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It's the nation's favourite antiques experts! | 0:00:02 | 0:00:04 | |
-This is beautiful! -That's the way to do this. | 0:00:04 | 0:00:06 | |
With £200 each, a classic car, and a goal - to scour for antiques. | 0:00:06 | 0:00:12 | |
Joy! | 0:00:12 | 0:00:13 | |
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 | 0:00:17 | |
-There will be worthy winners and valiant losers. -Sorry! | 0:00:19 | 0:00:23 | |
So, will it be the high road to glory or the slow road to disaster? | 0:00:23 | 0:00:27 | |
The handbrake's on. | 0:00:27 | 0:00:29 | |
This is Antiques Road Trip! | 0:00:29 | 0:00:31 | |
Yeah! | 0:00:34 | 0:00:35 | |
Welcome to a right old ramble around the country, | 0:00:35 | 0:00:38 | |
in the company of delectable antiques experts, | 0:00:38 | 0:00:41 | |
Charles and Margie. | 0:00:41 | 0:00:42 | |
-Are you enjoying yourself? -Of course I am. -Really? -In your company. | 0:00:42 | 0:00:46 | |
-Really? -You're a little bright spark! -Am I really? -Yes, you are. | 0:00:46 | 0:00:49 | |
Dealer and Cheshire girl Margie Cooper | 0:00:50 | 0:00:52 | |
is playing catch up on this road trip. | 0:00:52 | 0:00:54 | |
-You think I'm going to break it, Mike? -No, I'm just worried that... | 0:00:54 | 0:00:58 | |
You'll lose the sale! | 0:00:58 | 0:00:59 | |
Behind the wheel of their dashing 1959 Elva is the man in front, | 0:00:59 | 0:01:04 | |
auctioneer and bright spark Charles Hanson. | 0:01:04 | 0:01:07 | |
Sometimes, when you're going into a battle, | 0:01:07 | 0:01:10 | |
you need your mates with you. | 0:01:10 | 0:01:11 | |
Yeah... | 0:01:11 | 0:01:13 | |
Our duo set off on this road trip with £200 each. | 0:01:13 | 0:01:16 | |
After three trips to auction, Margie has £325.74. | 0:01:17 | 0:01:24 | |
But with a clean sweep of victories so far, | 0:01:24 | 0:01:28 | |
Charles is boasting £545.02. | 0:01:28 | 0:01:32 | |
Their epic road trip started off | 0:01:33 | 0:01:34 | |
in the Leicestershire town of Melton Mowbray. | 0:01:34 | 0:01:37 | |
They've been touring around six counties | 0:01:38 | 0:01:40 | |
and will end their week in Leicester. | 0:01:40 | 0:01:43 | |
In this penultimate leg, our pair start off in Nottingham | 0:01:46 | 0:01:49 | |
and will make their way towards auction in Lincoln. | 0:01:49 | 0:01:52 | |
Let's see what riches our experts can uncover in Nottingham. | 0:01:52 | 0:01:56 | |
-Look at this! It's amazing! My jacket's off, Margie. -Coats off. | 0:01:56 | 0:02:01 | |
-Can I go for a wander? Is that OK? -Good morning! | 0:02:01 | 0:02:04 | |
They're on top form this morning. | 0:02:04 | 0:02:06 | |
Look at him go! | 0:02:09 | 0:02:10 | |
Oh, look here. Let's see if he growls. | 0:02:12 | 0:02:15 | |
Right, here we go... | 0:02:15 | 0:02:17 | |
BEAR GROWLS WEAKLY | 0:02:17 | 0:02:20 | |
He sounds like a flock of sheep! | 0:02:20 | 0:02:23 | |
Puzzling, that(!) | 0:02:23 | 0:02:25 | |
HE BLOWS HORN TUNELESSLY | 0:02:25 | 0:02:28 | |
Lordy, you need a mouthpiece. | 0:02:28 | 0:02:31 | |
Now, what's this box? And it says Derbyshire Shrievalty. | 0:02:31 | 0:02:37 | |
Or SHRIVE-alty... Francis Douglas Ley, Esquire, | 0:02:37 | 0:02:42 | |
1956-1957. | 0:02:42 | 0:02:43 | |
Something to do with the Sheriff's office or something? And it's £29. | 0:02:45 | 0:02:49 | |
What else has caught Margie's eye? | 0:02:49 | 0:02:52 | |
That's really nice. Lovely bit of Art Nouveau silver there. | 0:02:52 | 0:02:54 | |
With that lovely Art Nouveau lady at the bottom. | 0:02:55 | 0:02:59 | |
£69, Art Nouveau, 1910, very, very nice indeed. | 0:02:59 | 0:03:03 | |
Time to speak to assistant Lynn. | 0:03:05 | 0:03:07 | |
It's verging on rude if I said £35. | 0:03:07 | 0:03:09 | |
Right, we'll give it a go. | 0:03:12 | 0:03:14 | |
While Lynn calls the dealer to see what can be done, | 0:03:15 | 0:03:18 | |
what has Charles found? | 0:03:18 | 0:03:19 | |
There's one word I've got for that... | 0:03:19 | 0:03:22 | |
It could almost melt. | 0:03:22 | 0:03:23 | |
It's almost organic. | 0:03:23 | 0:03:26 | |
It's sinuous. | 0:03:26 | 0:03:28 | |
It's quite unusual. | 0:03:28 | 0:03:30 | |
And it's what I would call the Art Nouveau. | 0:03:30 | 0:03:32 | |
That's a lot of words, Charles. | 0:03:32 | 0:03:35 | |
These Chantilly sprigs are printed rather than being painted. | 0:03:35 | 0:03:40 | |
That's quite nice. Condition? Oh, what a shame! What a shame! | 0:03:40 | 0:03:44 | |
There's a chip on the inside of the rim. Oh, dear. | 0:03:44 | 0:03:47 | |
But it is so stylish. | 0:03:49 | 0:03:50 | |
And it's made in Limoges. | 0:03:50 | 0:03:52 | |
Limoges is a city in central France | 0:03:52 | 0:03:54 | |
that has lent its name to fine porcelain since the 18th century. | 0:03:54 | 0:03:58 | |
This sugar box dates to around 1910. | 0:03:58 | 0:04:01 | |
Tony's on hand to talk money with Charles. | 0:04:01 | 0:04:04 | |
It's priced at a tenner. | 0:04:04 | 0:04:06 | |
I wonder whether you could do it for £5. | 0:04:06 | 0:04:09 | |
-Erm... -To an old mate! | 0:04:09 | 0:04:11 | |
-Yes. -Is that a yes? | 0:04:11 | 0:04:13 | |
-Yes. -Lovely. I'm going to take it. | 0:04:13 | 0:04:15 | |
Well done, Charles. | 0:04:15 | 0:04:16 | |
The first purchase of the day and the battle has begun! | 0:04:16 | 0:04:20 | |
-Get off! -I've always liked gnomes. He is early, Margie. Be nice. | 0:04:20 | 0:04:26 | |
-Get off! -Would you like me to make an offer? Oh, he's nice! | 0:04:26 | 0:04:31 | |
He's an early one. | 0:04:31 | 0:04:32 | |
-But you're not a gnome collector, are you? -£13.50. | 0:04:32 | 0:04:35 | |
I might have a go at that. | 0:04:35 | 0:04:37 | |
Where was it, Margie? I never saw that. | 0:04:37 | 0:04:39 | |
I didn't think we'd have to separate this pair over a gnome! | 0:04:39 | 0:04:43 | |
I don't really want this guy. I was having a laugh with Charles, really. | 0:04:43 | 0:04:47 | |
And I thought he was brand-new. But he's not brand-new. | 0:04:47 | 0:04:51 | |
He's just horribly painted. | 0:04:51 | 0:04:53 | |
Before you decide, let's find out | 0:04:53 | 0:04:54 | |
what Lynn can do for the box and mirror. | 0:04:54 | 0:04:57 | |
It would have to be 65... | 0:04:57 | 0:05:00 | |
-For the two? -For the two, yeah. | 0:05:00 | 0:05:03 | |
Ahem, ahem! Don't forget old ugly mugs. | 0:05:03 | 0:05:06 | |
You're never going to sell that, are you? | 0:05:06 | 0:05:08 | |
You'd need a real mug punter to buy that. | 0:05:08 | 0:05:10 | |
It's just that I happen to like gnomes. £69 and throw him in. | 0:05:10 | 0:05:15 | |
OK, a deal. | 0:05:15 | 0:05:16 | |
-Great stuff. -A cracking haul for Margie. | 0:05:16 | 0:05:20 | |
Three items in her first shop, all for £69. | 0:05:20 | 0:05:24 | |
Let's continue shopping with Margie. | 0:05:26 | 0:05:29 | |
She's travelled to Southwell in rural Nottinghamshire. | 0:05:29 | 0:05:33 | |
This looks just the job. | 0:05:33 | 0:05:35 | |
-Good to meet you. -And you. Margie, and you're Terry? | 0:05:35 | 0:05:37 | |
-Yeah, I'm Terry. -Right. | 0:05:37 | 0:05:39 | |
Introductions over, what takes your fancy? | 0:05:39 | 0:05:42 | |
-I see you've got lots of nice shiny stuff. -Yes! I like my silver. | 0:05:42 | 0:05:46 | |
-Some of it's reasonably modern and other pieces are... -These are old. | 0:05:46 | 0:05:49 | |
-The little piece there is Victorian. -That's lovely. | 0:05:49 | 0:05:52 | |
But I can't see a price there. | 0:05:52 | 0:05:54 | |
Oh, here we go! Time for a closer look, Terry? | 0:05:54 | 0:05:58 | |
See, we've got that, we've got that on at £59. You'll get that at £59. | 0:05:58 | 0:06:02 | |
Absolutely cracking nick, late Victorian. | 0:06:02 | 0:06:05 | |
-What a lovely thing to give somebody for a gift, eh? -Mm. | 0:06:05 | 0:06:08 | |
Right, OK. That's a little start. | 0:06:08 | 0:06:10 | |
And I'm going to start having a little wander, if I may? | 0:06:10 | 0:06:13 | |
Have a wander and if you spot anything, | 0:06:13 | 0:06:15 | |
-I'll always do a price for you. I'm well known for it. -Aw, Terry, that's really nice. | 0:06:15 | 0:06:19 | |
Two feet from the till and Margie's got her eye on some silver. | 0:06:19 | 0:06:22 | |
Anything else? | 0:06:22 | 0:06:23 | |
This looks quite nice, doesn't it? | 0:06:24 | 0:06:27 | |
It's a marriage. | 0:06:29 | 0:06:31 | |
I think the base is rosewood. | 0:06:31 | 0:06:34 | |
A different top to how it started life. | 0:06:34 | 0:06:38 | |
Mahogany. | 0:06:38 | 0:06:40 | |
The ticket price is £65. | 0:06:40 | 0:06:42 | |
If it's not a lot of money, it doesn't really matter about the marriage. | 0:06:42 | 0:06:45 | |
But if you're spending a lot of money, | 0:06:45 | 0:06:47 | |
you've got to have the right top with the right base. | 0:06:47 | 0:06:49 | |
Oh, yeah. One to think about, then. | 0:06:49 | 0:06:52 | |
-What are these here? -The cards? | 0:06:52 | 0:06:54 | |
-Mm. -They are, I believe, from 19... Well, First World War, 1914. | 0:06:54 | 0:06:58 | |
-Right. -I think they're called sweetheart cards. | 0:06:58 | 0:07:00 | |
Sweetheart cards were postcards created for soldiers to send | 0:07:00 | 0:07:04 | |
back home to their loved ones. | 0:07:04 | 0:07:06 | |
These are dated from the First World War. | 0:07:06 | 0:07:09 | |
-They haven't been written on. -So you bought them as a collection? | 0:07:09 | 0:07:11 | |
