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It's the nation's favourite antiques experts... | 0:00:02 | 0:00:05 | |
This is beautiful. That's the way to do this. | 0:00:05 | 0:00:07 | |
..with ?200 each, a classic car, and a goal - to scour for antiques. | 0:00:07 | 0:00:13 | |
Joy! Hello! | 0:00:13 | 0:00:14 | |
The aim, to make the biggest profit at auction, but it's no mean feat. | 0:00:14 | 0:00:18 | |
There'll be worthy winners and valiant losers. | 0:00:20 | 0:00:23 | |
So, will it be the high road to glory or the slow road to disaster? | 0:00:24 | 0:00:29 | |
The handbrake's on! | 0:00:29 | 0:00:30 | |
This is Antiques Road Trip. | 0:00:30 | 0:00:32 | |
Yeah. | 0:00:35 | 0:00:36 | |
Today, we begin a very special road trip, | 0:00:40 | 0:00:42 | |
starting right here in the Republic of Ireland. | 0:00:42 | 0:00:45 | |
Oh, yes, this'll be a treat for our top auctioneers, | 0:00:45 | 0:00:48 | |
Christina Trevanion and Thomas Plant. | 0:00:48 | 0:00:51 | |
What a combo. | 0:00:51 | 0:00:52 | |
Your impressions of Ireland? You've been here before, I've been here before. | 0:00:52 | 0:00:55 | |
You can go anywhere in the world, and you can go and visit countries | 0:00:55 | 0:00:58 | |
and they're beautiful, but it's all about the welcome you get, isn't it? | 0:00:58 | 0:01:02 | |
Yeah, absolutely. | 0:01:02 | 0:01:03 | |
It's wonderful, and the people are so friendly, and so accommodating, | 0:01:03 | 0:01:07 | |
and so sweet. | 0:01:07 | 0:01:08 | |
Hey, I love the Wedgwood blue wheels, guys. | 0:01:08 | 0:01:11 | |
Their quirky 1962 Bedford van was manufactured before it was | 0:01:11 | 0:01:14 | |
compulsory to fit seatbelts, so it's legal to drive without them. | 0:01:14 | 0:01:18 | |
Do you know what slightly worries me? What? | 0:01:18 | 0:01:21 | |
That's the engine! | 0:01:21 | 0:01:22 | |
It is the engine, isn't it? And it's quite nice as a heater. | 0:01:22 | 0:01:26 | |
Our jewellery and silver buffs start their trip with ?200 apiece, | 0:01:26 | 0:01:30 | |
but as they begin in Ireland, they'll kick off with 285 euros. | 0:01:30 | 0:01:34 | |
Get it? | 0:01:36 | 0:01:37 | |
Starting in Cashel in County Tipperary, | 0:01:37 | 0:01:40 | |
they'll get about Ireland, hop across to North Wales, | 0:01:40 | 0:01:43 | |
whizz around England, | 0:01:43 | 0:01:44 | |
and then end up, over 700 miles later, in Stoke-on-Trent. | 0:01:44 | 0:01:47 | |
This first leg will see them travel from Cashel | 0:01:47 | 0:01:51 | |
towards the opening auction in Birr, County Offaly. | 0:01:51 | 0:01:55 | |
Now, lets' begin shopping with young Thomas. | 0:01:57 | 0:02:00 | |
See you later. Bye! You look marvellous! | 0:02:00 | 0:02:03 | |
Owner Ruth Barry's in charge here. | 0:02:04 | 0:02:06 | |
Looks like she does more than antiques, too. | 0:02:06 | 0:02:08 | |
Bit of lotus, maybe. | 0:02:08 | 0:02:10 | |
You're Ruth? Yes, I am. I saw your name on the door. Yes. | 0:02:10 | 0:02:13 | |
And it's sort of Giver of Hope. | 0:02:13 | 0:02:14 | |
I'm a yoga teacher and when you do your teacher training, | 0:02:14 | 0:02:18 | |
they bestow a name on you, and that was Asha, Giver of Hope. | 0:02:18 | 0:02:22 | |
Giver of hope. Well, I'm going yo be giving you hope today. I hope so! I hope! | 0:02:22 | 0:02:26 | |
I just totally... | 0:02:28 | 0:02:30 | |
..love these tambour-fronted cabinets. | 0:02:31 | 0:02:35 | |
What's even better is this here. Wait for it... | 0:02:35 | 0:02:38 | |
RATTLING | 0:02:38 | 0:02:39 | |
Ah! And it's all hidden away. | 0:02:39 | 0:02:42 | |
This early 20th-century oak cabinet is 490 euros, | 0:02:42 | 0:02:46 | |
way over Thomas's budget. | 0:02:46 | 0:02:47 | |
Looks like that's not his only problem now. | 0:02:49 | 0:02:52 | |
Whoops, has he broken it? | 0:02:52 | 0:02:54 | |
Ruth, erm, is there a key for this? | 0:02:54 | 0:02:57 | |
I'm afraid not. What did you do? | 0:02:57 | 0:02:59 | |
I just pulled it down and it locked. Well... | 0:02:59 | 0:03:02 | |
you really should have asked for some help with that, Thomas. | 0:03:02 | 0:03:06 | |
Now you've broken it. I don't think I've broken it. | 0:03:06 | 0:03:08 | |
Bit awkward, this. | 0:03:08 | 0:03:10 | |
It has happened before, so Ruth knows how to fix it, thankfully. | 0:03:10 | 0:03:14 | |
Meanwhile, Christina has headed just half an hour north, | 0:03:16 | 0:03:19 | |
still in Tipperary, to the small village of Templetuohy. | 0:03:19 | 0:03:23 | |
Her first shop is Larkins Antiques, | 0:03:26 | 0:03:29 | |
a family-run affair that's been on the go for over 30 years. | 0:03:29 | 0:03:34 | |
Hello! Hello. | 0:03:34 | 0:03:36 | |
Hello, good morning. How are you, Christina? Very well, thank you. | 0:03:36 | 0:03:39 | |
Nice to meet you, I'm Christina. And I'm Mary. | 0:03:39 | 0:03:42 | |
Lovely to meet you, Mary. My goodness, what a shop! | 0:03:42 | 0:03:45 | |
That's rather fun, isn't it? | 0:03:47 | 0:03:49 | |
This isn't early enough... | 0:03:49 | 0:03:51 | |
..sadly, to be a George Jones piece. Quite interesting, though, isn't it? | 0:03:53 | 0:03:56 | |
Certainly got a look and we're finding that, in the UK, | 0:03:56 | 0:04:01 | |
majolica is selling incredibly well. | 0:04:01 | 0:04:03 | |
George Jones began manufacturing this type of elaborately moulded ceramics | 0:04:04 | 0:04:09 | |
in the late 1860s - however, this was made long after George Jones died | 0:04:09 | 0:04:13 | |
and that's why it's called "majolica-style". | 0:04:13 | 0:04:16 | |
What have you got on that, Mary? | 0:04:16 | 0:04:17 | |
Well, I could give you that for... | 0:04:17 | 0:04:21 | |
..40 euros. | 0:04:22 | 0:04:24 | |
Well, it's certainly got a look to it. Absolutely, yes. | 0:04:24 | 0:04:27 | |
OK, so that could be a possibility, | 0:04:27 | 0:04:29 | |
cos I quite like that. It's gorgeous. | 0:04:29 | 0:04:30 | |
But Christina's only scratched the surface of Mary's wares. | 0:04:30 | 0:04:35 | |
Oh, that's quite fun. How much is on that? | 0:04:35 | 0:04:37 | |
Do we know? Mike? | 0:04:37 | 0:04:39 | |
My husband. This is Christina. Hello. Nice to meet you. | 0:04:39 | 0:04:42 | |
You're in charge of the furniture, are you? Yes. | 0:04:42 | 0:04:44 | |
How much is on your chair that needs some TLC, Michael? | 0:04:44 | 0:04:47 | |
Er, that's 100 euros. | 0:04:47 | 0:04:48 | |
100 euros. It does need a lot of TLC. It does. | 0:04:48 | 0:04:52 | |
Indeed. At least the frame of this Victorian carved chair | 0:04:53 | 0:04:56 | |
is still in pretty good condition. | 0:04:56 | 0:04:58 | |
Is there any flexibility on that price, Michael? | 0:04:58 | 0:05:01 | |
Maybe a little bit. | 0:05:01 | 0:05:02 | |
Um, 85? | 0:05:02 | 0:05:04 | |
85 euro, OK. | 0:05:04 | 0:05:06 | |
I quite like that. | 0:05:06 | 0:05:08 | |
It's definitely a possibility. Thank you, Mike, you're a gentleman. | 0:05:08 | 0:05:11 | |
I will give it some thought. | 0:05:11 | 0:05:13 | |
Back in Cashel, Thomas has been doing some al fresco browsing. | 0:05:13 | 0:05:17 | |
Can I go inside? Of course you may, yes. | 0:05:19 | 0:05:22 | |
He's on to something, look. | 0:05:22 | 0:05:24 | |
I love these, these are fab. | 0:05:24 | 0:05:26 | |
They're gorgeous. | 0:05:26 | 0:05:27 | |
So we've got the Burgundy, we've got Chartreuse. Yes. | 0:05:27 | 0:05:30 | |
I have another one inside. Do you? Yeah, hang on. | 0:05:30 | 0:05:32 | |
By the turn of the 18th century, | 0:05:32 | 0:05:34 | |
decanters were popular in the homes of both the middle and upper classes. | 0:05:34 | 0:05:38 | |
The labels indicating the liquid contents | 0:05:38 | 0:05:42 | |
were originally called "bottle tickets". | 0:05:42 | 0:05:44 | |
Look, "Kew-rac-oh". Curacao, actually. | 0:05:44 | 0:05:46 | |
In perfect condition. | 0:05:46 | 0:05:48 | |
So they're on copper with enamel. Yeah. | 0:05:48 | 0:05:49 | |
And how much are these each? Ten each. | 0:05:49 | 0:05:52 | |
Ten each. They're a giveaway. OK, we'll talk about that. | 0:05:52 | 0:05:55 | |
Oh, right. And then how much are these? | 0:05:55 | 0:05:57 | |
This one is 12. | 0:05:57 | 0:05:59 | |
And these two little ones are eight. | 0:05:59 | 0:06:01 | |
I mean... Two, three, four, five - 50 euro. | 0:06:01 | 0:06:03 | |
62. OK. | 0:06:03 | 0:06:05 | |
78 euros. You're good at the maths. | 0:06:05 | 0:06:07 | |
How about we start at 40 euros and then we work somewhere... | 0:06:07 | 0:06:10 | |
Oh, my God, no. | 0:06:10 | 0:06:12 | |
Where can we meet in the middle? Thomas...really. | 0:06:12 | 0:06:14 | |
You're not going to sell them to me at 40, I get that. OK, 65. | 0:06:14 | 0:06:17 | |
Ah, that's far too much! | 0:06:17 | 0:06:19 | |
No. Yes, it is. | 0:06:19 | 0:06:20 | |
These are beautiful. They are beautiful. | 0:06:20 | 0:06:22 | |
I love them. You never see these. They're gorgeous. | 0:06:22 | 0:06:25 | |
Could say 60 and it's a deal? Oh, OK, for you. Yeah, you think so? | 0:06:25 | 0:06:30 | |
Yeah. Let's do it. All right. | 0:06:30 | 0:06:32 | |
60 euros is for the eight | 0:06:32 | 0:06:34 | |
silver-plated and enamelled decanter labels. | 0:06:34 | 0:06:36 | |
Back in Templetuohy, | 0:06:36 | 0:06:40 | |
Christina's enlisted Mary's help once more. | 0:06:40 | 0:06:42 | |
I thought these were quite fun. | 0:06:42 | 0:06:44 | |
Oh, you've lovely taste. | 0:06:44 | 0:06:46 | |
Aren't they beautiful? | 0:06:46 | 0:06:48 | |
I mean, typically 1830, this body to me looks like a Coalport body. | 0:06:48 | 0:06:52 | |
But that's really unusual decoration. | 0:06:52 | 0:06:55 | |
I mean, this is what we call a spur handle, | 0:06:55 | 0:06:58 | |
that typical spur handle of about 1830. | 0:06:58 | 0:07:01 | |
Is there any more of the tea set? I have. | 0:07:01 | 0:07:03 | |
And Mary's secret stash is in a drawer behind the counter, obviously. | 0:07:04 | 0:07:09 | |
What else have you got in that drawer? | 0:07:09 | 0:07:11 | |
