0:00:02 > 0:00:04It's the nation's favourite antiques experts!
0:00:04 > 0:00:07- This is beautiful! - That's the way to do this.
0:00:07 > 0:00:11With £200 each, a classic car, and a goal - to scour for antiques.
0:00:11 > 0:00:13Joy!
0:00:13 > 0:00:14Hello!
0:00:14 > 0:00:18The aim, to make the biggest profit at auction but it's no mean feat.
0:00:19 > 0:00:23There will be worthy winners and valiant losers.
0:00:23 > 0:00:28So, will it be the high road to glory or the slow road to disaster?
0:00:28 > 0:00:30The hand brake's on.
0:00:30 > 0:00:31This is Antiques Road Trip!
0:00:34 > 0:00:35Yeah!
0:00:35 > 0:00:39Welcome to a right old ramble around the country,
0:00:39 > 0:00:42in the company of delectable antiques experts, Charles and Margie.
0:00:42 > 0:00:46- Are you enjoying yourself?- Of course I am.- Really?- In your company.
0:00:46 > 0:00:50- Really?- You're a little bright spark!- Am I really?- Yes, you are.
0:00:50 > 0:00:52He's full of advice too.
0:00:52 > 0:00:56- Be yourself. Live the dream. - And make sure you don't win.
0:00:56 > 0:00:59I...you know, always think about what you're looking for.
0:00:59 > 0:01:03Like yourself, you're in good condition.
0:01:03 > 0:01:05You're of a certain quality.
0:01:05 > 0:01:09You are becoming that fashionable lot, Margie Cooper.
0:01:09 > 0:01:12I don't know whether to be flattered or offended!
0:01:12 > 0:01:15Either way, dealer and Cheshire girl
0:01:15 > 0:01:18Margie Cooper is playing catch up on this road trip.
0:01:19 > 0:01:23- I feel like I'm going to break it, Mike.- No, I'm just worried that...
0:01:23 > 0:01:24You'll lose the sale!
0:01:24 > 0:01:29Behind the wheel of their dashing 1959 Elva is the man in front,
0:01:29 > 0:01:32auctioneer and bright spark Charles Hanson.
0:01:32 > 0:01:35Sometimes, when you're going into a battle,
0:01:35 > 0:01:37you need your mates with you.
0:01:37 > 0:01:38Yeah...
0:01:38 > 0:01:42Our duo set off on this road trip with £200 each.
0:01:42 > 0:01:47After three trips to auction, Margie has £325.74.
0:01:50 > 0:01:53But with a clean sweep of victories so far,
0:01:53 > 0:01:57Charles is boasting £545.02.
0:01:59 > 0:02:01Their epic road trip started off
0:02:01 > 0:02:04in the Leicestershire town of Melton Mowbray.
0:02:04 > 0:02:07They've been touring around six counties
0:02:07 > 0:02:09and will end their week in Leicester.
0:02:12 > 0:02:16In this penultimate leg, our pair start off in Nottingham
0:02:16 > 0:02:19and will make their way towards auction in Lincoln.
0:02:19 > 0:02:21- This is the River Trent.- Really?
0:02:21 > 0:02:24We are now literally - and over there,
0:02:24 > 0:02:26- that must be the forest where Robin Hood hung out.- Oh, lovely.
0:02:26 > 0:02:28He's going to be in there, is he?
0:02:28 > 0:02:31You are the current, present-day Maid Marian.
0:02:31 > 0:02:34And I can be your Robin Hood.
0:02:34 > 0:02:37That would be a sight to see. Ha!
0:02:37 > 0:02:42Let's see what riches our experts can uncover in Nottingham.
0:02:42 > 0:02:46- Look at this! It's amazing! My jacket's off, Margie.- Coats off.
0:02:46 > 0:02:49- Can I go for a wander? Is that OK?- Good morning!
0:02:49 > 0:02:51They're on top form this morning.
0:02:54 > 0:02:55Look at him go!
0:02:57 > 0:02:58What do you think?
0:02:58 > 0:03:00Mmm...
0:03:00 > 0:03:01Yeah, I quite like that.
0:03:01 > 0:03:02Really?
0:03:02 > 0:03:06Oh, look here. Let's see if he growls.
0:03:06 > 0:03:08Right, here we go...
0:03:08 > 0:03:11BEAR GROWLS WEAKLY
0:03:11 > 0:03:14He sounds like a flock of sheep!
0:03:14 > 0:03:16Puzzling, that(!)
0:03:21 > 0:03:24HE BLOWS HORN TUNELESSLY
0:03:24 > 0:03:26Lordy, you need a mouthpiece.
0:03:26 > 0:03:32Now, what's this box? And it says Derbyshire Shrievalty.
0:03:32 > 0:03:37Or SHRIVE-alty... Francis Douglas Ley, Esquire,
0:03:37 > 0:03:401956-1957.
0:03:40 > 0:03:44Something to do with the Sheriff's office or something? And it's £29.
0:03:45 > 0:03:47What else has caught Margie's eye?
0:03:47 > 0:03:50That's really nice. Lovely bit of Art Nouveau silver there.
0:03:50 > 0:03:54With that lovely Art Nouveau lady at the bottom.
0:03:54 > 0:03:56It's just a little bit...
0:03:56 > 0:03:59I mean, that could be replaced quite easily.
0:04:01 > 0:04:06£69, Art Nouveau, 1910, very, very nice indeed.
0:04:08 > 0:04:10Time to speak to assistant Lynn.
0:04:10 > 0:04:13It's verging on rude if I said £35.
0:04:15 > 0:04:18Right, we'll give it a go.
0:04:18 > 0:04:21While Lynn calls the dealer to see what can be done,
0:04:21 > 0:04:23what has Charles found?
0:04:24 > 0:04:29Isn't that a pretty shape? There's one word I've got for that.
0:04:29 > 0:04:31It could almost melt.
0:04:31 > 0:04:33It's almost organic.
0:04:33 > 0:04:35It's sinuous.
0:04:35 > 0:04:37It's quite unusual.
0:04:37 > 0:04:40And it's what I would call the Art Nouveau.
0:04:40 > 0:04:43That's a lot of words, Charles.
0:04:43 > 0:04:48These Chantilly sprigs are printed rather than being painted.
0:04:48 > 0:04:51That's quite nice. Condition? Oh, what a shame! What a shame!
0:04:51 > 0:04:55There's a chip on the inside of the rim. Oh, dear.
0:04:55 > 0:04:58But it is so stylish.
0:04:58 > 0:04:59And it's made in Limoges.
0:04:59 > 0:05:02Limoges is a city in central France
0:05:02 > 0:05:06that has lent its name to fine porcelain since the 18th century.
0:05:06 > 0:05:09This sugar box dates from around 1910.
0:05:09 > 0:05:10A great-looking object.
0:05:10 > 0:05:15Only £10, it's not expensive. Could be a fiver.
0:05:15 > 0:05:19He likes to run up, he likes to run down. Best find salesmen Tony, then.
0:05:20 > 0:05:22It's priced at a tenner.
0:05:22 > 0:05:27- I wonder whether you could do it for £5.- Erm...- To an old mate!
