Browse content similar to Episode 9. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
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 | 0:00:07 | |
With £200 each, a classic car, and a goal - to scour for antiques. | 0:00:07 | 0:00:11 | |
Joy! | 0:00:11 | 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 | 0:00:18 | |
There will be worthy winners and valiant losers. | 0:00:19 | 0:00:23 | |
So, will it be the high road to glory or the slow road to disaster? | 0:00:23 | 0:00:28 | |
The hand brake's on. | 0:00:28 | 0:00:30 | |
This is Antiques Road Trip! | 0:00:30 | 0:00:31 | |
Yeah! | 0:00:34 | 0:00:35 | |
Welcome to a right old ramble around the country, | 0:00:35 | 0:00:39 | |
in the company of delectable antiques experts, Charles and Margie. | 0:00:39 | 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 | 0:00:50 | |
He's full of advice too. | 0:00:50 | 0:00:52 | |
-Be yourself. Live the dream. -And make sure you don't win. | 0:00:52 | 0:00:56 | |
I...you know, always think about what you're looking for. | 0:00:56 | 0:00:59 | |
Like yourself, you're in good condition. | 0:00:59 | 0:01:03 | |
You're of a certain quality. | 0:01:03 | 0:01:05 | |
You are becoming that fashionable lot, Margie Cooper. | 0:01:05 | 0:01:09 | |
I don't know whether to be flattered or offended! | 0:01:09 | 0:01:12 | |
Either way, dealer and Cheshire girl | 0:01:12 | 0:01:15 | |
Margie Cooper is playing catch up on this road trip. | 0:01:15 | 0:01:18 | |
-I feel like I'm going to break it, Mike. -No, I'm just worried that... | 0:01:19 | 0:01:23 | |
You'll lose the sale! | 0:01:23 | 0:01:24 | |
Behind the wheel of their dashing 1959 Elva is the man in front, | 0:01:24 | 0:01:29 | |
auctioneer and bright spark Charles Hanson. | 0:01:29 | 0:01:32 | |
Sometimes, when you're going into a battle, | 0:01:32 | 0:01:35 | |
you need your mates with you. | 0:01:35 | 0:01:37 | |
Yeah... | 0:01:37 | 0:01:38 | |
Our duo set off on this road trip with £200 each. | 0:01:38 | 0:01:42 | |
After three trips to auction, Margie has £325.74. | 0:01:42 | 0:01:47 | |
But with a clean sweep of victories so far, | 0:01:50 | 0:01:53 | |
Charles is boasting £545.02. | 0:01:53 | 0:01:57 | |
Their epic road trip started off | 0:01:59 | 0:02:01 | |
in the Leicestershire town of Melton Mowbray. | 0:02:01 | 0:02:04 | |
They've been touring around six counties | 0:02:04 | 0:02:07 | |
and will end their week in Leicester. | 0:02:07 | 0:02:09 | |
In this penultimate leg, our pair start off in Nottingham | 0:02:12 | 0:02:16 | |
and will make their way towards auction in Lincoln. | 0:02:16 | 0:02:19 | |
-This is the River Trent. -Really? | 0:02:19 | 0:02:21 | |
We are now literally - and over there, | 0:02:21 | 0:02:24 | |
-that must be the forest where Robin Hood hung out. -Oh, lovely. | 0:02:24 | 0:02:26 | |
He's going to be in there, is he? | 0:02:26 | 0:02:28 | |
You are the current, present-day Maid Marian. | 0:02:28 | 0:02:31 | |
And I can be your Robin Hood. | 0:02:31 | 0:02:34 | |
That would be a sight to see. Ha! | 0:02:34 | 0:02:37 | |
Let's see what riches our experts can uncover in Nottingham. | 0:02:37 | 0:02:42 | |
-Look at this! It's amazing! My jacket's off, Margie. -Coats off. | 0:02:42 | 0:02:46 | |
-Can I go for a wander? Is that OK? -Good morning! | 0:02:46 | 0:02:49 | |
They're on top form this morning. | 0:02:49 | 0:02:51 | |
Look at him go! | 0:02:54 | 0:02:55 | |
What do you think? | 0:02:57 | 0:02:58 | |
Mmm... | 0:02:58 | 0:03:00 | |
Yeah, I quite like that. | 0:03:00 | 0:03:01 | |
Really? | 0:03:01 | 0:03:02 | |
Oh, look here. Let's see if he growls. | 0:03:02 | 0:03:06 | |
Right, here we go... | 0:03:06 | 0:03:08 | |
BEAR GROWLS WEAKLY | 0:03:08 | 0:03:11 | |
He sounds like a flock of sheep! | 0:03:11 | 0:03:14 | |
Puzzling, that(!) | 0:03:14 | 0:03:16 | |
HE BLOWS HORN TUNELESSLY | 0:03:21 | 0:03:24 | |
Lordy, you need a mouthpiece. | 0:03:24 | 0:03:26 | |
Now, what's this box? And it says Derbyshire Shrievalty. | 0:03:26 | 0:03:32 | |
Or SHRIVE-alty... Francis Douglas Ley, Esquire, | 0:03:32 | 0:03:37 | |
1956-1957. | 0:03:37 | 0:03:40 | |