No, I can't show you what's in my drawers, Christina. Oh, my goodness. | 0:07:11 | 0:07:16 | |
Crikey, there's loads of it, look! | 0:07:16 | 0:07:17 | |
Are they not fabulous? They are fabulous. | 0:07:17 | 0:07:19 | |
Are they not the nicest you've ever seen? | 0:07:19 | 0:07:22 | |
The tea and coffee service isn't complete, | 0:07:22 | 0:07:25 | |
but there's so much of it that you could make easily a full set of six, | 0:07:25 | 0:07:29 | |
with spares. | 0:07:29 | 0:07:31 | |
I need 180. | 0:07:31 | 0:07:32 | |
Can we do... | 0:07:32 | 0:07:35 | |
200 for the tea service and the chair? | 0:07:35 | 0:07:40 | |
You have a deal. I'm still quite tempted by the majolica. | 0:07:40 | 0:07:44 | |
Can we say 210 for all of it? | 0:07:44 | 0:07:46 | |
210. For the tea service, the chair and the majolica. | 0:07:48 | 0:07:51 | |
She's hitting me the whole time, you are a hard woman. Go on. Will you? | 0:07:51 | 0:07:55 | |
A smile. Will you? Yeah, thank you, Mary! | 0:07:55 | 0:07:58 | |
Christina has certainly gone big and bold on day one, | 0:07:58 | 0:08:02 | |
parting with 210 euros for three items. | 0:08:02 | 0:08:05 | |
Meanwhile, rival Thomas will continue his own quest for lovely gems. | 0:08:05 | 0:08:09 | |
He's travelled to Birr in County Offaly, | 0:08:09 | 0:08:11 | |
How 'Offaly' nice. | 0:08:11 | 0:08:13 | |
Hi, Tom, how are you? Very well. | 0:08:13 | 0:08:16 | |
What's your name? Breda. Breda? Yes. Nice to see you, Breda. | 0:08:16 | 0:08:18 | |
Indeed, nice place you've got here too. | 0:08:20 | 0:08:22 | |
Cool cocktail shaker. | 0:08:22 | 0:08:24 | |
You know, drinking is always a popular thing. | 0:08:24 | 0:08:27 | |
And certainly cocktail shakers, it evokes that sort of vintage style. | 0:08:27 | 0:08:31 | |
It's silver-plated. | 0:08:31 | 0:08:33 | |
And one puts your mixers in there. | 0:08:33 | 0:08:36 | |
It's got a cork stopper, which means that none of the mix will fall out. | 0:08:36 | 0:08:40 | |
Rather lovely, really, with a handle, | 0:08:40 | 0:08:42 | |
and it just looks rather good fun. | 0:08:42 | 0:08:46 | |
Not a bad option, though. | 0:08:46 | 0:08:47 | |
But I'm sure there's more temptation somewhere. | 0:08:47 | 0:08:50 | |
This is an extraordinarily thing. | 0:08:50 | 0:08:52 | |
Being marked "sterling" means it could be American. | 0:08:52 | 0:08:55 | |
But I'm not going to spend 95 euros on something I don't know what it is. | 0:08:57 | 0:09:00 | |
Perhaps Breda does. | 0:09:00 | 0:09:02 | |
What is this? It's a cake breaker. | 0:09:02 | 0:09:04 | |
If you have a very fresh sponge, what the Victorians - | 0:09:04 | 0:09:08 | |
and they had something for everything, as you know yourself - | 0:09:08 | 0:09:11 | |
they'd push it down through it | 0:09:11 | 0:09:13 | |
and it would stop the cake literally from breaking. | 0:09:13 | 0:09:16 | |
And they'd slip the knife in and then you'd have a perforated slice. | 0:09:16 | 0:09:20 | |
Oh, yes! Cor, those Victorians certainly knew how to prevent | 0:09:20 | 0:09:23 | |
their cakes from being squashed! | 0:09:23 | 0:09:25 | |
What an interesting object. | 0:09:25 | 0:09:27 | |
In the right sort of climate, really. | 0:09:27 | 0:09:29 | |
Baking is quite popular these days, isn't it? | 0:09:29 | 0:09:32 | |
Another one to ponder. | 0:09:32 | 0:09:34 | |
Some soda siphons, they could... | 0:09:34 | 0:09:37 | |
We could make a sort of cocktail lot. | 0:09:38 | 0:09:41 | |
"Mineral Waters Distributors Ltd, Dublin." | 0:09:41 | 0:09:45 | |
So an Irish soda siphon. | 0:09:45 | 0:09:48 | |
There's no price on there. It's obviously free. | 0:09:48 | 0:09:50 | |
Hey, time to do some buying. You're needed, Breda. | 0:09:50 | 0:09:54 | |
The cocktail shaker. OK. What can that be? | 0:09:54 | 0:09:57 | |
There's a price of 45 on it, isn't there? Yes. | 0:09:57 | 0:10:01 | |
OK. I was thinking maybe 25. | 0:10:01 | 0:10:03 | |
Well, since you're such a nice gentleman, | 0:10:06 | 0:10:09 | |
and you obviously need it... Yeah, I do. | 0:10:09 | 0:10:11 | |
OK. 25 for that. Yeah. Great. | 0:10:11 | 0:10:14 | |
So that's one thing out of the way. OK. | 0:10:14 | 0:10:16 | |
What about that rather unusual cake-breaking thingy? | 0:10:16 | 0:10:19 | |
What could you do that for? Well, it's 95. | 0:10:19 | 0:10:23 | |
Yeah. Mm. | 0:10:23 | 0:10:26 | |
What about 45? | 0:10:26 | 0:10:27 | |
Now, it is nice, and it is silver. It is, yes. | 0:10:29 | 0:10:32 | |
I would be very happy with 55. 55. I think you've got yourself a deal. | 0:10:32 | 0:10:35 | |
OK, very good. I like it very much. | 0:10:35 | 0:10:37 | |
He's clocking up the purchases in here, | 0:10:37 | 0:10:39 | |
and those soda siphons are still an option. | 0:10:39 | 0:10:42 | |
How much can the three of them be? 30? | 0:10:42 | 0:10:45 | |
35? No, I didn't have that number in my head, no. | 0:10:45 | 0:10:49 | |
40, then? Well, as I said, you are such a gentleman, yeah, OK, | 0:10:49 | 0:10:53 | |
40 would suit me. | 0:10:53 | 0:10:55 | |
Would that suit you? Mm. | 0:10:55 | 0:10:57 | |
Deal. That's another deal. You are very welcome. | 0:10:57 | 0:11:00 | |
Good work, Thomas, that's the Art Deco cocktail shaker, | 0:11:00 | 0:11:04 | |
a sterling silver cake-breaker | 0:11:04 | 0:11:06 | |
and three soda siphons for 120 euros. | 0:11:06 | 0:11:09 | |
And with that, it's time for our experts | 0:11:09 | 0:11:12 | |
to head off to the land of Nod. | 0:11:12 | 0:11:14 | |
Night-night. | 0:11:14 | 0:11:15 | |
Another glorious day in Ireland. | 0:11:19 | 0:11:22 | |
I keep on going...for... | 0:11:22 | 0:11:24 | |
this gear stick here. | 0:11:24 | 0:11:25 | |
It's here, darling. I know, I know. | 0:11:25 | 0:11:27 | |
The stick here is here. The stick is here, Thomas. Well done. | 0:11:27 | 0:11:32 | |
Fortunately, Thomas is better at dealing than driving. | 0:11:32 | 0:11:35 | |
This morning, our duo are starting at Portlaoise. | 0:11:35 | 0:11:39 | |
Don't buy too well. Enjoy. Don't break it. I won't break it. | 0:11:40 | 0:11:44 | |
Christina's next shop is run by David Kane and Robert Colin. | 0:11:46 | 0:11:51 | |
Good morning, how are you? Good morning, I'm very well. | 0:11:52 | 0:11:54 | |
You're very welcome to the Store Yard. | 0:11:54 | 0:11:56 | |
Thank you, what's your name? I'm Robert. | 0:11:56 | 0:11:58 | |
Lovely to meet you, Robert. And you are? David, how are you? | 0:11:58 | 0:12:01 | |
Pleased to meet you. This is amazing. | 0:12:01 | 0:12:03 | |
This is a sort of hidden world. It's a treasure inside. | 0:12:03 | 0:12:07 | |
Oh, yes, it's big enough | 0:12:07 | 0:12:08 | |
and rammed with architectural and decorative items. | 0:12:08 | 0:12:11 | |
That's quite nice. That's a nice little thing, actually. | 0:12:11 | 0:12:14 | |
It's priced very well, there is some damage. | 0:12:14 | 0:12:16 | |
But it's nice Florian ware. | 0:12:16 | 0:12:18 | |
Florian ware was the company that Moorcroft started working for. | 0:12:18 | 0:12:21 | |
Correct. Before he started his own factory. | 0:12:21 | 0:12:23 | |
And you've got "WM des", so William Moorcroft designer. | 0:12:23 | 0:12:26 | |
Nice Florian ware stamp. | 0:12:26 | 0:12:29 | |
25 euros? Yeah. | 0:12:30 | 0:12:32 | |
I mean, yes, it's got some damage to it, but I still think | 0:12:32 | 0:12:34 | |
for a Moorcroft collector, that's a really nice thing, isn't it? | 0:12:34 | 0:12:38 | |
A good thing, yes, a very good thing. | 0:12:38 | 0:12:39 | |
Well, that's a distinct possibility, David. I like this a lot. | 0:12:39 | 0:12:43 | |
OK, shall we keep wandering? Yeah. | 0:12:43 | 0:12:45 | |
Sounds positive. | 0:12:45 | 0:12:46 | |
Let's leave Christina to explore her new favourite shop | 0:12:46 | 0:12:50 | |
and join our other intrepid antiques hunter. | 0:12:50 | 0:12:53 | |
He's taking a breather from shopping to find out | 0:12:53 | 0:12:55 | |
about one of Ireland's great heroes - | 0:12:55 | 0:12:57 | |
a world-renowned explorer | 0:12:57 | 0:12:59 | |
and pioneer of the heroic age of Antarctic discovery. | 0:12:59 | 0:13:03 | |
Thomas is visiting Athy Heritage Centre | 0:13:06 | 0:13:09 | |
just a few miles from the birthplace of Sir Ernest Shackleton. | 0:13:09 | 0:13:14 | |
Thomas is here to meet head of the Shackleton Society, Seamus Taaffe. | 0:13:14 | 0:13:18 | |
Seamus, we're here because you have a famous hero, a man of great note. | 0:13:18 | 0:13:24 | |
Yes, we're very lucky, we have one of the greatest explorers | 0:13:24 | 0:13:27 | |
of all time. Ernest Shackleton was born in Kilkea. | 0:13:27 | 0:13:29 | |
As the eldest son of ten children, | 0:13:29 | 0:13:32 | |
Shackleton was expected to help support his family. | 0:13:32 | 0:13:35 | |
But instead, at 16 he went off to sea and became a master mariner. | 0:13:35 | 0:13:40 | |
He charmed his way onto Captain Scott's Antarctic expedition in 1901, | 0:13:40 | 0:13:47 | |
gaining experience that led to his own endeavours | 0:13:47 | 0:13:50 | |
into the then uncharted continent. | 0:13:50 | 0:13:53 | |
We know Shackleton had lots of expeditions. | 0:13:53 | 0:13:55 | |
Which one is the one we all know? | 0:13:55 | 0:13:58 | |
The greatest expedition is obviously | 0:13:58 | 0:14:00 | |
his 1914 Imperial Trans-Antarctic Expedition. | 0:14:00 | 0:14:03 | |
Bear in mind, at this stage, | 0:14:03 | 0:14:04 | |
the pole has been reached by Amundsen and Scott in 1913. | 0:14:04 | 0:14:07 | |
So he comes with a plan - he's going to cross the Antarctic from sea to sea. | 0:14:07 | 0:14:11 | |
The South Pole, the Antarctic? | 0:14:11 | 0:14:12 | |
Yes. Cross it? Yes. | 0:14:12 | 0:14:14 | |
But from the very start, it all goes terribly wrong. | 0:14:14 | 0:14:17 | |
The mission was to sail from South Georgia to the Weddell Sea. | 0:14:20 | 0:14:23 | |
Once they hit land, they would continue by foot and sledge | 0:14:23 | 0:14:26 | |