0:05:27 > 0:05:31- Yes.- Is that a yes?- Yes.- Lovely. I'm going to take it.
0:05:31 > 0:05:33Well, that was worth the jog downstairs.
0:05:33 > 0:05:37A first purchase of the day and the battle has begun.
0:05:37 > 0:05:42- Get off!- I've always liked gnomes. He is early, Margie. Very nice.
0:05:42 > 0:05:47- Get off!- Would you like me to make an offer? Oh, he's nice!
0:05:47 > 0:05:50- He's an early one. - It is not very early.
0:05:50 > 0:05:53When it comes to gnomes, Margie, and their history,
0:05:53 > 0:05:56- they are quite early and he's an early one.- I was having a joke.
0:05:56 > 0:05:59I picked him up and realised he was old because he's so badly painted.
0:05:59 > 0:06:04- Somebody's painted it.- It's deceptive.- It is.- Would you not...?
0:06:04 > 0:06:06- But you're not a gnome collector, are you?- £13.50.
0:06:06 > 0:06:08I might have a go at that.
0:06:08 > 0:06:11Where was it, Margie? I never saw that.
0:06:11 > 0:06:15I didn't think we'd have to separate this pair over a gnome!
0:06:15 > 0:06:19I don't really want this guy. I was having a laugh with Charles, really.
0:06:19 > 0:06:22And I thought he was brand new. But he's not brand new.
0:06:22 > 0:06:24He's just horribly painted.
0:06:24 > 0:06:27Before you decide, let's find out
0:06:27 > 0:06:30what Lynn can do for the box and mirror.
0:06:30 > 0:06:32It would have to be 65...
0:06:32 > 0:06:35- For the two?- For the two, yeah.
0:06:35 > 0:06:38Ahem, ahem! Don't forget old ugly mugs.
0:06:38 > 0:06:40You're never going to sell that, are you?
0:06:40 > 0:06:43You'd need a real mug punter to buy that.
0:06:43 > 0:06:46It's just that I happen to like gnomes. £69 and throw him in.
0:06:46 > 0:06:48OK, a deal.
0:06:48 > 0:06:51- Great stuff. - A cracking haul for Margie.
0:06:51 > 0:06:54Three items in her first shop, all for £69.
0:06:58 > 0:07:02Charles is back on the road and is making his way to Southwell
0:07:02 > 0:07:04in rural Nottinghamshire.
0:07:04 > 0:07:07He is visiting an imposing building with a bleak history.
0:07:07 > 0:07:12Behind these walls, a harsh new way of treating the poorest in society
0:07:12 > 0:07:16was created to tackle one of the biggest problems in Victorian Britain.
0:07:18 > 0:07:22- Hello.- Hi!- You must be Sam.- Hi. - Sam, I'm Charles Hanson.
0:07:22 > 0:07:26- Hi, Charles. Pleased to meet you. - What an amazing building!
0:07:26 > 0:07:30This is a workhouse and it was built in 1824,
0:07:30 > 0:07:33and it was to house the destitute in society.
0:07:35 > 0:07:37At the end of the 18th century,
0:07:37 > 0:07:40the labouring classes were at the mercy of the harvests,
0:07:40 > 0:07:43and poverty was regarded as an unavoidable part of life.
0:07:46 > 0:07:50At a time before the welfare state,
0:07:50 > 0:07:53hand-outs in local parishes of money and food were the only
0:07:53 > 0:07:57thing preventing the poor from being left to die on the streets.
0:07:59 > 0:08:02But in the newly industrialised world of the 19th century,
0:08:02 > 0:08:06poverty was also rife. The strain to provide for the poor
0:08:06 > 0:08:10created a crisis and a new solution was required.
0:08:10 > 0:08:14Some believed charity should be made less desirable.
0:08:14 > 0:08:17From that idea sprung a new type of poor relief,
0:08:17 > 0:08:21and Southwell was part of the social revolution that emerged.
0:08:22 > 0:08:25Reverend Beecher, who was local to Southwell and a clergyman,
0:08:25 > 0:08:28looked at a new way of a workhouse,
0:08:28 > 0:08:31and this was to be different.
0:08:31 > 0:08:35The way that the poor would ask for relief would change from being given
0:08:35 > 0:08:39help in their own homes to being compelled to come into a workhouse.
0:08:39 > 0:08:40This was the only choice.
0:08:41 > 0:08:45Beecher's idea meant that hand-outs were no longer provided.
0:08:45 > 0:08:48Instead, the underprivileged were brought here
0:08:48 > 0:08:52and made to work in return for food and shelter.
0:08:52 > 0:08:56This significantly reduced the cost of looking after the poor.
0:08:56 > 0:08:58But for this system to prosper,
0:08:58 > 0:09:02conditions in the workhouse needed to be so harsh that only the truly
0:09:02 > 0:09:06destitute would be willing to go there in the first place for help.
0:09:06 > 0:09:09If you came here as a family, it must've been the hardest decision
0:09:09 > 0:09:13you would ever make as a family, because you were separated once you were in.
0:09:13 > 0:09:16And you would only see each other once a week, on a Sunday,
0:09:16 > 0:09:18if you behaved yourself.
0:09:18 > 0:09:21Regardless of age, inmates, as they were known,
0:09:21 > 0:09:25were divided by gender and then into those able and those unable to work.
0:09:25 > 0:09:29Each group was kept separate at all times.
0:09:29 > 0:09:32It was a harsh life, with real rules and regulations.
0:09:32 > 0:09:35Is that what Beecher wanted?
0:09:35 > 0:09:38Was he behind the poor and looking after them?
0:09:38 > 0:09:42Well, yes, he was, because, you know, he gave a home
0:09:42 > 0:09:45and a place of refuge to people that were really in need,
0:09:45 > 0:09:49that potentially had nobody else to look after them.
0:09:49 > 0:09:53This building was designed to hold around 160 inmates.
0:09:53 > 0:09:56By the mid 19th century,
0:09:56 > 0:10:00there were hundreds of thousands of workhouse inmates across the country.
0:10:00 > 0:10:03Poverty in Victorian Britain was so severe that the shelter
0:10:03 > 0:10:07of the workhouse was the only thing that would keep them alive.
0:10:07 > 0:10:12- So this duvet cover actually feels like it's filled with...- Straw.
0:10:12 > 0:10:15- Straw. It's straw?- Yeah.- It's straw.
0:10:17 > 0:10:20Gosh, I mean...that's not very comfortable at all, is it?
0:10:20 > 0:10:22No comfort. You can, yeah...
0:10:24 > 0:10:27Golly, I just wonder how many eyes looked at the ceiling
0:10:27 > 0:10:30and thought, "Is this my life?"
0:10:30 > 0:10:34Because the bed is so uncomfortable and this cover I suppose
0:10:34 > 0:10:40did add warmth, but it's not overly nice, even against my rough hands.
0:10:40 > 0:10:42- But that was life.- It was.
0:10:42 > 0:10:46And it was better than a hedgerow, I should imagine.
0:10:46 > 0:10:49Work was considered important to improve the moral outlook
0:10:49 > 0:10:52of the inmates, but it also generated income.