Something to do with the Sheriff's office or something? And it's £29. | 0:03:40 | 0:03:44 | |
What else has caught Margie's eye? | 0:03:45 | 0:03:47 | |
That's really nice. Lovely bit of Art Nouveau silver there. | 0:03:47 | 0:03:50 | |
With that lovely Art Nouveau lady at the bottom. | 0:03:50 | 0:03:54 | |
It's just a little bit... | 0:03:54 | 0:03:56 | |
I mean, that could be replaced quite easily. | 0:03:56 | 0:03:59 | |
£69, Art Nouveau, 1910, very, very nice indeed. | 0:04:01 | 0:04:06 | |
Time to speak to assistant Lynn. | 0:04:08 | 0:04:10 | |
It's verging on rude if I said £35. | 0:04:10 | 0:04:13 | |
Right, we'll give it a go. | 0:04:15 | 0:04:18 | |
While Lynn calls the dealer to see what can be done, | 0:04:18 | 0:04:21 | |
what has Charles found? | 0:04:21 | 0:04:23 | |
Isn't that a pretty shape? There's one word I've got for that. | 0:04:24 | 0:04:29 | |
It could almost melt. | 0:04:29 | 0:04:31 | |
It's almost organic. | 0:04:31 | 0:04:33 | |
It's sinuous. | 0:04:33 | 0:04:35 | |
It's quite unusual. | 0:04:35 | 0:04:37 | |
And it's what I would call the Art Nouveau. | 0:04:37 | 0:04:40 | |
That's a lot of words, Charles. | 0:04:40 | 0:04:43 | |
These Chantilly sprigs are printed rather than being painted. | 0:04:43 | 0:04:48 | |
That's quite nice. Condition? Oh, what a shame! What a shame! | 0:04:48 | 0:04:51 | |
There's a chip on the inside of the rim. Oh, dear. | 0:04:51 | 0:04:55 | |
But it is so stylish. | 0:04:55 | 0:04:58 | |
And it's made in Limoges. | 0:04:58 | 0:04:59 | |
Limoges is a city in central France | 0:04:59 | 0:05:02 | |
that has lent its name to fine porcelain since the 18th century. | 0:05:02 | 0:05:06 | |
This sugar box dates from around 1910. | 0:05:06 | 0:05:09 | |
A great-looking object. | 0:05:09 | 0:05:10 | |
Only £10, it's not expensive. Could be a fiver. | 0:05:10 | 0:05:15 | |
He likes to run up, he likes to run down. Best find salesmen Tony, then. | 0:05:15 | 0:05:19 | |
It's priced at a tenner. | 0:05:20 | 0:05:22 | |
-I wonder whether you could do it for £5. -Erm... -To an old mate! | 0:05:22 | 0:05:27 | |
-Yes. -Is that a yes? -Yes. -Lovely. I'm going to take it. | 0:05:27 | 0:05:31 | |
Well, that was worth the jog downstairs. | 0:05:31 | 0:05:33 | |
A first purchase of the day and the battle has begun. | 0:05:33 | 0:05:37 | |
-Get off! -I've always liked gnomes. He is early, Margie. Very nice. | 0:05:37 | 0:05:42 | |
-Get off! -Would you like me to make an offer? Oh, he's nice! | 0:05:42 | 0:05:47 | |
-He's an early one. -It is not very early. | 0:05:47 | 0:05:50 | |
When it comes to gnomes, Margie, and their history, | 0:05:50 | 0:05:53 | |
-they are quite early and he's an early one. -I was having a joke. | 0:05:53 | 0:05:56 | |
I picked him up and realised he was old because he's so badly painted. | 0:05:56 | 0:05:59 | |
-Somebody's painted it. -It's deceptive. -It is. -Would you not...? | 0:05:59 | 0:06:04 | |
-But you're not a gnome collector, are you? -£13.50. | 0:06:04 | 0:06:06 | |
I might have a go at that. | 0:06:06 | 0:06:08 | |
Where was it, Margie? I never saw that. | 0:06:08 | 0:06:11 | |
I didn't think we'd have to separate this pair over a gnome! | 0:06:11 | 0:06:15 | |
I don't really want this guy. I was having a laugh with Charles, really. | 0:06:15 | 0:06:19 | |
And I thought he was brand new. But he's not brand new. | 0:06:19 | 0:06:22 | |
He's just horribly painted. | 0:06:22 | 0:06:24 | |
Before you decide, let's find out | 0:06:24 | 0:06:27 | |
what Lynn can do for the box and mirror. | 0:06:27 | 0:06:30 | |
It would have to be 65... | 0:06:30 | 0:06:32 | |
-For the two? -For the two, yeah. | 0:06:32 | 0:06:35 | |
Ahem, ahem! Don't forget old ugly mugs. | 0:06:35 | 0:06:38 | |
You're never going to sell that, are you? | 0:06:38 | 0:06:40 | |
You'd need a real mug punter to buy that. | 0:06:40 | 0:06:43 | |
It's just that I happen to like gnomes. £69 and throw him in. | 0:06:43 | 0:06:46 | |
OK, a deal. | 0:06:46 | 0:06:48 | |
-Great stuff. -A cracking haul for Margie. | 0:06:48 | 0:06:51 | |
Three items in her first shop, all for £69. | 0:06:51 | 0:06:54 | |