until they reached the Ross Sea. | 0:14:26 | 0:14:29 | |
It had never been done before, and when they got near, | 0:14:29 | 0:14:32 | |
disaster struck. | 0:14:32 | 0:14:33 | |
The 28-man crew got stuck in ice in the Weddell Sea. | 0:14:33 | 0:14:37 | |
Their ship, Endurance, eventually sank, | 0:14:37 | 0:14:40 | |
forcing them to set up camp on the ice. | 0:14:40 | 0:14:43 | |
20 months after setting out, the ice finally melted | 0:14:43 | 0:14:46 | |
and starts pulling them in the wrong direction. | 0:14:46 | 0:14:49 | |
How did they survive? | 0:14:52 | 0:14:53 | |
They kept three lifeboats from the ship which they're pulling | 0:14:53 | 0:14:56 | |
across the ice towards the direction they want to go, | 0:14:56 | 0:14:59 | |
but the ice is still drifting, so eventually they get into open water. | 0:14:59 | 0:15:02 | |
They decide to go for a place called Elephant Island, | 0:15:02 | 0:15:05 | |
a desolate rock in the middle of nowhere in the South Atlantic. | 0:15:05 | 0:15:08 | |
And they spend about seven days in the three boats | 0:15:08 | 0:15:11 | |
until they get to Elephant Island. | 0:15:11 | 0:15:12 | |
How do they do that - under sail or rowing? A bit of both. | 0:15:12 | 0:15:15 | |
But there's no hope of being rescued from this small, inhospitable island. | 0:15:16 | 0:15:21 | |
Shackleton knows, to stand the chance of survival, | 0:15:21 | 0:15:24 | |
he must take his five best sailors in one lifeboat and travel | 0:15:24 | 0:15:27 | |
over 1,000 kilometres back to the inhabited island of South Georgia. | 0:15:27 | 0:15:32 | |
The other 22 men are left behind. | 0:15:33 | 0:15:36 | |
The South Atlantic is a miserable place to be, | 0:15:37 | 0:15:39 | |
the southern oceans, it's the worst... Big waves. | 0:15:39 | 0:15:42 | |
Big waves, daylight is very poor, it's very hard to read. | 0:15:42 | 0:15:45 | |
And after 70 days, they reach South Georgia, | 0:15:45 | 0:15:47 | |
an extraordinary boat journey, there's nothing to compare to it. | 0:15:47 | 0:15:51 | |
Despite their incredible achievement, | 0:15:51 | 0:15:53 | |
they arrive on the wrong side of the island. | 0:15:53 | 0:15:56 | |
The boat is battered and the crew exhausted, | 0:15:56 | 0:15:59 | |
so Shackleton then has to lead his team across uncharted, | 0:15:59 | 0:16:03 | |
rough, icy terrain by foot | 0:16:03 | 0:16:05 | |
to get to the whaling station on the northern side. | 0:16:05 | 0:16:08 | |
They spent 36 hours crossing nonstop. | 0:16:11 | 0:16:13 | |
At one point, the men are very tired, | 0:16:13 | 0:16:14 | |
so Shackleton says we'll have a sleep. | 0:16:14 | 0:16:16 | |
He lets them sleep for five minutes. | 0:16:16 | 0:16:18 | |
Then he wakes them up and says, "That was an hour, lads, great." | 0:16:18 | 0:16:22 | |
He was very clever how he managed his men. | 0:16:22 | 0:16:24 | |
But eventually they get across | 0:16:24 | 0:16:25 | |
and they hear the sound of the steam whistle of the whaling station. | 0:16:25 | 0:16:29 | |
In the morning, they know they've reached safety. | 0:16:29 | 0:16:31 | |
But Shackleton couldn't rest | 0:16:31 | 0:16:33 | |
until he'd saved all his crew from Elephant Island. | 0:16:33 | 0:16:37 | |
He mustered boats from Norway and Chile | 0:16:37 | 0:16:40 | |
to make several rescue attempts. | 0:16:40 | 0:16:42 | |
But it wasn't until 25th August 1916 that he reached his remaining 22 men. | 0:16:42 | 0:16:48 | |
They'd been stranded for almost four months | 0:16:48 | 0:16:51 | |
with very little in the way of provisions, but they all survived. | 0:16:51 | 0:16:54 | |
Seamus, what have we got here? | 0:16:54 | 0:16:56 | |
This is actually one of the few relics | 0:16:56 | 0:16:58 | |
we have of the Endurance expedition. | 0:16:58 | 0:17:00 | |
It's the last biscuit that Shackleton had in his pocket | 0:17:00 | 0:17:02 | |
crossing South Georgia. | 0:17:02 | 0:17:04 | |
The last bit of food he had left to feed himself and his men with. | 0:17:04 | 0:17:06 | |
I think he kept it as a reminder to himself for the rest of his life | 0:17:06 | 0:17:10 | |
of how close they came to death at that time. That's marvellous. | 0:17:10 | 0:17:13 | |
Although Shackleton didn't achieve his scientific goals, | 0:17:13 | 0:17:17 | |
his heroism has gone down in history. | 0:17:17 | 0:17:20 | |
He set off on what would be his final Antarctic expedition | 0:17:20 | 0:17:24 | |
in late 1921, this time aiming to circumnavigate the continent. | 0:17:24 | 0:17:28 | |
Is this the album of his last voyage? | 0:17:28 | 0:17:31 | |
It's images from the expedition from the very get-go. | 0:17:31 | 0:17:34 | |
This album is in some ways a sad relic of the expedition | 0:17:34 | 0:17:37 | |
because that's where he died - | 0:17:37 | 0:17:38 | |
at the scene of his greatest triumph, where he rescued his men. | 0:17:38 | 0:17:41 | |
He died there. He died there. | 0:17:41 | 0:17:43 | |
Shackleton died of a heart attack in January 1922 | 0:17:43 | 0:17:47 | |
and was buried on South Georgia. | 0:17:47 | 0:17:49 | |
His courage and skill in keeping everyone alive | 0:17:49 | 0:17:52 | |
on his trans-Antarctic expedition has become his enduring legacy. | 0:17:52 | 0:17:57 | |
Back in Portlaoise, Christina is still shopping in heaven. | 0:18:06 | 0:18:10 | |
That's quite smart, isn't it? Yes, nice little pond yacht, actually. | 0:18:12 | 0:18:16 | |
I mean, it's typically early-20th century, isn't it? | 0:18:16 | 0:18:19 | |
Can you imagine the hours of fun someone's had with that? Exactly. | 0:18:19 | 0:18:22 | |
Pure enjoyment. Yeah, exactly. And the sails are all original. | 0:18:22 | 0:18:25 | |
Have you got the stand? I don't have the stand, unfortunately. | 0:18:25 | 0:18:29 | |
But the condition is good. I do love these things. | 0:18:29 | 0:18:31 | |
What have you got on that, David? | 0:18:31 | 0:18:33 | |
125 we have on it, but we'll do something on it. | 0:18:33 | 0:18:36 | |
Could you do quite a lot on it? | 0:18:36 | 0:18:38 | |
Do I have to sit down? I think you might have to. Tell me. | 0:18:40 | 0:18:43 | |
I really don't have much money left and I don't want to offend you, | 0:18:43 | 0:18:48 | |
but I love the Moorcroft. Mm-hm. | 0:18:48 | 0:18:50 | |
I mean, would you really, really, really, really | 0:18:50 | 0:18:53 | |
throw me out of this beautiful place - please don't, | 0:18:53 | 0:18:56 | |
because I love it - if I said 50 euros for the two? | 0:18:56 | 0:19:00 | |
I'll do 60 for the two. Is that fair? | 0:19:00 | 0:19:03 | |
60 for the two, I think that is more than fair. Very good. | 0:19:03 | 0:19:06 | |
You're incredibly generous. | 0:19:06 | 0:19:07 | |
That you are. | 0:19:07 | 0:19:08 | |
That's 60 euros for a reasonably priced, but slightly damaged, | 0:19:08 | 0:19:12 | |
Florian ware butter dish | 0:19:12 | 0:19:14 | |
and a late-Victorian or early-Edwardian pond yacht. | 0:19:14 | 0:19:17 | |
Meanwhile, Thomas has one last chance to shop in Kilkenny, | 0:19:21 | 0:19:26 | |
at Darcy Ralph Antiques. | 0:19:26 | 0:19:28 | |
Hello. Hello. I'm Thomas. | 0:19:28 | 0:19:31 | |
I'm George. George, nice to see you. | 0:19:31 | 0:19:34 | |
Have you got anything particularly sort of Irish related? | 0:19:34 | 0:19:38 | |
I had Waterford glass yesterday, but I've run out today. | 0:19:38 | 0:19:41 | |
But I've got some Belleek. Belleek over there, is there? | 0:19:41 | 0:19:46 | |
This is what George mentioned, a bit of Belleek. | 0:19:46 | 0:19:49 | |
Belleek's founder, John Caldwell Bloomfield, | 0:19:49 | 0:19:53 | |
set up the Northern Irish pottery business | 0:19:53 | 0:19:56 | |
to provide employment after the potato famine | 0:19:56 | 0:19:59 | |
in the mid-19th century, and has been producing fine China ever since. | 0:19:59 | 0:20:02 | |
Thomas loves this Belleek so much, he's going straight in for a deal. | 0:20:02 | 0:20:07 | |
I do like this Belleek, because it's known and although it's modern, | 0:20:07 | 0:20:10 | |
its lustre, it's rather smart, very fine porcelain. | 0:20:10 | 0:20:15 | |
HOLLOW RINGING | 0:20:15 | 0:20:17 | |
Sounds good. A good jingle out of it, yes. | 0:20:17 | 0:20:21 | |
A bit of paint on there, but that's not the end of the world. | 0:20:21 | 0:20:23 | |
So, would you take 20 euros for this? | 0:20:23 | 0:20:26 | |
I will. You would? I will. You have a deal. Thank you. | 0:20:26 | 0:20:29 | |
You're a star. I'll give you some money. | 0:20:29 | 0:20:31 | |
Swift business. 20 euros for a Belleek jug and bowl. | 0:20:31 | 0:20:35 | |
I wish you good luck. Thank you. Thanks a million. You're a star. | 0:20:35 | 0:20:38 | |
Thank you. Thanks a lot. | 0:20:38 | 0:20:40 | |
And with that, their first shopping trip draws to a close. | 0:20:40 | 0:20:44 | |
Christina spent 270 euros on a rather worn Victorian chair, | 0:20:44 | 0:20:49 | |
a majolica-style jardiniere, | 0:20:49 | 0:20:52 | |
a tea and coffee service, | 0:20:52 | 0:20:54 | |
a Florian ware butter dish | 0:20:54 | 0:20:56 | |
and a pond yacht. | 0:20:56 | 0:20:58 | |
While Thomas paid out 200 euros for eight decanter labels, | 0:20:58 | 0:21:02 | |
an Art Deco cocktail shaker, | 0:21:02 | 0:21:04 | |
a cake breaker, | 0:21:04 | 0:21:06 | |
three soda siphons, | 0:21:06 | 0:21:07 | |
and a Belleek jug and bowl. So, what do they think? | 0:21:07 | 0:21:11 | |
One thing I think should be consigned | 0:21:11 | 0:21:15 | |
to the hole of hell of antique buying, | 0:21:15 | 0:21:18 | |
that's that reproduction jardiniere. What?! | 0:21:18 | 0:21:23 | |
The cocktail shaker is just Thomas through and through. | 0:21:23 | 0:21:25 | |
It's sleek, it's a bit glam, it's quite suave. | 0:21:25 | 0:21:28 | |
I think it's fabulous, I love it, I'd buy that, I think it's great. | 0:21:28 | 0:21:31 | |
After setting out from Cashel, our experts are now heading for | 0:21:31 | 0:21:36 | |