0:10:52 > 0:10:54For around 10 hours each day,
0:10:54 > 0:10:58the inhabitants could be subjected to backbreaking physical labour.
0:10:58 > 0:11:00Some would work in the fields,
0:11:00 > 0:11:04while others would break up rocks to sell for road building.
0:11:04 > 0:11:08The phrase "money for old rope" comes from inmates teasing
0:11:08 > 0:11:12the fibres from ropes to be recycled and sold on.
0:11:12 > 0:11:15This was the price paid for basic food and shelter.
0:11:19 > 0:11:20It was a form of welfare.
0:11:20 > 0:11:23It provided relief and it provided warmth and shelter
0:11:23 > 0:11:27and a home for those that had no alternative.
0:11:27 > 0:11:31The system used here became the model for the treatment of the poor
0:11:31 > 0:11:33over the next century.
0:11:33 > 0:11:35Workhouses were rolled out across the country
0:11:35 > 0:11:38and all other forms of poor relief were abolished.
0:11:38 > 0:11:42Over time, they became feared and hated places.
0:11:42 > 0:11:48It was only with welfare reform and the creation of the National Health Service in the 1940s
0:11:48 > 0:11:54that these brutal workhouses, that were once viewed as revolutionary, were finally brought to an end.
0:12:02 > 0:12:07Close by, Margie is scouring the streets of Southwell to find
0:12:07 > 0:12:08herself something to purchase.
0:12:10 > 0:12:11This looks just the job.
0:12:14 > 0:12:19- Ah, Terry!- Hello!- Terry, I must say, how great to see that.
0:12:19 > 0:12:23The old-fashioned sign for an antique shop.
0:12:23 > 0:12:25Ah, yes. The barber's pole of the antiques world.
0:12:25 > 0:12:29- Good to meet you.- And you. Margie, and you're Terry?- Yeah, I'm Terry.
0:12:29 > 0:12:32Introductions over, what takes your fancy?
0:12:34 > 0:12:38- I see you've got lots of nice shiny stuff.- Yes! I like my silver.
0:12:38 > 0:12:41- Some of it's reasonably modern and other pieces are...- These are old.
0:12:41 > 0:12:44- There is a little piece there that is a Victorian.- That's lovely.
0:12:44 > 0:12:46But I can't see a price there.
0:12:46 > 0:12:49Oh, here we go! Time for a closer look, Terry?
0:12:51 > 0:12:54See, we've got that, we've got that on at £59. You'll get that at £59.
0:12:54 > 0:12:57Absolutely cracking nick, late Victorian.
0:12:57 > 0:13:00- What a lovely thing to give somebody for a gift, eh?- Mm.
0:13:00 > 0:13:03I'm trying to find the mark at the moment.
0:13:03 > 0:13:07Oh, yeah. Oh, God, that's nice. Nice little Chester hallmark.
0:13:07 > 0:13:11That's really nice. Right, OK. That's a little start.
0:13:11 > 0:13:14And I'm going to start having a little wander, if I may?
0:13:14 > 0:13:16Have a wander and if you spot anything,
0:13:16 > 0:13:19I'll always do a price for you. I'm well known for it.
0:13:19 > 0:13:21Aw, Terry, that's really nice.
0:13:21 > 0:13:25Two feet from the till and Margie's got her eye on some silver. Anything else?
0:13:25 > 0:13:28Right, let's just have a look.
0:13:28 > 0:13:30OK, what's this?
0:13:32 > 0:13:34This looks quite nice, doesn't it?
0:13:37 > 0:13:39It's a marriage.
0:13:39 > 0:13:42I think the base is rosewood.
0:13:42 > 0:13:46A different top to how it started life.
0:13:46 > 0:13:48Mahogany.
0:13:49 > 0:13:50Really?
0:13:50 > 0:13:53The ticket price is £65.
0:13:53 > 0:13:55If it's not a lot of money, it doesn't really matter
0:13:55 > 0:13:58about the marriage. But if you're spending a lot of money,
0:13:58 > 0:14:01you've got to have the right top with the right base.
0:14:01 > 0:14:05- Oh, yeah. One to think about, then. - What are these here?- The cards?
0:14:05 > 0:14:09They are, I believe, from 19... Well, First World War, 1914.
0:14:09 > 0:14:11I think they're called sweetheart cards.
0:14:11 > 0:14:15Sweetheart cards were postcards created for soldiers to send
0:14:15 > 0:14:20back home to their loved ones. These are dated from the First World War.
0:14:20 > 0:14:23- They haven't been written on. - So you bought them as a collection?
0:14:23 > 0:14:26Yeah, yeah. Some people prefer them to be written on.
0:14:26 > 0:14:30- Oh, my goodness me. A little bit dramatic, aren't they?- Mm.
0:14:30 > 0:14:33- But why not?- Why not? It was dramatic times!
0:14:33 > 0:14:36It was, yeah. So how much are those, Terry?
0:14:36 > 0:14:40- Well, it's £25 for the whole lot. - Doesn't sound a lot, does it? - I don't think it's a lot.- No.
0:14:40 > 0:14:44- I've also seen - in the other room - the little table.- Yeah.
0:14:44 > 0:14:48- Maybe we could go and look together? - Yeah, yeah. Have a look.
0:14:48 > 0:14:50Got something in your eye, Margie?
0:14:51 > 0:14:53So it's on at 65, I believe.
0:14:53 > 0:14:57Yeah, which is, you know, you'd be lucky if it gets that.
0:14:57 > 0:15:00- What are you looking at?- So, for the three...- For the three, yeah?
0:15:00 > 0:15:0285.
0:15:03 > 0:15:04Sorry?
0:15:06 > 0:15:08Well, the cards are bit...
0:15:08 > 0:15:1190, and they're all yours.
0:15:11 > 0:15:12Done it!
0:15:15 > 0:15:19And just like that, Margie polishes off a very productive day.
0:15:19 > 0:15:20Nighty-night.
0:15:24 > 0:15:29- It's another day and another county. - Wakey-wakey!
0:15:29 > 0:15:32We're shopping in our great country.
0:15:32 > 0:15:35- We are.- Give me an L.
0:15:35 > 0:15:39- Leicestershire. - Lincolnshire!
0:15:39 > 0:15:43Geography aside, Margie went straight to the head of the class
0:15:43 > 0:15:47yesterday, grabbing a silver hand mirror, a document trunk,
0:15:47 > 0:15:50a painted gnome, a silver sweetmeat dish,
0:15:50 > 0:15:53a set of World War I postcards and a side table -
0:15:53 > 0:15:58leaving her with £166.74.
0:15:59 > 0:16:03Charles had a rather more sedate start to proceedings,
0:16:03 > 0:16:05picking up a Limoges sugar box,
0:16:05 > 0:16:09so he still has a rather large
0:16:09 > 0:16:12£540.02 to spend today.
0:16:12 > 0:16:14And with some ground to make up,
0:16:14 > 0:16:19Charles is hopping out to Navenby to visit his first emporium of the day.
0:16:19 > 0:16:24- Pull in here, Margie. Thanks, Marge. See you later.- Bye-bye!
0:16:24 > 0:16:26- Bye!- See you!
0:16:30 > 0:16:33- Good morning, how are you?- Good morning, Charles!- Nice to see you.