Charles is back on the road and is making his way to Southwell | 0:06:58 | 0:07:02 | |
in rural Nottinghamshire. | 0:07:02 | 0:07:04 | |
He is visiting an imposing building with a bleak history. | 0:07:04 | 0:07:07 | |
Behind these walls, a harsh new way of treating the poorest in society | 0:07:07 | 0:07:12 | |
was created to tackle one of the biggest problems in Victorian Britain. | 0:07:12 | 0:07:16 | |
-Hello. -Hi! -You must be Sam. -Hi. -Sam, I'm Charles Hanson. | 0:07:18 | 0:07:22 | |
-Hi, Charles. Pleased to meet you. -What an amazing building! | 0:07:22 | 0:07:26 | |
This is a workhouse and it was built in 1824, | 0:07:26 | 0:07:30 | |
and it was to house the destitute in society. | 0:07:30 | 0:07:33 | |
At the end of the 18th century, | 0:07:35 | 0:07:37 | |
the labouring classes were at the mercy of the harvests, | 0:07:37 | 0:07:40 | |
and poverty was regarded as an unavoidable part of life. | 0:07:40 | 0:07:43 | |
At a time before the welfare state, | 0:07:46 | 0:07:50 | |
hand-outs in local parishes of money and food were the only | 0:07:50 | 0:07:53 | |
thing preventing the poor from being left to die on the streets. | 0:07:53 | 0:07:57 | |
But in the newly industrialised world of the 19th century, | 0:07:59 | 0:08:02 | |
poverty was also rife. The strain to provide for the poor | 0:08:02 | 0:08:06 | |
created a crisis and a new solution was required. | 0:08:06 | 0:08:10 | |
Some believed charity should be made less desirable. | 0:08:10 | 0:08:14 | |
From that idea sprung a new type of poor relief, | 0:08:14 | 0:08:17 | |
and Southwell was part of the social revolution that emerged. | 0:08:17 | 0:08:21 | |
Reverend Beecher, who was local to Southwell and a clergyman, | 0:08:22 | 0:08:25 | |
looked at a new way of a workhouse, | 0:08:25 | 0:08:28 | |
and this was to be different. | 0:08:28 | 0:08:31 | |
The way that the poor would ask for relief would change from being given | 0:08:31 | 0:08:35 | |
help in their own homes to being compelled to come into a workhouse. | 0:08:35 | 0:08:39 | |
This was the only choice. | 0:08:39 | 0:08:40 | |
Beecher's idea meant that hand-outs were no longer provided. | 0:08:41 | 0:08:45 | |
Instead, the underprivileged were brought here | 0:08:45 | 0:08:48 | |
and made to work in return for food and shelter. | 0:08:48 | 0:08:52 | |
This significantly reduced the cost of looking after the poor. | 0:08:52 | 0:08:56 | |
But for this system to prosper, | 0:08:56 | 0:08:58 | |
conditions in the workhouse needed to be so harsh that only the truly | 0:08:58 | 0:09:02 | |
destitute would be willing to go there in the first place for help. | 0:09:02 | 0:09:06 | |
If you came here as a family, it must've been the hardest decision | 0:09:06 | 0:09:09 | |
you would ever make as a family, because you were separated once you were in. | 0:09:09 | 0:09:13 | |
And you would only see each other once a week, on a Sunday, | 0:09:13 | 0:09:16 | |
if you behaved yourself. | 0:09:16 | 0:09:18 | |
Regardless of age, inmates, as they were known, | 0:09:18 | 0:09:21 | |
were divided by gender and then into those able and those unable to work. | 0:09:21 | 0:09:25 | |
Each group was kept separate at all times. | 0:09:25 | 0:09:29 | |
It was a harsh life, with real rules and regulations. | 0:09:29 | 0:09:32 | |
Is that what Beecher wanted? | 0:09:32 | 0:09:35 | |
Was he behind the poor and looking after them? | 0:09:35 | 0:09:38 | |
Well, yes, he was, because, you know, he gave a home | 0:09:38 | 0:09:42 | |
and a place of refuge to people that were really in need, | 0:09:42 | 0:09:45 | |
that potentially had nobody else to look after them. | 0:09:45 | 0:09:49 | |
This building was designed to hold around 160 inmates. | 0:09:49 | 0:09:53 | |
By the mid 19th century, | 0:09:53 | 0:09:56 | |
there were hundreds of thousands of workhouse inmates across the country. | 0:09:56 | 0:10:00 | |
Poverty in Victorian Britain was so severe that the shelter | 0:10:00 | 0:10:03 | |
of the workhouse was the only thing that would keep them alive. | 0:10:03 | 0:10:07 | |
-So this duvet cover actually feels like it's filled with... -Straw. | 0:10:07 | 0:10:12 | |