their first auction, back in Birr, County Offaly, | 0:21:36 | 0:21:39 | |
which is Offaly nice! | 0:21:39 | 0:21:41 | |
So, did you enjoy our first Irish buying leg? I did, I loved it. | 0:21:41 | 0:21:45 | |
I want to stay here, I don't want to go back to the United Kingdom. | 0:21:45 | 0:21:49 | |
But will he be saying that after round one of Trevanion Vs Plant? | 0:21:49 | 0:21:54 | |
Handbrake on, come on. | 0:21:54 | 0:21:56 | |
Ladies first. Thank you. | 0:21:56 | 0:21:58 | |
Welcome to 45-year-old Purcell Auctioneer's. | 0:21:58 | 0:22:02 | |
Today's guy with the gavel is Conor Purcell. | 0:22:02 | 0:22:06 | |
Time to find out who has the luck of the Irish. | 0:22:06 | 0:22:09 | |
First up is Thomas's Belleek jug and bowl. | 0:22:11 | 0:22:13 | |
20 anywhere for this lot? | 0:22:13 | 0:22:15 | |
20 anywhere? 10 and see what happens. | 0:22:15 | 0:22:17 | |
Any advance on 10? 10, he's got 10. 12? Any advance on 12. 14 online. | 0:22:17 | 0:22:21 | |
Any advance on 14? Come on. 16 in the room. | 0:22:21 | 0:22:24 | |
Still in the room at 16. It's against you, online bidder. | 0:22:24 | 0:22:28 | |
Last chance. I'm selling in the room at 16. | 0:22:28 | 0:22:32 | |
It's a shaky start, but it can only get better. | 0:22:32 | 0:22:35 | |
Easy for you to say. | 0:22:36 | 0:22:39 | |
Let's see if Thomas's Art Deco cocktail shaker | 0:22:39 | 0:22:42 | |
can turn his luck around? | 0:22:42 | 0:22:44 | |
The commission is here with me at 30, and two, | 0:22:44 | 0:22:46 | |
and five, and eight, and 40, and two. Profit. 42 now. | 0:22:46 | 0:22:49 | |
45 online. 45, 48 commission. And rightly so. Go on. | 0:22:49 | 0:22:54 | |
On commission at 48. All done and dusted. | 0:22:54 | 0:22:56 | |
It's here to be sold, and selling at 48. | 0:22:56 | 0:22:59 | |
All's fair in love and antiques. | 0:22:59 | 0:23:01 | |
Thomas has almost doubled his money on the cocktail shaker. | 0:23:01 | 0:23:04 | |
Now, it's over to Christina's majolica-style jardiniere. | 0:23:04 | 0:23:09 | |
Lovely squirrel handles there. Ah! Lovely squirrel handles. | 0:23:09 | 0:23:13 | |
50? Have we 40 anywhere? See what happens. 40 anywhere? 40 bid online. | 0:23:13 | 0:23:18 | |
At 40 bid. Christina! | 0:23:18 | 0:23:20 | |
42, lady's bid. 45. 45, 48. 50 bid. | 0:23:20 | 0:23:24 | |
50 bid online. Well done. 50 bid. | 0:23:24 | 0:23:27 | |
Any advance? 55. 60 bid. Two bidders online. I'd stop now, it's fine. | 0:23:27 | 0:23:32 | |
60 bid. Any advance on 60 bid? 65 bid. At 65. Any advance on 65? | 0:23:32 | 0:23:37 | |
Still there at 65. Online bidder winning. At 65, and selling at 65. | 0:23:37 | 0:23:43 | |
High-funf, young girl. I'm going to lose it all in a minute. | 0:23:43 | 0:23:47 | |
Have faith, milady, have faith. | 0:23:47 | 0:23:50 | |
Next up, it's Christina's biggest spend, | 0:23:50 | 0:23:52 | |
the tea and coffee service, loads of it. | 0:23:52 | 0:23:54 | |
50 anywhere for this lot? 50, 60, 70, 80 online. | 0:23:54 | 0:23:59 | |
You see, 90 now. | 0:23:59 | 0:24:01 | |
90 bid. Oh, come on. Come on, internet! | 0:24:01 | 0:24:04 | |
Any other hands in the room at 90? 95, 100. | 0:24:04 | 0:24:07 | |
It's still hugely losing money. It doesn't matter. 120. | 0:24:07 | 0:24:11 | |
Still there at 120. 130 bid. 140. 140 bid. | 0:24:11 | 0:24:14 | |
All done at 140. | 0:24:14 | 0:24:17 | |
Online bidder... At 150 bid. | 0:24:17 | 0:24:20 | |
Last chance to you all, online, in the room and elsewhere at 150. | 0:24:20 | 0:24:23 | |
It's selling at 150. | 0:24:23 | 0:24:25 | |
Well done. See? All of that. How do you feel? | 0:24:25 | 0:24:29 | |
You must feel exhausted. Relieved. Hugely relieved. Exhausted. | 0:24:29 | 0:24:33 | |
It's a lucky escape, with only a small loss after auction costs. | 0:24:33 | 0:24:37 | |
Now, it's back over to Thomas with his three soda siphons. | 0:24:37 | 0:24:41 | |
Nice lot again. And straight in. 32, 35, 40, 42, 45, 48, 50 bid. | 0:24:41 | 0:24:46 | |
That's a profit. That's a profit. Ugh! That's a profit. At 55. | 0:24:46 | 0:24:50 | |
I'm out at 55. In the room at 55. | 0:24:50 | 0:24:53 | |
More, more, more. Any advance on 65? 60 bid. 60. Oh, my goodness. | 0:24:53 | 0:24:57 | |
Any advance on 60? 60 bid. Last chance, going, going... 65. | 0:24:57 | 0:25:01 | |
65, go on. Stop it. | 0:25:01 | 0:25:03 | |
Any advance on 65? | 0:25:03 | 0:25:06 | |
With a little encouragement at 65. One more? | 0:25:06 | 0:25:08 | |
No, he doesn't need any encouragement. And selling at 65. | 0:25:08 | 0:25:12 | |
Well done. Seriously, well done. I'm amazed. | 0:25:12 | 0:25:15 | |
Top job, Thomas. Another solid profit. | 0:25:15 | 0:25:18 | |
Now for Christina's bargain Florian ware butter dish, | 0:25:18 | 0:25:22 | |
but will the damage hold it back? | 0:25:22 | 0:25:24 | |
Commissions in again. 30, 32, 35, 38, 40 bid. Starting bids. | 0:25:24 | 0:25:28 | |
Two, five, six. 45 with me. At 45. 48? 50 bid. | 0:25:28 | 0:25:32 | |
55. Takes me out at 55. | 0:25:32 | 0:25:34 | |
Come on, internet. Come on. Oh, no! | 0:25:34 | 0:25:38 | |
Five. That should have made more than that. | 0:25:38 | 0:25:41 | |
I feel bad for you, Christina. It's a profit. It's a profit. | 0:25:41 | 0:25:44 | |
Don't feel too bad, she's doubled her money. | 0:25:44 | 0:25:47 | |
Christina's Victorian chair is up now. Stand by. | 0:25:48 | 0:25:51 | |
Needs a bit of TLC. Who will start us at 80? 60? 50? | 0:25:52 | 0:25:56 | |
Have we 40 anywhere? 40 anywhere? Go on. It's beautiful. | 0:25:56 | 0:26:00 | |
30 have we? 20 anywhere? Ouch! | 0:26:00 | 0:26:03 | |
20 anywhere for this one? 20 anywhere? | 0:26:03 | 0:26:06 | |
I think I might take that and be grateful for it. | 0:26:06 | 0:26:08 | |
20, all done around the room? That's not great news, is it? Oh, no! | 0:26:08 | 0:26:13 | |
20 euros. I can't really... Mary. | 0:26:13 | 0:26:16 | |
It's not exactly in peak condition, Christina. | 0:26:16 | 0:26:19 | |
Can the pond yacht do any better? | 0:26:21 | 0:26:23 | |
50 anywhere? 50 anywhere for the pond yacht? 40, start me at 30. | 0:26:23 | 0:26:27 | |
30 bid. 30 bid. Come on! | 0:26:27 | 0:26:30 | |
32 online. 32. And 35. | 0:26:30 | 0:26:33 | |
One more, come on. Come on. Any advance on 35? Come on, come on! | 0:26:33 | 0:26:37 | |
Any advance on 35? 38 bid. 38 bid. | 0:26:37 | 0:26:40 | |
It needs to make a bit more than that. Last chance to you all. | 0:26:40 | 0:26:42 | |
It's going, going at 30... At 40 bid. Hooray! | 0:26:42 | 0:26:46 | |
42 bid in the room. | 0:26:46 | 0:26:48 | |
Oh, he's in the room as well. Two in the room now. 45, 48. | 0:26:48 | 0:26:51 | |
They can put their hands down now. | 0:26:51 | 0:26:53 | |
She's getting too big for her boots. Selling at 48. | 0:26:54 | 0:26:58 | |
I think you have done tremendously well. | 0:26:58 | 0:27:01 | |
Well done, you. That's it, I'm done. | 0:27:01 | 0:27:03 | |
That's Christina all out, ending with a nice little profit. | 0:27:03 | 0:27:07 | |
But Thomas still has two more items to go, | 0:27:07 | 0:27:09 | |
starting with his sterling silver cake breaker. | 0:27:09 | 0:27:12 | |
Commission is in at 50, and five, 60 bid. | 0:27:12 | 0:27:16 | |
What did you pay for it? 55. Oh! Put your hand up if you are bidding. 65. | 0:27:16 | 0:27:22 | |
70 bid. 70 bid, whoa, yes! | 0:27:22 | 0:27:24 | |
Any advance? 75. 75. It is there, isn't it? | 0:27:24 | 0:27:28 | |
My commission buyer is winning. | 0:27:28 | 0:27:30 | |
At 80 bid, make no mistake, I'm selling at 80. | 0:27:30 | 0:27:33 | |
Goodness. That was really good. Well spotted. | 0:27:34 | 0:27:37 | |
Cakes are popular, people like baking at the moment. | 0:27:37 | 0:27:39 | |
But it would also be very useful if you'd forgotten your hairbrush. | 0:27:39 | 0:27:43 | |
Another little earner for him. | 0:27:43 | 0:27:45 | |
Finally, it's Thomas's eight decanter labels. | 0:27:45 | 0:27:49 | |
Starting at 40. | 0:27:49 | 0:27:51 | |
30, nice things, these. 30 anywhere? | 0:27:51 | 0:27:53 | |
Oh, no, he we go. 20 anywhere for all the labels? 20 bid. | 0:27:53 | 0:27:56 | |
Any advance on 20? Go on. 22. 22. 22 bid. 22, 25. | 0:27:56 | 0:28:02 | |
Go on. It's a bidding war. 30 bid. Any advance on 30 bid? | 0:28:02 | 0:28:07 | |
Here to be sold. Selling at 30. | 0:28:07 | 0:28:10 | |
It's a hard loss. Welcome to my world. It's a horrible loss. | 0:28:10 | 0:28:14 | |
This one could be a close call. | 0:28:14 | 0:28:17 | |
Let's go check the figures and have a cup of tea. | 0:28:17 | 0:28:19 | |
Maybe we can go and use your cocktail shaker. I've sold it now. | 0:28:19 | 0:28:22 | |
Oh, Thomas! It's gone. | 0:28:22 | 0:28:24 | |
Come on. Come on, then. | 0:28:25 | 0:28:27 | |
Thomas began with 285 euros. | 0:28:29 | 0:28:32 | |
After auction costs, he lost four euros, two cents, | 0:28:32 | 0:28:36 | |
leaving him with almost 281 euros to spend next time. | 0:28:36 | 0:28:41 | |
Christina started with the same sum. | 0:28:42 | 0:28:44 | |
After deducting auction costs, | 0:28:44 | 0:28:47 | |
she made a profit of seven euros, 16 cents, | 0:28:47 | 0:28:50 | |
giving her the early lead and just over 292 euros. | 0:28:50 | 0:28:55 | |
These two titans of antiques are still road tripping in Ireland. | 0:28:57 | 0:29:01 | |
It's on to leg two. | 0:29:01 | 0:29:03 | |
So if you were an antique, what would you be? | 0:29:03 | 0:29:07 | |
I'd be like a beautiful golden enamel... | 0:29:07 | 0:29:11 | |
A beautiful bit of Edwardian jewellery. | 0:29:11 | 0:29:14 | |
What would you be? | 0:29:14 | 0:29:15 | |
I think I'd be a pitchfork. Lordy. | 0:29:17 | 0:29:20 | |
Today they begin in Prosperous... | 0:29:20 | 0:29:23 | |
HE LAUGHS | 0:29:23 | 0:29:24 | |
..in County Kildare, before making the journey over the water | 0:29:24 | 0:29:27 | |
and heading for auction in the Welsh town of Wrexham. | 0:29:27 | 0:29:30 | |
High-class furniture. Come on. | 0:29:34 | 0:29:36 | |