0:16:33 > 0:16:35Nice to see you again.
0:16:35 > 0:16:38Do you know, I was about to say, it looks vaguely familiar.
0:16:38 > 0:16:41- You were here three or four years ago. You were.- Yes, I was.
0:16:41 > 0:16:43A long time ago.
0:16:43 > 0:16:46Hopefully, there's plenty of new stock for you by now, Charles.
0:16:50 > 0:16:54These are quite sweet. Let me hold one.
0:16:54 > 0:16:57If you close your eyes... and you grab the other one...
0:16:57 > 0:17:01- And I think these are cut, aren't they?- Yes.- So, they're not moulded.
0:17:01 > 0:17:05If they were moulded, they'd be quite smooth and not so crisp.
0:17:05 > 0:17:10On my collar here, a very clear hallmark, which is for Birmingham.
0:17:10 > 0:17:15And the date code, I suspect, is probably 1910, 1912.
0:17:15 > 0:17:20They're probably George V. One is slightly bigger than the other one.
0:17:20 > 0:17:23Hallmark for the same date code as well,
0:17:23 > 0:17:26so they are a pair, which is great to see.
0:17:26 > 0:17:30That's a pair of perfume bottles for a ticket price of £125.
0:17:32 > 0:17:33Laura, I think what I'll do...
0:17:33 > 0:17:36I will earmark these as a definitely-maybe.
0:17:36 > 0:17:40- Yes, absolutely, I'll pop them on the counter for you. - And then come back to them.
0:17:40 > 0:17:42But there's so much to see here in your shop.
0:17:42 > 0:17:45- I'm going to wander on. - I'd watch out, Laura.
0:17:45 > 0:17:47Charles looks like he's going to get stuck in this morning.
0:17:47 > 0:17:50This is a lovely mahogany box.
0:17:50 > 0:17:52On the inside, it's pine.
0:17:52 > 0:17:56And what's interesting is this dealer has put
0:17:56 > 0:18:02a flame mahogany two-section tea caddy, circa 1890.
0:18:02 > 0:18:06In fact, it's more like 1790.
0:18:06 > 0:18:11And of course, tea, back in 1790, was very expensive.
0:18:11 > 0:18:15Tea was kept under lock and key, to keep the butler out.
0:18:15 > 0:18:19You can buy - not a late Victorian tea caddy -
0:18:19 > 0:18:23but a Georgian tea caddy for £14.
0:18:23 > 0:18:27And that's amazing. Interesting.
0:18:27 > 0:18:31That's a great find, and he's not hanging about...
0:18:31 > 0:18:33Wow!
0:18:35 > 0:18:40What we've got here is probably a panel, which is very much
0:18:40 > 0:18:42in the Gothic taste.
0:18:42 > 0:18:46That panel may have come off a pew, but it's certainly
0:18:46 > 0:18:50a piece of timber that has come off something perhaps ecclesiastical.
0:18:50 > 0:18:58This big, heavily carved piece of yew, that is probably circa 1600.
0:18:58 > 0:19:01I really think it's that early.
0:19:01 > 0:19:05And of course, to celebrate the panel, what somebody has done,
0:19:05 > 0:19:12in maybe the 20th century, is put these oak legs
0:19:12 > 0:19:15and stretcher onto it.
0:19:15 > 0:19:20And it could be £65. But next to it is this.
0:19:20 > 0:19:26And I love this. This stool is tribal. And it reads here,
0:19:26 > 0:19:30"African? Stool?"
0:19:30 > 0:19:34All we know is it's £85.
0:19:34 > 0:19:39But it certainly is African and it's well-carved, with great colour.
0:19:39 > 0:19:41You could almost eat off it.
0:19:41 > 0:19:47It is such a well-patinated original African stool,
0:19:47 > 0:19:49of circa 1890.
0:19:49 > 0:19:51And that stool really has legs.
0:19:53 > 0:19:55Hey, he's unearthing a lot in here.
0:19:57 > 0:20:00That's nice.
0:20:00 > 0:20:02That's lovely, isn't it?
0:20:02 > 0:20:05This actually is Scottish.
0:20:05 > 0:20:07And it's just so different.
0:20:07 > 0:20:10What I like, again, if you look very closely,
0:20:10 > 0:20:14is the gold specks within the actual glass body.
0:20:14 > 0:20:18It's only priced at £75, which, to me,
0:20:18 > 0:20:23is a fairly conservative retail price.
0:20:23 > 0:20:26Importantly, has it got a good ring?
0:20:26 > 0:20:29Yes, it has! It's lovely.
0:20:29 > 0:20:34Again, I might go and query that, alongside the stools, with Laura.
0:20:34 > 0:20:38I think Laura's got a calculator. Let's start with the bowl.
0:20:38 > 0:20:41- Dean says he will do that for you... - Look at me...
0:20:41 > 0:20:43..at what he paid for it.
0:20:43 > 0:20:47- Oh, crikey!- And he'll do that for you at £40.- So, at cost price. Wowee, that's good!
0:20:47 > 0:20:50Have you got a pen? May I borrow a pen and paper?
0:20:50 > 0:20:53- Yes!- Because when I get a bit nervous and we talk money...
0:20:53 > 0:20:56- You need to start writing some notes.- My mind can go a bit blank.
0:20:56 > 0:21:01Yeah... Paper at the ready, Laura also offers £30 for the church stool
0:21:01 > 0:21:04and £40 for the African tribal fellow.
0:21:04 > 0:21:08- £10 for the tea caddy and knocks £55 off the scent bottles.- Wow!
0:21:08 > 0:21:12I need to lie down. I've got a sweat on. I've got a sweat on!
0:21:12 > 0:21:17That leaves Charles staring at a generous £174 discount.
0:21:17 > 0:21:22And I will say for £190, I'm going, going, gone.
0:21:22 > 0:21:25- Excellent!- Thank you so much, Laura. Thank you so much!
0:21:25 > 0:21:28- Hey, a huge haul for £190. - Thank you.
0:21:28 > 0:21:31- Very welcome. Aw!- See you, Laura. Take care. Bye!
0:21:31 > 0:21:33Keeps on kissing hands. What a charmer!
0:21:33 > 0:21:36Oh, dear! I feel a bit dizzy now. Take care.
0:21:36 > 0:21:38And no wonder. Top work, Charles!
0:21:39 > 0:21:43Margie has toddled north to the cathedral city of Lincoln,
0:21:43 > 0:21:48to learn about one of the most popular men in Victorian Britain.
0:21:48 > 0:21:52Grace Timmons is introducing Margie to the Alfred Tennyson Collection,
0:21:52 > 0:21:54which tells of a man
0:21:54 > 0:21:58who not only became one of our most celebrated poets,
0:21:58 > 0:22:01but changed the way the public viewed
0:22:01 > 0:22:03and interacted with poetry forever.
0:22:03 > 0:22:07In this corner, we've got the books that Tennyson grew up with.
0:22:07 > 0:22:11- This is his father's library, which was in Somersby.- Yeah.
0:22:11 > 0:22:17Tennyson was born in 1809, he was one of 11 children born in 13 years.