Yeah, yeah. | 0:07:11 | 0:07:13 | |
-A bit dramatic, aren't they? -Mm. | 0:07:13 | 0:07:15 | |
-But why not? -Why not? It was dramatic times! | 0:07:15 | 0:07:17 | |
It was, yeah. So how much are those, Terry? | 0:07:17 | 0:07:20 | |
Well, how does £25 sound... for the whole lot? | 0:07:20 | 0:07:23 | |
-Doesn't sound a lot, does it? -I don't think it's a lot. -No. | 0:07:23 | 0:07:25 | |
-I've also seen - in the other room - the little table. -Yeah. | 0:07:25 | 0:07:29 | |
-Maybe we could go and look together? -Yeah, yeah. Have a look. | 0:07:29 | 0:07:33 | |
Got something in your eye, Margie? | 0:07:33 | 0:07:35 | |
So it's on at 65, I believe. | 0:07:35 | 0:07:38 | |
Yeah, which is, you know, you'd be lucky if it gets that. | 0:07:38 | 0:07:41 | |
-What are you looking at? -So, for the three... | 0:07:41 | 0:07:43 | |
For the three, yeah? | 0:07:43 | 0:07:44 | |
85. | 0:07:46 | 0:07:48 | |
Sorry? | 0:07:48 | 0:07:49 | |
Well, the cards are a bit... | 0:07:51 | 0:07:54 | |
90, and they're all yours. | 0:07:54 | 0:07:56 | |
Done it! | 0:07:56 | 0:07:57 | |
And just like that, Margie polishes off a very productive day. | 0:07:59 | 0:08:03 | |
Nighty-night. | 0:08:03 | 0:08:05 | |
It's another day and another county. | 0:08:09 | 0:08:12 | |
Wakey-wakey! | 0:08:12 | 0:08:14 | |
We're shopping in our great country. | 0:08:14 | 0:08:18 | |
-We are. -Give me an L. | 0:08:18 | 0:08:21 | |
-Leicestershire. -Lincolnshire! | 0:08:21 | 0:08:23 | |
Charles is hopping out to Navenby to visit his first emporium of the day. | 0:08:23 | 0:08:28 | |
-See you later. -Bye-bye now! | 0:08:28 | 0:08:30 | |
-Bye! -See you! | 0:08:30 | 0:08:31 | |
-Good morning, how are you? -Good morning, Charles! -Nice to see you. | 0:08:35 | 0:08:38 | |
Nice to see you again. | 0:08:38 | 0:08:40 | |
Do you know, I was about to say, it looks vaguely familiar. | 0:08:40 | 0:08:43 | |
-You were here three or four years ago. You were. -Yes, I was. | 0:08:43 | 0:08:46 | |
A long time ago. | 0:08:46 | 0:08:48 | |
Hopefully, there's plenty of new stock for you by now, Charles. | 0:08:48 | 0:08:52 | |
These are quite sweet. Let me hold one. | 0:08:55 | 0:08:59 | |
If you close your eyes... and you grab the other one... | 0:08:59 | 0:09:02 | |
-And I think these are cut, aren't they? -Yes. -So, they're not moulded. | 0:09:02 | 0:09:06 | |
If they were moulded, they'd be quite smooth and not so crisp. | 0:09:06 | 0:09:10 | |
On my collar here, a very clear hallmark, which is for Birmingham. | 0:09:10 | 0:09:15 | |
And the date code, I suspect, is probably 1910, 1912. | 0:09:15 | 0:09:21 | |
They're probably George V. One is slightly bigger than the other one. | 0:09:21 | 0:09:25 | |
Hallmark for the same date code as well, | 0:09:25 | 0:09:28 | |
so they are a pair, which is great to see. | 0:09:28 | 0:09:31 | |
That's a pair of perfume bottles for a ticket price of £125. | 0:09:31 | 0:09:35 | |
Laura, I think what I'll do... | 0:09:35 | 0:09:38 | |
I will earmark these as a definitely-maybe. | 0:09:38 | 0:09:40 | |
-Yes, absolutely, I'll pop them on the counter for you. -And then come back to them. | 0:09:40 | 0:09:44 | |
But there's so much to see here in your shop, I'm going to wander on. | 0:09:44 | 0:09:46 | |
I'd watch out, Laura. | 0:09:46 | 0:09:48 | |
Charles looks like he's going to get stuck in this morning. | 0:09:48 | 0:09:51 | |
This is a lovely mahogany box. | 0:09:51 | 0:09:54 | |
On the inside, it's pine. | 0:09:54 | 0:09:56 | |
And what's interesting is this dealer has put | 0:09:56 | 0:10:00 | |
a flame mahogany two-section tea caddy, circa 1890. | 0:10:00 | 0:10:06 | |
In fact, it's more like 1790. | 0:10:06 | 0:10:10 | |
You can buy - not a late Victorian tea caddy - | 0:10:10 | 0:10:14 | |
but a Georgian tea caddy for £14. | 0:10:14 | 0:10:17 | |
And that's amazing. Interesting. | 0:10:17 | 0:10:22 | |
That's a great find, and he's not hanging about... | 0:10:22 | 0:10:24 | |
Wow! | 0:10:25 | 0:10:27 | |
What we've got here is probably a panel, which is very much | 0:10:30 | 0:10:34 | |
in the Gothic taste. | 0:10:34 | 0:10:36 | |
That panel may have come off a pew, but it's certainly | 0:10:36 | 0:10:40 | |
a piece of timber that has come off something perhaps ecclesiastical. | 0:10:40 | 0:10:45 | |
This big, heavily carved piece of yew, that is probably circa 1600. | 0:10:45 | 0:10:52 | |
I really think it's that early. | 0:10:52 | 0:10:55 | |
And it could be £65. But next to it is this. | 0:10:55 | 0:10:59 | |
And I love this. This stool is tribal. And it reads here, | 0:11:00 | 0:11:06 | |
"African? Stool?" | 0:11:06 | 0:11:11 | |
All we know is it's £85. | 0:11:11 | 0:11:14 | |
Hey, he's unearthing a lot in here. | 0:11:15 | 0:11:17 | |
That's nice. | 0:11:20 | 0:11:21 | |
That's lovely, isn't it? | 0:11:23 | 0:11:24 | |
This actually is Scottish. | 0:11:25 | 0:11:27 | |
And it's just so different. | 0:11:27 | 0:11:30 | |
What I like, again, if you look very closely, | 0:11:30 | 0:11:33 | |
is the gold specks within the actual glass body. | 0:11:33 | 0:11:37 | |
It's only priced at £75, which, to me, | 0:11:37 | 0:11:40 | |
is a fairly conservative retail price. | 0:11:40 | 0:11:45 | |
-Importantly, has it got a good ring? -BOWL DINGS | 0:11:45 | 0:11:49 | |
Yes, it has! It's lovely. | 0:11:49 | 0:11:51 | |
Again, I might go and query that, alongside the stools, with Laura. | 0:11:51 | 0:11:57 | |
I think Laura's got a calculator. Let's start with the bowl. | 0:11:57 | 0:12:00 | |
-Dean says he will do that for you... -Look at me... | 0:12:00 | 0:12:03 | |
..at what he paid for it. | 0:12:03 | 0:12:05 | |
-Oh, crikey! -And he'll do that for you at £40. | 0:12:05 | 0:12:07 | |
-So, at cost price. Wowee, that's good! -At cost for you. | 0:12:07 | 0:12:09 | |
Have you got a pen? May I borrow a pen and paper? | 0:12:09 | 0:12:12 | |
-Yes! -Because when I get a bit nervous and we talk money... | 0:12:12 | 0:12:14 | |
-You need to start writing some notes. -My mind can go a bit blank. | 0:12:14 | 0:12:17 | |
Yeah... Paper at the ready, Laura also offers £30 for the church stool | 0:12:17 | 0:12:24 | |
and £40 for the African tribal fellow. | 0:12:24 | 0:12:26 | |
-£10 for the tea caddy and knocks £55 off the scent bottles. -Wow! | 0:12:26 | 0:12:30 | |
I need to lie down. I've got a sweat on. I've got a sweat on! | 0:12:30 | 0:12:34 | |
That leaves Charles staring at a generous £174 discount. | 0:12:34 | 0:12:39 | |
And I will say for £190, I'm going, going, gone. | 0:12:39 | 0:12:44 | |
-Excellent! -Thank you so much, Laura. Thank you so much! | 0:12:44 | 0:12:46 | |
-Hey, a huge haul for £190. -Thank you. | 0:12:46 | 0:12:51 | |
-Very welcome. Aw! -See you, Laura. Take care. Bye! | 0:12:51 | 0:12:53 | |
Keeps on kissing hands. What a charmer! | 0:12:53 | 0:12:55 | |
Oh, dear! I feel a bit dizzy now. Take care. | 0:12:55 | 0:12:58 | |
And no wonder. Top work, Charles! | 0:12:58 | 0:13:00 | |
Margie has toddled north to the cathedral city of Lincoln, | 0:13:03 | 0:13:06 | |
to learn about one of the most popular men | 0:13:06 | 0:13:09 | |
in Victorian Britain. | 0:13:09 | 0:13:10 | |
Grace Timmons is introducing Margie to the Alfred Tennyson Collection, | 0:13:10 | 0:13:15 | |
which tells of a man | 0:13:15 | 0:13:16 | |
who not only became one of our most celebrated poets, | 0:13:16 | 0:13:20 | |
BUT changed the way the public viewed | 0:13:20 | 0:13:23 | |
and interacted with poetry forever. | 0:13:23 | 0:13:26 | |
In this corner, we've got the books that Tennyson grew up with. | 0:13:26 | 0:13:30 | |
-This is his father's library, which was in Somersby. -Yeah. | 0:13:30 | 0:13:34 | |
Tennyson was born in 1809, he was one of 11 children born in 13 years. | 0:13:34 | 0:13:40 | |
Gosh! Tennyson's father was a scholar, who tutored Tennyson | 0:13:40 | 0:13:44 | |
and his brothers with a classical education. | 0:13:44 | 0:13:46 | |
I've got a book here that I can show you. | 0:13:46 | 0:13:48 | |
It's Virgil, which indicates a lot of his approach to the study | 0:13:48 | 0:13:54 | |
that his father set him to do. | 0:13:54 | 0:13:56 | |
-So we see a lot of... -He made comments all the time. -Yeah. | 0:13:56 | 0:13:59 | |
And there's a lot of translation and comments here | 0:13:59 | 0:14:01 | |
and this is probably his teenage work. | 0:14:01 | 0:14:03 | |
But what I like best, though, is if you look at the front, | 0:14:03 | 0:14:07 | |
apart from all the doodles that are here, we've got this, | 0:14:07 | 0:14:11 | |
which says Tennyson, Somersby, in Lincolnshire, in England, | 0:14:11 | 0:14:15 | |
in Europe, in the world, in the air, in space! | 0:14:15 | 0:14:20 | |
So, he's got a bit of attitude, hasn't he? | 0:14:20 | 0:14:22 | |
But life in the rectory wasn't always a happy place. | 0:14:22 | 0:14:25 | |
Alfred's father is believed | 0:14:25 | 0:14:27 | |
to have been prone to alcoholism and violence. | 0:14:27 | 0:14:30 | |
Poetry was Alfred's escape. | 0:14:30 | 0:14:33 | |
At the age of 18, he published a collection of poems, | 0:14:33 | 0:14:36 | |
with his brothers, before leaving home for Cambridge University. | 0:14:36 | 0:14:40 | |
When he arrived in Cambridge, | 0:14:40 | 0:14:41 | |
suddenly he's meeting a whole group of young men who are | 0:14:41 | 0:14:45 | |
