what I thought. | 0:16:50 | 0:16:51 | |
Can I...? I'll have a deal with you at 15 quid. | 0:16:51 | 0:16:53 | |
Deal. You're a gentleman. Good man. Thank you. Thank you. | 0:16:53 | 0:16:56 | |
Philip's nose for a unique buy has bagged him his fourth lot for auction. | 0:16:56 | 0:17:01 | |
There you are. Good man. Thank you. Thank you for having me. | 0:17:01 | 0:17:04 | |
Pleasure doing business. | 0:17:04 | 0:17:05 | |
Got to lug it to the car now - Gordon Bennett! | 0:17:05 | 0:17:07 | |
As Philip gets back on track, | 0:17:07 | 0:17:10 | |
Natasha's stopped off in the village of Appledore | 0:17:10 | 0:17:13 | |
just north of Romney Marsh. | 0:17:13 | 0:17:15 | |
Here we go! | 0:17:15 | 0:17:17 | |
Here in this mid-19th-century building | 0:17:19 | 0:17:21 | |
was once the local blacksmith. Today it's home to Old Forge Antiques. | 0:17:21 | 0:17:24 | |
Natasha has just over ?79 left in her pocket. | 0:17:24 | 0:17:27 | |
What's she found? | 0:17:29 | 0:17:31 | |
I always look at mahogany dressing mirrors, or toilet mirrors - | 0:17:31 | 0:17:34 | |
whatever you call them - | 0:17:34 | 0:17:35 | |
because they're always lovely and Victorian and Georgian | 0:17:35 | 0:17:38 | |
and always really super-expensive. | 0:17:38 | 0:17:40 | |
But there's one here that is not crazy expensive. | 0:17:40 | 0:17:42 | |
It's ?63. So, first of all, I thought - "Why's it only ?63? | 0:17:42 | 0:17:45 | |
"Maybe it's repro or something." But, actually, it's really nice. | 0:17:45 | 0:17:49 | |
A lovely mahogany finish, and it's really nicely carved and turned. | 0:17:49 | 0:17:52 | |
It's got everything you'd want from a nice toilet mirror. | 0:17:52 | 0:17:55 | |
It's quite large, so it would work in any interior. | 0:17:55 | 0:17:58 | |
But, at the back, it's a bit of a mess. | 0:17:58 | 0:18:01 | |
It's actually the backing panel here... | 0:18:01 | 0:18:03 | |
has all split and been repaired. | 0:18:03 | 0:18:05 | |
Personally, I'd only want to be paying ?30 for it, or so. | 0:18:05 | 0:18:07 | |
So I don't REALLY know...if that's going to work out. | 0:18:07 | 0:18:11 | |
There's another one, too. | 0:18:11 | 0:18:13 | |
This one's ?55 and it's marked "AF" - As Found. | 0:18:13 | 0:18:17 | |
I think the As Found or Sold As Seen sort of element | 0:18:17 | 0:18:20 | |
is because of this really poor glass. | 0:18:20 | 0:18:24 | |
Yes, but that's reflected in the ticket price. | 0:18:24 | 0:18:27 | |
You can see that the wooden panel back... | 0:18:27 | 0:18:30 | |
is totally... | 0:18:30 | 0:18:32 | |
complete. | 0:18:32 | 0:18:34 | |
So you can see how the other one SHOULD look, | 0:18:34 | 0:18:35 | |
and this one has that. | 0:18:35 | 0:18:38 | |
Two mirrors, neither in great condition. | 0:18:38 | 0:18:40 | |
Natasha, though, can see an opportunity for a deal | 0:18:40 | 0:18:43 | |
staring at her in the face. Now, Steph... | 0:18:43 | 0:18:46 | |
If, for the two, I were to offer you a really cheeky ?65... | 0:18:46 | 0:18:51 | |
For the two. | 0:18:51 | 0:18:52 | |
For the two? For the two. | 0:18:52 | 0:18:54 | |
It would be sort of 32.50 a mirror. | 0:18:54 | 0:18:56 | |
I'll do them for 70. | 0:18:56 | 0:18:58 | |
?70 the two? | 0:18:58 | 0:19:00 | |
You're quite happy with that? Yeah. | 0:19:00 | 0:19:02 | |
What a deal! A ?50 discount. | 0:19:02 | 0:19:04 | |
Could these two mirrors be the lot to give Natasha a big profit? | 0:19:04 | 0:19:08 | |
Just outside the village of Appledore is Philip. | 0:19:10 | 0:19:12 | |
He's found Station Antiques | 0:19:12 | 0:19:15 | |
Hi. How are you? I'm Philip. Hello! I'm Kelly. | 0:19:15 | 0:19:17 | |
Good to see you, Kelly. Welcome. | 0:19:17 | 0:19:19 | |
Introductions over, it's time for a mooch about. | 0:19:19 | 0:19:22 | |
Those are quite interesting, aren't they? They're lovely. | 0:19:25 | 0:19:28 | |
They're Indian, aren't they? Yeah. | 0:19:28 | 0:19:30 | |
Philip's found three carved-wood friezes. | 0:19:30 | 0:19:33 | |
Originally, these would have been over a door or fireplace. | 0:19:33 | 0:19:37 | |
Kelly, I like these. | 0:19:37 | 0:19:39 | |
So, these have come from India, right? Yeah. | 0:19:39 | 0:19:42 | |
They probably cost... | 0:19:44 | 0:19:46 | |
the middle and both ends of not very much over there. | 0:19:46 | 0:19:50 | |
They're priced at ?40 each. | 0:19:50 | 0:19:52 | |
What could you do them for? What would you be prepared...? | 0:19:52 | 0:19:54 | |
I could phone the owner of them | 0:19:54 | 0:19:56 | |
and ask what his lowest would be for the three of them. | 0:19:56 | 0:19:59 | |
I tell you what you could do. | 0:19:59 | 0:20:01 | |
Ask him what his best would be for one, two and three. Yep. | 0:20:01 | 0:20:03 | |
I think they've got to come for somewhere between... | 0:20:03 | 0:20:07 | |
?50 and ?80 - something like that. | 0:20:07 | 0:20:09 | |
I'll go and give him a call. Give him a call. | 0:20:11 | 0:20:13 | |
And see what he can do on them. | 0:20:13 | 0:20:15 | |
All right. You're an angel. Thank you. | 0:20:15 | 0:20:17 | |
That was quick. Kelly's back. | 0:20:17 | 0:20:20 | |
How much for one? | 0:20:20 | 0:20:22 | |
For one it's got to be the 40. | 0:20:22 | 0:20:24 | |
For two. It's cost price. | 0:20:24 | 0:20:25 | |
If you have all three... | 0:20:25 | 0:20:28 | |
we can only really drop another ?10. | 0:20:28 | 0:20:32 | |
No. That wouldn't work for me. | 0:20:32 | 0:20:35 | |
Let me just... | 0:20:35 | 0:20:36 | |
Let's put that one there. | 0:20:36 | 0:20:38 | |
I like them. | 0:20:45 | 0:20:46 | |
They're lovely. | 0:20:46 | 0:20:48 | |
I think Kelly knows a cheeky offer for two of them is on its way. | 0:20:48 | 0:20:53 | |
If you agree to 60 quid, I'll take them now. | 0:20:53 | 0:20:56 | |
That's ?20 off what the dealer is asking for. | 0:20:56 | 0:20:59 | |
OK. I'll do 60. | 0:20:59 | 0:21:01 | |
You're an angel. | 0:21:01 | 0:21:03 | |
Kelly, this is it. | 0:21:03 | 0:21:05 | |
You've been very kind to me. | 0:21:05 | 0:21:07 | |
Two, four, six. Lovely. ?60. Thank you. Thank you. | 0:21:07 | 0:21:10 | |
And let me just sit and wonder if I've done the right thing or not. | 0:21:10 | 0:21:12 | |
Of course you have! | 0:21:12 | 0:21:14 | |
Well, we're about to find out, as we're now off to auction. | 0:21:14 | 0:21:17 | |
Here's a rundown of what Natasha and Philip picked up on this leg. | 0:21:17 | 0:21:21 | |
Natasha bought two cigarette albums, a poker work pot, | 0:21:22 | 0:21:27 | |
a novelty golfer's tiepin, | 0:21:27 | 0:21:29 | |
a silver pillbox | 0:21:29 | 0:21:31 | |
and two large Victorian dressing mirrors. | 0:21:31 | 0:21:34 | |
The five lots cost her ?113. | 0:21:34 | 0:21:36 | |
Philip's purchases included a lead-weighted life preserver, | 0:21:38 | 0:21:42 | |
a bronze ship's propeller, | 0:21:42 | 0:21:44 | |