0:22:17 > 0:22:21Gosh! Tennyson's father was a scholar, who tutored Tennyson
0:22:21 > 0:22:24and his brothers with a classical education.
0:22:24 > 0:22:26I've got a book here that I can show you.
0:22:26 > 0:22:31It's Virgil, which indicates a lot of his approach to the study
0:22:31 > 0:22:33that his father set him to do.
0:22:33 > 0:22:36- So we see a lot of...- He made comments all the time.- Yeah.
0:22:36 > 0:22:39And there's a lot of translation and comments here
0:22:39 > 0:22:41and this is probably his teenage work.
0:22:41 > 0:22:45But what I like best, though, is if you look at the front,
0:22:45 > 0:22:48apart from all the doodles that are here, we've got this,
0:22:48 > 0:22:53which says Tennyson, Somersby, in Lincolnshire, in England,
0:22:53 > 0:22:56in Europe, in the world, in the air, in space!
0:22:56 > 0:23:00So, he's got a bit of attitude, hasn't he?
0:23:00 > 0:23:03But life in the rectory wasn't always a happy place.
0:23:03 > 0:23:05Alfred's father is believed
0:23:05 > 0:23:08to have been prone to alcoholism and violence.
0:23:08 > 0:23:10Poetry was Alfred's escape.
0:23:10 > 0:23:14At the age of 18, he published a collection of poems,
0:23:14 > 0:23:17with his brothers, before leaving home for Cambridge University.
0:23:17 > 0:23:19When he arrived in Cambridge,
0:23:19 > 0:23:22suddenly he's meeting a whole group of young men who are
0:23:22 > 0:23:26like-minded but who had a very different background to him.
0:23:26 > 0:23:31So, they're urbane, sophisticated, well travelled. But they really enjoyed what he was writing.
0:23:31 > 0:23:35And Arthur Hallam, a friend he made, who became his best friend,
0:23:35 > 0:23:39was particularly constructive about Tennyson's work
0:23:39 > 0:23:43and very supportive of his creativity.
0:23:43 > 0:23:45They became inseparable friends
0:23:45 > 0:23:48but when Hallam died suddenly at the age of 22,
0:23:48 > 0:23:50Tennyson was hit hard by grief.
0:23:50 > 0:23:54He then embarked on a journey of poetic therapy,
0:23:54 > 0:23:58that would last 15 years and result in one of his most celebrated works.
0:24:00 > 0:24:03Probably his most famous couplet is from In Memoriam,
0:24:03 > 0:24:06when he finally decided, the grief he was experiencing from
0:24:06 > 0:24:09the death of Hallam was kind of worth it. He says,
0:24:09 > 0:24:12I felt it, when I sorrow'd most,
0:24:12 > 0:24:16'Tis better to have loved and lost, Than never to have loved at all.
0:24:16 > 0:24:20Published in 1850, his work became an instant success.
0:24:20 > 0:24:24His popularity was cemented that same year, when Queen Victoria
0:24:24 > 0:24:27named him Wordsworth's successor as poet laureate,
0:24:27 > 0:24:30thanks in part to the support of Prince Albert.
0:24:30 > 0:24:33So, this is a letter from Prince Albert to Tennyson,
0:24:33 > 0:24:36asking him to write his name in his copy of Idylls of the King.
0:24:36 > 0:24:39He actually sends him his copy of Idylls of the King.
0:24:39 > 0:24:41- He's not asking for a signed copy. - So, do it!
0:24:41 > 0:24:44Yes and he says, "You'll add a peculiar value to this book."
0:24:44 > 0:24:48So, it's a very interesting autograph request, I think.
0:24:48 > 0:24:51Tennyson was now a voice of the people.
0:24:51 > 0:24:53In the Crimean War, he put this position to good use
0:24:53 > 0:24:57when he wrote of the ill-fated miscommunication that sent
0:24:57 > 0:25:00British cavalry headlong into the Russian troops with heavy losses.
0:25:00 > 0:25:04The resulting poem was The Charge Of The Light Brigade.
0:25:05 > 0:25:07- Is that his original draft? - Yes, it is.
0:25:07 > 0:25:10This is a particularly interesting one
0:25:10 > 0:25:13because it's got the writing of his wife, as well as his own writing.
0:25:13 > 0:25:18He says it was written after reading the first report of The Times.
0:25:18 > 0:25:20The Crimean War was the first conflict to be covered
0:25:20 > 0:25:23by photographers and reporters.
0:25:23 > 0:25:25Tennyson's poem was published
0:25:25 > 0:25:28in the newspaper just weeks after the tragic event.
0:25:28 > 0:25:32"Forward, the Light Brigade!" Was there a man dismay'd?
0:25:32 > 0:25:35Not tho' the soldier knew Someone had blunder'd:
0:25:35 > 0:25:39Theirs not to make reply, Theirs not to reason why,
0:25:39 > 0:25:42Theirs but to do and die:
0:25:42 > 0:25:47Into the valley of Death Rode the six hundred.
0:25:47 > 0:25:51It helped shape public perception of the entire war.
0:25:51 > 0:25:55His work signalled a new journalistic style that changed people's
0:25:55 > 0:25:57engagement with poetry.
0:25:57 > 0:26:01It was so successful that soldiers took copies of it with them to war.
0:26:01 > 0:26:04Tennyson had become one of the most recognisable
0:26:04 > 0:26:08and influential men in the country, via poetry.
0:26:08 > 0:26:12I think it's difficult for people to comprehend now just how popular
0:26:12 > 0:26:14a poet could be in those days.
0:26:14 > 0:26:17But in fact, he had the popularity of a songwriter
0:26:17 > 0:26:19because he was writing the songs, really,
0:26:19 > 0:26:22that, in the time of non-recorded music, that people would be
0:26:22 > 0:26:25able to use to describe what was going on in their lives.
0:26:25 > 0:26:28So, it meant that when it came to his last illness and death,
0:26:28 > 0:26:31it was followed in the newspapers.
0:26:31 > 0:26:35And his family labelled and kept lots of quite intimate things,
0:26:35 > 0:26:40really, to do with his final illness. On this box is the label,
0:26:40 > 0:26:45"Last medicine drop glass used by him and for him."
0:26:45 > 0:26:48And that's the date of his death, October 6th, 1892.
0:26:48 > 0:26:50Very Victorian.
0:26:50 > 0:26:55And in here, is the handkerchief which covered the dear face.
0:26:55 > 0:26:59And that was put on his face when he died.
0:26:59 > 0:27:03- And this is meant to be the book that was in his hands when he died. - When he died...
0:27:03 > 0:27:07And his son has actually marked the page that was meant to be
0:27:07 > 0:27:11open on his deathbed, in his hands.
0:27:11 > 0:27:14So, to the very end, he was reading.
0:27:14 > 0:27:17That was what they wanted to portray.
0:27:18 > 0:27:2211,000 people applied for tickets to attend Tennyson's funeral
0:27:22 > 0:27:25at Westminster Abbey.
0:27:25 > 0:27:28His work changed the immediacy and relevance of poetry
0:27:28 > 0:27:33and his immortal lines continue for generations to appreciate.