like-minded but who had a very different background to him. | 0:14:45 | 0:14:48 | |
So, they're urbane, sophisticated, well travelled. But they really enjoyed what he was writing. | 0:14:48 | 0:14:53 | |
And Arthur Hallam, a friend he made, who became his best friend, | 0:14:53 | 0:14:57 | |
was particularly constructive about Tennyson's work | 0:14:57 | 0:15:02 | |
and very supportive of his creativity. | 0:15:02 | 0:15:05 | |
They became inseparable friends | 0:15:05 | 0:15:07 | |
but when Hallam died suddenly at the age of 22, | 0:15:07 | 0:15:10 | |
Tennyson was hit hard by grief. | 0:15:10 | 0:15:13 | |
He then embarked on a journey of poetic therapy, | 0:15:13 | 0:15:16 | |
that would last 15 years and result in one of his most celebrated works. | 0:15:16 | 0:15:21 | |
Probably his most famous couplet is from In Memoriam, | 0:15:22 | 0:15:25 | |
when he finally decided, the grief he was experiencing from | 0:15:25 | 0:15:29 | |
the death of Hallam was kind of worth it. | 0:15:29 | 0:15:31 | |
He says, "I felt it, when I sorrow'd most, | 0:15:31 | 0:15:33 | |
" 'Tis better to have loved and lost, | 0:15:33 | 0:15:36 | |
"Than never to have loved at all." | 0:15:36 | 0:15:37 | |
Published in 1850, his work became an instant success. | 0:15:37 | 0:15:42 | |
His popularity was cemented that same year, when Queen Victoria | 0:15:42 | 0:15:46 | |
named him Wordsworth's successor as Poet Laureate, | 0:15:46 | 0:15:50 | |
thanks in part to the support of Prince Albert. | 0:15:50 | 0:15:52 | |
So, this is a letter from Prince Albert to Tennyson, | 0:15:52 | 0:15:55 | |
asking him to write his name in his copy of Idylls Of The King. | 0:15:55 | 0:15:58 | |
He actually sends him his copy of Idylls Of The King. | 0:15:58 | 0:16:00 | |
-He's not asking for a signed copy. -So, do it! | 0:16:00 | 0:16:03 | |
Yes and he says, "You'll add a peculiar value to this book." | 0:16:03 | 0:16:06 | |
So, it's a very interesting autograph request, I think. | 0:16:06 | 0:16:10 | |
Tennyson was now a voice of the people. | 0:16:10 | 0:16:13 | |
In the Crimean War, he put this position to good use | 0:16:13 | 0:16:16 | |
when he wrote of the ill-fated miscommunication that sent | 0:16:16 | 0:16:19 | |
British cavalry headlong into the Russian troops with heavy losses. | 0:16:19 | 0:16:23 | |
The resulting poem was The Charge Of The Light Brigade. | 0:16:23 | 0:16:26 | |
-Is that his original draft? -Yes, it is. | 0:16:27 | 0:16:29 | |
This is a particularly interesting one | 0:16:29 | 0:16:31 | |
because it's got the writing of his wife, | 0:16:31 | 0:16:33 | |
as well as his own writing in it. | 0:16:33 | 0:16:36 | |
He says it was written after reading the first report of The Times. | 0:16:36 | 0:16:40 | |
The Crimean War was the first conflict to be covered | 0:16:40 | 0:16:43 | |
by photographers and reporters. | 0:16:43 | 0:16:45 | |
Tennyson's poem was published | 0:16:45 | 0:16:47 | |
in a newspaper just weeks after the tragic event. | 0:16:47 | 0:16:49 | |
"Forward, the Light Brigade!" Was there a man dismay'd? | 0:16:49 | 0:16:54 | |
Not tho' the soldier knew Someone had blunder'd: | 0:16:54 | 0:16:57 | |
Theirs not to make reply, Theirs not to reason why, | 0:16:57 | 0:17:02 | |
Theirs but to do and die: | 0:17:02 | 0:17:05 | |
Into the valley of Death Rode the six hundred. | 0:17:05 | 0:17:09 | |
It helped shape public perception of the entire war. | 0:17:10 | 0:17:13 | |
His work signalled a new journalistic style that changed people's | 0:17:13 | 0:17:17 | |
engagement with poetry. | 0:17:17 | 0:17:20 | |
It was so successful that soldiers took copies of it with them to war. | 0:17:20 | 0:17:23 | |
Tennyson had become one of the most recognisable | 0:17:23 | 0:17:26 | |
and influential men in the country, via poetry. | 0:17:26 | 0:17:30 | |
I think it's difficult for people to comprehend now just how popular | 0:17:30 | 0:17:34 | |
a poet could be in those days. | 0:17:34 | 0:17:36 | |
But in fact, he had the popularity of a songwriter | 0:17:36 | 0:17:39 | |
because he was writing the songs, really, | 0:17:39 | 0:17:41 | |
that, in the time of non-recorded music, that people would be | 0:17:41 | 0:17:44 | |
able to use to describe what was going on in their lives. | 0:17:44 | 0:17:47 | |
So, it meant that when it came to his last illness and death, | 0:17:47 | 0:17:50 | |
it was followed in the newspapers. | 0:17:50 | 0:17:52 | |
And his family labelled and kept lots of quite intimate things, | 0:17:52 | 0:17:57 | |
really, to do with his final illness. | 0:17:57 | 0:18:00 | |
On this box is the label, | 0:18:00 | 0:18:03 | |
"Last medicine drop glass used by him and for him." | 0:18:03 | 0:18:07 | |
And that's the date of his death, October 6th, 1892. | 0:18:07 | 0:18:10 | |
Very Victorian. | 0:18:10 | 0:18:12 | |
And in here, is the handkerchief which covered the dear face. | 0:18:12 | 0:18:17 | |
And that was put on his face when he died. | 0:18:17 | 0:18:21 | |
-And this is meant to be the book that was in his hands when he died. -When he died... | 0:18:21 | 0:18:25 | |
And his son has actually marked the page that was meant to be | 0:18:25 | 0:18:30 | |
open on his deathbed, in his hands. | 0:18:30 | 0:18:33 | |
So, to the very end, he was reading. | 0:18:33 | 0:18:36 | |
That was what they wanted to portray. | 0:18:36 | 0:18:39 | |
11,000 people applied for tickets to attend Tennyson's funeral | 0:18:40 | 0:18:45 | |
at Westminster Abbey. | 0:18:45 | 0:18:46 | |
His work changed the immediacy and relevance of poetry | 0:18:46 | 0:18:51 | |
and his immortal lines continue for generations to appreciate. | 0:18:51 | 0:18:55 | |
Meanwhile, Charles is 20 miles north, | 0:18:58 | 0:19:01 | |
nestled on the banks of the River Trent | 0:19:01 | 0:19:03 | |
in a place called Gainsborough. | 0:19:03 | 0:19:06 | |
Once the location of Britain's most inland port, | 0:19:06 | 0:19:09 | |
it is now home to what claims to be Europe's largest antiques centre. | 0:19:09 | 0:19:13 | |
Stand by. | 0:19:13 | 0:19:15 | |
-Where do I start? -HE INHALES DEEPLY | 0:19:15 | 0:19:18 | |
Perhaps some help from Diane will keep you on track. | 0:19:18 | 0:19:21 | |
I quite like that little Georgian cordial glass down there, | 0:19:21 | 0:19:24 | |
-that's quite a sweet thing, isn't it? -It is. | 0:19:24 | 0:19:26 | |
But it's almost what I would call a toasting glass. | 0:19:26 | 0:19:29 | |
Don't you agree? It's got quite a heavy base. | 0:19:29 | 0:19:32 | |
So almost, to come to attention... | 0:19:32 | 0:19:35 | |
CLASS CLINKS | 0:19:35 | 0:19:37 | |
-Perfect. -I shall make an announcement. | 0:19:37 | 0:19:39 | |
I would like to declare... you are a fine lady. | 0:19:39 | 0:19:43 | |
And that's almost what it was. | 0:19:43 | 0:19:45 | |
It is a lead glass. | 0:19:45 | 0:19:46 | |
I would say it dates to around 1780, and it's £23. | 0:19:46 | 0:19:51 | |
If I said to you, what would be the best price on a toasting glass | 0:19:51 | 0:19:57 | |
made, let's say, ten years before the French Revolution? | 0:19:57 | 0:20:01 | |
-And I'd say £21. -Really? | 0:20:01 | 0:20:04 | |
There we go, that's really good. | 0:20:04 | 0:20:05 | |
-Could I reserve it for a wee while? -Of course. | 0:20:05 | 0:20:08 | |
-And then just possibly come back and make an announcement. -OK. | 0:20:08 | 0:20:11 | |
(I might buy it.) | 0:20:11 | 0:20:12 | |
Well, we'll wait with bated breath then! | 0:20:12 | 0:20:15 | |
Anything else, Charles? | 0:20:15 | 0:20:17 | |
There we are. | 0:20:17 | 0:20:19 | |
"Victorian double-air twist-stem ale glass." | 0:20:19 | 0:20:22 | |
A big telltale sign is the foot room must always be wider | 0:20:22 | 0:20:26 | |
than the rim of the bowl - or it's a very good guideline. | 0:20:26 | 0:20:29 | |
So I'm happy that's 18th century. | 0:20:29 | 0:20:31 | |
It's actually quite heavy. Lead glass, not soda. | 0:20:31 | 0:20:35 | |
Actually, I quite like that. | 0:20:35 | 0:20:37 | |
-Got to be careful. It's got a big chip there. Can you see? -Yeah. | 0:20:38 | 0:20:40 | |
Priced at £58. What could be the best on that? | 0:20:40 | 0:20:44 | |
-52. -52. | 0:20:44 | 0:20:46 | |
If I said to you, I was going to put this with the other toasting glass, | 0:20:46 | 0:20:52 | |
that makes 73. | 0:20:52 | 0:20:54 | |
-Would you round it off to 70? -We can't, I'm sorry, | 0:20:54 | 0:20:57 | |
-it's two different dealers. -Sure. OK. | 0:20:57 | 0:20:59 | |
Never mind, Charles, nice try. | 0:20:59 | 0:21:01 | |
I'll take them. Two together. Yeah, put it there. | 0:21:03 | 0:21:07 | |
Thank you very much, Diana. Fine. Thank you. | 0:21:07 | 0:21:09 | |
The old Hanson charm never wanes. | 0:21:09 | 0:21:12 | |
Two glasses for £73 rounds off our shopping. | 0:21:12 | 0:21:16 | |
And what a spree it's been. | 0:21:18 | 0:21:20 | |
Margie spent £159 on... | 0:21:21 | 0:21:24 | |
a hand mirror, | 0:21:24 | 0:21:25 | |
a document trunk, | 0:21:25 | 0:21:27 | |
a painted gnome, | 0:21:27 | 0:21:28 | |
a silver sweetmeat dish, | 0:21:28 | 0:21:31 | |
a side table | 0:21:31 | 0:21:32 | |
and a collection of First World War postcards. | 0:21:32 | 0:21:36 | |
Charles spent £268 on... | 0:21:36 | 0:21:39 | |
a Limoges sugar box - | 0:21:39 | 0:21:41 | |
which he's pairing with the wooden tea caddy... | 0:21:41 | 0:21:44 | |
..a pair of scent bottles, | 0:21:44 | 0:21:46 | |