-Straw. It's straw? -Yeah. -It's straw. | 0:10:12 | 0:10:15 | |
Gosh, I mean...that's not very comfortable at all, is it? | 0:10:17 | 0:10:20 | |
No comfort. You can, yeah... | 0:10:20 | 0:10:22 | |
Golly, I just wonder how many eyes looked at the ceiling | 0:10:24 | 0:10:27 | |
and thought, "Is this my life?" | 0:10:27 | 0:10:30 | |
Because the bed is so uncomfortable and this cover I suppose | 0:10:30 | 0:10:34 | |
did add warmth, but it's not overly nice, even against my rough hands. | 0:10:34 | 0:10:40 | |
-But that was life. -It was. | 0:10:40 | 0:10:42 | |
And it was better than a hedgerow, I should imagine. | 0:10:42 | 0:10:46 | |
Work was considered important to improve the moral outlook | 0:10:46 | 0:10:49 | |
of the inmates, but it also generated income. | 0:10:49 | 0:10:52 | |
For around 10 hours each day, | 0:10:52 | 0:10:54 | |
the inhabitants could be subjected to backbreaking physical labour. | 0:10:54 | 0:10:58 | |
Some would work in the fields, | 0:10:58 | 0:11:00 | |
while others would break up rocks to sell for road building. | 0:11:00 | 0:11:04 | |
The phrase "money for old rope" comes from inmates teasing | 0:11:04 | 0:11:08 | |
the fibres from ropes to be recycled and sold on. | 0:11:08 | 0:11:12 | |
This was the price paid for basic food and shelter. | 0:11:12 | 0:11:15 | |
It was a form of welfare. | 0:11:19 | 0:11:20 | |
It provided relief and it provided warmth and shelter | 0:11:20 | 0:11:23 | |
and a home for those that had no alternative. | 0:11:23 | 0:11:27 | |
The system used here became the model for the treatment of the poor | 0:11:27 | 0:11:31 | |
over the next century. | 0:11:31 | 0:11:33 | |
Workhouses were rolled out across the country | 0:11:33 | 0:11:35 | |
and all other forms of poor relief were abolished. | 0:11:35 | 0:11:38 | |
Over time, they became feared and hated places. | 0:11:38 | 0:11:42 | |
It was only with welfare reform and the creation of the National Health Service in the 1940s | 0:11:42 | 0:11:48 | |
that these brutal workhouses, that were once viewed as revolutionary, were finally brought to an end. | 0:11:48 | 0:11:54 | |
Close by, Margie is scouring the streets of Southwell to find | 0:12:02 | 0:12:07 | |
herself something to purchase. | 0:12:07 | 0:12:08 | |
This looks just the job. | 0:12:10 | 0:12:11 | |
-Ah, Terry! -Hello! -Terry, I must say, how great to see that. | 0:12:14 | 0:12:19 | |
The old-fashioned sign for an antique shop. | 0:12:19 | 0:12:23 | |
Ah, yes. The barber's pole of the antiques world. | 0:12:23 | 0:12:25 | |
-Good to meet you. -And you. Margie, and you're Terry? -Yeah, I'm Terry. | 0:12:25 | 0:12:29 | |
Introductions over, what takes your fancy? | 0:12:29 | 0:12:32 | |
-I see you've got lots of nice shiny stuff. -Yes! I like my silver. | 0:12:34 | 0:12:38 | |
-Some of it's reasonably modern and other pieces are... -These are old. | 0:12:38 | 0:12:41 | |
-There is a little piece there that is a Victorian. -That's lovely. | 0:12:41 | 0:12:44 | |
But I can't see a price there. | 0:12:44 | 0:12:46 | |
Oh, here we go! Time for a closer look, Terry? | 0:12:46 | 0:12:49 | |
See, we've got that, we've got that on at £59. You'll get that at £59. | 0:12:51 | 0:12:54 | |
Absolutely cracking nick, late Victorian. | 0:12:54 | 0:12:57 | |
-What a lovely thing to give somebody for a gift, eh? -Mm. | 0:12:57 | 0:13:00 | |
I'm trying to find the mark at the moment. | 0:13:00 | 0:13:03 | |
Oh, yeah. Oh, God, that's nice. Nice little Chester hallmark. | 0:13:03 | 0:13:07 | |
That's really nice. Right, OK. That's a little start. | 0:13:07 | 0:13:11 | |
And I'm going to start having a little wander, if I may? | 0:13:11 | 0:13:14 | |
Have a wander and if you spot anything, | 0:13:14 | 0:13:16 | |
I'll always do a price for you. I'm well known for it. | 0:13:16 | 0:13:19 | |
Aw, Terry, that's really nice. | 0:13:19 | 0:13:21 | |
Two feet from the till and Margie's got her eye on some silver. Anything else? | 0:13:21 | 0:13:25 | |
Right, let's just have a look. | 0:13:25 | 0:13:28 | |
OK, what's this? | 0:13:28 | 0:13:30 | |
This looks quite nice, doesn't it? | 0:13:32 | 0:13:34 | |