Brilliant. Let's go. In you go. | 0:29:36 | 0:29:38 | |
Hello. Hello, Thomas. How are you? Very well. Lovely to meet you. | 0:29:41 | 0:29:43 | |
Ger Nevin is my name. How are you? Christina, lovely to meet you. | 0:29:43 | 0:29:46 | |
Sorry, what was your name? Ger Nevin is my name. | 0:29:46 | 0:29:48 | |
Ger...? Ger. | 0:29:48 | 0:29:50 | |
Introductions over, it's time to get cracking. | 0:29:50 | 0:29:52 | |
I'm a bit confused because these things have got lot numbers on them. | 0:29:52 | 0:29:55 | |
Am I in the right place? | 0:29:55 | 0:29:57 | |
Well, this establishment is a little different, | 0:29:57 | 0:29:59 | |
as it also operates as an auction house. | 0:29:59 | 0:30:01 | |
The items here are ready to go under the hammer, | 0:30:01 | 0:30:04 | |
but many of the sellers are happy to let them go presale | 0:30:04 | 0:30:06 | |
if the money's right. | 0:30:06 | 0:30:08 | |
Kidney-shaped lacquer... | 0:30:09 | 0:30:11 | |
All these different boxes, it could be a little lot, really. | 0:30:11 | 0:30:15 | |
We've got a little horn snuff, with white metal ends. | 0:30:15 | 0:30:21 | |
That would be for cheroots, tobacco. | 0:30:21 | 0:30:25 | |
Probably 19th century. | 0:30:25 | 0:30:26 | |
A cigar case. | 0:30:26 | 0:30:29 | |
Sort of zinc-lined to keep that tobacco fresh. | 0:30:29 | 0:30:32 | |
A Japanese kidney-shaped little box, | 0:30:32 | 0:30:36 | |
slightly damaged but in the lacquer. | 0:30:36 | 0:30:39 | |
A souvenir ring box | 0:30:39 | 0:30:42 | |
and this Californian poppy brilliantine. | 0:30:42 | 0:30:47 | |
I think that is for tobacco as well. | 0:30:49 | 0:30:51 | |
It's a nice little lot. You know, it looks rather good. | 0:30:51 | 0:30:55 | |
Let's get Ger over. | 0:30:55 | 0:30:57 | |
I'll try and set you off on a good deal. Could you? | 0:30:57 | 0:31:00 | |
How about 50 euro? They are surely worth 10 euro each. | 0:31:00 | 0:31:05 | |
Could we do a little bit better? | 0:31:05 | 0:31:09 | |
How about 40, then? | 0:31:09 | 0:31:10 | |
That seems very fair, doesn't it? That does seem fair. 40 euros. | 0:31:10 | 0:31:14 | |
You're a good man. Deal. So that's my first deal. You're very welcome. | 0:31:14 | 0:31:17 | |
I'm going to carry on looking. First deal of the day. | 0:31:17 | 0:31:21 | |
How are things faring upstairs? | 0:31:21 | 0:31:24 | |
Beautiful, I love that. | 0:31:24 | 0:31:26 | |
That's a great picture. A wonderful rural scene. | 0:31:26 | 0:31:30 | |
You've got, obviously, bygone days. | 0:31:30 | 0:31:32 | |
This guy is driving his cattle down the road, leading his horse. | 0:31:32 | 0:31:35 | |
There's a little girl there, feeding her chickens. | 0:31:35 | 0:31:37 | |
It's just luminous, isn't it? It's wonderful. I like that a lot. | 0:31:37 | 0:31:41 | |
I suspect it'll have quite a high price tag on, I think. | 0:31:41 | 0:31:44 | |
That's one to consider, then. | 0:31:44 | 0:31:46 | |
How about Thomas? | 0:31:46 | 0:31:48 | |
This is like the bowl which keeps on giving. | 0:31:57 | 0:31:59 | |
Like a cornucopia, which, sort of, carries on. | 0:31:59 | 0:32:02 | |
(Oh, I love mother-of-pearl!) | 0:32:02 | 0:32:05 | |
Can you see the way it shimmers? | 0:32:05 | 0:32:08 | |
These are obviously ends off handles or something. | 0:32:08 | 0:32:11 | |
But I love it. | 0:32:11 | 0:32:13 | |
This I think is a piece of agate. Well, it is a piece of agate. | 0:32:13 | 0:32:16 | |
If you get the light on this... | 0:32:16 | 0:32:18 | |
It's got a really grey | 0:32:18 | 0:32:22 | |
but, sort of, translucency to it. | 0:32:22 | 0:32:25 | |
It could be a salt dish for the centre of the table. | 0:32:25 | 0:32:28 | |
Then we've got a collection of Oriental soapstone. | 0:32:28 | 0:32:33 | |
These are scroll weights. | 0:32:33 | 0:32:34 | |
So when you're laying out that Chinese scroll, | 0:32:34 | 0:32:37 | |
you want to weigh it down so that it doesn't roll in on itself. | 0:32:37 | 0:32:39 | |
I might call over Ger and see what we've got here. | 0:32:39 | 0:32:43 | |
See if there's a price to be had. | 0:32:43 | 0:32:45 | |
Ger, can I have a chat with you? | 0:32:45 | 0:32:47 | |
That's the little hidden gem. Is it a little hidden gem? | 0:32:47 | 0:32:50 | |
Was I allowed to find this bowl? Of course you were. | 0:32:50 | 0:32:52 | |
A bit naughty of me. Absolutely. | 0:32:52 | 0:32:54 | |
So you've got the contents of the bowl. Yes, exactly. | 0:32:54 | 0:32:57 | |
I mean, I like it. Yes. | 0:32:57 | 0:32:59 | |
It all depends on value-wise what you want to charge. | 0:32:59 | 0:33:03 | |
Well, for you... Yeah. | 0:33:03 | 0:33:05 | |
..I'm going to give you a good price. Do you think so? | 0:33:05 | 0:33:07 | |
Absolutely. Absolutely. | 0:33:07 | 0:33:09 | |
If we said 55 euros for the lot. That's immensely fair. | 0:33:09 | 0:33:12 | |
I don't think I can argue with that. No, I don't think you could. | 0:33:12 | 0:33:15 | |
I'm not going to argue with it. I am really not. | 0:33:15 | 0:33:17 | |
Are you sure you're happy with that? Absolutely. 55 euros. For you. | 0:33:17 | 0:33:21 | |
After that buying frenzy, | 0:33:21 | 0:33:22 | |
Thomas has landed the soapstone collection, | 0:33:22 | 0:33:25 | |
some mother-of-pearl handles | 0:33:25 | 0:33:27 | |
and that lovely salt, and enough boxes to start a collection. | 0:33:27 | 0:33:30 | |
Christina best get a move on. | 0:33:30 | 0:33:32 | |
Oh, look at that! SHE GASPS | 0:33:33 | 0:33:35 | |
It's a fantastic country house club fender with this leather top. | 0:33:35 | 0:33:39 | |
Brass based. Put that in front of your fire. | 0:33:39 | 0:33:41 | |
Can you imagine warming your back on the fire? | 0:33:41 | 0:33:44 | |
That's fabulous. Again, these are selling really well at the moment. | 0:33:44 | 0:33:47 | |
But there's no price tag. | 0:33:47 | 0:33:48 | |
Let's see what Ger has to say about the picture first. | 0:33:50 | 0:33:53 | |
Ah, fantastic. | 0:33:53 | 0:33:54 | |
I do really like that. | 0:33:56 | 0:33:57 | |
So we have got the signature down there as well. Yes. | 0:33:57 | 0:34:00 | |
So GC Barlow on that. Yes. | 0:34:00 | 0:34:02 | |
So it's oil on board? Oil on board. Exactly, yes. | 0:34:02 | 0:34:04 | |
Ah, GC Barlow. Artist, exhibitor, Paris. | 0:34:04 | 0:34:07 | |
So that's great that that label's still on there. Yes, yes. | 0:34:07 | 0:34:09 | |
That's fantastic. Right, can we spin it over? Absolutely. | 0:34:09 | 0:34:12 | |
And it's got its original frame, again. Mm-hm. | 0:34:12 | 0:34:14 | |
So how much is on that one? | 0:34:14 | 0:34:16 | |
175. And what could you do me that for? | 0:34:16 | 0:34:19 | |
How about 120? | 0:34:19 | 0:34:21 | |
120 on that one? Yes. OK. | 0:34:21 | 0:34:23 | |
That's a definite potential, then. | 0:34:23 | 0:34:26 | |
Now, onto the club fender. | 0:34:26 | 0:34:28 | |
How much for your tatty club fender? | 0:34:29 | 0:34:31 | |
There's a good... This could be a deal for you. | 0:34:31 | 0:34:33 | |
220 euro. | 0:34:33 | 0:34:35 | |
That's nearly all my budget! | 0:34:35 | 0:34:37 | |
Well, how about 180? | 0:34:40 | 0:34:42 | |
SHE SIGHS You've got to keep going. | 0:34:42 | 0:34:43 | |
I think it's well worth that. That's quite good value. | 0:34:43 | 0:34:45 | |
And how much did you want for the picture? | 0:34:45 | 0:34:48 | |
120. Could you come down any more on this? | 0:34:48 | 0:34:51 | |
What did you say on this? 180? 180. | 0:34:51 | 0:34:54 | |
160. | 0:34:54 | 0:34:55 | |
Is there any, any, any, any, any chance you could do me | 0:34:57 | 0:35:00 | |
the picture and the fender for 200? | 0:35:00 | 0:35:02 | |
HE GASPS | 0:35:02 | 0:35:04 | |
You are such a convincing woman. | 0:35:04 | 0:35:06 | |
Really? SHE LAUGHS | 0:35:06 | 0:35:07 | |
Am I? You have a deal. I don't think many people would say that. Yeah. | 0:35:07 | 0:35:11 | |
Well, Ger has been very generous to both Christina and Thomas. | 0:35:11 | 0:35:15 | |
And let's stick with Christina as she takes a breather from shopping | 0:35:15 | 0:35:18 | |
to visit the fair city of Dublin. | 0:35:18 | 0:35:21 | |
From medieval castles to Georgian splendour, | 0:35:21 | 0:35:24 | |
Dublin has a vibrant and charismatic reputation. | 0:35:24 | 0:35:28 | |
Ireland's capital has been home to Oscar Wilde, Samuel Beckett, | 0:35:28 | 0:35:32 | |
and James Joyce, and Christina is on the trail of another literary great. | 0:35:32 | 0:35:36 | |
She's visiting Trinity College, | 0:35:36 | 0:35:38 | |
Ireland's premier seat of education, where archivist Jane Maxwell | 0:35:38 | 0:35:42 | |
is on hand to reveal the story of former student Jonathan Swift. | 0:35:42 | 0:35:46 | |
Known for his masterpiece Gulliver's Travels, | 0:35:46 | 0:35:48 | |
he became one of the greatest satirists in the world and | 0:35:48 | 0:35:52 | |
started a legacy that would change the face of literature in Ireland. | 0:35:52 | 0:35:55 | |
He's the chap that's famous | 0:35:55 | 0:35:57 | |
for saying that the world was founded, more or less. | 0:35:57 | 0:35:59 | |
Jane, this is just visually the most stunning place I think I've ever been. | 0:36:01 | 0:36:05 | |
Isn't it lovely? It's wonderful. It really is, gorgeous. | 0:36:05 | 0:36:08 | |
The old library. It really is. So, was Swift ever here? | 0:36:08 | 0:36:11 | |
Not physically in this building, no. He predated this. | 0:36:11 | 0:36:14 | |
This is 300 years old. He was here in the 17th century. | 0:36:14 | 0:36:17 | |
This is an 18th-century room. Right. | 0:36:17 | 0:36:20 | |
Erm, but, this library has the privilege of holding | 0:36:20 | 0:36:23 | |
the Jonathan Swift collection. | 0:36:23 | 0:36:25 | |
Born in Dublin in 1667, | 0:36:25 | 0:36:27 | |
Swift was sent to Trinity College in the city at the age of 14. | 0:36:27 | 0:36:32 | |
This is the register that records him arriving in Trinity College. | 0:36:33 | 0:36:38 | |