a Scottish glass bowl, | 0:21:46 | 0:21:48 | |
an ecclesiastic stool, | 0:21:48 | 0:21:50 | |
a tribal stool | 0:21:50 | 0:21:52 | |
and his final lot will be his toasting glass | 0:21:52 | 0:21:54 | |
and a Victorian wine glass. | 0:21:54 | 0:21:56 | |
What do they think of each other's purchases? | 0:21:56 | 0:21:59 | |
If I was a gambling man, I would say, "Go, Hanson, go!" | 0:21:59 | 0:22:03 | |
But, Margie, you never know. | 0:22:03 | 0:22:05 | |
She's a bit of a lethal weapon | 0:22:05 | 0:22:06 | |
and I do like very much her table and her silverware. | 0:22:06 | 0:22:10 | |
Yes, I'm quietly confident tomorrow that I will make small profits. | 0:22:10 | 0:22:14 | |
And I'm not that worried about his. | 0:22:14 | 0:22:17 | |
Apart from maybe that stool, the African stool. They can be a worry. | 0:22:17 | 0:22:22 | |
So hopefully that all goes wrong for him. | 0:22:22 | 0:22:24 | |
After starting out in Nottingham, | 0:22:27 | 0:22:30 | |
our pair have zipped their way through Nottinghamshire, | 0:22:30 | 0:22:33 | |
up and around Lincolnshire | 0:22:33 | 0:22:35 | |
and are ending this leg | 0:22:35 | 0:22:36 | |
at an auction in Lincoln. | 0:22:36 | 0:22:38 | |
Today's thrilling encounter will take place at Unique Auctions. | 0:22:38 | 0:22:42 | |
Come on, follow your lion. I'll follow this one. | 0:22:43 | 0:22:47 | |
Unfortunately, Charles's beautiful glass bowl was broken | 0:22:47 | 0:22:50 | |
en route to the auction. | 0:22:50 | 0:22:52 | |
It's been given an insurance valuation of £50, | 0:22:52 | 0:22:55 | |
which means a £10 profit to start him off. | 0:22:55 | 0:22:59 | |
Our auctioneer today is Terence Woodcock. | 0:22:59 | 0:23:02 | |
It's time to take your seats. The auction is about to start. | 0:23:02 | 0:23:05 | |
Hold tight. | 0:23:05 | 0:23:06 | |
Our first lot of the day is Margie's silver sweetmeat dish. | 0:23:06 | 0:23:10 | |
20 I've got there. 25. 30. | 0:23:10 | 0:23:12 | |
35. 40, fresh bid. At 45. | 0:23:12 | 0:23:16 | |
-At 45. 50. -Marge, you're flying. | 0:23:16 | 0:23:19 | |
-You're flying. -At 50, I'll take five now. At £50, have you all done? | 0:23:19 | 0:23:23 | |
I'm selling, the second row. | 0:23:23 | 0:23:24 | |
-That's good, that's good. -Fish! | 0:23:24 | 0:23:27 | |
Is it fish? Margie, Margie, like a flying fish, you have flown. | 0:23:27 | 0:23:32 | |
It may be small fry to you, Margie, | 0:23:32 | 0:23:34 | |
but that's a decent profit to get you started. | 0:23:34 | 0:23:37 | |
The day has started well. | 0:23:37 | 0:23:39 | |
Well, surely you can be optimistic about your silver hand mirror. | 0:23:39 | 0:23:44 | |
£40 straight in. At £40. I'll take five now. 50 now. | 0:23:44 | 0:23:49 | |
55 now. | 0:23:49 | 0:23:51 | |
-Wow, Margie. -I'll take 60 now. | 0:23:51 | 0:23:52 | |
At 55, have you all done? | 0:23:52 | 0:23:54 | |
£55, it is yours. | 0:23:54 | 0:23:56 | |
A good steady profit. | 0:23:56 | 0:23:58 | |
Charles's first purchase is up, the cut-glass perfume bottles. Lovely. | 0:23:58 | 0:24:03 | |
-Who'll start me at £100 the pair? -Come on, come on. | 0:24:03 | 0:24:06 | |
-Come on, 30. 30 I've got there. -I'm in trouble, come on, let's go. | 0:24:06 | 0:24:10 | |
-At 40... -Come on! -Shhh! -Sorry. -LAUGHTER | 0:24:10 | 0:24:14 | |
Let the man do his job, Charles. | 0:24:14 | 0:24:16 | |
-They're so nice. -I'll do me best. | 0:24:16 | 0:24:20 | |
40 I've got there. 40. At 45. | 0:24:20 | 0:24:22 | |
At 50 I've got there. At 50 and 55... | 0:24:22 | 0:24:25 | |
I'm looking for 60, I've got. | 0:24:25 | 0:24:26 | |
At 60, I'll take five. Now 65 in the front. | 0:24:26 | 0:24:29 | |
I'm looking for 70 now. At 65 I sell. | 0:24:29 | 0:24:33 | |
Sold. | 0:24:33 | 0:24:34 | |
That's a small loss. But there's plenty of time to make that back. | 0:24:34 | 0:24:38 | |
Can Margie fare any better with her First World War postcards? | 0:24:38 | 0:24:43 | |
50 straight in. 50 I've got there. At £50. At 50, I'll take five now. | 0:24:43 | 0:24:47 | |
At 55, straight in at 55. | 0:24:47 | 0:24:50 | |
I'll take 60. 60, fresh bid. At £60 in the room, I'll take five. | 0:24:50 | 0:24:54 | |
Marge, I'm in the bunker. | 0:24:54 | 0:24:55 | |
I'm staying in the bunker, I'm not coming out yet. | 0:24:55 | 0:24:57 | |
70 back in. At 75, 75, 80. | 0:24:57 | 0:25:00 | |
80, I'm looking for five. 85. | 0:25:00 | 0:25:02 | |
Margie, you know what, sometimes there is an escape to victory. | 0:25:02 | 0:25:06 | |
And I'm going to salute you. | 0:25:06 | 0:25:07 | |
I sell to the gentleman at £85. | 0:25:07 | 0:25:10 | |
Well, that brought the saleroom to attention, | 0:25:10 | 0:25:13 | |
and a cracking profit for Margie. Well done. | 0:25:13 | 0:25:15 | |
Hold on, Margie. I'm surrendering now. | 0:25:15 | 0:25:18 | |
SHE LAUGHS | 0:25:18 | 0:25:20 | |
Well, there's no giving up, | 0:25:20 | 0:25:22 | |
and your sugar box and tea caddy COULD just get you back in the game. | 0:25:22 | 0:25:26 | |
Straight in at 10, 12, 14, 16, 18. | 0:25:26 | 0:25:29 | |
-I need some help now. -You going? | 0:25:29 | 0:25:31 | |
-20, fresh bid. -Come on, let's move. | 0:25:31 | 0:25:33 | |
-Get the caddy out, man. -28, £30. At £30, are you all done? | 0:25:33 | 0:25:38 | |
It's in the doorway at 30, and I sell at £30. | 0:25:38 | 0:25:41 | |
Doubling his money. | 0:25:41 | 0:25:42 | |
This could be the start of a comeback for Mr Hanson. | 0:25:42 | 0:25:46 | |
The rollercoaster is now at the big dipper and I'm about to come down. | 0:25:46 | 0:25:51 | |
Aren't you supposed to be going up? Not coming... | 0:25:51 | 0:25:53 | |
That's it, Margie, going up. | 0:25:53 | 0:25:55 | |
It almost started a fight in the antique shop, | 0:25:55 | 0:25:57 | |
but will there be a brawl in the saleroom for Margie's gnome? | 0:25:57 | 0:26:01 | |
Who'll start me at £50 on the garden gnome? | 0:26:01 | 0:26:03 | |
-£30 on the garden gnome? -Get out of here. | 0:26:03 | 0:26:06 | |
Come on, somebody, please. | 0:26:06 | 0:26:08 | |
10 on the garden gnome? | 0:26:08 | 0:26:09 | |
Thank you, sir. At 12, 14, 16, 18, 20, 22. | 0:26:09 | 0:26:15 | |
Oh, no! 24! | 0:26:15 | 0:26:17 | |
At 26, 28. | 0:26:17 | 0:26:19 | |
£30. At £30, 30 still in the doorway. | 0:26:19 | 0:26:22 | |
-Brilliant. -At £30. £30 it is. At 30 if you're all done? | 0:26:22 | 0:26:27 | |
It's Margie's lucky day. | 0:26:27 | 0:26:29 | |
They might not be paying for the paintwork, | 0:26:29 | 0:26:31 | |
but that's still a great profit. | 0:26:31 | 0:26:34 | |
-It's rolling in. -And the gap here in Lincolnshire | 0:26:34 | 0:26:36 | |
-is widening and widening. -It's rolling in. | 0:26:36 | 0:26:39 | |
A chance for Charles to claw back with his two glasses. | 0:26:39 | 0:26:43 | |
30, I've got. At £30. | 0:26:43 | 0:26:44 | |
At 30, I'm expecting this to make 100. | 0:26:44 | 0:26:47 | |
-Come on! -At £30. | 0:26:47 | 0:26:49 | |
-And 35, 45, 55. -Come on, let's move, come on. | 0:26:49 | 0:26:53 | |
The little twist one used to make 200. | 0:26:53 | 0:26:55 | |
-Absolutely. Come on, let's go. -At 65. At 65 and I sell now at £65... | 0:26:55 | 0:27:00 | |
Oh, dear me! | 0:27:01 | 0:27:04 | |
That's an amazing price for two glasses that are over 200 years old. | 0:27:04 | 0:27:08 | |
-Oh, dear, I don't know what to say. -I could cry. | 0:27:08 | 0:27:13 | |
Yeah, we feel your sympathy, Margie. Time for your document trunk. | 0:27:13 | 0:27:17 | |
30 I've got. At £30. | 0:27:17 | 0:27:19 | |
-I'll take five now. -Profit? Is that a profit? | 0:27:19 | 0:27:21 | |
At £30, are we all done? | 0:27:21 | 0:27:22 | |
What's wrong with this? 35, thank you. 40 with the original bidder. | 0:27:22 | 0:27:26 | |
At 45, I'll take 50 now. | 0:27:26 | 0:27:27 | |
At 45, I'm going to sell it, and I think it's very, very cheap | 0:27:27 | 0:27:31 | |
at 45, but there you are. | 0:27:31 | 0:27:33 | |
That's another good profit and edges Margie further into the lead. | 0:27:33 | 0:27:38 | |
Well chuffed. | 0:27:38 | 0:27:39 | |
Time for the first of Charles's wooden stools. | 0:27:40 | 0:27:44 | |
20 I've got there. At £20. | 0:27:44 | 0:27:45 | |
-Let's go. -25 straight in. | 0:27:45 | 0:27:49 | |
30. 35. 38, thank you. | 0:27:49 | 0:27:52 | |
38, £8 profit. | 0:27:52 | 0:27:54 | |
I'll take one if it will help. | 0:27:54 | 0:27:56 | |
It might do. | 0:27:56 | 0:27:58 | |
I'll tell you the provenance afterwards. 41. | 0:27:58 | 0:28:01 | |
I'll tell you as well. 42. | 0:28:01 | 0:28:03 | |
-When the going gets tough, squeeze a bit. -43. | 0:28:03 | 0:28:07 | |
-44. 45. -He's really working hard. | 0:28:09 | 0:28:13 | |
Now, after what I've done, you've got to go 46. 46. | 0:28:13 | 0:28:17 | |
We could be up to 200 in a minute. | 0:28:17 | 0:28:19 | |
Good lad. I like your style. | 0:28:19 | 0:28:22 | |
Stylish work from Terence and a profit for Charles. | 0:28:22 | 0:28:26 | |
-Happy, Margie, I'm happy. -Happy. | 0:28:26 | 0:28:28 | |
Very happy indeed. | 0:28:28 | 0:28:29 | |
Margie wasn't convinced by the married sidetable, | 0:28:29 | 0:28:33 | |
but will it come back to haunt her? | 0:28:33 | 0:28:34 | |
I've got the lady at 20, 25 straight in. | 0:28:34 | 0:28:36 | |
At 25, I'll take 30 now, at £30. | 0:28:36 | 0:28:39 | |
£30, 35, I'll take 40. £40 I've got. | 0:28:39 | 0:28:42 | |