It's a marriage. | 0:13:37 | 0:13:39 | |
I think the base is rosewood. | 0:13:39 | 0:13:42 | |
A different top to how it started life. | 0:13:42 | 0:13:46 | |
Mahogany. | 0:13:46 | 0:13:48 | |
Really? | 0:13:49 | 0:13:50 | |
The ticket price is £65. | 0:13:50 | 0:13:53 | |
If it's not a lot of money, it doesn't really matter | 0:13:53 | 0:13:55 | |
about the marriage. But if you're spending a lot of money, | 0:13:55 | 0:13:58 | |
you've got to have the right top with the right base. | 0:13:58 | 0:14:01 | |
-Oh, yeah. One to think about, then. -What are these here? -The cards? | 0:14:01 | 0:14:05 | |
They are, I believe, from 19... Well, First World War, 1914. | 0:14:05 | 0:14:09 | |
I think they're called sweetheart cards. | 0:14:09 | 0:14:11 | |
Sweetheart cards were postcards created for soldiers to send | 0:14:11 | 0:14:15 | |
back home to their loved ones. These are dated from the First World War. | 0:14:15 | 0:14:20 | |
-They haven't been written on. -So you bought them as a collection? | 0:14:20 | 0:14:23 | |
Yeah, yeah. Some people prefer them to be written on. | 0:14:23 | 0:14:26 | |
-Oh, my goodness me. A little bit dramatic, aren't they? -Mm. | 0:14:26 | 0:14:30 | |
-But why not? -Why not? It was dramatic times! | 0:14:30 | 0:14:33 | |
It was, yeah. So how much are those, Terry? | 0:14:33 | 0:14:36 | |
-Well, it's £25 for the whole lot. -Doesn't sound a lot, does it? -I don't think it's a lot. -No. | 0:14:36 | 0:14:40 | |
-I've also seen - in the other room - the little table. -Yeah. | 0:14:40 | 0:14:44 | |
-Maybe we could go and look together? -Yeah, yeah. Have a look. | 0:14:44 | 0:14:48 | |
Got something in your eye, Margie? | 0:14:48 | 0:14:50 | |
So it's on at 65, I believe. | 0:14:51 | 0:14:53 | |
Yeah, which is, you know, you'd be lucky if it gets that. | 0:14:53 | 0:14:57 | |
-What are you looking at? -So, for the three... -For the three, yeah? | 0:14:57 | 0:15:00 | |
85. | 0:15:00 | 0:15:02 | |
Sorry? | 0:15:03 | 0:15:04 | |
Well, the cards are bit... | 0:15:06 | 0:15:08 | |
90, and they're all yours. | 0:15:08 | 0:15:11 | |
Done it! | 0:15:11 | 0:15:12 | |
And just like that, Margie polishes off a very productive day. | 0:15:15 | 0:15:19 | |
Nighty-night. | 0:15:19 | 0:15:20 | |
-It's another day and another county. -Wakey-wakey! | 0:15:24 | 0:15:29 | |
We're shopping in our great country. | 0:15:29 | 0:15:32 | |
-We are. -Give me an L. | 0:15:32 | 0:15:35 | |
-Leicestershire. -Lincolnshire! | 0:15:35 | 0:15:39 | |
Geography aside, Margie went straight to the head of the class | 0:15:39 | 0:15:43 | |
yesterday, grabbing a silver hand mirror, a document trunk, | 0:15:43 | 0:15:47 | |
a painted gnome, a silver sweetmeat dish, | 0:15:47 | 0:15:50 | |
a set of World War I postcards and a side table - | 0:15:50 | 0:15:53 | |
leaving her with £166.74. | 0:15:53 | 0:15:58 | |
Charles had a rather more sedate start to proceedings, | 0:15:59 | 0:16:03 | |
picking up a Limoges sugar box, | 0:16:03 | 0:16:05 | |
so he still has a rather large | 0:16:05 | 0:16:09 | |
£540.02 to spend today. | 0:16:09 | 0:16:12 | |
And with some ground to make up, | 0:16:12 | 0:16:14 | |
Charles is hopping out to Navenby to visit his first emporium of the day. | 0:16:14 | 0:16:19 | |
-Pull in here, Margie. Thanks, Marge. See you later. -Bye-bye! | 0:16:19 | 0:16:24 | |
-Bye! -See you! | 0:16:24 | 0:16:26 | |
-Good morning, how are you? -Good morning, Charles! -Nice to see you. | 0:16:30 | 0:16:33 | |
Nice to see you again. | 0:16:33 | 0:16:35 | |
Do you know, I was about to say, it looks vaguely familiar. | 0:16:35 | 0:16:38 | |
-You were here three or four years ago. You were. -Yes, I was. | 0:16:38 | 0:16:41 | |
A long time ago. | 0:16:41 | 0:16:43 | |
Hopefully, there's plenty of new stock for you by now, Charles. | 0:16:43 | 0:16:46 | |
These are quite sweet. Let me hold one. | 0:16:50 | 0:16:54 | |
If you close your eyes... and you grab the other one... | 0:16:54 | 0:16:57 | |
-And I think these are cut, aren't they? -Yes. -So, they're not moulded. | 0:16:57 | 0:17:01 | |
If they were moulded, they'd be quite smooth and not so crisp. | 0:17:01 | 0:17:05 | |