Oh, there he is! | 0:36:38 | 0:36:40 | |
Jonathan Swift. | 0:36:40 | 0:36:41 | |
Did he show any talent for being a writer when, | 0:36:41 | 0:36:44 | |
when he was this age, when he was here? | 0:36:44 | 0:36:45 | |
Certainly we don't have anything that he wrote at the time | 0:36:45 | 0:36:48 | |
and he got into disciplinary problems, you know? | 0:36:48 | 0:36:50 | |
He was a naughty boy? He was a naughty boy, yeah. So... | 0:36:50 | 0:36:53 | |
I think I quite like him. | 0:36:53 | 0:36:55 | |
It ends up with... he gets his degree by special grace. | 0:36:55 | 0:36:58 | |
Despite a shaky academic career, | 0:37:00 | 0:37:02 | |
Swift began to build a reputation as a writer, | 0:37:02 | 0:37:05 | |
first working for former politician William Temple, then | 0:37:05 | 0:37:09 | |
as a clergyman, arguing the position of the church on political matters. | 0:37:09 | 0:37:14 | |
He becomes a political propagandist | 0:37:14 | 0:37:16 | |
and he is writing pamphlets left, right and centre. | 0:37:16 | 0:37:18 | |
That's what they did. That's how you waged war. You wrote. | 0:37:18 | 0:37:21 | |
And you produced pamphlets? Endless pamphlets. | 0:37:21 | 0:37:23 | |
And because Swift's specific talent was satire | 0:37:23 | 0:37:27 | |
and if you can make people laugh, you have them half won over. | 0:37:27 | 0:37:31 | |
So, he made it... he made it really readable? | 0:37:31 | 0:37:33 | |
While satire has been around for centuries, | 0:37:33 | 0:37:36 | |
in this age of the Enlightenment, Swift was part | 0:37:36 | 0:37:39 | |
of a resurgence of the craft | 0:37:39 | 0:37:41 | |
which interrogated moral and political views. | 0:37:41 | 0:37:44 | |
Later in his life, Swift was to display his moral outrage | 0:37:44 | 0:37:47 | |
at the treatment of Ireland's poor | 0:37:47 | 0:37:50 | |
in one of the most famous satirical essays in the English language. | 0:37:50 | 0:37:54 | |
This is The Modest Proposal which everybody knows about | 0:37:54 | 0:37:57 | |
even if they're not entirely sure... | 0:37:57 | 0:37:58 | |
"A modest proposal for preventing the children of poor people from | 0:37:58 | 0:38:01 | |
"being a burden to their parents or the country and for making them | 0:38:01 | 0:38:04 | |
"beneficial to the public"? | 0:38:04 | 0:38:06 | |
Yeah, they kind of liked long titles. It's snappy, isn't it? | 0:38:06 | 0:38:08 | |
This is a time when poor people | 0:38:08 | 0:38:10 | |
were considered to be slightly less human. | 0:38:10 | 0:38:12 | |
So, he starts off in this tone of voice, | 0:38:12 | 0:38:14 | |
saying, "Yeah, we all know this is a problem" and then he just, | 0:38:14 | 0:38:17 | |
without as much as a blink of the eye he segues | 0:38:17 | 0:38:19 | |
seamlessly into a... "I think they should eat their children. | 0:38:19 | 0:38:23 | |
"I mean, if you fed a nice plump poor baby well, you know, | 0:38:23 | 0:38:28 | |
"you could serve him up for dinner." What? | 0:38:28 | 0:38:31 | |
And then all of a sudden you realise | 0:38:31 | 0:38:33 | |
he's making fun of you. Yeah. And your prejudices. Yeah. | 0:38:33 | 0:38:35 | |
And your biases, because for a moment you might have thought yeah, he's right... | 0:38:35 | 0:38:38 | |
SHE GASPS Oops! Yeah, yeah. | 0:38:38 | 0:38:40 | |
That's what he did and he did it beautifully because he sucks you in. | 0:38:40 | 0:38:43 | |
You think he's writing a boring economic pamphlet. | 0:38:43 | 0:38:46 | |
With his wit and fearless approach, Swift towered over his predecessors. | 0:38:46 | 0:38:51 | |
As partisan politics emerged, | 0:38:51 | 0:38:53 | |
he used his satire to tackle this new complex political world. | 0:38:53 | 0:38:57 | |
Ah, so, here we have... | 0:38:57 | 0:38:59 | |
In 1726, he took his arguments to a wide audience, | 0:38:59 | 0:39:04 | |
creating what would become his best-known work. | 0:39:04 | 0:39:07 | |
This is how we know Jonathan Swift, really, isn't it? Yes. | 0:39:07 | 0:39:09 | |
His Gulliver's Travels. Yes. | 0:39:09 | 0:39:11 | |
But it says here, "Travels into several remote | 0:39:11 | 0:39:13 | |
"nations of the world in four parts by Lemuel Gulliver, | 0:39:13 | 0:39:17 | |
"first a surgeon and then a captain of several ships, volume 1..." | 0:39:17 | 0:39:20 | |
It goes on and on and on. Yes, I know. | 0:39:20 | 0:39:22 | |
Well, at the very first page he's...making a little fun | 0:39:22 | 0:39:25 | |
of the tradition of writing travelogues. | 0:39:25 | 0:39:28 | |
Right. Which were becoming very popular at the time. OK. | 0:39:28 | 0:39:30 | |
So, he gives the name Gulliver but also he gives a little background | 0:39:30 | 0:39:34 | |
to make it seem more like this is actually a genuine travelogue. | 0:39:34 | 0:39:37 | |
By presenting the book as Gulliver's own memoirs, | 0:39:37 | 0:39:40 | |
Swift distanced himself from a controversial tale | 0:39:40 | 0:39:44 | |
that criticised the politicians he felt had blocked his own career. | 0:39:44 | 0:39:48 | |
This is political satire again | 0:39:48 | 0:39:50 | |
because he goes to all of these countries and, erm, | 0:39:50 | 0:39:53 | |
he picks out individuals and characters whom | 0:39:53 | 0:39:56 | |
all of his readership know | 0:39:56 | 0:39:57 | |
who the contemporary politician is who he's making fun of. | 0:39:57 | 0:40:01 | |
It's not a children's book at all? It's actually political satire? | 0:40:01 | 0:40:04 | |
Yes. But now it's marketed as a children's book. | 0:40:04 | 0:40:06 | |
I mean, you couldn't get more poles apart, really, could you? No. | 0:40:06 | 0:40:09 | |
Each group that Gulliver encounters represents a different | 0:40:09 | 0:40:13 | |
section of society, all afflicted by one type of prejudice or another. | 0:40:13 | 0:40:17 | |
Like the character of Flimnap, a wily politician | 0:40:17 | 0:40:22 | |
torn by jealousy, who is understood to be a thinly veiled caricature | 0:40:22 | 0:40:26 | |
of Britain's first modern Prime Minister, Robert Walpole. | 0:40:26 | 0:40:30 | |
Scared of prosecution by those targeted in the book, | 0:40:30 | 0:40:33 | |
Swift's publisher used several different printers | 0:40:33 | 0:40:37 | |
and even changed sections of text, | 0:40:37 | 0:40:39 | |
the tale becoming an instant success. | 0:40:39 | 0:40:42 | |
It was immediately hugely popular. | 0:40:42 | 0:40:44 | |
Even people who said they didn't understand who the targets were | 0:40:44 | 0:40:47 | |
found it incredible. | 0:40:47 | 0:40:49 | |
And even people who didn't like Swift had to admit that | 0:40:49 | 0:40:53 | |
it was wonderful. | 0:40:53 | 0:40:54 | |
Swift's book gave readers an entirely different perspective | 0:40:54 | 0:40:57 | |
on this new age of politics and politicians. | 0:40:57 | 0:41:00 | |
Since its first release, Gulliver's Travels has never been | 0:41:01 | 0:41:04 | |
out of print and is heralded as a milestone in satirical literature. | 0:41:04 | 0:41:09 | |
Once he had an idea, he took it to its rational obvious conclusion | 0:41:11 | 0:41:15 | |
and he was prepared to go a step further than everybody else. | 0:41:15 | 0:41:18 | |
Always... Stretching the boundaries? Absolutely. | 0:41:18 | 0:41:21 | |
Swift died in Dublin in 1745. | 0:41:21 | 0:41:25 | |
His pamphlets remain amongst the most important texts | 0:41:25 | 0:41:30 | |
held in the great library of Trinity College, | 0:41:30 | 0:41:33 | |
and Gulliver's Travels | 0:41:33 | 0:41:34 | |
inspired readers and influenced writers for centuries to come. | 0:41:34 | 0:41:38 | |
Just over 15 miles back down the River Liffey, | 0:41:43 | 0:41:46 | |
Thomas is in the village of Straffan, in County Kildare. | 0:41:46 | 0:41:50 | |
Straffan Antiques is a family-run affair, managed by Eoin. | 0:41:50 | 0:41:54 | |
The jacket's off. He means business. | 0:41:57 | 0:42:00 | |
These are good. | 0:42:00 | 0:42:02 | |
Look at these sweet little things. | 0:42:02 | 0:42:04 | |
Children's folding chairs. | 0:42:04 | 0:42:06 | |
They look great fun. Ow! | 0:42:06 | 0:42:08 | |
I'd take a seat, Thomas, if I were you. Ticket price is 480 euros. | 0:42:10 | 0:42:15 | |
We've got a pair of them. A pair is unusual, yeah. | 0:42:15 | 0:42:17 | |
It is unusual, isn't it? Yeah. | 0:42:17 | 0:42:20 | |
And it looks like original upholstery on them. I think so. | 0:42:20 | 0:42:22 | |
Probably, um, maybe late 19th century, | 0:42:22 | 0:42:25 | |
something like that. They're quite sweet, aren't they? | 0:42:25 | 0:42:28 | |
What can you do those for? | 0:42:28 | 0:42:30 | |
Erm...we could do those about...maybe 220. | 0:42:30 | 0:42:34 | |
Oh, my gosh. | 0:42:34 | 0:42:35 | |
I don't think I've got 220. | 0:42:35 | 0:42:37 | |
I've only got 185 and I need some left for tomorrow. | 0:42:38 | 0:42:42 | |
So, I was looking at those as sort of 50 euros each, 100 euros. | 0:42:42 | 0:42:47 | |
But if you can do it, you can't do it. Yeah. | 0:42:47 | 0:42:50 | |
I'll try and find something else. | 0:42:50 | 0:42:52 | |
Could do 150 on them. | 0:42:52 | 0:42:53 | |
I think 150 is a bit, a bit strong for me. | 0:42:55 | 0:42:58 | |
Could you meet me halfway somewhere? | 0:42:59 | 0:43:02 | |
Could do 130? 125, we've got a deal. | 0:43:02 | 0:43:05 | |
Go on? Go on. 125. Yeah, good man. | 0:43:05 | 0:43:09 | |
A bold buy, Thomas. | 0:43:09 | 0:43:11 | |
Great discount but it doesn't leave you very much. | 0:43:11 | 0:43:14 | |
HE MOUTHS | 0:43:14 | 0:43:16 | |
(What have I done? What have I done?) | 0:43:16 | 0:43:19 | |
Heaven knows. | 0:43:19 | 0:43:20 | |
Blissfully unaware of Thomas's big spending, | 0:43:24 | 0:43:27 | |
Christina is hotfooting through Dublin's streets | 0:43:27 | 0:43:30 | |
in search of a bargain. | 0:43:30 | 0:43:31 | |
Hello. Hey, how you doing? Well, thank you. I'm Christina, nice to meet you. | 0:43:31 | 0:43:35 | |