At £40 now. At £40, come on now, at £40. | 0:28:42 | 0:28:45 | |
-45. -45, 45, £50. | 0:28:45 | 0:28:48 | |
At 50. Are you all done, at £50? | 0:28:48 | 0:28:51 | |
-That's good. -Made profit all day. | 0:28:51 | 0:28:53 | |
That nice little profit seals a 100% record on the day. | 0:28:53 | 0:28:58 | |
Something special is about to happen. I can feel it. | 0:28:58 | 0:29:02 | |
Will you stop it? | 0:29:02 | 0:29:03 | |
No pressure then, but Charles's final lot is his big hope | 0:29:03 | 0:29:06 | |
and the last chance to catch Margie today. | 0:29:06 | 0:29:10 | |
-50 I've got, thank you. At £50 now. -Come on, guys. -At 50. | 0:29:10 | 0:29:14 | |
-At 55. At 55. -Need to run a bit here. | 0:29:14 | 0:29:17 | |
-65, fresh bid. At 65. 70. At 70. -Oh. | 0:29:17 | 0:29:23 | |
I'll take two if it will help. | 0:29:23 | 0:29:24 | |
-70 I've got. Back in, 72. -It's a good stool. | 0:29:24 | 0:29:27 | |
-75 I'm looking for now. -Come on! | 0:29:27 | 0:29:30 | |
No, at 72 and I sell. At 72. | 0:29:30 | 0:29:34 | |
-That's our game over, Margie. -Not bad. | 0:29:34 | 0:29:36 | |
That's a good profit, but was it enough? Time to find out. | 0:29:36 | 0:29:40 | |
Give me a high five. Margie, give me a high five. There we go. | 0:29:41 | 0:29:44 | |
Keep going, get out of here. | 0:29:44 | 0:29:46 | |
Charles started with £545.02, | 0:29:46 | 0:29:51 | |
and after auction costs he made 96p profit, | 0:29:51 | 0:29:55 | |
giving him a total of £545.98. | 0:29:55 | 0:29:59 | |
Margie though, had £325.74 at the start of this leg. | 0:30:02 | 0:30:07 | |
After auction costs, she racked up a fantastic profit of £99.30. | 0:30:07 | 0:30:12 | |
She is the triumphant winner and edges ever closer to Charles, | 0:30:12 | 0:30:16 | |
going into the final leg. | 0:30:16 | 0:30:18 | |
Well done, Margie. | 0:30:18 | 0:30:19 | |
It's the final leg of the road trip for treasure hunters | 0:30:21 | 0:30:23 | |
Margie Cooper and Charles Hanson. | 0:30:23 | 0:30:27 | |
Hello! | 0:30:28 | 0:30:29 | |
Hello! This is the Antiques Road Trip. | 0:30:29 | 0:30:32 | |
Their last leg starts in the flatlands of Lincolnshire | 0:30:33 | 0:30:37 | |
and the village of Stickney, | 0:30:37 | 0:30:39 | |
destined for that final Leicestershire auction. | 0:30:39 | 0:30:42 | |
Margie's first shop is housed in the old village butcher's. | 0:30:44 | 0:30:48 | |
-Good luck. Bye-bye! -Bye! -Bye! | 0:30:48 | 0:30:50 | |
Hello! Ooh, this looks nice! | 0:30:52 | 0:30:54 | |
Margie gets straight to it and dealer Alan's happy to help. | 0:30:55 | 0:31:00 | |
And I want a look at that radio... Yeah? That's in good nick, isn't it? | 0:31:00 | 0:31:05 | |
That's in good condition, but you can't pick up any stations on it. | 0:31:05 | 0:31:08 | |
I think it needs an aerial. | 0:31:08 | 0:31:10 | |
-What I like about it is the case is in good condition. -Oh, yes. | 0:31:10 | 0:31:12 | |
-It's in excellent condition. -Oh, it's a Bush. -Oh, right. | 0:31:12 | 0:31:16 | |
They were a pretty good make in their day, I suppose. | 0:31:16 | 0:31:18 | |
This valve radio dates back to the 1950s | 0:31:20 | 0:31:23 | |
and, despite its age, the mahogany case is in pretty good nick. | 0:31:23 | 0:31:27 | |
What's the price, then, Alan? | 0:31:27 | 0:31:28 | |
-30, is that? -Yeah. | 0:31:28 | 0:31:30 | |
Well, if you want to take the chance, I'll do it for half of that. | 0:31:32 | 0:31:36 | |
Right. You're done. I'm going to take a chance. | 0:31:36 | 0:31:39 | |
-15 quid. -Yeah. | 0:31:39 | 0:31:41 | |
A great deal. And she's not finished yet. | 0:31:41 | 0:31:44 | |
I quite like the Deco-type top on it. | 0:31:44 | 0:31:46 | |
It's about 1930s, isn't it? It looks, sort of, '30s. | 0:31:46 | 0:31:50 | |
-It's got a Deco look about it. -Yeah. | 0:31:50 | 0:31:52 | |
So, is that cheap and cheerful? | 0:31:52 | 0:31:54 | |
-Oh, well, a fiver. -I'm going to have that. -OK. Well done. -Thank you. | 0:31:54 | 0:31:58 | |
-Yeah. -I'll shake you with that hand, because I'll drop it. | 0:31:58 | 0:32:00 | |
HE LAUGHS | 0:32:00 | 0:32:02 | |
Margie's picked up two items in her first shop. | 0:32:02 | 0:32:06 | |
The 1930s cut-glass cologne bottle for £5 | 0:32:06 | 0:32:10 | |
and the valve radio for 15. | 0:32:10 | 0:32:12 | |
-Bye-bye. -Bye, now. Mind how you go. | 0:32:12 | 0:32:15 | |
Well done, Margie. Great start. | 0:32:15 | 0:32:16 | |
Charles is headed to Boston | 0:32:23 | 0:32:24 | |
to explore a very prominent local landmark. | 0:32:24 | 0:32:28 | |
This 700-year-old church was once home | 0:32:32 | 0:32:35 | |
to the forefathers of a new country | 0:32:35 | 0:32:38 | |
and witnessed decisive moments in global history. | 0:32:38 | 0:32:41 | |
-Hello there. -Good morning. -How are you? -Pleased to meet you. | 0:32:42 | 0:32:45 | |
-Your name is? -I'm Steve. I'm the Associate Rector here. | 0:32:45 | 0:32:47 | |
-Fine. And this church is called St... -Botolph. -Bot-off? | 0:32:47 | 0:32:50 | |
-St Botolph. -St Bot-off? | 0:32:50 | 0:32:53 | |
-B-O... -Botolph. Botolph. | 0:32:53 | 0:32:54 | |
-Ball toff? -Botolph! | 0:32:54 | 0:32:56 | |
The L is at the end - Botolph. | 0:32:57 | 0:32:59 | |
-Bot-OLPH? -That's right. BOT-olph. | 0:32:59 | 0:33:01 | |
-Bow-toll... Sorry. -BOT-olph. | 0:33:01 | 0:33:03 | |
-Botolph. -Botolph. | 0:33:03 | 0:33:04 | |
That's it. I've got it now. I think I've got it. | 0:33:04 | 0:33:06 | |
-Now, the outside is amazing. May we go indoors? -Please do. | 0:33:06 | 0:33:10 | |
-Thanks a lot. -Mind the step and mind your head. -I will. Thank you. | 0:33:10 | 0:33:13 | |
In the Middle Ages, the port of Boston was second only to London, | 0:33:15 | 0:33:19 | |
prospering from the then-booming wool trade. | 0:33:19 | 0:33:21 | |
The building of this impressive church | 0:33:23 | 0:33:26 | |
reflected the vast wealth of local merchants. | 0:33:26 | 0:33:29 | |
No expense was spared and the construction of the church | 0:33:29 | 0:33:31 | |
and tower were twice as quick as others of its size. | 0:33:31 | 0:33:36 | |
St Botolph's is the largest parish church in England. | 0:33:37 | 0:33:41 | |
What we're looking at now has barely changed. | 0:33:41 | 0:33:44 | |
Barely changed over the centuries, yes. | 0:33:44 | 0:33:46 | |
Wonderful. I almost feel caught in time in the Middle Ages. | 0:33:46 | 0:33:50 | |
The finest church in the country | 0:33:50 | 0:33:52 | |
attracted the most influential clergyman. | 0:33:52 | 0:33:55 | |
In 1612, John Cotton had just completed his second degree | 0:33:55 | 0:33:59 | |
at Cambridge when he accepted the position of minister | 0:33:59 | 0:34:02 | |
at St Botolph's. | 0:34:02 | 0:34:04 | |
Although he was just 27 years old, his persuasive preaching | 0:34:04 | 0:34:08 | |
made him one of the most prominent ministers in the country. | 0:34:08 | 0:34:12 | |
Those who flocked to hear him preach | 0:34:12 | 0:34:14 | |
made use of St Botolph's unique pews. | 0:34:14 | 0:34:18 | |
The wooden carvings over there almost glow. Are they original too? | 0:34:18 | 0:34:22 | |
-Yes. -May we take a look? -By all means. -Can't wait. | 0:34:22 | 0:34:25 | |
John Cotton wanted to rid the Anglican Church of corruption | 0:34:25 | 0:34:29 | |
and immorality. | 0:34:29 | 0:34:31 | |
Rather than separating from it, he attempted to change it from within. | 0:34:31 | 0:34:35 | |
People travelled from far and wide to hear his lengthy puritan sermons. | 0:34:35 | 0:34:40 | |
Families even relocated to Boston | 0:34:40 | 0:34:42 | |
specifically to be part of his congregation. | 0:34:42 | 0:34:45 | |
Some of the services went on for over five hours. | 0:34:46 | 0:34:49 | |
So there's an ingenious device that was built. | 0:34:49 | 0:34:52 | |
These are called our misericords. | 0:34:52 | 0:34:54 | |
Misericordia is Latin for "act of mercy". | 0:34:54 | 0:34:57 | |
So these are the mercy seats. | 0:34:57 | 0:34:59 | |
These seats give some comfort to those who came to hear Cotton | 0:35:00 | 0:35:04 | |
and other clergymen preach. | 0:35:04 | 0:35:06 | |
-You could lift that. -Yes. -You could perch yourself, | 0:35:08 | 0:35:11 | |
stand with your back against there, perch yourself, | 0:35:11 | 0:35:14 | |
and you give the impression that you are stood. | 0:35:14 | 0:35:17 | |
Rector, I am standing. | 0:35:17 | 0:35:18 | |
-You are standing. -My legs are slightly bent but I can stand still. | 0:35:18 | 0:35:21 | |
And I'm sure it was a mercy for you to be able to sit down! | 0:35:21 | 0:35:24 | |
Quite. Cotton thrived at St Botolph's for nearly 20 years. | 0:35:24 | 0:35:29 | |
Controversially, though, in 1630, | 0:35:29 | 0:35:31 | |
Cotton sparked an exodus from Boston. | 0:35:31 | 0:35:34 | |
Encouraged by his puritan preaching, | 0:35:34 | 0:35:36 | |
10% of the town emigrated to one of the new colonies in America. | 0:35:36 | 0:35:41 | |
Cotton joined his several hundred former parishioners | 0:35:41 | 0:35:44 | |
two years later, | 0:35:44 | 0:35:46 | |
settling in the town that had been named Boston. | 0:35:46 | 0:35:50 | |
You almost feel the warmth from the actual history. | 0:35:50 | 0:35:53 | |
I put my hands on there | 0:35:53 | 0:35:54 | |
and I think about the people who sat here. | 0:35:54 | 0:35:56 | |
What was going on in the world outside, at the time. | 0:35:56 | 0:35:59 | |