On my collar here, a very clear hallmark, which is for Birmingham. | 0:17:05 | 0:17:10 | |
And the date code, I suspect, is probably 1910, 1912. | 0:17:10 | 0:17:15 | |
They're probably George V. One is slightly bigger than the other one. | 0:17:15 | 0:17:20 | |
Hallmark for the same date code as well, | 0:17:20 | 0:17:23 | |
so they are a pair, which is great to see. | 0:17:23 | 0:17:26 | |
That's a pair of perfume bottles for a ticket price of £125. | 0:17:26 | 0:17:30 | |
Laura, I think what I'll do... | 0:17:32 | 0:17:33 | |
I will earmark these as a definitely-maybe. | 0:17:33 | 0:17:36 | |
-Yes, absolutely, I'll pop them on the counter for you. -And then come back to them. | 0:17:36 | 0:17:40 | |
But there's so much to see here in your shop. | 0:17:40 | 0:17:42 | |
-I'm going to wander on. -I'd watch out, Laura. | 0:17:42 | 0:17:45 | |
Charles looks like he's going to get stuck in this morning. | 0:17:45 | 0:17:47 | |
This is a lovely mahogany box. | 0:17:47 | 0:17:50 | |
On the inside, it's pine. | 0:17:50 | 0:17:52 | |
And what's interesting is this dealer has put | 0:17:52 | 0:17:56 | |
a flame mahogany two-section tea caddy, circa 1890. | 0:17:56 | 0:18:02 | |
In fact, it's more like 1790. | 0:18:02 | 0:18:06 | |
And of course, tea, back in 1790, was very expensive. | 0:18:06 | 0:18:11 | |
Tea was kept under lock and key, to keep the butler out. | 0:18:11 | 0:18:15 | |
You can buy - not a late Victorian tea caddy - | 0:18:15 | 0:18:19 | |
but a Georgian tea caddy for £14. | 0:18:19 | 0:18:23 | |
And that's amazing. Interesting. | 0:18:23 | 0:18:27 | |
That's a great find, and he's not hanging about... | 0:18:27 | 0:18:31 | |
Wow! | 0:18:31 | 0:18:33 | |
What we've got here is probably a panel, which is very much | 0:18:35 | 0:18:40 | |
in the Gothic taste. | 0:18:40 | 0:18:42 | |
That panel may have come off a pew, but it's certainly | 0:18:42 | 0:18:46 | |
a piece of timber that has come off something perhaps ecclesiastical. | 0:18:46 | 0:18:50 | |
This big, heavily carved piece of yew, that is probably circa 1600. | 0:18:50 | 0:18:58 | |
I really think it's that early. | 0:18:58 | 0:19:01 | |
And of course, to celebrate the panel, what somebody has done, | 0:19:01 | 0:19:05 | |
in maybe the 20th century, is put these oak legs | 0:19:05 | 0:19:12 | |
and stretcher onto it. | 0:19:12 | 0:19:15 | |
And it could be £65. But next to it is this. | 0:19:15 | 0:19:20 | |
And I love this. This stool is tribal. And it reads here, | 0:19:20 | 0:19:26 | |
"African? Stool?" | 0:19:26 | 0:19:30 | |
All we know is it's £85. | 0:19:30 | 0:19:34 | |
But it certainly is African and it's well-carved, with great colour. | 0:19:34 | 0:19:39 | |
You could almost eat off it. | 0:19:39 | 0:19:41 | |
It is such a well-patinated original African stool, | 0:19:41 | 0:19:47 | |
of circa 1890. | 0:19:47 | 0:19:49 | |
And that stool really has legs. | 0:19:49 | 0:19:51 | |
Hey, he's unearthing a lot in here. | 0:19:53 | 0:19:55 | |
That's nice. | 0:19:57 | 0:20:00 | |
That's lovely, isn't it? | 0:20:00 | 0:20:02 | |
This actually is Scottish. | 0:20:02 | 0:20:05 | |
And it's just so different. | 0:20:05 | 0:20:07 | |
What I like, again, if you look very closely, | 0:20:07 | 0:20:10 | |
is the gold specks within the actual glass body. | 0:20:10 | 0:20:14 | |
It's only priced at £75, which, to me, | 0:20:14 | 0:20:18 | |
is a fairly conservative retail price. | 0:20:18 | 0:20:23 | |
Importantly, has it got a good ring? | 0:20:23 | 0:20:26 | |
Yes, it has! It's lovely. | 0:20:26 | 0:20:29 | |
Again, I might go and query that, alongside the stools, with Laura. | 0:20:29 | 0:20:34 | |
I think Laura's got a calculator. Let's start with the bowl. | 0:20:34 | 0:20:38 | |
-Dean says he will do that for you... -Look at me... | 0:20:38 | 0:20:41 | |
..at what he paid for it. | 0:20:41 | 0:20:43 | |
-Oh, crikey! -And he'll do that for you at £40. -So, at cost price. Wowee, that's good! | 0:20:43 | 0:20:47 | |
Have you got a pen? May I borrow a pen and paper? | 0:20:47 | 0:20:50 | |
-Yes! -Because when I get a bit nervous and we talk money... | 0:20:50 | 0:20:53 | |