a pair of candlesticks, | 0:21:44 | 0:21:46 | |
a saw-sharpening stand | 0:21:46 | 0:21:48 | |
and two Indian carved friezes. | 0:21:48 | 0:21:50 | |
All that lot cost him ?133. | 0:21:50 | 0:21:54 | |
What do they make of each other's lots? | 0:21:54 | 0:21:56 | |
Well, Phil's lead-weighted | 0:21:58 | 0:21:59 | |
life preserver could be his life-saver. | 0:21:59 | 0:22:01 | |
I've never seen anything like it. | 0:22:01 | 0:22:03 | |
Her little cigarette-card albums, | 0:22:03 | 0:22:05 | |
I think they're quite sweet things. RAF theme... | 0:22:05 | 0:22:07 | |
They could do quite well. | 0:22:07 | 0:22:09 | |
It's exactly like Philip Serrell to buy a crazy saw-sharpener | 0:22:09 | 0:22:12 | |
for ?15 from a timber yard. | 0:22:12 | 0:22:14 | |
He's been true to himself, and I'm sure it will pay off. | 0:22:14 | 0:22:17 | |
It always does for the Serrell. | 0:22:17 | 0:22:19 | |
I've taken a bit of a risk, you know? | 0:22:19 | 0:22:21 | |
We could be all square after this one. | 0:22:21 | 0:22:24 | |
Well, it's time to turn those lots into a profit | 0:22:24 | 0:22:27 | |
and head to Rayleigh in Essex. | 0:22:27 | 0:22:30 | |
The scene for today's auction is Stacey's Auctioneers And Valuers, | 0:22:30 | 0:22:34 | |
a family business now operating | 0:22:34 | 0:22:36 | |
under the third generation of the clan. | 0:22:36 | 0:22:39 | |
Oh, this is exciting. Good luck. | 0:22:39 | 0:22:42 | |
You, too, lovey. Oh, here we go! | 0:22:42 | 0:22:44 | |
Mark Stacey, but not our Mark, will be wielding the gavel today. | 0:22:44 | 0:22:48 | |
First up is that silver pillbox. | 0:22:48 | 0:22:50 | |
Hallmarked as 1992, | 0:22:50 | 0:22:52 | |
technically, it IS last century, | 0:22:52 | 0:22:55 | |
but will it make any money? | 0:22:55 | 0:22:56 | |
?20 for it. 20, 22 online. | 0:22:56 | 0:22:59 | |
25 is bid. 28. | 0:22:59 | 0:23:00 | |
Internet's running at 30. | 0:23:00 | 0:23:02 | |
32 now bid. | 0:23:02 | 0:23:04 | |
30, 32. 35. | 0:23:04 | 0:23:05 | |
All on the internet. | 0:23:05 | 0:23:06 | |
Now 38 bid. | 0:23:06 | 0:23:08 | |
38, 40. | 0:23:08 | 0:23:09 | |
At 40, 42 now. | 0:23:09 | 0:23:11 | |
(Well done, girl.) Running online at ?42. | 0:23:11 | 0:23:13 | |
All finished online. You finished in the room? | 0:23:13 | 0:23:16 | |
Internet bidding at ?42. All done? | 0:23:16 | 0:23:18 | |
That's a great start! | 0:23:20 | 0:23:22 | |
(Hurrah! That's a good 30 quid profit, isn't it? That's all right. | 0:23:22 | 0:23:25 | |
Yeah, that's really good. That is OK! Oh, cool! | 0:23:25 | 0:23:28 | |
First up for Philip are the two Indian carved friezes. | 0:23:28 | 0:23:33 | |
Interest commission bid, I have. Must commence the bidding at ?40. | 0:23:33 | 0:23:36 | |
The bid's here with me on the commission at ?40. | 0:23:36 | 0:23:38 | |
Against you, at ?40. | 0:23:38 | 0:23:40 | |
Any advances? | 0:23:40 | 0:23:41 | |
42 on the internet. 45 back with me. | 0:23:41 | 0:23:43 | |
Against you, online bidder. | 0:23:43 | 0:23:45 | |
48. 50 is bid. | 0:23:45 | 0:23:48 | |
And five. Internet's at 55. | 0:23:48 | 0:23:50 | |
60 anywhere? ?60, thank you, sir. | 0:23:50 | 0:23:52 | |
?60 against you, online bidder. | 0:23:52 | 0:23:54 | |
Back online at 65. | 0:23:54 | 0:23:56 | |
One more? At ?65, internet bidding, then. | 0:23:56 | 0:23:59 | |
All done. All finished. (That's a loss.) | 0:23:59 | 0:24:02 | |
I'll sell at 65. Fair warning. Minor. That's a loss. | 0:24:02 | 0:24:04 | |
Yep. Sadly so, | 0:24:04 | 0:24:05 | |
because after auction costs are deducted, | 0:24:05 | 0:24:08 | |
he'll be slightly out of pocket. | 0:24:08 | 0:24:11 | |
Up next... | 0:24:11 | 0:24:12 | |
Natasha's lovely novelty golfer's tiepin. | 0:24:12 | 0:24:15 | |
Commission bids, two of them. | 0:24:15 | 0:24:17 | |
Must start the bidding to clear the book at ?15. 18 anywhere? | 0:24:17 | 0:24:20 | |
Promising start. | 0:24:20 | 0:24:21 | |
18, 20 against you. | 0:24:21 | 0:24:24 | |
22. At ?22. | 0:24:24 | 0:24:25 | |
Back in the room at ?22. | 0:24:25 | 0:24:27 | |
Advance, if you like. All done? All finished? | 0:24:27 | 0:24:29 | |
At ?22 only. | 0:24:29 | 0:24:30 | |
(That's all right.) That's OK, isn't it? | 0:24:32 | 0:24:34 | |
Write it down, girl. I can deal with that, Phil. Absolutely right. | 0:24:34 | 0:24:37 | |
Well, it's going the right way, isn't it? It can only go... | 0:24:37 | 0:24:41 | |
Come on, stay positive, chaps. | 0:24:41 | 0:24:43 | |
A ?13 profit isn't to be sniffed at. | 0:24:43 | 0:24:45 | |
The next lot is Philip's salvaged saw-sharpening stand. | 0:24:47 | 0:24:52 | |
20 straight in, please. At 20, thank you, sir. ?20 yours. | 0:24:52 | 0:24:55 | |
20, 22. | 0:24:55 | 0:24:56 | |
Against you online. | 0:24:56 | 0:24:58 | |
25 now bid. 28. | 0:24:58 | 0:25:00 | |
Back in the room at ?28. All done? | 0:25:00 | 0:25:01 | |
Are you all finished at ?28? | 0:25:01 | 0:25:03 | |
Philip's wandering off-piste has landed him a profit. | 0:25:05 | 0:25:09 | |
Next under the gavel is Natasha's pokerwork pot. | 0:25:09 | 0:25:12 | |
At ?10 bid. | 0:25:12 | 0:25:13 | |
12. 14. | 0:25:13 | 0:25:14 | |
Against you online. | 0:25:14 | 0:25:15 | |
16 internet bidding. | 0:25:15 | 0:25:17 | |
18, back on the commission. | 0:25:17 | 0:25:19 | |
18 now. Two bidders online now. | 0:25:19 | 0:25:21 | |
?20 bid. All on the internet at ?20. | 0:25:21 | 0:25:23 | |
Now 22. Going on. | 0:25:23 | 0:25:25 | |
At 22. 25. Internet. | 0:25:25 | 0:25:26 | |
All at ?25 now. | 0:25:26 | 0:25:28 | |
28 anywhere? | 0:25:28 | 0:25:30 | |
All done. All finished. | 0:25:30 | 0:25:31 | |
I'll sell to the internet, then. At ?25. | 0:25:31 | 0:25:33 | |
28. Come along a bit quicker online. | 0:25:33 | 0:25:36 | |
Last opportunity, then, please. | 0:25:36 | 0:25:38 | |
I'm selling. At ?28. Hammer's going down. | 0:25:38 | 0:25:41 | |
He eked that out for me. Thank you. | 0:25:42 | 0:25:44 | |
She's more than doubled her money with that. | 0:25:44 | 0:25:47 | |
Up now, Philip's bronze propeller. | 0:25:47 | 0:25:49 | |
?20 bid. 22. | 0:25:51 | 0:25:52 | |
25 against you online. | 0:25:52 | 0:25:54 | |
28 I've got. 30, if you wish, sir. | 0:25:54 | 0:25:56 | |
At ?28, now. | 0:25:57 | 0:25:58 | |
Internet bidding is at ?28. | 0:25:58 | 0:26:00 | |
30, new bidder. Thank you. | 0:26:00 | 0:26:01 | |
Coming back online, 32. | 0:26:01 | 0:26:03 | |
35. | 0:26:03 | 0:26:04 | |
38. 40 bid. | 0:26:04 | 0:26:06 | |
42. | 0:26:06 | 0:26:07 | |
45. | 0:26:07 | 0:26:09 | |
By the gents, at ?45. | 0:26:09 | 0:26:10 | |
You all done? All finished at 45? | 0:26:10 | 0:26:13 | |
Another strong profit for Philip... | 0:26:14 | 0:26:17 | |
..putting the pressure on Natasha. | 0:26:18 | 0:26:20 | |
Can her two Victorian toilet mirrors turn a profit? | 0:26:20 | 0:26:23 | |