Charles can follow in the footsteps of John Cotton, not to America, | 0:35:59 | 0:36:03 | |
but up St Botolph's tower. | 0:36:03 | 0:36:05 | |
209 steps. OK. This way. | 0:36:05 | 0:36:08 | |
I do suffer a bit from vertigo, you know. | 0:36:08 | 0:36:10 | |
St Botolph's tower is the tallest of any parish church in the country. | 0:36:10 | 0:36:15 | |
You're panting a bit, Steve. Keep going. | 0:36:17 | 0:36:19 | |
We're getting there. That's the good news. | 0:36:19 | 0:36:22 | |
And is the tallest non-cathedral tower in the world. | 0:36:22 | 0:36:26 | |
Oh, I say. Goodness gracious me. | 0:36:26 | 0:36:29 | |
You can see for miles, can't you? | 0:36:29 | 0:36:31 | |
You can really see for miles. I just cannot believe that view. | 0:36:31 | 0:36:35 | |
-You're 145 feet off the ground. -I can't believe it. What a view! | 0:36:35 | 0:36:40 | |
BELLS CHIME | 0:36:42 | 0:36:45 | |
I feel a bit giddy up here. | 0:36:47 | 0:36:50 | |
That's maybe a cue for me to get down. I feel a bit sick. | 0:36:52 | 0:36:55 | |
-Do you mind if I go? -Not at all. -Thanks a lot. -All right. Good luck. | 0:36:55 | 0:36:58 | |
-It's been a real joy. Thanks ever so much. I'm going down. -Good luck. | 0:36:58 | 0:37:01 | |
-All the best. Thank you, Steve. -Bye. -Bye. | 0:37:01 | 0:37:03 | |
St Botolph's is a permanent reminder of Boston's past glory | 0:37:04 | 0:37:09 | |
as Britain's most powerful coastal town, | 0:37:09 | 0:37:12 | |
but also a memorial to its former parishioners | 0:37:12 | 0:37:14 | |
who left to build a new Boston | 0:37:14 | 0:37:17 | |
and were the forefathers of the American Revolution. | 0:37:17 | 0:37:20 | |
Margie's made her way across the county border | 0:37:23 | 0:37:26 | |
to Norfolk and King's Lynn. | 0:37:26 | 0:37:28 | |
Margie's heading to an antiques centre, | 0:37:29 | 0:37:31 | |
a stone's throw from the River Ouse. | 0:37:31 | 0:37:34 | |
-Hello! -Hello. So you're Rachel. | 0:37:35 | 0:37:37 | |
-I am. -You're... -June. -June. | 0:37:37 | 0:37:39 | |
-It's a glorious day out there. -Beautiful. | 0:37:39 | 0:37:42 | |
Time to shop. | 0:37:42 | 0:37:43 | |
-They're Victorian, aren't they? -I think they are. | 0:37:44 | 0:37:46 | |
-I love stained glass, don't you? -I do. I love it. I do. | 0:37:46 | 0:37:49 | |
-And with the ships on, as well. -I know. | 0:37:49 | 0:37:52 | |
-People put them into doors and make windows up of them, don't they? -Mm-hm. | 0:37:52 | 0:37:56 | |
So, 90 for the big one, 70 for the small one. | 0:37:56 | 0:38:00 | |
-So, what's the best on the two of those? -Wish me luck. | 0:38:00 | 0:38:03 | |
OK. | 0:38:03 | 0:38:04 | |
See how they bought them and everything. | 0:38:04 | 0:38:07 | |
Rachel shot off to call the dealer. Fingers crossed. | 0:38:07 | 0:38:11 | |
-OK. A hundred. For the two. -A hundred for the two. | 0:38:11 | 0:38:14 | |
Hang on. Margie loves a haggle. Brace yourselves, girls. | 0:38:14 | 0:38:18 | |
OK. She's going to have a word. | 0:38:18 | 0:38:20 | |
Hi, Ruth. Are you going to let me buy these, or not? | 0:38:21 | 0:38:24 | |
-Well... -MARGIE LAUGHS | 0:38:24 | 0:38:28 | |
Another tenner off? That's 90. | 0:38:28 | 0:38:31 | |
Yeah, I had 80 in mind. | 0:38:31 | 0:38:33 | |
Go on, Ruth. | 0:38:34 | 0:38:35 | |
MARGIE LAUGHS | 0:38:36 | 0:38:38 | |
OK. Deal done. And thank you very much. | 0:38:38 | 0:38:41 | |
Bye-bye. | 0:38:41 | 0:38:43 | |
-80. Nice haggle. -RACHEL: -Yes! | 0:38:43 | 0:38:45 | |
-LAUGHTER JUNE: -Well done! | 0:38:45 | 0:38:47 | |
There's that happy face. | 0:38:47 | 0:38:49 | |
Margie's got these two Victorian stained-glass panels for half price. | 0:38:49 | 0:38:53 | |
-Thank you. -Thank you. | 0:38:53 | 0:38:54 | |
-Bye-bye, Rachel. -Bye-bye. | 0:38:54 | 0:38:56 | |
A nice way to end the day. Well done, Margie. | 0:38:56 | 0:39:00 | |
Time to get some shuteye. | 0:39:00 | 0:39:03 | |
Nighty-night, you two. | 0:39:03 | 0:39:05 | |
What a lovely morning. Learn anything yesterday, Charles? | 0:39:12 | 0:39:16 | |
-Botolph. -Botolph? | 0:39:16 | 0:39:18 | |
-Botolph. -Botolph. -That's how you pronounce it. | 0:39:18 | 0:39:20 | |
Good. | 0:39:20 | 0:39:21 | |
Our experts are headed south | 0:39:21 | 0:39:23 | |
to Hitchin. | 0:39:23 | 0:39:24 | |
-Good morning. -Good morning. | 0:39:31 | 0:39:33 | |
-How are you? -I'm fine, thank you. How are you? | 0:39:33 | 0:39:35 | |
-A gorgeous day. -Beautiful day. | 0:39:35 | 0:39:37 | |
The sun is shining again. | 0:39:37 | 0:39:39 | |
That's right, you couldn't have chosen a better day. | 0:39:39 | 0:39:41 | |
Let's hope the sun is shining on Charles | 0:39:41 | 0:39:44 | |
because he needs to buy something to take to auction. | 0:39:44 | 0:39:47 | |
Huh! That's what the programme's about. | 0:39:47 | 0:39:50 | |
What I'm drawn to actually is not so much the glassware | 0:39:50 | 0:39:53 | |
or the jewellery - not really my thing. | 0:39:53 | 0:39:56 | |
What I quite like is this top deck here of oriental artefacts. | 0:39:56 | 0:39:59 | |
There's some lovely, lovely objects of eastern promise, | 0:39:59 | 0:40:03 | |
which as we know in the auction market, can really move. | 0:40:03 | 0:40:05 | |
This vase, I'm sure, is Chinese. | 0:40:05 | 0:40:08 | |
Again, probably what we call Cantonese type. | 0:40:08 | 0:40:11 | |
It's badly damaged. | 0:40:11 | 0:40:13 | |
We can see across this section here | 0:40:13 | 0:40:17 | |
is almost this jagged crack | 0:40:17 | 0:40:21 | |
but I love the decoration, | 0:40:21 | 0:40:22 | |
the ingenious way in which the Chinese potter | 0:40:22 | 0:40:27 | |
used the exterior as a palette for painting. | 0:40:27 | 0:40:31 | |
Because of the damage, there's no ticket price | 0:40:31 | 0:40:35 | |
but Marie is open to offers. | 0:40:35 | 0:40:37 | |
If I said for 30, what would you say? | 0:40:37 | 0:40:40 | |
-I'd say done. -Done? | 0:40:40 | 0:40:42 | |
-Done. -Done, done. Sold. £30. Let's go. | 0:40:42 | 0:40:46 | |
-Happy? -Yeah, fine. -Good. | 0:40:46 | 0:40:48 | |
Well done. | 0:40:48 | 0:40:50 | |
This Chinese Famille Rose vase is Charles's first buy on this leg | 0:40:52 | 0:40:56 | |
AND he's not finished yet, oh, no! | 0:40:56 | 0:41:00 | |
-Is this a silver bowl here? -You mean the commemorative... | 0:41:00 | 0:41:05 | |
Oh, it's a commemorative one. | 0:41:05 | 0:41:07 | |
This piece of silver was produced in 1981 to commemorate | 0:41:08 | 0:41:11 | |
the marriage of Charles and Diana. | 0:41:11 | 0:41:14 | |
Priced at £110 and complete with an original box and certificate. | 0:41:14 | 0:41:19 | |
What's nice, I suppose, is royal commemoratives, | 0:41:19 | 0:41:23 | |
unless they're really early, can be of nominal value. | 0:41:23 | 0:41:26 | |
They're more valuable if they're made in precious materials, | 0:41:26 | 0:41:29 | |
like silver. | 0:41:29 | 0:41:30 | |
-Exactly. -Which this one is. | 0:41:30 | 0:41:31 | |
One to keep in mind, then, | 0:41:31 | 0:41:33 | |
but Marie has lots of sparkly things in her cabinet too. | 0:41:33 | 0:41:38 | |
Oh, you have got some nice jewellery. | 0:41:38 | 0:41:40 | |
The pair of cuff links, not silver gilt or white metal. | 0:41:40 | 0:41:44 | |
-Gold? -They're actually gold. | 0:41:44 | 0:41:46 | |
They're lovely, aren't they? Aren't they beautiful? | 0:41:47 | 0:41:52 | |
These early 20th-century cuff links are priced at £110. Cor! | 0:41:52 | 0:41:57 | |
-OK, may I leave those out for a second? -Sure. -Thank you. | 0:41:57 | 0:42:01 | |
Charles is firing on all cylinders today | 0:42:01 | 0:42:04 | |
and has spotted a late 19th-century brooch priced at £160. | 0:42:04 | 0:42:09 | |
That's a rock crystal. | 0:42:09 | 0:42:11 | |
It's a natural crystal found in nature | 0:42:11 | 0:42:14 | |
and selected for its clarity and then carved. | 0:42:14 | 0:42:18 | |
That is really pretty. | 0:42:18 | 0:42:19 | |
Ah... I agree. | 0:42:19 | 0:42:22 | |
While Charles gives that some thought, though, | 0:42:22 | 0:42:24 | |
Margie's on her way to Central Bedfordshire | 0:42:24 | 0:42:26 | |
and the picturesque village of Barton Le Clay. | 0:42:26 | 0:42:30 | |
Margie still has £325.04 at her disposal | 0:42:33 | 0:42:37 | |
and she isn't hanging about, oh, no! | 0:42:37 | 0:42:41 | |
Right, what's this? | 0:42:41 | 0:42:43 | |
Ewfff! | 0:42:43 | 0:42:45 | |
I don't really like it very much but I've just seen a very cheap ticket! | 0:42:45 | 0:42:49 | |
Which says, "French clock with birds and garniture". | 0:42:49 | 0:42:54 | |
Garniture means the three pieces. | 0:42:54 | 0:42:56 | |
-£35! -SHE CHUCKLES | 0:42:56 | 0:42:59 | |
Oh, I wonder if it will ever go. | 0:43:02 | 0:43:05 | |
You could give it a try. | 0:43:05 | 0:43:07 | |
-Mmm... -SHE CHUCKLES | 0:43:09 | 0:43:12 | |
CLOCK TICKING | 0:43:12 | 0:43:15 | |
CLOCK STOPS, SHE CHUCKLES | 0:43:15 | 0:43:18 | |
Oh, well. | 0:43:18 | 0:43:19 | |
Maybe this early 20th-century clock is cheap | 0:43:19 | 0:43:22 | |
because it's not running like clockwork. | 0:43:22 | 0:43:24 | |
Still, one to consider. | 0:43:24 | 0:43:26 | |
Back in Hitchin, Charles has bought a Chinese vase | 0:43:27 | 0:43:29 | |
and looked at some commemorative silverware, | 0:43:29 | 0:43:32 | |
hallmarked cuff links and a rock crystal brooch. | 0:43:32 | 0:43:35 | |
Now, there's one more thing I'm going to look at | 0:43:36 | 0:43:40 | |
and then I'm going to make a couple of decisions. | 0:43:40 | 0:43:42 | |