-You need to start writing some notes. -My mind can go a bit blank. | 0:20:53 | 0:20:56 | |
Yeah... Paper at the ready, Laura also offers £30 for the church stool | 0:20:56 | 0:21:01 | |
and £40 for the African tribal fellow. | 0:21:01 | 0:21:04 | |
-£10 for the tea caddy and knocks £55 off the scent bottles. -Wow! | 0:21:04 | 0:21:08 | |
I need to lie down. I've got a sweat on. I've got a sweat on! | 0:21:08 | 0:21:12 | |
That leaves Charles staring at a generous £174 discount. | 0:21:12 | 0:21:17 | |
And I will say for £190, I'm going, going, gone. | 0:21:17 | 0:21:22 | |
-Excellent! -Thank you so much, Laura. Thank you so much! | 0:21:22 | 0:21:25 | |
-Hey, a huge haul for £190. -Thank you. | 0:21:25 | 0:21:28 | |
-Very welcome. Aw! -See you, Laura. Take care. Bye! | 0:21:28 | 0:21:31 | |
Keeps on kissing hands. What a charmer! | 0:21:31 | 0:21:33 | |
Oh, dear! I feel a bit dizzy now. Take care. | 0:21:33 | 0:21:36 | |
And no wonder. Top work, Charles! | 0:21:36 | 0:21:38 | |
Margie has toddled north to the cathedral city of Lincoln, | 0:21:39 | 0:21:43 | |
to learn about one of the most popular men in Victorian Britain. | 0:21:43 | 0:21:48 | |
Grace Timmons is introducing Margie to the Alfred Tennyson Collection, | 0:21:48 | 0:21:52 | |
which tells of a man | 0:21:52 | 0:21:54 | |
who not only became one of our most celebrated poets, | 0:21:54 | 0:21:58 | |
but changed the way the public viewed | 0:21:58 | 0:22:01 | |
and interacted with poetry forever. | 0:22:01 | 0:22:03 | |
In this corner, we've got the books that Tennyson grew up with. | 0:22:03 | 0:22:07 | |
-This is his father's library, which was in Somersby. -Yeah. | 0:22:07 | 0:22:11 | |
Tennyson was born in 1809, he was one of 11 children born in 13 years. | 0:22:11 | 0:22:17 | |
Gosh! Tennyson's father was a scholar, who tutored Tennyson | 0:22:17 | 0:22:21 | |
and his brothers with a classical education. | 0:22:21 | 0:22:24 | |
I've got a book here that I can show you. | 0:22:24 | 0:22:26 | |
It's Virgil, which indicates a lot of his approach to the study | 0:22:26 | 0:22:31 | |
that his father set him to do. | 0:22:31 | 0:22:33 | |
-So we see a lot of... -He made comments all the time. -Yeah. | 0:22:33 | 0:22:36 | |
And there's a lot of translation and comments here | 0:22:36 | 0:22:39 | |
and this is probably his teenage work. | 0:22:39 | 0:22:41 | |
But what I like best, though, is if you look at the front, | 0:22:41 | 0:22:45 | |
apart from all the doodles that are here, we've got this, | 0:22:45 | 0:22:48 | |
which says Tennyson, Somersby, in Lincolnshire, in England, | 0:22:48 | 0:22:53 | |
in Europe, in the world, in the air, in space! | 0:22:53 | 0:22:56 | |
So, he's got a bit of attitude, hasn't he? | 0:22:56 | 0:23:00 | |
But life in the rectory wasn't always a happy place. | 0:23:00 | 0:23:03 | |
Alfred's father is believed | 0:23:03 | 0:23:05 | |
to have been prone to alcoholism and violence. | 0:23:05 | 0:23:08 | |
Poetry was Alfred's escape. | 0:23:08 | 0:23:10 | |
At the age of 18, he published a collection of poems, | 0:23:10 | 0:23:14 | |
with his brothers, before leaving home for Cambridge University. | 0:23:14 | 0:23:17 | |
When he arrived in Cambridge, | 0:23:17 | 0:23:19 | |
suddenly he's meeting a whole group of young men who are | 0:23:19 | 0:23:22 | |
like-minded but who had a very different background to him. | 0:23:22 | 0:23:26 | |
So, they're urbane, sophisticated, well travelled. But they really enjoyed what he was writing. | 0:23:26 | 0:23:31 | |
And Arthur Hallam, a friend he made, who became his best friend, | 0:23:31 | 0:23:35 | |
was particularly constructive about Tennyson's work | 0:23:35 | 0:23:39 | |
and very supportive of his creativity. | 0:23:39 | 0:23:43 | |
They became inseparable friends | 0:23:43 | 0:23:45 | |
but when Hallam died suddenly at the age of 22, | 0:23:45 | 0:23:48 | |
Tennyson was hit hard by grief. | 0:23:48 | 0:23:50 | |
He then embarked on a journey of poetic therapy, | 0:23:50 | 0:23:54 | |
that would last 15 years and result in one of his most celebrated works. | 0:23:54 | 0:23:58 | |