Let's not waste time. ?20 to bid straight in. | 0:26:23 | 0:26:25 | |
?20 now. 20 bid. Thank you. | 0:26:25 | 0:26:26 | |
At 22. Five. Eight. 30 bid. | 0:26:26 | 0:26:29 | |
At ?30, now. | 0:26:29 | 0:26:30 | |
Coming on the phone... | 0:26:30 | 0:26:31 | |
32. | 0:26:31 | 0:26:33 | |
35. | 0:26:33 | 0:26:35 | |
38. 40 bid. | 0:26:35 | 0:26:36 | |
42. 45. | 0:26:36 | 0:26:38 | |
48. 50 bid. | 0:26:39 | 0:26:41 | |
(I think you'll show a profit, my love.) | 0:26:41 | 0:26:43 | |
(Oh, no...!) 55. (Come on...!) | 0:26:44 | 0:26:46 | |
New bidder. 60 I've got. (Tempt him!) | 0:26:46 | 0:26:48 | |
Commission bid's at 60. Against you. | 0:26:48 | 0:26:50 | |
Back in the room at ?60. | 0:26:50 | 0:26:51 | |
Commission bid I've got now. ?60. Out on the phone? (No, one more...!) | 0:26:51 | 0:26:54 | |
All done. Fair warning at 60. Hammer's going down. | 0:26:54 | 0:26:57 | |
Ah, disappointing. Bad luck. | 0:26:58 | 0:27:00 | |
Och, well! What can you do? | 0:27:01 | 0:27:03 | |
What can you do? I tried. | 0:27:03 | 0:27:05 | |
Philip's candlesticks in the style of Benson are next. | 0:27:05 | 0:27:09 | |
Two commission bids on this lot, ladies and gentlemen. | 0:27:09 | 0:27:12 | |
Must start the bidding to clear the book at ?50. 50 is bid. | 0:27:12 | 0:27:15 | |
Five anywhere? At ?50. | 0:27:15 | 0:27:17 | |
You only paid 18? Yeah. | 0:27:17 | 0:27:19 | |
55 online. 60 I've got. | 0:27:19 | 0:27:21 | |
?60 against you, online bidder. | 0:27:21 | 0:27:24 | |
65. 70 is bid. | 0:27:24 | 0:27:26 | |
?75. Commission bids are out. | 0:27:27 | 0:27:29 | |
75 on the internet. | 0:27:29 | 0:27:31 | |
75 online. 80 if you like. | 0:27:31 | 0:27:34 | |
?75, internet bidding all done. | 0:27:34 | 0:27:36 | |
All finished. Last chance, then. | 0:27:36 | 0:27:37 | |
I sell to the internet at ?75. | 0:27:37 | 0:27:39 | |
Hammer's going down. | 0:27:39 | 0:27:41 | |
That's OK, isn't it? You're a legend! You're a legend! | 0:27:41 | 0:27:43 | |
A very healthy gain for Phil. | 0:27:45 | 0:27:47 | |
Next, Natasha's cigarette-card albums. | 0:27:47 | 0:27:50 | |
She bought two for ?8. | 0:27:50 | 0:27:52 | |
Commission bids. Two of them. Must start the bidding at ?20. | 0:27:52 | 0:27:55 | |
(Why? Get in.) ?20 advance if you wish. | 0:27:55 | 0:27:58 | |
We're at 20. 22. | 0:27:58 | 0:27:59 | |
25. 28. 30. | 0:27:59 | 0:28:01 | |
32. 35. | 0:28:01 | 0:28:03 | |
38, I am out. | 0:28:03 | 0:28:05 | |
Back in the room at ?38. | 0:28:05 | 0:28:07 | |
I am just so, so pleased. | 0:28:07 | 0:28:08 | |
At ?38. Hammer's going down. | 0:28:08 | 0:28:10 | |
Another canny buy gets Natasha a great profit. | 0:28:12 | 0:28:15 | |
Next, Philip's last lot. | 0:28:16 | 0:28:18 | |
Must commence at ?60. 60 bid. | 0:28:21 | 0:28:23 | |
Five anywhere? You coming in, sir? | 0:28:23 | 0:28:24 | |
Great start. 70 against you. | 0:28:24 | 0:28:27 | |
75. | 0:28:27 | 0:28:28 | |
80. One more takes it. | 0:28:28 | 0:28:30 | |
85, I'm out. | 0:28:30 | 0:28:31 | |
Just behind, 85. | 0:28:31 | 0:28:32 | |
?85, any advances. Are you all done? | 0:28:32 | 0:28:34 | |
All finished, fair warning. At ?85. | 0:28:34 | 0:28:38 | |
(Yes! Phil! | 0:28:38 | 0:28:40 | |
(You're a genius. You're a genius!) | 0:28:40 | 0:28:42 | |
A cracking result and a lovely profit. | 0:28:42 | 0:28:46 | |
And what's more, I think you're driving. | 0:28:46 | 0:28:49 | |
No, I'm wearing heels. If you don't mind. | 0:28:49 | 0:28:52 | |
Yeah, but I am, as well. | 0:28:52 | 0:28:54 | |
Come on. | 0:28:54 | 0:28:55 | |
After paying auction-house fees, | 0:28:57 | 0:28:59 | |
Natasha has made a gain of ?42.80. | 0:28:59 | 0:29:03 | |
As a result, Ms Raskin | 0:29:03 | 0:29:06 | |
has ?165.64 in her kitty. | 0:29:06 | 0:29:09 | |
Well done. | 0:29:09 | 0:29:12 | |
Philip made a gain of ?111.36 after costs. | 0:29:12 | 0:29:17 | |
He now has ?325.40 | 0:29:17 | 0:29:20 | |
and is in the lead. Well done, Phil. | 0:29:20 | 0:29:23 | |
A new day beckons and Hampshire awaits, | 0:29:28 | 0:29:31 | |
as our pair embark on the final leg of their road trip. | 0:29:31 | 0:29:35 | |
I'm really, really sad, cos we're just heading towards | 0:29:35 | 0:29:37 | |
our last auction. Isn't that sad? That is a bit sad, isn't it? | 0:29:37 | 0:29:41 | |
It's a bit weird as well, because I've got used to it now. | 0:29:41 | 0:29:44 | |
Well, we'd better make this a good one, then. | 0:29:44 | 0:29:47 | |
Before their final auction in Salisbury, | 0:29:49 | 0:29:51 | |
they're kicking off in Eversley, Hampshire. | 0:29:51 | 0:29:54 | |
Come on. Go on, you first. Let's go. | 0:29:54 | 0:29:57 | |
First stop is Eversley Barn Antiques. | 0:29:57 | 0:30:00 | |
Owner Hilary is helping Phil, | 0:30:00 | 0:30:02 | |
while Natasha has made a break for it upstairs. | 0:30:02 | 0:30:05 | |
Oh, this looks good up here. Yes! In the attic. A bit more my cup of tea. | 0:30:06 | 0:30:10 | |
Tile-top coffee tables, modern. Yes, I'm into this. | 0:30:10 | 0:30:15 | |
Oh, I actually thought I liked it up here cos it was modern, | 0:30:15 | 0:30:18 | |
but I love this cellarette. | 0:30:18 | 0:30:20 | |
It's totally cool, because in the very beginning of the 20th century, | 0:30:20 | 0:30:24 | |
when this would have been produced, I reckon, | 0:30:24 | 0:30:27 | |
this is taking the wine from the cellar | 0:30:27 | 0:30:29 | |
and then bringing it to the dining room | 0:30:29 | 0:30:31 | |
but keeping it cool in a cellarette. So a mini wine cellar. | 0:30:31 | 0:30:35 | |
This looks more like a plant-pot holder or jardiniere to me. | 0:30:35 | 0:30:39 | |
Nice thing, though. | 0:30:39 | 0:30:41 | |
It's not perfect. | 0:30:41 | 0:30:42 | |
It's a little bit worn, but it's got to be late 19th century, | 0:30:42 | 0:30:45 | |
early 20th century so we'd expect that. | 0:30:45 | 0:30:47 | |
This is ?88, and as I'm saying that, I've actually just clocked the fact | 0:30:47 | 0:30:52 | |
it's got blinking woodworm in it! That is... | 0:30:52 | 0:30:56 | |
Oh! How did I not notice that? | 0:30:56 | 0:30:58 | |
So, woodworm aside, I only really want to spend | 0:30:58 | 0:31:00 | |
about ?35 or ?40 on it, which is a bit cheeky, I know, | 0:31:00 | 0:31:03 | |
but it's what I want to spend. I want to make a profit at the end. | 0:31:03 | 0:31:07 | |
As does Phil. Spotted anything yet? | 0:31:07 | 0:31:10 | |
That little rocker's sweet, isn't it? It is, isn't it? | 0:31:11 | 0:31:14 | |
Good condition, too. | 0:31:14 | 0:31:16 | |
So this is what, 1950s, is it? Yes, I think so. | 0:31:18 | 0:31:21 | |
And it's got this... little piggy and the bunny rabbit. | 0:31:21 | 0:31:25 | |
That's quite sweet, isn't it? You've got 30 on it. | 0:31:27 | 0:31:30 | |
What could you do that for, Hilary? | 0:31:30 | 0:31:32 | |