Alistair - how are you? Alistair? Do you mind if I have a quick look around? Yeah, sure. | 0:43:35 | 0:43:38 | |
If there's anything I like the look of, | 0:43:38 | 0:43:40 | |
I'll come and give you a holler. OK. A holler, eh? | 0:43:40 | 0:43:44 | |
Owner Alistair has been running the shop, along with his mother, | 0:43:44 | 0:43:47 | |
for four years, and they do a lot of their buying in French markets, | 0:43:47 | 0:43:50 | |
so the shop has a certain je ne sais quoi. | 0:43:50 | 0:43:53 | |
You are feeling it? | 0:43:53 | 0:43:54 | |
So, that is quite cool, isn't it? Look at that. "The Royal Dragoon." | 0:43:54 | 0:43:59 | |
"Ales and prize medal beers". | 0:43:59 | 0:44:02 | |
So, it's obviously an old pub sign, isn't it? The Royal Dragoon. | 0:44:02 | 0:44:06 | |
Breweriana in advertising is quite in vogue at the moment | 0:44:06 | 0:44:09 | |
but that's also really a very powerful, strong image. | 0:44:09 | 0:44:12 | |
It's 45 euros. | 0:44:12 | 0:44:14 | |
I wonder what Alistair can do on that. | 0:44:14 | 0:44:16 | |
Alistair? Yes. Where are you, darling? | 0:44:16 | 0:44:19 | |
We picked this up at a French market about two months ago. | 0:44:20 | 0:44:25 | |
Did you? I'm not sure how old it is but it's certainly nice, anyway. | 0:44:25 | 0:44:30 | |
It's a decorative thing, isn't it? | 0:44:30 | 0:44:32 | |
It hasn't got a huge amount of age to it, has it? | 0:44:32 | 0:44:35 | |
Yeah, probably about 1970s, I'd say, maybe. | 0:44:35 | 0:44:38 | |
So, what would be your best price on that? 20. | 0:44:38 | 0:44:42 | |
It's quite fun, isn't it? I do quite like that. | 0:44:42 | 0:44:44 | |
There's something about the image which is powerful. | 0:44:44 | 0:44:46 | |
Yeah. That horsey strutting off to war. | 0:44:46 | 0:44:48 | |
Is there any chance you could do that for 15? | 0:44:48 | 0:44:51 | |
20 is quite cheap for it, as is... Is it? For a modern repro sign? | 0:44:51 | 0:44:57 | |
For a bit of fun? It is hand-painted. | 0:44:57 | 0:45:00 | |
Go on, 15 euros. | 0:45:00 | 0:45:02 | |
And you've got a sale. OK. Yeah? Yeah. It's a deal. | 0:45:02 | 0:45:06 | |
I shall take my Royal Dragoon and charge off into the sunset. | 0:45:06 | 0:45:10 | |
With 15 euros spent on an oldish pub sign, | 0:45:10 | 0:45:14 | |
your sunset awaits - so nighty-night, you two. | 0:45:14 | 0:45:17 | |
Good morning, Dublin! | 0:45:22 | 0:45:24 | |
I love Ireland | 0:45:24 | 0:45:25 | |
but I do spend a lot of money in Ireland. Join the club. | 0:45:25 | 0:45:28 | |
You're telling me. | 0:45:28 | 0:45:30 | |
Later, they will be heading for auction in Wrexham | 0:45:30 | 0:45:32 | |
but for the rest of the day, Dublin beckons. | 0:45:32 | 0:45:36 | |
Let's follow Christina | 0:45:36 | 0:45:38 | |
as she tries to spend the last of her remaining euros. | 0:45:38 | 0:45:41 | |
She's having a wander through Dublin's art and antiques quarter, | 0:45:41 | 0:45:44 | |
but can she uncover something special? | 0:45:44 | 0:45:47 | |
Hello. Hi, how are you doing? I'm all right, thanks. How are you? | 0:45:47 | 0:45:50 | |
Good, thanks. What's your name? Alistan. Alistan. Great name. | 0:45:50 | 0:45:53 | |
Alistan, you are very tall. I know. How tall are you? | 0:45:53 | 0:45:55 | |
6'6", 6'7" on a good day. I think I should have worn my heels today. | 0:45:55 | 0:45:59 | |
This is pretty cool. | 0:45:59 | 0:46:01 | |
It is certainly eclectic. | 0:46:01 | 0:46:02 | |
What is on your storage jars? | 0:46:02 | 0:46:05 | |
They're about 175. Are they? Yes. | 0:46:05 | 0:46:09 | |
They're nice, aren't they? Clean kitchenware, one pint. | 0:46:09 | 0:46:13 | |
I mean, they are very kitsch, aren't they? | 0:46:13 | 0:46:16 | |
I like the typography on them. Yeah, that text on them is fab, isn't it? | 0:46:16 | 0:46:20 | |
It's cool, yes. | 0:46:20 | 0:46:21 | |
Also you get the TG green ones, | 0:46:21 | 0:46:23 | |
which - obviously the blue-banded Cornishware ones - | 0:46:23 | 0:46:25 | |
but I really like the fact that these are in green. | 0:46:25 | 0:46:28 | |
It's the colour of Ireland, isn't it? | 0:46:28 | 0:46:30 | |
Yeah. Very cool. It's true. | 0:46:30 | 0:46:32 | |
I'm a bit worried, there is a little bit of damage around them. | 0:46:32 | 0:46:35 | |
We can talk about price. I mean, what have you got in your mind? | 0:46:35 | 0:46:39 | |
Uh... | 0:46:39 | 0:46:40 | |
Don't hate me. Go on. But I think I have 77 euros left. | 0:46:41 | 0:46:47 | |
77 euros? Yeah. | 0:46:47 | 0:46:49 | |
I tell you what, I could probably give you half the set. No! | 0:46:49 | 0:46:52 | |
You can't split the set! What about...? OK... | 0:46:52 | 0:46:55 | |
You look like a really cool, mid-century guy, | 0:46:55 | 0:46:58 | |
I have got a really cool mid-century vehicle outside. | 0:46:58 | 0:47:02 | |
OK, so we do a swap? No. OK. | 0:47:02 | 0:47:04 | |
Hmm... OK, OK. I thought that was where this was going. | 0:47:06 | 0:47:09 | |
What about 77 euros and a ride in my van? | 0:47:09 | 0:47:12 | |
What do you think? That sounds a bit... | 0:47:14 | 0:47:16 | |
Does that sound like a deal? Do you know what? OK, OK. Yeah? | 0:47:16 | 0:47:19 | |
OK, as long as it is going to a good home, | 0:47:19 | 0:47:21 | |
I think it's going to go to a good home. | 0:47:21 | 0:47:23 | |
Done. Happy? Yeah, I think so. | 0:47:23 | 0:47:25 | |
It's pretty cool, and it does go quite fast. | 0:47:27 | 0:47:29 | |
Here we go. | 0:47:29 | 0:47:30 | |
You will be amazed. | 0:47:30 | 0:47:32 | |
Hope on in, baby. | 0:47:34 | 0:47:35 | |
I hope someone is watching the shop. | 0:47:39 | 0:47:41 | |
Can you fit in my van? | 0:47:41 | 0:47:43 | |
OK, there are no straps. | 0:47:43 | 0:47:45 | |
There are no straps? No, it's pre-straps. You will be fine. | 0:47:45 | 0:47:48 | |
Are you ready for the ride of your life? Yes, let's go. | 0:47:48 | 0:47:51 | |
Second. Good gear change. Hold on tight. | 0:47:54 | 0:47:57 | |
Be careful with him, Christina. | 0:47:57 | 0:48:00 | |
There is just time for a quick run around the block. | 0:48:02 | 0:48:05 | |
I didn't terrify the life out of you? No, you didn't. Are you sure? | 0:48:05 | 0:48:08 | |
No, not at all. Good. | 0:48:08 | 0:48:10 | |
Well, that's one way to get yourself a set of storage jars for 77 euros. | 0:48:10 | 0:48:16 | |
You're an angel. So are you. Very, very pleased with my jars. | 0:48:16 | 0:48:19 | |
Nice to meet you. Take care, see you again. See you. | 0:48:19 | 0:48:22 | |
Just a few paces down the street, Thomas is on the prowl. | 0:48:26 | 0:48:29 | |
Hello, I'm Thomas. Thomas, how are you? Mervyn is my name. | 0:48:31 | 0:48:33 | |
You're very welcome, you're very welcome. | 0:48:33 | 0:48:35 | |
This looks fabulous. I'm going to have a really good look around. | 0:48:35 | 0:48:38 | |
Yeah, good stuff. I will warn you... | 0:48:38 | 0:48:41 | |
Oh, yes. Stand by. | 0:48:41 | 0:48:42 | |
..there is not a huge budget, | 0:48:42 | 0:48:44 | |
but what there is is burning a hole in my pocket. | 0:48:44 | 0:48:48 | |
OK, we will try and help you spend it. | 0:48:48 | 0:48:50 | |
I don't think he needs much help. | 0:48:50 | 0:48:51 | |
Look at that. That's quite a fun thing, that, isn't it? | 0:48:51 | 0:48:54 | |
It's a cartridge filler, isn't it? That's right, yeah. | 0:48:54 | 0:48:57 | |
They were for filling one's guns cartridges, weren't they? Yeah. | 0:48:57 | 0:48:59 | |
You clamp that onto the table. On it goes. | 0:48:59 | 0:49:03 | |
This is where your firing pin goes, on the top here. | 0:49:03 | 0:49:07 | |
You fill your beast as you wind it off with all the powder. | 0:49:07 | 0:49:14 | |
Then you fold it up into there. | 0:49:14 | 0:49:17 | |
This is when one used to make | 0:49:17 | 0:49:18 | |
one's own gun cartridges for shooting. | 0:49:18 | 0:49:21 | |
It is quite an interesting thing, isn't it? Yeah, it's nice, yeah. | 0:49:21 | 0:49:24 | |
I've not seen one like that before. Right, OK. | 0:49:24 | 0:49:26 | |
You called it Victorian. Yes, it is about that sort of level, isn't it? | 0:49:26 | 0:49:29 | |
Yes. Yes. OK. | 0:49:29 | 0:49:31 | |
Ticket price is 185 euros. | 0:49:31 | 0:49:33 | |
Merv, I'm going to level with you. | 0:49:33 | 0:49:36 | |
I said I had some money burning a hole in my pocket. | 0:49:36 | 0:49:38 | |
I do, and it is going to have to be spent. There is 60 euros. | 0:49:38 | 0:49:43 | |
What can you do for 60 euros? | 0:49:43 | 0:49:45 | |
What can I do for 60 euros? | 0:49:45 | 0:49:47 | |
Well, you were looking at that. | 0:49:47 | 0:49:49 | |
That would relieve me of 60 euros, would it? | 0:49:49 | 0:49:51 | |
It would. That would be it, done. Done and dusted. | 0:49:51 | 0:49:54 | |
That is really not a bad price. That has to be a purchase, really. | 0:49:54 | 0:49:58 | |
Very good. Very fair. You have been immensely fair. | 0:49:58 | 0:50:01 | |
He has relieved me of all my money... | 0:50:01 | 0:50:03 | |
apart from a couple of cent. Right. You can throw that in if you want. | 0:50:03 | 0:50:06 | |
Well, I can probably throw that in, couldn't I, really? | 0:50:06 | 0:50:08 | |
So that generous deal makes it 60 euros and 98 cents. | 0:50:08 | 0:50:12 | |
That has cleaned Thomas out and ends this trip's shopping. | 0:50:12 | 0:50:16 | |
Thomas spent all of his 289 euros, 98 cents on the collection of boxes, | 0:50:19 | 0:50:25 | |
the 19th-century soapstone items, | 0:50:25 | 0:50:28 | |
an agate salt, | 0:50:28 | 0:50:30 | |
the mother-of-pearl handles, | 0:50:30 | 0:50:33 | |
the cartridge loader, | 0:50:33 | 0:50:35 | |
and a pair of children's chairs. | 0:50:35 | 0:50:37 | |
Christina only left herself with loose change, | 0:50:39 | 0:50:41 | |
as she spent 292 euros on a set of 1950s storage jars with coffee pot, | 0:50:41 | 0:50:47 | |
a 19th-century brass fender, | 0:50:47 | 0:50:50 | |
an oil painting of a rustic scene, | 0:50:50 | 0:50:52 | |
and a painted pub sign. | 0:50:52 | 0:50:55 | |