0:27:36 > 0:27:39Meanwhile, Charles is 20 miles north,
0:27:39 > 0:27:41nestled on the banks of the River Trent
0:27:41 > 0:27:43in a place called Gainsborough.
0:27:43 > 0:27:46Once the location of Britain's most inland port,
0:27:46 > 0:27:51it is now home to what claims to be Europe's largest antiques centre.
0:27:51 > 0:27:52Stand by.
0:27:52 > 0:27:54Where do I start?
0:27:59 > 0:28:01Something to really impress.
0:28:02 > 0:28:05There's some wonderful things, it's just where to start.
0:28:05 > 0:28:11But what I'm really after is that object which just speaks history.
0:28:12 > 0:28:15It'll be here. It will be here.
0:28:15 > 0:28:18Perhaps some help from Diane will keep you on track.
0:28:18 > 0:28:21I quite like that little Georgian cordial glass down there,
0:28:21 > 0:28:23- that's quite a sweet thing, isn't it?- It is.
0:28:23 > 0:28:26But it's almost like what I would call a toasting glass.
0:28:26 > 0:28:30Don't you agree? It's got quite a heavy base.
0:28:30 > 0:28:32So almost, to come to attention...
0:28:32 > 0:28:35CLASS CLINKS
0:28:35 > 0:28:37- Perfect. - I shall make an announcement.
0:28:37 > 0:28:38I would like to declare...
0:28:38 > 0:28:40you are a fine lady.
0:28:40 > 0:28:42And that's almost what it was.
0:28:42 > 0:28:46And of course, the Georgians did enjoy their different
0:28:46 > 0:28:51air twists and other wine glasses of the period. It is a lead glass.
0:28:51 > 0:28:56I would say it dates to around 1780, and it's £23.
0:28:56 > 0:29:01But if I said to you, what would be the best price on a toasting glass
0:29:01 > 0:29:05made, let's say, 10 years before the French Revolution?
0:29:05 > 0:29:08- And I'd say £21.- Really?
0:29:08 > 0:29:10There we go, that's really good.
0:29:10 > 0:29:12- Could I reserve it for a wee while?- Of course.
0:29:12 > 0:29:15And then just possibly come back and make an announcement.
0:29:15 > 0:29:17I might buy it.
0:29:17 > 0:29:20Well, we'll wait with bated breath then.
0:29:20 > 0:29:22Oh, look, Margie has arrived.
0:29:25 > 0:29:28If something leaps out at me, I will buy,
0:29:28 > 0:29:30but I've actually got enough...
0:29:30 > 0:29:33for this leg. But gosh, look at it.
0:29:33 > 0:29:37Yes, with six lots tucked away, there's no pressure.
0:29:37 > 0:29:39But you never know what you might find, Margie.
0:29:39 > 0:29:41- Hello, how are you?- Very well.
0:29:41 > 0:29:44Hold on, can I help you at all?
0:29:44 > 0:29:48- What a lovely place. - Isn't it?- Are you enjoying it?
0:29:48 > 0:29:50- How's your day been so far? - Not too bad. How's your day been?
0:29:50 > 0:29:53Isn't it amazing? You know this is one of four buildings?
0:29:53 > 0:29:55- Really?- What are you doing here?
0:29:55 > 0:29:58Don't be silly, course there isn't! Why are you always teasing me?
0:29:58 > 0:30:01- It's huge, this building is huge. - You're trying to put me off.
0:30:01 > 0:30:04Get out of here, Margie Cooper! See you later.
0:30:04 > 0:30:08- Are there more buildings?- Yes, there are. There are three more buildings.
0:30:08 > 0:30:09- As big as this?- Yes.
0:30:09 > 0:30:11There are more buildings.
0:30:11 > 0:30:13Good gracious me.
0:30:13 > 0:30:16Overwhelming, eh?
0:30:20 > 0:30:23This is quite a good place.
0:30:29 > 0:30:32Crikey, you could get lost in here.
0:30:35 > 0:30:37My word.
0:30:37 > 0:30:38Numbered coat hooks.
0:30:40 > 0:30:43Must be from the school, mustn't it?
0:30:43 > 0:30:45£75.
0:30:45 > 0:30:48It's quite nice having them numbered though.
0:30:48 > 0:30:50Put that in a kitchen.
0:30:50 > 0:30:53No. No.
0:30:53 > 0:30:55Maybe a friend for your gnome.
0:30:55 > 0:30:57Dogs?
0:30:57 > 0:31:00So convincing, but they are brand new.
0:31:00 > 0:31:03Well, Margie, you have quite enough already,
0:31:03 > 0:31:07so if you can find your way out, perhaps you should leave it at that.
0:31:07 > 0:31:08Bye-bye!
0:31:11 > 0:31:15Diane, just over a year, I wonder, if I have a quick peek,
0:31:15 > 0:31:17I've seen a toasting glass down there,
0:31:17 > 0:31:20but the other glass which is interesting because the dealer
0:31:20 > 0:31:23has put 19th-century Victorian -
0:31:23 > 0:31:25it could be an 18th-century glass.
0:31:28 > 0:31:29There we are.
0:31:29 > 0:31:32"Victorian double-air twist-stem ale glass."
0:31:32 > 0:31:36A big tell-tale sign is the foot room must always be wider
0:31:36 > 0:31:40than the rim of the bowl - or it's a very good guideline.
0:31:40 > 0:31:42So I'm happy that's 18th century.
0:31:42 > 0:31:45It's actually quite heavy. Lead glass, not soda.
0:31:45 > 0:31:47Actually, I quite like that.
0:31:47 > 0:31:50- Got to be careful. It's got a big chip there. Can you see?- Yeah.
0:31:50 > 0:31:54Priced at £58. What could be the best on that?
0:31:54 > 0:31:56- 52.- 52.
0:31:56 > 0:32:02If I said to you, I was going to put this with the other toasting glass,
0:32:02 > 0:32:04that makes 73.
0:32:04 > 0:32:07- Would you round it off to 70? - We can't, I'm sorry,
0:32:07 > 0:32:09- it's two different dealers. - Sure. OK.
0:32:09 > 0:32:12Never mind, Charles, nice try.
0:32:13 > 0:32:17I'll take them. Two together. Yeah, put it there.
0:32:17 > 0:32:20Thank you very much, Diana. Fine. Thank you.
0:32:20 > 0:32:23The old Hanson charm never wanes.
0:32:23 > 0:32:26Two glasses for £73 rounds off our shopping.
0:32:28 > 0:32:30And what a spree it's been.
0:32:32 > 0:32:35Margie spent £159 on a hand mirror,
0:32:35 > 0:32:37a document trunk,
0:32:37 > 0:32:38a painted gnome,
0:32:38 > 0:32:41a silver sweetmeat dish,
0:32:41 > 0:32:42a side table
0:32:42 > 0:32:46and a collection of First World War postcards.
0:32:46 > 0:32:51Charles spent £268 on a Limoges sugar box
0:32:51 > 0:32:54which he's pairing with the wooden tea caddy,
0:32:54 > 0:32:56a pair of scent bottles,
0:32:56 > 0:32:58a Scottish glass bowl,
0:32:58 > 0:33:00an ecclesiastic stool,
0:33:00 > 0:33:02a tribal stool,
0:33:02 > 0:33:05and his final lot will be his toasting glass
0:33:05 > 0:33:06and a Victorian wine glass.