I'm selling that for a friend, so probably about 24. | 0:31:32 | 0:31:36 | |
Would ?20 buy it? I knew you were going to say that. | 0:31:38 | 0:31:41 | |
Yes, ?20. Yes. | 0:31:41 | 0:31:42 | |
Hilary, I think that's lovely. I'm going to buy that off you. | 0:31:42 | 0:31:45 | |
Oh, lovely. I'm going to buy that. Thank you so much. Thank you very much indeed. | 0:31:45 | 0:31:48 | |
So, that's the first lot bought on this final leg. | 0:31:48 | 0:31:52 | |
Hopefully Natasha is faring well back inside. | 0:31:52 | 0:31:57 | |
I love revolving bookcases, and this looks like a really nice one. | 0:31:57 | 0:32:00 | |
I'm hoping that underneath this jug... | 0:32:00 | 0:32:02 | |
Yes, there is a really nice sort of Edwardian inlaid cartouche, | 0:32:02 | 0:32:06 | |
a little bit of marquetry, which is always good, | 0:32:06 | 0:32:08 | |
but what's really nice about it | 0:32:08 | 0:32:10 | |
is that you've got books all the way around | 0:32:10 | 0:32:12 | |
and it revolves, so let's check out... Oh. | 0:32:12 | 0:32:14 | |
It's a little bit stiff, actually. It's not quite got that slick... No. | 0:32:14 | 0:32:19 | |
It's actually a bookcase that's a tale of two stories, really. | 0:32:19 | 0:32:23 | |
You've got the early 20th century up here | 0:32:23 | 0:32:25 | |
with its lovely Edwardian motifs, | 0:32:25 | 0:32:27 | |
and then you've got late 20th century down here, | 0:32:27 | 0:32:30 | |
with dodgy plastic casters that everyone is trying to forget. | 0:32:30 | 0:32:33 | |
So, let's have a look at the price | 0:32:33 | 0:32:36 | |
because that's probably reflected here. "Revolving bookcase," 55 quid. | 0:32:36 | 0:32:40 | |
So, it's not quite a revolving bookcase. | 0:32:40 | 0:32:42 | |
It's a book case that revolves, if you know what I mean? | 0:32:42 | 0:32:45 | |
Er... I think so. Another possibility. | 0:32:45 | 0:32:49 | |
Downstairs, Phil's found a lovely set of boat steps, | 0:32:49 | 0:32:53 | |
ticket price ?165. | 0:32:53 | 0:32:56 | |
I think they're fun things. There'll be one or two uses. | 0:32:56 | 0:32:59 | |
They're either the sort of thing that someone is going to hang | 0:32:59 | 0:33:03 | |
in a seaside cottage or they're the type of thing | 0:33:03 | 0:33:07 | |
that someone might have in a library or, for me, | 0:33:07 | 0:33:12 | |
they're the type of thing that you... | 0:33:12 | 0:33:15 | |
Actually... I'll just work this out. | 0:33:17 | 0:33:19 | |
Aren't those a cool set of shelves to hang up somewhere? | 0:33:22 | 0:33:25 | |
Brilliant. Yeah, they would hang on a wall. Yeah. | 0:33:25 | 0:33:27 | |
I think on a bad day... | 0:33:27 | 0:33:29 | |
..those are going to make ?60 or ?70. | 0:33:31 | 0:33:33 | |
On a good day, they might make 120, 130. That's what I think. | 0:33:33 | 0:33:37 | |
I'd like to try and buy them for somewhere between ?80 and ?90, | 0:33:37 | 0:33:41 | |
if I could. I really like those. | 0:33:41 | 0:33:44 | |
How about 90? Are you sure? Smashing. Thanks very much. | 0:33:44 | 0:33:49 | |
A very generous ?75 off the ticket price. | 0:33:49 | 0:33:54 | |
How's Natasha getting on? | 0:33:54 | 0:33:55 | |
These are really sweet. | 0:33:55 | 0:33:57 | |
These are napkin rings and they are, I think, Bakelite, | 0:33:57 | 0:34:02 | |
which is an early plastic and kind of dates them | 0:34:02 | 0:34:05 | |
to probably the 1930s or '40s, and they're novelty. | 0:34:05 | 0:34:08 | |
The dog lovers would like them. But they're quite sweet. | 0:34:08 | 0:34:11 | |
They're a tenner each. | 0:34:11 | 0:34:12 | |
They are marked with this code, EBA, and so is the bookcase, | 0:34:12 | 0:34:17 | |
so I don't know who the seller is but I reckon that's their initials, | 0:34:17 | 0:34:21 | |
and if they want to get rid of both these things, maybe they could do it | 0:34:21 | 0:34:24 | |
in one fell sweep... One fell swoop! Ah! | 0:34:24 | 0:34:26 | |
It turns out the jardiniere is marked "EBA" too. | 0:34:28 | 0:34:30 | |
They're all owned by the same dealer. | 0:34:30 | 0:34:33 | |
With a collective ticket price of ?163, | 0:34:33 | 0:34:36 | |
will Natasha try a cheeky offer for the three? | 0:34:36 | 0:34:39 | |
I bet she does. | 0:34:39 | 0:34:41 | |
All together 75. | 0:34:41 | 0:34:43 | |
Can you do 85? I definitely can, | 0:34:43 | 0:34:45 | |
because that's still a massive chunk off. Brilliant. | 0:34:45 | 0:34:48 | |
If you're cool with that, I'm cool with that. Brilliant. | 0:34:48 | 0:34:51 | |
A great deal for three interesting items. Well done, Natasha. | 0:34:51 | 0:34:54 | |
Does anything else grab you, Phil? | 0:34:56 | 0:34:58 | |
This is just an interesting tray. | 0:35:00 | 0:35:03 | |
It's late 19th century. It's in mahogany. | 0:35:03 | 0:35:05 | |
Now, there's two issues with this. | 0:35:05 | 0:35:08 | |
The first thing is condition, cos we've got a bit of a crack there, | 0:35:08 | 0:35:12 | |
and the second thing is | 0:35:12 | 0:35:13 | |
it's completely and utterly out of fashion. | 0:35:13 | 0:35:17 | |
So, a tray like this in good order, 15 years ago, | 0:35:17 | 0:35:21 | |
would have been between ?200 and ?400. | 0:35:21 | 0:35:24 | |
This is now priced up at ?55. | 0:35:24 | 0:35:27 | |
Cor. Better get your bartering head on, old bean. | 0:35:29 | 0:35:33 | |
I'm hoping I can try and buy it off you for around the ?20 mark. | 0:35:33 | 0:35:36 | |
How does that...? It's a bit low. Come on, tell me. A bit low. | 0:35:36 | 0:35:40 | |
It's the condition, really, isn't it? It's priced as damaged, but... | 0:35:41 | 0:35:45 | |
Can you do...25? | 0:35:45 | 0:35:49 | |
Go on. You're an angel. All right, brilliant. Thank you very much. | 0:35:50 | 0:35:54 | |
That's three lots for Phil, as well. | 0:35:54 | 0:35:59 | |
After that busy first stop, he is heading north, to Reading, | 0:35:59 | 0:36:03 | |
in search of something to spend his remaining ?210 on. | 0:36:03 | 0:36:07 | |
He's meeting Will, | 0:36:10 | 0:36:11 | |
and in the back yard he's found something architectural. | 0:36:11 | 0:36:14 | |
Uh-oh... | 0:36:14 | 0:36:15 | |
I love that. Originally it would have been one of a pair, wouldn't it? | 0:36:16 | 0:36:19 | |
Yeah, off a gatepost, I'd imagine. Yeah. | 0:36:19 | 0:36:22 | |
What's the ticket price on that one? | 0:36:22 | 0:36:24 | |
Well, I think the problem with that is it's been here so long | 0:36:24 | 0:36:27 | |
that we had a bit of sort-out this weekend and it suddenly appeared. | 0:36:27 | 0:36:31 | |
Suddenly appeared. Oh, I like this. So, I think we can... | 0:36:31 | 0:36:34 | |
If you make me a sensible price... | 0:36:34 | 0:36:36 | |
OK. And I mean sensible. The trouble with it is | 0:36:36 | 0:36:41 | |
that a pair would be really, really saleable, wouldn't they? But one... | 0:36:41 | 0:36:44 | |