The oval brooch with that central stone. Victorian? | 0:43:42 | 0:43:47 | |
-Victorian. -Gold? | 0:43:47 | 0:43:49 | |
It's Agate and it's inscribed. | 0:43:49 | 0:43:52 | |
-And it's got hair in the back. -Oh, yeah. | 0:43:52 | 0:43:54 | |
So this really is an object which was a mourning piece, | 0:43:54 | 0:43:59 | |
-do you believe? -It's a mourning piece. | 0:43:59 | 0:44:01 | |
And it's inscribed, | 0:44:01 | 0:44:03 | |
"In memory of Ann Webb. Aged 43 years old." | 0:44:03 | 0:44:09 | |
With a lock of her hair in there as well. | 0:44:09 | 0:44:12 | |
Marie's priced this brooch at £160. | 0:44:12 | 0:44:16 | |
Time to make some decisions, Charles. | 0:44:16 | 0:44:18 | |
I like the cuff links because they're fabulous. | 0:44:18 | 0:44:22 | |
Would you do them for £50? | 0:44:22 | 0:44:25 | |
-55 and they're yours. -Sold. I'll take them. Sold. | 0:44:25 | 0:44:29 | |
Half price?! Cor, well done! | 0:44:29 | 0:44:32 | |
How about that commemorative silver, ticketed at £110? | 0:44:32 | 0:44:36 | |
But what's Marie's very best? | 0:44:36 | 0:44:39 | |
Well, what about 50? | 0:44:39 | 0:44:41 | |
I'll take it. Thanks a lot. | 0:44:42 | 0:44:44 | |
Crikey! That's three deals, and Charles is still interested in | 0:44:44 | 0:44:48 | |
the two brooches priced at £160 each. | 0:44:48 | 0:44:52 | |
Decisions, decisions. | 0:44:52 | 0:44:55 | |
If I said to you the best on the flag brooch | 0:44:56 | 0:45:00 | |
and the best on the mourning brooch... | 0:45:00 | 0:45:02 | |
120. | 0:45:03 | 0:45:05 | |
£60 each?! | 0:45:05 | 0:45:06 | |
That's a £200 discount! Charles, come on. | 0:45:06 | 0:45:10 | |
I'll take them. Thank you. £120. | 0:45:10 | 0:45:13 | |
He's bought five items from Marie, totalling £255. The boy's on fire. | 0:45:13 | 0:45:20 | |
Well, I think I need to sit down now. | 0:45:20 | 0:45:23 | |
So do I. | 0:45:23 | 0:45:24 | |
Meanwhile, over in Bedfordshire... | 0:45:24 | 0:45:26 | |
Just have a quick whizz... | 0:45:26 | 0:45:28 | |
..Margie's found her favourite things in the cabinets. | 0:45:28 | 0:45:31 | |
Oh, look! | 0:45:31 | 0:45:33 | |
I bought that on my first day buying. | 0:45:34 | 0:45:37 | |
Seems such a long time ago. | 0:45:37 | 0:45:39 | |
But I made about £40, £50 profit. | 0:45:39 | 0:45:42 | |
Yeah, a near identical brooch | 0:45:42 | 0:45:44 | |
cost you £30.50 and it sold for 74. | 0:45:44 | 0:45:47 | |
So, buying an identical one | 0:45:47 | 0:45:49 | |
may not be such a bad idea after all. | 0:45:49 | 0:45:52 | |
Doubt they'll catch up. | 0:45:52 | 0:45:53 | |
Yeah. Yeah, it's marked. Right in the middle, there. | 0:45:53 | 0:45:57 | |
Yeah, this Art Deco style 9 carat gold brooch is priced at £55. | 0:45:57 | 0:46:03 | |
Are you going to be lucky and beat Mr Hanson? | 0:46:03 | 0:46:07 | |
I don't think it's talking to you. | 0:46:07 | 0:46:09 | |
He, though, is still in Hitchin. | 0:46:09 | 0:46:11 | |
He's bought five items, | 0:46:11 | 0:46:13 | |
but with just over £290 burning a hole in his pocket, are there more? | 0:46:13 | 0:46:17 | |
-In your window, I do like that scent bottle. -I thought you might. | 0:46:17 | 0:46:23 | |
How much is it? It is silver, isn't it? | 0:46:23 | 0:46:26 | |
Of course it is silver. | 0:46:26 | 0:46:27 | |
-It's £250. -Is it really? -Yeah. | 0:46:27 | 0:46:30 | |
I mustn't get carried away. I've bought really well so far. | 0:46:30 | 0:46:33 | |
But I just like it. If I said to you... | 0:46:33 | 0:46:35 | |
..160. | 0:46:37 | 0:46:39 | |
It needs to be about 180. | 0:46:39 | 0:46:41 | |
Oh, don't say that. | 0:46:41 | 0:46:42 | |
Well, split the difference. | 0:46:42 | 0:46:44 | |
You're offering it to me at 170. | 0:46:44 | 0:46:46 | |
And I think for that it's worth a gamble. | 0:46:46 | 0:46:49 | |
Bold move, Charles. | 0:46:49 | 0:46:50 | |
He's spent big on his sixth lot, | 0:46:50 | 0:46:53 | |
but this pricey 1880 scent bottle is a real gamble for the final auction. | 0:46:53 | 0:46:58 | |
-Thank you so much. -Good luck. | 0:46:58 | 0:46:59 | |
Thanks, Marie. I shall hit the high road and have a lie down. Thank you. | 0:46:59 | 0:47:03 | |
See you. Bye. | 0:47:03 | 0:47:05 | |
Well done, Charles. | 0:47:05 | 0:47:06 | |
Back in Bedfordshire, Margie's found dealer Steve in charge, | 0:47:09 | 0:47:13 | |
-and looking smart, Steve. -I've spotted this. | 0:47:13 | 0:47:16 | |
Have you got an offer you'd like to put on that? | 0:47:16 | 0:47:18 | |
Yeah, well, I don't want to offend her. | 0:47:18 | 0:47:21 | |
-38... -38. -..would be my offer, yeah. | 0:47:21 | 0:47:24 | |
So that's one phone call for Steve to make. | 0:47:24 | 0:47:26 | |
How about that clock? | 0:47:26 | 0:47:28 | |
-I was just looking at this. -Right. | 0:47:28 | 0:47:30 | |
What you willing to offer for that? | 0:47:30 | 0:47:33 | |
-Uh... 20, really. -£20. -Yeah. | 0:47:33 | 0:47:35 | |
-OK. Give me a couple of minutes on that. -Yeah, OK, fine. Thank you. | 0:47:35 | 0:47:38 | |
Hello. Look who's arrived in Bedfordshire. | 0:47:40 | 0:47:44 | |
He's in a good mood. | 0:47:44 | 0:47:45 | |
Despite his earlier big spend, Charles still has £120.98. | 0:47:45 | 0:47:51 | |
And what's he found here? | 0:47:51 | 0:47:53 | |
Careful, Charles. Not in a china shop. | 0:47:55 | 0:47:57 | |
TUTTING: Oh, dear. | 0:47:58 | 0:48:00 | |
-There we go. I'm up. -Stop showing off. | 0:48:01 | 0:48:05 | |
No rest for Margie, though, and Steve's back with news. | 0:48:05 | 0:48:09 | |
-You offered £20 on that one? -Yeah. Cos, you know... -OK. | 0:48:09 | 0:48:11 | |
-It's just... I'm having a punt, really. -Right. | 0:48:11 | 0:48:14 | |
Well, I'm probably going to get killed for this, | 0:48:14 | 0:48:16 | |
-but we'll take £20 off you. -Oh, right. | 0:48:16 | 0:48:18 | |
-And we'll accept the offer of £38. -My God, that's brilliant! | 0:48:18 | 0:48:21 | |
-OK? -Thank you very much, Steve. | 0:48:21 | 0:48:22 | |
Very generous, Steve. | 0:48:22 | 0:48:24 | |
Margie's last buys are an Art Deco brooch | 0:48:24 | 0:48:27 | |
and clock garniture, all for £58. | 0:48:27 | 0:48:31 | |
-Thanks very much. -Thank you. Bye, Steve. -Bye. | 0:48:31 | 0:48:32 | |
And that concludes the shopping. | 0:48:32 | 0:48:34 | |
To go with her last two buys, Margie has three other lots. | 0:48:34 | 0:48:39 | |
The 1950s valve radio, | 0:48:39 | 0:48:41 | |
a pair of Victorian stained-glass panels | 0:48:41 | 0:48:44 | |
and a 1930s cologne bottle. | 0:48:44 | 0:48:46 | |
All that cost her £158. | 0:48:46 | 0:48:50 | |
While Charles spent a whopping £425 for six lots. | 0:48:52 | 0:48:56 | |
A damaged Chinese porcelain vase, | 0:48:56 | 0:48:59 | |
a pair of 9 carat gold cuff links, | 0:48:59 | 0:49:02 | |
some royal commemorative silverware, | 0:49:02 | 0:49:05 | |
a 19th-century rock crystal brooch, | 0:49:05 | 0:49:07 | |
a Victorian mourning brooch | 0:49:07 | 0:49:10 | |
and one big spend on a silver scent bottle. | 0:49:10 | 0:49:13 | |
What do they make of each other's final lots? | 0:49:13 | 0:49:15 | |
So Charles has really spent his money. | 0:49:15 | 0:49:18 | |
I didn't think he was going to do that. | 0:49:18 | 0:49:20 | |
And he's bought a silver spiral scent bottle, | 0:49:20 | 0:49:23 | |
but I still think he's got a clear 200 to get a profit on that. | 0:49:23 | 0:49:28 | |
Margie, I told you I would spend wisely, go big, and I have done. | 0:49:28 | 0:49:33 | |
It's been an eventful final leg for our two experts. | 0:49:33 | 0:49:37 | |
After a mammoth journey, they're making a beeline for Leicester | 0:49:37 | 0:49:41 | |
and the big auction showdown, | 0:49:41 | 0:49:42 | |
which takes place at Gildings, | 0:49:42 | 0:49:45 | |
one of the region's leading salerooms, | 0:49:45 | 0:49:47 | |
and it's here our winner will be anointed. | 0:49:47 | 0:49:49 | |
MARGIE LAUGHS | 0:49:49 | 0:49:51 | |
Auctioneer John Gilding will be on the podium today. | 0:49:51 | 0:49:55 | |
First up is Charles's vase. | 0:49:56 | 0:49:58 | |
A little knocked about, but bought at a knock-down price. | 0:49:58 | 0:50:00 | |
Stand by. | 0:50:00 | 0:50:02 | |
This was a wonderful piece, of course. | 0:50:02 | 0:50:04 | |
It still is! Sorry. | 0:50:04 | 0:50:06 | |
I'm going to start the bidding... 100! | 0:50:06 | 0:50:08 | |
-Come on. -£20. I'm bid 20. £20. I'm bid 20. | 0:50:08 | 0:50:12 | |
25. 28. | 0:50:12 | 0:50:14 | |
Come on. | 0:50:14 | 0:50:15 | |
£28, I'm bid 28. Bid 30. | 0:50:15 | 0:50:19 | |
-Come on. -On the net, 32. -Come on. -5. | 0:50:19 | 0:50:21 | |
-35, 38. -Don't. | 0:50:21 | 0:50:23 | |
-At 38 in the room. -Come on. | 0:50:23 | 0:50:24 | |
£38 and away. | 0:50:24 | 0:50:26 | |
First profit of the day gets Charles a-going. | 0:50:27 | 0:50:30 | |
To the young collector, it's a lovely vase, it's completely right. | 0:50:30 | 0:50:34 | |
It's just broken. But over years, if you're 140 years old, how would you? | 0:50:34 | 0:50:38 | |
Steady. Now Margie's turn. Her two stained-glass panels are next. | 0:50:38 | 0:50:42 | |
These look great. | 0:50:42 | 0:50:44 | |
Starting here at £25. | 0:50:44 | 0:50:46 | |
25. 28. 30. | 0:50:47 | 0:50:50 | |
32. 35. 38. | 0:50:50 | 0:50:53 | |
There's no reserve. | 0:50:53 | 0:50:54 | |
-£38, seated. -Oh, my, please! | 0:50:54 | 0:50:57 | |
40. | 0:50:57 | 0:50:58 | |
5. 50. 5. Still seated at 55. | 0:50:58 | 0:51:03 | |