0:33:06 > 0:33:09What do they think of each other's purchases?
0:33:09 > 0:33:13If I was a gambling man, I would say, "Go, Hanson, go!"
0:33:13 > 0:33:15But, Margie, you never know.
0:33:15 > 0:33:16She's a bit of a lethal weapon
0:33:16 > 0:33:20and I do like very much her table and her silverware.
0:33:20 > 0:33:24Yes, I'm quietly confident tomorrow that I will make small profits.
0:33:24 > 0:33:27And I'm not that worried about his.
0:33:27 > 0:33:32Apart from maybe that stool, the African stool. They can be a worry.
0:33:32 > 0:33:35So hopefully that all goes wrong for him.
0:33:37 > 0:33:39After starting out in Nottingham,
0:33:39 > 0:33:43our pair have zipped their way through Nottinghamshire
0:33:43 > 0:33:48up and around Lincolnshire and ending this leg at an auction in Lincoln.
0:33:48 > 0:33:52- Margie, I honestly can't believe how misty it is.- Awful.
0:33:52 > 0:33:57Many years ago at school, I had a maths teacher called Mr Misty.
0:33:57 > 0:33:59Maybe there's a formula there.
0:33:59 > 0:34:04- Maybe Charles x Margie = profit all around.- Mr Misty!
0:34:05 > 0:34:09Well, let's hope that calculation all adds up to a thrilling encounter
0:34:09 > 0:34:12at Unique Auctions in Lincoln.
0:34:12 > 0:34:14Come on, follow your lion. I'll follow this one.
0:34:18 > 0:34:21Margie spent £159 on six lots.
0:34:23 > 0:34:27Charles also picked up six lots for £268.
0:34:27 > 0:34:31Unfortunately, his beautiful glass bowl was broken on its way
0:34:31 > 0:34:35to the auction and has been given an insurance valuation of £50.
0:34:35 > 0:34:36So the bowl may be shattered,
0:34:36 > 0:34:40but Charles does get a £10 profit to start him off.
0:34:40 > 0:34:45What does auctioneer Terence Woodcock make of the remaining items?
0:34:45 > 0:34:46Smashing?
0:34:46 > 0:34:49Postcards, very speculative lot, the postcards.
0:34:49 > 0:34:53They could do £30. They could to £80.
0:34:53 > 0:34:56The toasting glass is an early-Georgian toasting glass.
0:34:56 > 0:35:02The hair-twist wine glass. Very nice. Could be between £60 to £80.
0:35:02 > 0:35:05We'll soon find out. It's time to take your seats.
0:35:05 > 0:35:07The auction is about to start.
0:35:09 > 0:35:10Hold tight.
0:35:12 > 0:35:15Our first lot of the day is Margie's silver sweetmeat dish.
0:35:15 > 0:35:1820 I've got there. 25. 30.
0:35:18 > 0:35:2135. 40, fresh bid. At 45.
0:35:21 > 0:35:24- At 45. 50. - Marge, you're flying.
0:35:24 > 0:35:28- You're flying.- At 50, I'll take five now. At £50, have you all done?
0:35:28 > 0:35:30I'm selling, the second row.
0:35:30 > 0:35:32- That's good, that's good.- Fish!
0:35:32 > 0:35:37Is it fish? Margie, Margie, like a flying fish, you have flown.
0:35:37 > 0:35:40It may be small fry to you, Margie,
0:35:40 > 0:35:42but that's a decent profit to get you started.
0:35:42 > 0:35:45The day has started well.
0:35:45 > 0:35:49Well, surely you can be optimistic about your silver hand mirror.
0:35:49 > 0:35:54£40 straight in. At £40. I'll take five now. 50 now.
0:35:54 > 0:35:58- 55 now.- Wow, Margie. - I'll take 60 now.
0:35:58 > 0:35:59At 55, have you all done?
0:35:59 > 0:36:02£55, it is yours.
0:36:02 > 0:36:04A good steady profit.
0:36:04 > 0:36:06That's all it's worth in that condition.
0:36:06 > 0:36:11Charles's first purchase is up, the cut glass perfume bottles. Lovely.
0:36:11 > 0:36:15You'll get...maybe get your money back.
0:36:15 > 0:36:18- Who'll start me at £100 the pair? - Come on, come on.
0:36:18 > 0:36:21- Come on, 30. 30 I've got there. - I'm in trouble, come on, let's go.
0:36:21 > 0:36:25- At 40...- Come on!- Ssh!- Sorry. - LAUGHTER
0:36:25 > 0:36:27Let the man do his job, Charles.
0:36:27 > 0:36:31- I'm so embarrassed. - I'm doing my best.
0:36:31 > 0:36:3440 I've got there. 40. At 45.
0:36:34 > 0:36:38At 55 I've got there. 55, I'm looking for 60 I've got.
0:36:38 > 0:36:40At 60, I'll take five. Now 65 in the front.
0:36:40 > 0:36:44I'm looking for 70 now. At 65 I sell.
0:36:44 > 0:36:46Sold.
0:36:46 > 0:36:51That's a small loss. But there's plenty of time to make that back.
0:36:51 > 0:36:55- How often do you make a loss? - Margie...- I'm really enjoying it.
0:36:55 > 0:36:59Margie, it could be a big one loss today, I tell you.
0:36:59 > 0:37:03Can Margie fare any better with her First World War postcards?
0:37:03 > 0:37:0750 straight in. 50 I've got there. At £50. I'll take five now.
0:37:07 > 0:37:09At 55, straight in at 55.
0:37:09 > 0:37:11I'll take 60. 60, fresh bid.
0:37:11 > 0:37:13At £60 in the room, I'll take five.
0:37:13 > 0:37:15Marge, I'm in the bunker.
0:37:15 > 0:37:17I'm staying in the bunker, I'm not coming out yet.
0:37:17 > 0:37:1970 back in. At 75, 75, 80.
0:37:19 > 0:37:2180, I'm looking for five. 85.
0:37:21 > 0:37:25Margie, you know what, sometimes there is an escape to victory.
0:37:25 > 0:37:27And I'm going to salute you.
0:37:27 > 0:37:29I sell to the gentleman at £85.
0:37:29 > 0:37:32Well, that bought the sale room to attention,
0:37:32 > 0:37:35and a cracking profit for Margie. Well done.
0:37:35 > 0:37:37Hold on, Margie. I'm surrendering now.
0:37:40 > 0:37:41Well, there's no giving up,
0:37:41 > 0:37:45and your sugar box and tea caddy could just get you back in the game.
0:37:45 > 0:37:49Straight in at 10, 12, 14, 16, 18.
0:37:49 > 0:37:53- I need some help now.- 20, fresh bid. - Come on, let's move.
0:37:53 > 0:37:57- Get the caddy out, man. - 28, £30. At £30, are you all done?
0:37:57 > 0:38:00It's in the doorway at 30, and I sell at £30.
0:38:00 > 0:38:06Doubling his money. This could be the start of a comeback for Mr Hanson.