But I still think it's quite fun. Would a ?20 note buy it? | 0:36:44 | 0:36:48 | |
Well... | 0:36:51 | 0:36:53 | |
If it gets rid of it, I suppose, yeah. Go on, ?20. Oh, go on, then. | 0:36:54 | 0:36:59 | |
So, that's a hefty lot bought. | 0:37:01 | 0:37:04 | |
Now, how about a pig's trough? | 0:37:04 | 0:37:06 | |
This is cast iron, isn't it? Yep. | 0:37:06 | 0:37:08 | |
Pre-war. That's got to be the 1920s, I would imagine, | 0:37:10 | 0:37:14 | |
cos after a while they made them galvanised, didn't they? | 0:37:14 | 0:37:18 | |
Galvanised come in after the war. How much is that, Will? | 0:37:18 | 0:37:21 | |
Well, we did have 75 on it. | 0:37:21 | 0:37:23 | |
I've got to give you somewhere between 20 and 25 quid. | 0:37:25 | 0:37:29 | |
No, I'd have to have a little bit more than that. | 0:37:29 | 0:37:31 | |
30 quid's my best. | 0:37:31 | 0:37:33 | |
Dear, oh, dear. You got your hand out quick earlier. | 0:37:33 | 0:37:36 | |
HE SIGHS | 0:37:36 | 0:37:37 | |
That's a round 50, isn't it, really? Yeah. So, I owe you ?50 for the two, | 0:37:37 | 0:37:41 | |
and I'm going to put the two in as one lot in the auction. | 0:37:41 | 0:37:44 | |
A great bit of bargaining secures another lot. | 0:37:45 | 0:37:48 | |
And so the sun sets on a busy day for our road trippers, | 0:37:50 | 0:37:54 | |
and all I can say is nighty-night. | 0:37:54 | 0:37:57 | |
The next morning, our dynamic duo are back on the road. | 0:38:00 | 0:38:04 | |
First stop of the day is the small seaside town of Bognor Regis, | 0:38:05 | 0:38:10 | |
where Natasha's hunt for more antiques begins. Go, girl! | 0:38:10 | 0:38:15 | |
Hello. Good morning. Hi. Good morning. | 0:38:15 | 0:38:17 | |
Hello. Hi, I'm Tasha. I'm Stephan. Stephan. | 0:38:17 | 0:38:21 | |
How cute is your Wemyss pig at the front? Right. | 0:38:21 | 0:38:24 | |
I don't think it is Wemyss, though. Oh, really? | 0:38:24 | 0:38:27 | |
I think it's another make. OK, so in the style of? In the style of. | 0:38:27 | 0:38:30 | |
That would be quite nice. Can we have a look? | 0:38:30 | 0:38:32 | |
Wemyss Ware is probably the most collectable | 0:38:32 | 0:38:34 | |
and sought-after Scottish pottery. | 0:38:34 | 0:38:36 | |
Ah, a cane. | 0:38:36 | 0:38:38 | |
Let's have a look. Hook the pig. Hook out the pig. | 0:38:39 | 0:38:43 | |
This piggy, however, is a piece of Plichta pottery, | 0:38:43 | 0:38:47 | |
which, though generally inferior in quality to Wemyss, is still popular. | 0:38:47 | 0:38:51 | |
It's super cute. Look at him face on. | 0:38:53 | 0:38:55 | |
He's got a bit of a wonky face, doesn't he? | 0:38:55 | 0:38:57 | |
He doesn't have quite the fine execution of Wemyss, does he? | 0:38:57 | 0:39:00 | |
No, he doesn't. But he does have the look. It's hand-painted, is it not? | 0:39:00 | 0:39:03 | |
It is hand-painted and no damage. | 0:39:03 | 0:39:06 | |
Oh, Stephan, I think there is a wee bit of damage. | 0:39:06 | 0:39:09 | |
I think there's a wee bit of a curly tail option. Oh, there is. | 0:39:09 | 0:39:12 | |
And I'm the one wearing glasses. I'm just keeping my eyes peeled. | 0:39:12 | 0:39:16 | |
So, she's really sweet because the little holes in her snout | 0:39:16 | 0:39:20 | |
are mimicked all the way across her body, her ears, all over the place. | 0:39:20 | 0:39:25 | |
Maybe it's for hatpins! Yes, hatpins. Oh, cos it's quite big. | 0:39:25 | 0:39:28 | |
Maybe it is for hatpins. | 0:39:28 | 0:39:30 | |
I love this! The more I hold it and learn about it, the more I love it. | 0:39:30 | 0:39:33 | |
Now, I've touched it, which means apparently I've got to buy it, | 0:39:33 | 0:39:35 | |
but... We were asking ?15, but you pointed out the damage on the tail, | 0:39:35 | 0:39:41 | |
so now it's a crisp ?10 note. A ?10 note? | 0:39:41 | 0:39:44 | |
What do you reckon? | 0:39:45 | 0:39:46 | |
I think I can deal with this little piggy for a tenner. | 0:39:46 | 0:39:49 | |
Shall we go for it? I think you ought to. | 0:39:49 | 0:39:50 | |
Oh, Stephan, that was quick! I wasn't expecting that. | 0:39:50 | 0:39:53 | |
I'm glad I spotted her. I'm chuffed. | 0:39:53 | 0:39:56 | |
Here's hoping this little piggy makes a profit at auction. | 0:39:56 | 0:39:59 | |
Philip, meanwhile, is easing into the day, taking a trip to Portsmouth, | 0:40:05 | 0:40:09 | |
home to one of the most famous warships in the world - HMS Victory. | 0:40:09 | 0:40:14 | |
Best known for her role in Britain's greatest naval success, | 0:40:14 | 0:40:18 | |
the Battle of Trafalgar, Victory was the flagship of Admiral Nelson | 0:40:18 | 0:40:22 | |
and was the vessel where he drew his last breath. | 0:40:22 | 0:40:27 | |
Philip's meeting curator Andrew Baines to find out more. | 0:40:27 | 0:40:31 | |
This room that we're in now, this is Nelson's? This is Nelson's. | 0:40:31 | 0:40:34 | |
This is a great cabin, which is divided into four sections. | 0:40:34 | 0:40:37 | |
His steerage, his anteroom, if you like, the dining place, | 0:40:37 | 0:40:41 | |
the day cabin, where we are now, and then his bed place. | 0:40:41 | 0:40:44 | |
You can just feel history coming out of the walls, can't you? Yeah. | 0:40:44 | 0:40:47 | |
Nelson pacing back and forth. Oh, just unbelievable. | 0:40:47 | 0:40:50 | |
In her 34 years of service, Victory fought in five naval battles | 0:40:51 | 0:40:56 | |
but it was the 1805 defeat of the French and Spanish | 0:40:56 | 0:41:00 | |
at the Battle of Trafalgar she became most famous for. | 0:41:00 | 0:41:05 | |
You've got the palatial surroundings that we just left | 0:41:05 | 0:41:09 | |
for the one person, | 0:41:09 | 0:41:11 | |
and the other 820 are spread throughout this ship... | 0:41:11 | 0:41:14 | |
and this is the cooking range? | 0:41:14 | 0:41:16 | |
For everyone onboard, whether it's Nelson, an admiral, | 0:41:16 | 0:41:20 | |
or the lowest of the ratings onboard, the boy seamen. | 0:41:20 | 0:41:23 | |
All the cooking is done here. | 0:41:23 | 0:41:25 | |
But that just strikes me as being a fairly strange mix, really | 0:41:25 | 0:41:29 | |
cos we've got a timber wooden ship and a fire in the middle of it. | 0:41:29 | 0:41:34 | |
Yeah. Well, men need a hot meal, so if you look, the stove sits on tiles | 0:41:34 | 0:41:39 | |
and we're very careful. | 0:41:39 | 0:41:41 | |
This is the only place you're allowed fire onboard the ship, | 0:41:41 | 0:41:46 | |
but actually on the morning of the battle, this had been dismantled | 0:41:46 | 0:41:49 | |
so there's no hot meal and the guys fight the Battle of Trafalgar | 0:41:49 | 0:41:54 | |
on a lunch meal of raw pork and wine. Oh, great. | 0:41:54 | 0:41:59 | |
Food is incredibly important as a part of morale | 0:42:01 | 0:42:04 | |
so everybody onboard gets exactly the same ration. | 0:42:04 | 0:42:07 | |