-Please! -I thought they'd be more. | 0:51:03 | 0:51:05 | |
Seated then at £55. All done? | 0:51:05 | 0:51:08 | |
That is a shame. First loss of the day and bad luck, Margie. | 0:51:09 | 0:51:13 | |
Lost 25 quid. | 0:51:13 | 0:51:16 | |
I truly felt they were going to make a £120 bluff. | 0:51:16 | 0:51:19 | |
Will you be quiet from now on? | 0:51:19 | 0:51:21 | |
Not likely. Huh! | 0:51:21 | 0:51:22 | |
Charles's Victorian mourning brooch is next. | 0:51:23 | 0:51:26 | |
-It's beautifully made. -It is, it's lovely. | 0:51:26 | 0:51:29 | |
-And I think it's a lovely object. -And you dated it, 1869. | 0:51:29 | 0:51:32 | |
And where were you in that year 1869? | 0:51:32 | 0:51:35 | |
Look at me. | 0:51:35 | 0:51:37 | |
Bidding starts with me at £45 only. | 0:51:38 | 0:51:42 | |
If this was in an antique fine art mourning jewellery set... | 0:51:42 | 0:51:46 | |
Hey, pay attention, you two! | 0:51:46 | 0:51:48 | |
80. 5. 90. 5. | 0:51:48 | 0:51:53 | |
One man's profit or gain. | 0:51:53 | 0:51:55 | |
-And whatever it makes is history. -On the net at 100. | 0:51:55 | 0:51:58 | |
-Are we even finished? -It doesn't... -And 10... | 0:51:58 | 0:52:01 | |
All done? Selling to the net. £110. | 0:52:01 | 0:52:05 | |
Well done. A £50 profit. | 0:52:06 | 0:52:08 | |
Up next is Margie's valve radio. | 0:52:09 | 0:52:12 | |
Hold tight, Margie. | 0:52:12 | 0:52:13 | |
It will be sold, there's no reserve. £10, I'm bid. 10, at £10. | 0:52:13 | 0:52:17 | |
-12. -Come on. -15 in the room. | 0:52:17 | 0:52:19 | |
18. 20 in the room. | 0:52:19 | 0:52:21 | |
£20. 22. And 5. 28. 30. | 0:52:21 | 0:52:26 | |
Oh, come on. Let's recoup some of my losses. | 0:52:26 | 0:52:28 | |
5. 38. All out in the room? | 0:52:29 | 0:52:32 | |
£38 and away then. All done? | 0:52:32 | 0:52:34 | |
-I can't grumble at that. -Sold at 38. | 0:52:34 | 0:52:38 | |
More than doubled your money. Margie, well done. | 0:52:39 | 0:52:43 | |
-Fair enough, that, wasn't it? -Yes. | 0:52:43 | 0:52:45 | |
Charles's second brooch now. The Essex rock crystal. | 0:52:45 | 0:52:50 | |
-And bidding starts with me at £20. -Oh, no. It's got to move. | 0:52:50 | 0:52:54 | |
£20, I'm bid. 22. 25. 28. | 0:52:54 | 0:52:57 | |
30. 5. 40. 5. 50. 5. | 0:52:57 | 0:53:01 | |
60. 5. | 0:53:01 | 0:53:02 | |
70. 5... | 0:53:02 | 0:53:04 | |
-£70 it is then. -That's OK, Margie, I'm in the clear. | 0:53:04 | 0:53:07 | |
-I'm surprised at that. -Any more? | 0:53:07 | 0:53:09 | |
80. | 0:53:09 | 0:53:11 | |
5. | 0:53:11 | 0:53:12 | |
-90. -90. | 0:53:12 | 0:53:14 | |
5. | 0:53:14 | 0:53:15 | |
100. | 0:53:15 | 0:53:16 | |
10. He's gone. | 0:53:17 | 0:53:20 | |
-It's in the room then at £110. -Go on, internet. | 0:53:20 | 0:53:22 | |
All done? Sold at 110. | 0:53:22 | 0:53:24 | |
Another brooch, another £50. | 0:53:25 | 0:53:28 | |
Well done, Charles. | 0:53:28 | 0:53:30 | |
-Profit on your jewellery. -Very pleased, Margie. | 0:53:30 | 0:53:32 | |
(Oh, wow!) | 0:53:32 | 0:53:33 | |
Margie's cologne bottle is next to go under the gavel. | 0:53:33 | 0:53:38 | |
-£20, I'm bid 20. £20, I'm bid 20. -Ooh. | 0:53:38 | 0:53:40 | |
Lovely piece, this, please, at 22. | 0:53:40 | 0:53:42 | |
-I'm bid 22... -Happy with that. | 0:53:42 | 0:53:45 | |
25. 28. 30. 2... | 0:53:45 | 0:53:49 | |
Standing in the middle then at 32. 35 with the blue hand. | 0:53:49 | 0:53:52 | |
-That's good. -38. | 0:53:52 | 0:53:54 | |
Standing then at £38. And away at 38. | 0:53:54 | 0:53:58 | |
Ah, the sweet smell of success. Well done, Margie. | 0:53:58 | 0:54:02 | |
Charles spent big on this lot. It was a gamble. | 0:54:02 | 0:54:06 | |
Will the silver scent bottle cost him dear? | 0:54:06 | 0:54:09 | |
Lovely little piece, this. At £80, open to bidding... | 0:54:09 | 0:54:12 | |
-Oh, crikey. -5. 90. 5. 100. | 0:54:12 | 0:54:15 | |
-10, 20. 30, 40. -There you go, it's going. | 0:54:15 | 0:54:18 | |
-150. 160. -Come on, let's go. | 0:54:18 | 0:54:22 | |
With the lady at 160. | 0:54:22 | 0:54:23 | |
£160. All done? Selling it away at 160. | 0:54:23 | 0:54:28 | |
Someone's walked away with a lovely piece of silver at a great price. | 0:54:29 | 0:54:32 | |
Charles has suffered his first loss of the day. | 0:54:32 | 0:54:35 | |
But it's only a small one. | 0:54:35 | 0:54:37 | |
-HE SIGHS -Not too much gone on there. | 0:54:37 | 0:54:39 | |
Margie's brooch next. | 0:54:40 | 0:54:42 | |
She sold one just like this earlier in the week and made £40 profit. | 0:54:42 | 0:54:47 | |
Can this one do the same? | 0:54:47 | 0:54:48 | |
Whay! Look at the bids! | 0:54:48 | 0:54:50 | |
And £65. | 0:54:50 | 0:54:53 | |
-That's good, Margie, profit. -70. -It's done all right, again. | 0:54:53 | 0:54:58 | |
£70. I'm bid 70. | 0:54:58 | 0:54:59 | |
Come on, a bit more. | 0:54:59 | 0:55:01 | |
-£70, I'm bid, 70. Are we all done? 5. 80. -Oh, good. It's done the same. | 0:55:01 | 0:55:04 | |
-It's amazing, Margie. -Mm, it's done the same. | 0:55:04 | 0:55:06 | |
£80, I'm bid at 80. At £80. | 0:55:06 | 0:55:08 | |
-All done? -It's amazing, Margie. -How brilliant. | 0:55:08 | 0:55:10 | |
Finished and away at £80. | 0:55:10 | 0:55:13 | |
-That's the market value for it. -Margie Cooper, I admire you. | 0:55:13 | 0:55:17 | |
It was a great spot, Margie. And it's earned you another profit. | 0:55:17 | 0:55:21 | |
I wonder how many more of these brooches are around the UK, | 0:55:21 | 0:55:24 | |
floating, ready for the Cooper clutch? | 0:55:24 | 0:55:26 | |
Next up, the royal commemorative silver | 0:55:26 | 0:55:29 | |
Charles bought at a discounted price. | 0:55:29 | 0:55:32 | |
-And we've got a bid here, then, of £55. -That's good. | 0:55:32 | 0:55:36 | |
-65. 70. -That's going. | 0:55:36 | 0:55:39 | |
£70 I'm bid. | 0:55:39 | 0:55:40 | |
-That's good, Margie. Cost me 50. -All done? Quite sure? | 0:55:41 | 0:55:45 | |
Finished and away then at £70. | 0:55:45 | 0:55:47 | |
Another profit, Charles. Good stuff. | 0:55:49 | 0:55:51 | |
-I'm happy. Margie, I'm happy. -Skimmed a profit. | 0:55:51 | 0:55:53 | |
It's time for Margie's | 0:55:53 | 0:55:56 | |
early 20th-century clock garniture now. | 0:55:56 | 0:55:59 | |
And £45, open to bidding. | 0:55:59 | 0:56:01 | |
-45, do I see 50 anywhere? 50 bid. -Oh! | 0:56:01 | 0:56:03 | |
In the room at 50. | 0:56:03 | 0:56:05 | |
-That's fantastic, Margie. -Can you believe it? | 0:56:05 | 0:56:07 | |
The internet is out at £50. It's in the room. | 0:56:07 | 0:56:10 | |
-55 on the net. -Ooh! -Margie Cooper. | 0:56:10 | 0:56:13 | |
£55 on the net, at 55. | 0:56:13 | 0:56:14 | |
I thought this would make a lot more than this. 60. | 0:56:14 | 0:56:17 | |
Margie, say it's all over. | 0:56:17 | 0:56:19 | |
At £60. £65 bid. | 0:56:19 | 0:56:22 | |
At £65. I'm bid 65... All done? | 0:56:22 | 0:56:25 | |
-Doesn't it surprise you? -20 x 3 + 5... | 0:56:25 | 0:56:28 | |
£65. Finished? | 0:56:28 | 0:56:30 | |
A good profit, but is it good enough to win? | 0:56:31 | 0:56:34 | |
-Well done. -Well done, Margie. -SHE LAUGHS | 0:56:35 | 0:56:37 | |
Now the final lot. | 0:56:37 | 0:56:39 | |
Charles's cuff links. Very nice. | 0:56:39 | 0:56:41 | |
These are really nice, indeed. 75... £80 bid. | 0:56:41 | 0:56:46 | |
-Let's move. -Ah, you're in! | 0:56:46 | 0:56:47 | |
9... 85. 90. | 0:56:47 | 0:56:50 | |
-5. -Come on. | 0:56:50 | 0:56:51 | |
110. | 0:56:51 | 0:56:53 | |
-Here we go. -Ah! -120. | 0:56:53 | 0:56:54 | |
120 bid, 120. A finer pair... 130. | 0:56:54 | 0:56:58 | |
-They're wonderful things, Margie, let's roll. -140. 150. | 0:56:58 | 0:57:01 | |
-160. -Ah! | 0:57:01 | 0:57:02 | |
-Still on the net at 160. -Come on! | 0:57:02 | 0:57:04 | |
-At £160. -Good. -Ah! | 0:57:04 | 0:57:06 | |
Put it there. | 0:57:06 | 0:57:07 | |
Not finished yet. | 0:57:07 | 0:57:08 | |
Still in. Still in, Margie. | 0:57:08 | 0:57:09 | |
170 bid now. | 0:57:09 | 0:57:12 | |
At 170. Still with the net, but it's up to you. | 0:57:12 | 0:57:15 | |
Bid quickly if you need them. At £170... | 0:57:15 | 0:57:18 | |
-Well done. -Give us a kiss. | 0:57:19 | 0:57:21 | |
Do you want lipstick...? | 0:57:21 | 0:57:23 | |
Give us a kiss. It's fine. Give us a kiss. | 0:57:23 | 0:57:26 | |
What a brilliant profit | 0:57:26 | 0:57:28 | |
to end today's auction and this road trip. | 0:57:28 | 0:57:31 | |
-Where do you want it? -On my left cheek. | 0:57:31 | 0:57:34 | |
Oh, Margie, thank you. Oh, Margie! | 0:57:34 | 0:57:37 | |
Margie started this final leg with £425.04. | 0:57:38 | 0:57:43 | |
After paying auction house fees, she's made a profit today of £68.32, | 0:57:43 | 0:57:49 | |
ending the road trip with an outstanding total of £493.36. | 0:57:49 | 0:57:55 | |
Charles started with £545.98. | 0:57:57 | 0:58:01 | |
After fees, he made a profit of £114.56, | 0:58:01 | 0:58:06 | |
winning today's auction and this road trip | 0:58:06 | 0:58:08 | |
with an exceptional £660.54. | 0:58:08 | 0:58:13 | |
Well done, Charles. | 0:58:13 | 0:58:15 | |
Remember, all profits from the series go to Children In Need. | 0:58:15 | 0:58:19 | |
-Shall I drive you one more time? -Do it, do it, do it. | 0:58:19 | 0:58:22 | |
-Margie, I won! -Don't rub it in! | 0:58:22 | 0:58:26 | |
EXHAUST ROARS | 0:58:26 | 0:58:27 | |
Sorry. I'm not in gear. | 0:58:27 | 0:58:30 | |
Bye-bye! | 0:58:31 | 0:58:32 | |
So long, you two. | 0:58:32 | 0:58:34 |