0:38:06 > 0:38:10The rollercoaster is now at the big dipper and I'm about to come down.
0:38:10 > 0:38:13I thought we were supposed to be going up, not down.
0:38:13 > 0:38:14That's it, Margie, going up.
0:38:14 > 0:38:17It almost started a fight in the antique shop,
0:38:17 > 0:38:21but will there be a brawl in the sale room for Margie's gnome?
0:38:21 > 0:38:23Who'll start me at £50 on the garden gnome?
0:38:23 > 0:38:25- £30 on the garden gnome? - Get out of here.
0:38:25 > 0:38:27Come on, somebody, please.
0:38:27 > 0:38:3010 on the garden gnome?
0:38:30 > 0:38:34Thank you, sir. At 12, 14, 16, 18, 20, 22.
0:38:34 > 0:38:39- Oh, no.- At 26, 28.
0:38:39 > 0:38:42£30. At £30, £30 still in the doorway.
0:38:42 > 0:38:47- That's brilliant.- At £30. £30 it is. Have you all done?
0:38:47 > 0:38:48It's Margie's lucky day.
0:38:48 > 0:38:51They might not be paying for the paintwork,
0:38:51 > 0:38:53but that's still a great profit.
0:38:53 > 0:38:56- It's rolling in.- And the gap here in Lincolnshire
0:38:56 > 0:38:58- is widening and widening. - It's rolling in.
0:38:58 > 0:39:02A chance for Charles to claw back with his two glasses.
0:39:02 > 0:39:04£30, I've got. At £30. At 30,
0:39:04 > 0:39:08- I'm expecting this to make 100. - Come on.- At £30.
0:39:08 > 0:39:12- And 35, 45, 50, 55. - Come on, let's move, come on.
0:39:12 > 0:39:15The little twist one used to make 200.
0:39:15 > 0:39:20- Absolutely. Come on, let's go. - At 65. At 65 and I sell now at £65.
0:39:21 > 0:39:24Oh, dear me!
0:39:25 > 0:39:29That's an amazing price for two glasses that are over 200 years old.
0:39:30 > 0:39:33- Oh, dear, I don't know what to say. - I could cry.
0:39:34 > 0:39:39Yeah, we feel your sympathy, Margie. Time for your document trunk.
0:39:39 > 0:39:4130 I've got. At £30.
0:39:41 > 0:39:44- I'll take five now.- Profit? Is that a profit?- At £30, are we all done?
0:39:44 > 0:39:48What's wrong with this? 35, thank you. 40 with the original bidder.
0:39:48 > 0:39:5045, I'll take 50 now.
0:39:50 > 0:39:53At 45, I'm going to sell it, and I think it's very, very cheap,
0:39:53 > 0:39:55at 45, but there you are.
0:39:55 > 0:39:59That's another good profit and edges Margie further into the lead.
0:39:59 > 0:40:01Well chuffed.
0:40:02 > 0:40:05Time for the first of Charles's wooden stools.
0:40:05 > 0:40:0720 I've got there. At £20.
0:40:07 > 0:40:11- Let's go.- 25 straight in.
0:40:11 > 0:40:1430. 35. 38, thank you.
0:40:14 > 0:40:1638, eight pounds profit.
0:40:16 > 0:40:18I'll take one if it will help.
0:40:18 > 0:40:19It might do.
0:40:19 > 0:40:23I'll tell you the provenance afterwards. 41.
0:40:23 > 0:40:25I'll tell you as well. 42.
0:40:25 > 0:40:29- When the going gets tough, squeeze a bit.- 43.
0:40:30 > 0:40:34- 44. 45.- He's really working hard.
0:40:34 > 0:40:39Now, after what I've done, you've got to go 46. 46.
0:40:39 > 0:40:41We could be up to 200 in a minute.
0:40:41 > 0:40:43Good lad. I like your style.
0:40:45 > 0:40:48Stylish work from Terence and a profit for Charles.
0:40:48 > 0:40:51- Happy, Margie, I'm happy. - Happy.- Very happy indeed.
0:40:51 > 0:40:54Margie wasn't convinced by the married sidetable,
0:40:54 > 0:40:57but will it come back to haunt her?
0:40:57 > 0:40:59I'm not holding out, but I think I might be lucky
0:40:59 > 0:41:01because it's my lucky day, isn't it?
0:41:01 > 0:41:04I've got the lady at 20, 25 straight in.
0:41:04 > 0:41:06I'll take 30 now, at £30.
0:41:06 > 0:41:0835, 35, I'll take 40. £40 I've got.
0:41:08 > 0:41:12At £40 now. At £40, come on now, at £40.
0:41:12 > 0:41:15- 45.- 45, 45, £50.
0:41:15 > 0:41:18At 50. Have you all done, at £50?
0:41:18 > 0:41:20- That's good.- Made a profit all day.
0:41:20 > 0:41:24That nice little profit seals a 100% record on the day.
0:41:26 > 0:41:30Something special is about to happen. I can feel it.
0:41:30 > 0:41:31Will you stop it?
0:41:31 > 0:41:35No pressure then, but Charles's final lot is his big hope
0:41:35 > 0:41:38and the last chance to catch Margie today.
0:41:38 > 0:41:42- 50 I've got, thank you. At £50 now. - Come on, guys.- At 50.
0:41:42 > 0:41:46- At 55. At 55. - Need to run a bit here.
0:41:46 > 0:41:5165, fresh bid. At 65. 70. At 70.
0:41:51 > 0:41:53I'll take two if it will help.
0:41:53 > 0:41:5570 I've got. Back in, 72.
0:41:55 > 0:41:5875, I'm looking for now.
0:41:58 > 0:42:02No, at 72 and I sell. At 72.
0:42:02 > 0:42:04- That's our game over, Margie. - Not bad.
0:42:04 > 0:42:08That's a good profit, but was it enough? Time to find out.
0:42:09 > 0:42:13Give me a high five. Margie, give me a high five. There we go.
0:42:13 > 0:42:14Keep going, get out of here.
0:42:14 > 0:42:18Charles started with £545.02,
0:42:18 > 0:42:23and after auction costs he made 96p profit - ha! -
0:42:23 > 0:42:27giving him a total of £545.98p.
0:42:30 > 0:42:35Margie had £325.74p at the start of this leg.
0:42:35 > 0:42:40After auction costs, she racked up a fantastic profit of £99.30p.
0:42:40 > 0:42:44She wins the day and edges ever closer to Charles,
0:42:44 > 0:42:46going into the final leg.
0:42:46 > 0:42:50- What a turn-up for the books. - I don't know what to say, Margie. - I won at auction.
0:42:52 > 0:42:56- Another day yet.- Exactly, Margie. - There's another day.- One big day.
0:42:56 > 0:42:59- Bye, everybody! - Bye! See you, bye!
0:42:59 > 0:43:01Cheerio!
0:43:03 > 0:43:07Next time, the last chance to shop before the final auction...
0:43:07 > 0:43:10- Let's just go for it.- ..as Margie races to the finish line...
0:43:10 > 0:43:12I'm going to take a chance.
0:43:12 > 0:43:14..Charles walks all over the competition.
0:43:14 > 0:43:17The last thing I want is Hanson on stilts.