Nelson's advantage is, as a man of some means, | 0:42:09 | 0:42:12 | |
he is able to supplement that ration, | 0:42:12 | 0:42:14 | |
so he will bring onboard his own pantry of stores, if you like. | 0:42:14 | 0:42:18 | |
However, the men here can do just the same. | 0:42:18 | 0:42:21 | |
You eat and live as part of a mess, as four, six or eight men. | 0:42:21 | 0:42:25 | |
You'll pay into a kitty | 0:42:25 | 0:42:26 | |
and that kitty will be used to buy things like mustard and spices, | 0:42:26 | 0:42:31 | |
and indeed live animals you might choose to bring onboard | 0:42:31 | 0:42:34 | |
that are YOUR animal | 0:42:34 | 0:42:35 | |
that you will then slaughter and eat as you go through. | 0:42:35 | 0:42:38 | |
To keep up with the hard physical work onboard, | 0:42:38 | 0:42:42 | |
each crew member consumed around 5,000 calories a day, | 0:42:42 | 0:42:46 | |
a good portion of which came from alcohol. | 0:42:46 | 0:42:49 | |
These chaps are getting about half a pint of rum | 0:42:49 | 0:42:56 | |
per man per day, when we're on rum, | 0:42:56 | 0:42:59 | |
and the proof of their rum is about double what we call strong now. | 0:42:59 | 0:43:05 | |
So it's firewater. | 0:43:05 | 0:43:07 | |
On the 21 October 1805, Nelson led the British fleet | 0:43:07 | 0:43:13 | |
into battle against the French and Spanish. | 0:43:13 | 0:43:16 | |
It was 27 vessels versus 33. | 0:43:16 | 0:43:20 | |
Some 1,700 British men were killed or wounded | 0:43:20 | 0:43:24 | |
including the great Nelson himself, who was shot on the quarterdeck. | 0:43:24 | 0:43:29 | |
Below deck, the ship's surgeon, Mr Beatty, | 0:43:29 | 0:43:32 | |
knew Nelson wouldn't survive. | 0:43:32 | 0:43:34 | |
Captain Hardy came to bid his Admiral farewell. | 0:43:34 | 0:43:38 | |
He knows he's going to die. | 0:43:38 | 0:43:39 | |
He could really, although he's surrounded by people, be very alone. | 0:43:39 | 0:43:43 | |
He craves human touch and that's why he says, "Kiss me, Hardy." | 0:43:43 | 0:43:48 | |
And Hardy bends and kisses him on the forehead, | 0:43:48 | 0:43:51 | |
stands up, then actually goes down, | 0:43:51 | 0:43:53 | |
bends and kisses him on the cheek this time | 0:43:53 | 0:43:56 | |
before apparently, overcome with emotion, he leaves the scene. | 0:43:56 | 0:43:59 | |
Not long afterwards, Nelson died. | 0:43:59 | 0:44:03 | |
With Nelson's death... He must have been a national hero before, | 0:44:04 | 0:44:10 | |
and afterwards he must have almost achieved superstar status. | 0:44:10 | 0:44:15 | |
The funeral is huge. | 0:44:15 | 0:44:17 | |
It's the biggest state funeral ever to take place up until that time | 0:44:17 | 0:44:21 | |
and the funeral procession is so long that it leaves Whitehall | 0:44:21 | 0:44:26 | |
and Nelson's body arrives at St Paul's Cathedral | 0:44:26 | 0:44:30 | |
before the rest of the procession has finished leaving Whitehall. | 0:44:30 | 0:44:33 | |
It's that big. | 0:44:33 | 0:44:35 | |
In 1922, HMS Victory was placed into dry dock. | 0:44:36 | 0:44:41 | |
Millions have since flocked to visit | 0:44:41 | 0:44:43 | |
the oldest commissioned warship in the world | 0:44:43 | 0:44:46 | |
and remember one of Britain's greatest heroes, | 0:44:46 | 0:44:49 | |
Admiral Nelson. | 0:44:49 | 0:44:50 | |
Our pair have reunited to make their way to Birdham, | 0:44:52 | 0:44:56 | |
where they'll share their final shopping experience of this Road Trip | 0:44:56 | 0:44:59 | |
at Whitestone Farm Antiques. | 0:44:59 | 0:45:02 | |
Here we are. This is off the beaten track. It is indeedy-doody. | 0:45:02 | 0:45:06 | |
OK, let's do it. Our last items. This is sad, isn't it? Ugh, what? | 0:45:06 | 0:45:12 | |
Here we go. I'm ready for it, Phil, are you? | 0:45:14 | 0:45:17 | |
Well, my eyes are watering, but, yeah, let's go. Come on. | 0:45:17 | 0:45:21 | |
Our final foray. Come on, darling, after you. | 0:45:21 | 0:45:24 | |
Hello, you must be Jo. I am Jo. I'm Tasha. Lovely to meet you. | 0:45:24 | 0:45:27 | |
With ?70 left what's going to tickle their fancy in here then? | 0:45:27 | 0:45:31 | |
Let's have a look. | 0:45:33 | 0:45:35 | |
OK, so, ghouls to the front. They're not hand-painted, right? They're transferred on. | 0:45:35 | 0:45:38 | |
No, it's transfer, but... Is the colour done by hand? ..hand-painted over the top. | 0:45:38 | 0:45:42 | |
OK, so hand-finished I guess we can say. | 0:45:42 | 0:45:45 | |
So, I'm not so up on Carlton Ware | 0:45:45 | 0:45:47 | |
but that looks like a post-1930s mark, doesn't it? It's quite crisp. | 0:45:47 | 0:45:50 | |
This is very 1930s but of course it could be as late as 1950. | 0:45:50 | 0:45:55 | |
Oh, look! "A Dorset Litany. From ghoulies ghosties..." | 0:45:55 | 0:45:59 | |
It's marked up at ?50, which scares me a little bit. | 0:45:59 | 0:46:02 | |
Not as much as the ghoulies and ghosties, which are terrifying. | 0:46:02 | 0:46:06 | |
Do you want a tempting price though? A tempting price? Oh, I don't know. | 0:46:06 | 0:46:10 | |
How tempting? | 0:46:10 | 0:46:11 | |
30? 30. That's quite a chunk off. that is a very generous offer, Jo. | 0:46:11 | 0:46:16 | |
Phil is just eavesdropping. He's so bad! | 0:46:17 | 0:46:20 | |
What if I made you a cheeky offer, and it is really cheeky | 0:46:20 | 0:46:23 | |
but it's my last chance to be cheeky, of ?20? | 0:46:23 | 0:46:27 | |
?20. What would you do? | 0:46:27 | 0:46:29 | |
25 and it's yours. 25 and it's mine? | 0:46:31 | 0:46:33 | |
I'm going to put it down carefully and say, "Jo, thank you so much." | 0:46:33 | 0:46:37 | |
Because at ?25 it does have a real chance, doesn't it? | 0:46:37 | 0:46:40 | |
I think it's got a real good chance. | 0:46:40 | 0:46:42 | |
Well, it won't be long before we find out. Now, has Phil found anything? | 0:46:42 | 0:46:47 | |
A pair of leather chairs perhaps? | 0:46:47 | 0:46:49 | |
When you're looking at a chair, you just need to make sure | 0:46:51 | 0:46:54 | |
that there's no breaks. People lean back on chairs, | 0:46:54 | 0:46:57 | |
particularly people of my size lean back on chairs, | 0:46:57 | 0:47:01 | |
and if you lean back on a chair, it breaks there. | 0:47:01 | 0:47:04 | |
So, whenever you look at a chair, you want to make sure | 0:47:04 | 0:47:07 | |
that there's no breaks just there | 0:47:07 | 0:47:09 | |
cos that is just not a good thing. | 0:47:09 | 0:47:11 | |
I quite like these. | 0:47:11 | 0:47:13 | |
The pair have a ticket price of ?110 but generous Jo has indicated | 0:47:14 | 0:47:20 | |
he'd be willing to drop to 60. Wow. | 0:47:20 | 0:47:23 | |
I know that you've said these at 60. 60, that is too much for me. | 0:47:23 | 0:47:27 | |
Can you do them for 40 and a bit of polish and I'll shake your hand? | 0:47:27 | 0:47:33 | |