What do they think of each other's offerings? | 0:50:55 | 0:50:57 | |
I think actually he has been quite risky. | 0:50:57 | 0:50:59 | |
He has been quite plucky and I like that. | 0:50:59 | 0:51:01 | |
I would happily swap probably most of my stuff, | 0:51:01 | 0:51:03 | |
to be perfectly honest, for that beautiful banded agate salt | 0:51:03 | 0:51:06 | |
that he bought, which I think is just an absolute stunner. | 0:51:06 | 0:51:08 | |
I really love her picture that she has bought. | 0:51:08 | 0:51:10 | |
I think it is delightful. | 0:51:10 | 0:51:12 | |
It's going to be such a close-call thing. | 0:51:12 | 0:51:15 | |
After starting this leg in Prosperous, in County Kildare, | 0:51:16 | 0:51:19 | |
our experts have travelled via Dublin to the Welsh town of Wrexham. | 0:51:19 | 0:51:24 | |
Today, our pair are headed straight to Wingetts Auction House. | 0:51:24 | 0:51:28 | |
Wielding the gavel is John Lloyd. | 0:51:28 | 0:51:31 | |
Now in Britain, the rest of the trip will be pounds. | 0:51:32 | 0:51:36 | |
So, with currency converted, | 0:51:36 | 0:51:38 | |
Christina has spent a total of ?205.63 on four items, | 0:51:38 | 0:51:44 | |
while Thomas's six lots have set him back a total of ?197.87. | 0:51:44 | 0:51:50 | |
First up are Thomas' collection of boxes. | 0:51:52 | 0:51:55 | |
I've got ?20 bid with me to go straight in. | 0:51:55 | 0:51:58 | |
20 bid, 5 bid, 30. | 0:51:58 | 0:52:00 | |
5, sir? | 0:52:00 | 0:52:01 | |
40. 5. | 0:52:01 | 0:52:03 | |
?40 bid. Profit. That's good. | 0:52:03 | 0:52:05 | |
I'm out. Sold on the internet. | 0:52:05 | 0:52:09 | |
Yes! Well done. | 0:52:09 | 0:52:10 | |
Good job. Result! Yeah. | 0:52:10 | 0:52:13 | |
A cracking start for Thomas. | 0:52:13 | 0:52:15 | |
Will his luck keep going? | 0:52:15 | 0:52:17 | |
His cartridge loader is next. | 0:52:17 | 0:52:20 | |
I've got ?15 bid. Straight in with me to go... | 0:52:20 | 0:52:23 | |
What did you spend on this? | 0:52:23 | 0:52:25 | |
40... | 0:52:25 | 0:52:27 | |
45, OK. | 0:52:27 | 0:52:28 | |
In the door at ?20. I'll take 2 for it. | 0:52:28 | 0:52:31 | |
Now at 22 I'm bid. 24. 26? | 0:52:31 | 0:52:35 | |
24. | 0:52:35 | 0:52:37 | |
41. | 0:52:37 | 0:52:39 | |
Next time. | 0:52:39 | 0:52:40 | |
That's a blow, but there's plenty left to go at, Thomas. | 0:52:40 | 0:52:44 | |
So disappointed. It's OK, it's OK. | 0:52:44 | 0:52:46 | |
It took Christina some clever negotiating | 0:52:46 | 0:52:49 | |
to get the storage jars, | 0:52:49 | 0:52:50 | |
but how will they fare? | 0:52:50 | 0:52:52 | |
We're on the internet, then, at ?26. | 0:52:52 | 0:52:55 | |
28 bid. 30. | 0:52:55 | 0:52:58 | |
And 5, sir. 40. God, making more. | 0:52:58 | 0:53:00 | |
40, bid. 5, sir? Oh, go on, sir. They're lovely. | 0:53:00 | 0:53:03 | |
?40 we've got bid. | 0:53:03 | 0:53:05 | |
All finished at 40. | 0:53:05 | 0:53:08 | |
Perhaps the damage to the jars has hit your chances of a profit. | 0:53:08 | 0:53:12 | |
I think that's disappointing. | 0:53:12 | 0:53:14 | |
I don't mind taking a loss | 0:53:14 | 0:53:16 | |
because I had such a lovely ride in the van with Alistan. Did you? Yeah. | 0:53:16 | 0:53:19 | |
Let's see if Thomas can get us back on track | 0:53:19 | 0:53:21 | |
with his mother-of-pearl handles. | 0:53:21 | 0:53:23 | |
I'll take ?20 to start for them. | 0:53:23 | 0:53:27 | |
Nobody is going to bid. | 0:53:27 | 0:53:28 | |
No bid for these? I can't believe that. | 0:53:28 | 0:53:30 | |
10, then? | 0:53:30 | 0:53:31 | |
?10 I've got. 12 I'm bid. 14. | 0:53:31 | 0:53:33 | |
16. | 0:53:33 | 0:53:34 | |
16, back in. 18. | 0:53:34 | 0:53:36 | |
20. | 0:53:36 | 0:53:37 | |
They're out on the net at 18 bid. It's ?18. 18. | 0:53:37 | 0:53:41 | |
That's good. ?7 profit. | 0:53:41 | 0:53:42 | |
I was expecting three figures. | 0:53:42 | 0:53:44 | |
I was! | 0:53:44 | 0:53:45 | |
Well, you know what they say about expectations. | 0:53:45 | 0:53:48 | |
No, don't, don't... | 0:53:48 | 0:53:49 | |
Perhaps your hopes were a little high, but that's still a profit. | 0:53:51 | 0:53:55 | |
Next up, the club fender. | 0:53:55 | 0:53:56 | |
This cost Christina 120 euros, which comes out at just under ?85. | 0:53:56 | 0:54:02 | |
Cheap. | 0:54:02 | 0:54:03 | |
I've got ?100 straight in with me to start, then. 100. 110. 120. 130. | 0:54:03 | 0:54:08 | |
140. 150. | 0:54:08 | 0:54:09 | |
High-five? High-five? | 0:54:09 | 0:54:12 | |
170. 180. 190. 200. ?200 on the internet! | 0:54:12 | 0:54:14 | |
?200 on the internet! | 0:54:14 | 0:54:16 | |
Get in there. ?220 in the room. | 0:54:16 | 0:54:19 | |
?220, the bid is in the room. This never happens to me. | 0:54:19 | 0:54:22 | |
220 bid. | 0:54:22 | 0:54:24 | |
All done? GAVEL BANGS | 0:54:24 | 0:54:27 | |
Well done. | 0:54:27 | 0:54:28 | |
A superb profit for the fender gives Christina a healthy lead. | 0:54:28 | 0:54:33 | |
I've got some catching up to do, Christina. No, you haven't. I have. | 0:54:33 | 0:54:36 | |
No, no. | 0:54:36 | 0:54:37 | |
Can the collection of Chinese soapstone perform as well for Thomas? | 0:54:37 | 0:54:41 | |
?10 I'm bid, starting. | 0:54:41 | 0:54:43 | |
12 I've got on the internet. 14 bid, 16. | 0:54:43 | 0:54:45 | |
See, it's going, it's going. | 0:54:45 | 0:54:47 | |
?18. | 0:54:47 | 0:54:48 | |
You're out on the internet. | 0:54:48 | 0:54:50 | |
Thanks for coming. 20, you're into a profit. | 0:54:50 | 0:54:53 | |
On the net. | 0:54:53 | 0:54:55 | |
Sadly, after auction costs, that's a small loss. | 0:54:59 | 0:55:03 | |
Next up, it's Christina's painted pub sign. | 0:55:03 | 0:55:07 | |
Ought to be ?20 to start. | 0:55:07 | 0:55:08 | |
Oh, internet bid 15, that's good. | 0:55:08 | 0:55:10 | |
15, see - straight in, profit. | 0:55:10 | 0:55:13 | |
I'll take 16 if it helps you. 16 I am bid. | 0:55:13 | 0:55:16 | |
At ?16 we're still on the net at ?16. It'll take 18. | 0:55:16 | 0:55:19 | |
18 I've got. 20? | 0:55:19 | 0:55:21 | |
20 bid. 2. | 0:55:21 | 0:55:23 | |
24. 26. 28. | 0:55:23 | 0:55:26 | |
28 bid. 30. 2? | 0:55:26 | 0:55:29 | |
In the room at 30. | 0:55:29 | 0:55:31 | |
That's good, isn't it? Again, high-five. | 0:55:32 | 0:55:35 | |
That's more of a medium-five. | 0:55:35 | 0:55:37 | |
Jealous. | 0:55:39 | 0:55:40 | |
Well jel. | 0:55:40 | 0:55:42 | |
Another good profit. Things are going very well for Christina. | 0:55:42 | 0:55:47 | |
Thomas is playing catch-up and his agate salt is next. | 0:55:47 | 0:55:51 | |
?5 I've got to start. | 0:55:51 | 0:55:53 | |
It's in the door. I'll take 6, I'm bid 8. | 0:55:53 | 0:55:55 | |
6, internet. 8, internet. 10, internet. | 0:55:55 | 0:55:57 | |
See? Profit, profit, profit, profit. | 0:55:57 | 0:55:59 | |
14. 16. | 0:55:59 | 0:56:01 | |
18. | 0:56:01 | 0:56:02 | |
Goes on the internet. | 0:56:03 | 0:56:06 | |
?18. What's that, ?7 profit? Yeah, ?7. | 0:56:06 | 0:56:09 | |
That's good. It's OK. | 0:56:09 | 0:56:11 | |
A modest profit for Thomas. | 0:56:11 | 0:56:14 | |
Christina's oil painting is her final lot. | 0:56:14 | 0:56:17 | |
Maiden bid for this one at ?30. | 0:56:17 | 0:56:20 | |
I'm only bid 30. 35 got, and I'm out. | 0:56:20 | 0:56:22 | |
At ?35 the bid is in the room. | 0:56:22 | 0:56:24 | |
It's cheap at 35. It'll wipe out all my profits. | 0:56:24 | 0:56:26 | |
No, I don't think so. | 0:56:26 | 0:56:28 | |
Moving on. Quite rightly. | 0:56:28 | 0:56:29 | |
50? | 0:56:29 | 0:56:31 | |
All done? | 0:56:31 | 0:56:32 | |
Oh, go on. | 0:56:32 | 0:56:33 | |
50 bid. 5? See? There you are. | 0:56:33 | 0:56:35 | |
Sold at 50. | 0:56:35 | 0:56:36 | |
A small loss, and it's not over yet. | 0:56:39 | 0:56:42 | |
Thomas spent a huge 125 euros on those chairs, | 0:56:42 | 0:56:46 | |
which is around ?90, | 0:56:46 | 0:56:48 | |
but will it pay off? | 0:56:48 | 0:56:50 | |
10 for them. | 0:56:50 | 0:56:52 | |
?10. Early bid on my right, standing. 12 bid. 14. 16. | 0:56:52 | 0:56:56 | |
18. 20. And 2? | 0:56:56 | 0:56:59 | |
24. | 0:56:59 | 0:57:00 | |
26. | 0:57:00 | 0:57:02 | |
It's getting there. | 0:57:02 | 0:57:04 | |
It's getting there. 40. And 2? | 0:57:04 | 0:57:07 | |
?42 I'm bid in the room, standing, at 42 bid. | 0:57:07 | 0:57:10 | |
I'll take 44 if you want. | 0:57:10 | 0:57:12 | |
It's standing. | 0:57:12 | 0:57:15 | |
Actually, that's like a body blow... | 0:57:15 | 0:57:18 | |
A hammer going through my body. | 0:57:18 | 0:57:22 | |
Well, someone's got a bargain, | 0:57:22 | 0:57:24 | |
picking up a beautiful pair of chairs for a great price. | 0:57:24 | 0:57:28 | |
Anyway, go on. Let's go and see how much money I've made. | 0:57:28 | 0:57:31 | |
I think... No. It might take us a while. | 0:57:31 | 0:57:34 | |
To count it all? | 0:57:34 | 0:57:35 | |
You're so cruel. | 0:57:35 | 0:57:37 | |
So how have our pair fared? | 0:57:38 | 0:57:42 | |
Thomas, looking grim, spent every last penny of his ?197.87. | 0:57:42 | 0:57:48 | |
After auction costs, | 0:57:48 | 0:57:50 | |
he's made a loss of ?60.93, | 0:57:50 | 0:57:52 | |
leaving him a total of ?136.94 | 0:57:52 | 0:57:56 | |
to take on to the next leg. | 0:57:56 | 0:57:58 | |
Christina started with ?205.75 | 0:57:58 | 0:58:02 | |
and after auction costs | 0:58:02 | 0:58:04 | |
made a fantastic ?73.17 profit. | 0:58:04 | 0:58:07 | |
So she has won the day with ?278.91 and a substantial lead, | 0:58:07 | 0:58:13 | |
so well done, girl. | 0:58:13 | 0:58:15 | |
My goodness. Well done. | 0:58:15 | 0:58:17 | |
I need a telescope to see where you are | 0:58:17 | 0:58:20 | |
and you need a telescope to see where I am. | 0:58:20 | 0:58:22 | |
You might have to go and get the van | 0:58:22 | 0:58:24 | |
because my pockets are weighing me down. Are they? | 0:58:24 | 0:58:27 | |
Can I borrow some money? I'm not sure I can walk. | 0:58:27 | 0:58:29 | |
Can I borrow some money? You've, like, made hundreds. | 0:58:29 | 0:58:32 | |
Cheerio. | 0:58:32 | 0:58:33 |