How about 50 and a bit of polish? I'll even help you if you like. | 0:47:33 | 0:47:37 | |
No, no, I'll do it on my own. 45 and I'll do it myself. | 0:47:37 | 0:47:40 | |
Go on, then. You're a gentleman, Jo. | 0:47:40 | 0:47:42 | |
With that last buy, it means our Road Trippers are all bought up. | 0:47:42 | 0:47:48 | |
Natasha spent ?120 on five lots. | 0:47:48 | 0:47:51 | |
The wooden cellarette, | 0:47:51 | 0:47:53 | |
a revolving bookcase, | 0:47:53 | 0:47:55 | |
the Scottie dog napkin rings, | 0:47:55 | 0:47:58 | |
a piggy hatpin holder | 0:47:58 | 0:48:00 | |
and the ghoulish Carlton mug. | 0:48:00 | 0:48:02 | |
Phil spent ?230 buying the children's rocking chair, | 0:48:03 | 0:48:08 | |
the boat steps, | 0:48:08 | 0:48:09 | |
a mahogany tray, | 0:48:09 | 0:48:11 | |
the pig trough and garden ball, | 0:48:11 | 0:48:14 | |
and the pair of newly buffed up leather chairs. | 0:48:14 | 0:48:17 | |
What do they make of each other's lots? | 0:48:20 | 0:48:23 | |
I'm going to bow to Tasha's knowledge | 0:48:23 | 0:48:26 | |
with that Carlton Ware mug. | 0:48:26 | 0:48:27 | |
I think it's a cool thing but at ?25, it might be a problem. | 0:48:27 | 0:48:32 | |
But if it's rare, it should just see it through. | 0:48:32 | 0:48:35 | |
On the very last leg, Phil had to buy something salvage, | 0:48:35 | 0:48:39 | |
he had to do it, and he's come away | 0:48:39 | 0:48:40 | |
with a huge spherical gate finial and a pig's trough. | 0:48:40 | 0:48:44 | |
My pig item is a little ceramic dainty thing, his is a pig's trough. | 0:48:44 | 0:48:48 | |
It just explains the difference between Phil and I | 0:48:48 | 0:48:51 | |
and why opposites attract. | 0:48:51 | 0:48:52 | |
After starting this leg in Eversley, | 0:48:54 | 0:48:57 | |
they're now hurtling towards | 0:48:57 | 0:48:58 | |
their final destination, Salisbury. | 0:48:58 | 0:49:02 | |
I think, "infectious, bubbly Natasha". | 0:49:03 | 0:49:06 | |
That's what I'm going to miss. I'm not infectious. That sounds awful! | 0:49:06 | 0:49:09 | |
I sound contagious! You are because you've actually made me smile. | 0:49:09 | 0:49:13 | |
On that bombshell, it's auction time. | 0:49:14 | 0:49:18 | |
The final sale is taking place at Netherhampton Salerooms. | 0:49:19 | 0:49:23 | |
Presiding over today's events is Richard Petty. | 0:49:24 | 0:49:28 | |
Ah, Philip. Here we go then. Here we go. | 0:49:28 | 0:49:31 | |
Here we go indeed. First up - Phil's mahogany tray. | 0:49:32 | 0:49:35 | |
I'll start the bidding at ?10. At ?10, ?10, ?10, ?10... | 0:49:35 | 0:49:39 | |
?12, 15, 18, ?20 | 0:49:39 | 0:49:42 | |
22, 25 from me. 25 my bid. | 0:49:42 | 0:49:45 | |
28. I've got 30. | 0:49:45 | 0:49:48 | |
32, 35, 38, ?40 from me. | 0:49:48 | 0:49:51 | |
45 and I'm out. 45, 45, 45... | 0:49:51 | 0:49:53 | |
45! You were bang on. ..In the room then at 45. | 0:49:53 | 0:49:56 | |
Anybody else? Being sold this time at ?45. | 0:49:56 | 0:49:59 | |
GAVEL BANGS Oh! Phil, that's excellent! | 0:49:59 | 0:50:02 | |
First lot and he's pulled in a profit. Well done, Philip. | 0:50:03 | 0:50:06 | |
That is a good start. Yeah. | 0:50:06 | 0:50:08 | |
Can Natasha's ghoulish mug keep up the profits? | 0:50:09 | 0:50:12 | |
At ?12 I've got. 15, 18, 20, 22, | 0:50:13 | 0:50:17 | |
25. I'm out. 28... Oh, yay! ..?30. | 0:50:17 | 0:50:21 | |
?30. 32? 32. 35? | 0:50:21 | 0:50:24 | |
35. Oh. Another for you? 38. Oh, keen crowd! | 0:50:24 | 0:50:28 | |
?40, 42, 42. | 0:50:28 | 0:50:32 | |
45. Gentleman's bid then at 45. | 0:50:32 | 0:50:34 | |
48. On my left at 48. Anyone else want to join in? | 0:50:34 | 0:50:39 | |
At 48. Being sold this time then at ?48. | 0:50:39 | 0:50:43 | |
GAVEL BANGS By Jove! | 0:50:43 | 0:50:45 | |
That's some profit on the mug. Nicely done, Natasha. | 0:50:45 | 0:50:48 | |
But will her Bakelite Scottie dog napkin holders prove as popular? | 0:50:49 | 0:50:54 | |
Maybe they'll fly and do really well. | 0:50:55 | 0:50:57 | |
Who's got 10? Thank you, ?10 I've got. 10! ?10, ?10, ?10, ?10... | 0:50:57 | 0:51:01 | |
Who else wants it? ?12. I want them. I want them. | 0:51:01 | 0:51:04 | |
15, 18... Yay! ..?20. At ?20. Gentleman's bid at ?20. | 0:51:04 | 0:51:09 | |
Oh, I want them. ?20, ?20, 20. Anyone else want them at 20? | 0:51:09 | 0:51:11 | |
Shout if we don't see you. Being sold this time then at ?20. | 0:51:11 | 0:51:15 | |
GAVEL BANGS Relax! Ooh! Yes! | 0:51:15 | 0:51:18 | |
The Scottie doggies have done our Scottish lass proud. | 0:51:18 | 0:51:22 | |
That's good. That's good, that's good, that's good. Double the money. | 0:51:22 | 0:51:25 | |
Yeah. Right, Phil, the battle is well and truly on. | 0:51:25 | 0:51:28 | |
Up next is your set of boat steps. | 0:51:28 | 0:51:31 | |
I've got three lots of instructions. | 0:51:31 | 0:51:33 | |
I'm going to start the bidding at... | 0:51:33 | 0:51:34 | |
?40. Ooh. ?40 I've got. ?40, ?40, ?40, ?40... | 0:51:34 | 0:51:39 | |
45. I've got 50. 55. I've got 60. | 0:51:39 | 0:51:43 | |
Another one for you? 65. I've got 70. | 0:51:43 | 0:51:46 | |
70... You know, that's a result, as far as I'm concerned. | 0:51:46 | 0:51:49 | |
Oh, keep going. Someone's got to come in. Got to. | 0:51:49 | 0:51:51 | |
Last chance. Being sold this time then at ?70. | 0:51:51 | 0:51:55 | |
GAVEL BANGS Oh, Phil, that was close! | 0:51:55 | 0:51:57 | |
Ah, a bit of a loss there. | 0:51:57 | 0:52:01 | |
Someone in Salisbury got a great deal. | 0:52:01 | 0:52:03 | |
Natasha's still in pole position at this auction. | 0:52:04 | 0:52:07 | |
Can she edge further ahead with the piggy hatpin holder? | 0:52:07 | 0:52:11 | |
?10 I have. ?10, ?10, ?12... That's because of the... | 0:52:11 | 0:52:13 | |
..15, 18... Oh! Get in! ..20, 22, 25, 28. | 0:52:13 | 0:52:17 | |
I'm out. Oh, don't be out. | 0:52:17 | 0:52:19 | |
?30. 32... I'm in trouble here. ..35, 38? | 0:52:19 | 0:52:23 | |
I'm in trouble. ?40, 42... I really am in trouble here. | 0:52:23 | 0:52:27 | |
..45, 48, ?50. | 0:52:27 | 0:52:30 | |
?50. Lady's bid then at ?50. Anyone else at 50? Your last chance. | 0:52:30 | 0:52:34 | |
Being sold this time then at ?50. GAVEL BANGS | 0:52:34 | 0:52:38 | |
Yes, madam! # There may be trouble ahead. # | 0:52:38 | 0:52:41 | |
You could well be right, Phil. | 0:52:43 | 0:52:44 | |
A fantastic return on that little piggy. | 0:52:44 | 0:52:47 | |
The bookcase is up next. | 0:52:47 | 0:52:49 | |
It's nice. I like it because... And the people round here | 0:52:49 | 0:52:52 | |
are forward planning. Bonfire Night is not that far away. | 0:52:52 | 0:52:55 | |
Unbelievable. 100? 70 or 80? 50 if we have to. It's here to be sold. | 0:52:57 | 0:53:02 | |
Who's got 50? Thank you. Yes! ?50 I have. ?50, ?50, ?50... | 0:53:02 | 0:53:05 | |
I just cannot believe that. ..?50, ?50, ?50, ?50... | 0:53:05 | 0:53:08 | |
Join in when you're ready but be very, very quick. 55. | 0:53:08 | 0:53:10 | |
55? That chap thought he said 15. | 0:53:10 | 0:53:13 | |
..?70, 75, ?80, 85, 85... | 0:53:13 | 0:53:18 | |
Are you OK? ..85. Don't think tomorrow. Tomorrow will be too late. | 0:53:18 | 0:53:23 | |
85. 85. Anybody else? Being sold this time then at ?85. | 0:53:23 | 0:53:29 | |
GAVEL BANGS | 0:53:29 | 0:53:31 | |
Fantastic! Now that's a profit! | 0:53:31 | 0:53:35 | |
That is a top job, isn't it? | 0:53:35 | 0:53:36 | |
I'm so glad that someone else saw what I saw in it, Phil. | 0:53:36 | 0:53:39 | |
Someone else had the vision that you just simply lack. | 0:53:39 | 0:53:41 | |
Yeah. I'm going to go get all the books out and start again, I think. | 0:53:41 | 0:53:45 | |
Well done, you. Well done, you. | 0:53:45 | 0:53:47 | |
Right, Phil, if you've any chance of winning this leg, | 0:53:47 | 0:53:51 | |
you need to make a profit with your pig trough and garden ball. | 0:53:51 | 0:53:55 | |
Would it have been useful if you'd had two gate finials, do you reckon? | 0:53:55 | 0:53:58 | |
I would never have bought them. They'd be a couple hundred pounds. | 0:53:58 | 0:54:01 | |
Too logical. What do you want with one finial? | 0:54:01 | 0:54:03 | |
Who's ever going to buy one finial? I don't know. Except me. | 0:54:03 | 0:54:05 | |
Is there a guy with half a house or...? | 0:54:05 | 0:54:08 | |
So, with the instructions I've been given, | 0:54:08 | 0:54:11 | |
I need to start the bidding at ?35. | 0:54:11 | 0:54:13 | |
35 I've got. 35, 35, 40. | 0:54:13 | 0:54:15 | |
45, 50, 55, 60, 65 with me. | 0:54:15 | 0:54:20 | |
65. The bid's with me at 65. How's the phone looking, Gem? | 0:54:20 | 0:54:25 | |
65. I think he's got the speaking clock. I think he's gone out. | 0:54:25 | 0:54:28 | |
Oh, they're out. They're out. 65. Is he back in yet? | 0:54:28 | 0:54:32 | |
He's gone out. Oh, no, he's gone out to the shops! | 0:54:32 | 0:54:35 | |
He shakes his head. At ?65. | 0:54:35 | 0:54:37 | |
70. New bidder! 75, 80. Now I'm out. | 0:54:37 | 0:54:41 | |
80 in the seats then. ?80. 80, your last chance. | 0:54:41 | 0:54:44 | |
Anybody else? Being sold this time then at ?80. | 0:54:44 | 0:54:48 | |
GAVEL BANGS Phil! | 0:54:48 | 0:54:50 | |
That was good, that. That is so good. ?80. | 0:54:50 | 0:54:53 | |
Phil's random garden lot has put him back in the game. Great stuff! | 0:54:53 | 0:54:59 | |
This is getting exciting. It is, isn't it? | 0:54:59 | 0:55:01 | |
Edge of your seat stuff here. | 0:55:02 | 0:55:04 | |
Can Phil bag another profit with his pair of buffed up leather chairs? | 0:55:04 | 0:55:08 | |
Who's got ?20 then? Here to be sold. Who's got 20? | 0:55:08 | 0:55:11 | |
How many? 10? Thank you. ?10 I have. ?10, ?10, ?12, 15, | 0:55:11 | 0:55:15 | |
18, ?20, 22, 25... It's all go, it's all go. 25. | 0:55:15 | 0:55:20 | |
..28, ?30. ?30 I have then. Phil, it's getting there. | 0:55:20 | 0:55:23 | |
32, 35, 38, ?40... Slowly but surely. It's like pulling teeth. | 0:55:23 | 0:55:28 | |
42? 42? What a shame. 42. Anybody else got 42? | 0:55:28 | 0:55:32 | |
One more. Last chance on this lot. Being sold at 42... | 0:55:32 | 0:55:34 | |
One more. Help this man break even. GAVEL BANGS | 0:55:34 | 0:55:36 | |
Yours, sir. I'm so disappointed with that | 0:55:36 | 0:55:39 | |
after all that effort I put in polishing the wretched things. | 0:55:39 | 0:55:42 | |
Aw, hard luck. But it's only a little loss so your elbow grease | 0:55:42 | 0:55:46 | |
wasn't an entire waste of time. | 0:55:46 | 0:55:48 | |
And now for Natasha's final lot. | 0:55:50 | 0:55:52 | |
The romance of a cellarette is going to set this saleroom on fire. | 0:55:53 | 0:55:58 | |
At ?30 I've got. ?30, ?30, ?30, ?30... | 0:55:58 | 0:56:01 | |
32, 35, 38, ?40. | 0:56:01 | 0:56:04 | |
?40, ?40... Come on. No, no, no! Anybody else want in at ?40? | 0:56:04 | 0:56:09 | |
Last chance 40... I need one more. | 0:56:09 | 0:56:11 | |
No, I don't. Drop the hammer. No, no, no, no. | 0:56:11 | 0:56:13 | |
?40! Aw, no! Drop the hammer. GAVEL BANGS | 0:56:13 | 0:56:16 | |
A small loss there, but Natasha's still in the lead. | 0:56:16 | 0:56:20 | |
There doesn't seem any justice really | 0:56:20 | 0:56:22 | |
that that was probably worth a bit more than that, wasn't it? | 0:56:22 | 0:56:24 | |
It was worth more but I have to take the rough with the smooth | 0:56:24 | 0:56:27 | |
cos so many things today have made money that I did not expect to make money. Yeah. | 0:56:27 | 0:56:30 | |
Yeah. Talking of making money, to win this auction, | 0:56:30 | 0:56:34 | |
Phil will need a romping result on the rocking chair. | 0:56:34 | 0:56:38 | |
Tenner for you, sir, thank you. ?10 I have... | 0:56:38 | 0:56:40 | |
It's started. 15, 18, 20, 22, | 0:56:40 | 0:56:43 | |
25, 28, 28, 28. | 0:56:43 | 0:56:47 | |
I have ?30. | 0:56:47 | 0:56:49 | |
?30. First bid has it at ?30. ?30. Last chance... | 0:56:49 | 0:56:53 | |
32. 32. Anybody else at 32? Your last chance on this lot. | 0:56:53 | 0:56:57 | |
?32. Anyone else? Being sold then at ?32... | 0:56:57 | 0:57:02 | |
GAVEL BANGS | 0:57:02 | 0:57:04 | |
Aaah! Aaah! THEY LAUGH | 0:57:04 | 0:57:06 | |
So, there we have it. We end the Road Trip with a profit. | 0:57:07 | 0:57:11 | |
Marvellous. | 0:57:11 | 0:57:12 | |
What a brilliant week we've had, haven't we? | 0:57:13 | 0:57:15 | |
It's been so good. It's been so good. | 0:57:15 | 0:57:18 | |
Shall we go outside and have a little cry? Yeah, who's driving? | 0:57:18 | 0:57:21 | |
The winner. Oh, really? The winner drives us off. Come on, Philip. | 0:57:21 | 0:57:26 | |
Well, we'd better find out who that winner is then. | 0:57:26 | 0:57:29 | |
Natasha began with ?165.64 and after paying auction costs | 0:57:30 | 0:57:36 | |
she's made a pretty profit of ?79.26, making her today's winner, | 0:57:36 | 0:57:42 | |
with a final total of ?244.90. | 0:57:42 | 0:57:47 | |
Phil started with ?325.40. After paying auction costs, | 0:57:49 | 0:57:54 | |
he suffered a little loss of ?9.42. | 0:57:54 | 0:57:59 | |
This means he may have lost this leg, but he's won the trip | 0:57:59 | 0:58:02 | |
with a fabulous final tally of ?315.98. | 0:58:02 | 0:58:07 | |
Well done, old bean. | 0:58:07 | 0:58:09 | |
All profits go to Children in Need. | 0:58:09 | 0:58:12 | |
Oh, Phil, well done! Well, yeah, but you won the evening. | 0:58:12 | 0:58:16 | |
It doesn't matter. The winner overall drives away. | 0:58:16 | 0:58:18 | |
Oh, come on, then. I've just got to sit here and cry | 0:58:18 | 0:58:21 | |
in the passenger seat. SHE LAUGHS | 0:58:21 | 0:58:23 | |
No tears, no tears. It's too good. It's too good! | 0:58:23 | 0:58:26 | |
It's been a delight, chaps. | 0:58:26 | 0:58:28 | |
Until next time, cheerio! | 0:58:28 | 0:58:30 |