Probably his most famous couplet is from In Memoriam, | 0:24:00 | 0:24:03 | |
when he finally decided, the grief he was experiencing from | 0:24:03 | 0:24:06 | |
the death of Hallam was kind of worth it. He says, | 0:24:06 | 0:24:09 | |
I felt it, when I sorrow'd most, | 0:24:09 | 0:24:12 | |
'Tis better to have loved and lost, Than never to have loved at all. | 0:24:12 | 0:24:16 | |
Published in 1850, his work became an instant success. | 0:24:16 | 0:24:20 | |
His popularity was cemented that same year, when Queen Victoria | 0:24:20 | 0:24:24 | |
named him Wordsworth's successor as poet laureate, | 0:24:24 | 0:24:27 | |
thanks in part to the support of Prince Albert. | 0:24:27 | 0:24:30 | |
So, this is a letter from Prince Albert to Tennyson, | 0:24:30 | 0:24:33 | |
asking him to write his name in his copy of Idylls of the King. | 0:24:33 | 0:24:36 | |
He actually sends him his copy of Idylls of the King. | 0:24:36 | 0:24:39 | |
-He's not asking for a signed copy. -So, do it! | 0:24:39 | 0:24:41 | |
Yes and he says, "You'll add a peculiar value to this book." | 0:24:41 | 0:24:44 | |
So, it's a very interesting autograph request, I think. | 0:24:44 | 0:24:48 | |
Tennyson was now a voice of the people. | 0:24:48 | 0:24:51 | |
In the Crimean War, he put this position to good use | 0:24:51 | 0:24:53 | |
when he wrote of the ill-fated miscommunication that sent | 0:24:53 | 0:24:57 | |
British cavalry headlong into the Russian troops with heavy losses. | 0:24:57 | 0:25:00 | |
The resulting poem was The Charge Of The Light Brigade. | 0:25:00 | 0:25:04 | |
-Is that his original draft? -Yes, it is. | 0:25:05 | 0:25:07 | |
This is a particularly interesting one | 0:25:07 | 0:25:10 | |
because it's got the writing of his wife, as well as his own writing. | 0:25:10 | 0:25:13 | |
He says it was written after reading the first report of The Times. | 0:25:13 | 0:25:18 | |
The Crimean War was the first conflict to be covered | 0:25:18 | 0:25:20 | |
by photographers and reporters. | 0:25:20 | 0:25:23 | |
Tennyson's poem was published | 0:25:23 | 0:25:25 | |
in the newspaper just weeks after the tragic event. | 0:25:25 | 0:25:28 | |
"Forward, the Light Brigade!" Was there a man dismay'd? | 0:25:28 | 0:25:32 | |
Not tho' the soldier knew Someone had blunder'd: | 0:25:32 | 0:25:35 | |
Theirs not to make reply, Theirs not to reason why, | 0:25:35 | 0:25:39 | |
Theirs but to do and die: | 0:25:39 | 0:25:42 | |
Into the valley of Death Rode the six hundred. | 0:25:42 | 0:25:47 | |
It helped shape public perception of the entire war. | 0:25:47 | 0:25:51 | |
His work signalled a new journalistic style that changed people's | 0:25:51 | 0:25:55 | |
engagement with poetry. | 0:25:55 | 0:25:57 | |
It was so successful that soldiers took copies of it with them to war. | 0:25:57 | 0:26:01 | |
Tennyson had become one of the most recognisable | 0:26:01 | 0:26:04 | |
and influential men in the country, via poetry. | 0:26:04 | 0:26:08 | |
I think it's difficult for people to comprehend now just how popular | 0:26:08 | 0:26:12 | |
a poet could be in those days. | 0:26:12 | 0:26:14 | |
But in fact, he had the popularity of a songwriter | 0:26:14 | 0:26:17 | |
because he was writing the songs, really, | 0:26:17 | 0:26:19 | |
that, in the time of non-recorded music, that people would be | 0:26:19 | 0:26:22 | |
able to use to describe what was going on in their lives. | 0:26:22 | 0:26:25 | |
So, it meant that when it came to his last illness and death, | 0:26:25 | 0:26:28 | |
it was followed in the newspapers. | 0:26:28 | 0:26:31 | |
And his family labelled and kept lots of quite intimate things, | 0:26:31 | 0:26:35 | |
really, to do with his final illness. On this box is the label, | 0:26:35 | 0:26:40 | |
"Last medicine drop glass used by him and for him." | 0:26:40 | 0:26:45 | |
And that's the date of his death, October 6th, 1892. | 0:26:45 | 0:26:48 | |
Very Victorian. | 0:26:48 | 0:26:50 | |
And in here, is the handkerchief which covered the dear face. | 0:26:50 | 0:26:55 | |
And that was put on his face when he died. | 0:26:55 | 0:26:59 | |
-And this is meant to be the book that was in his hands when he died. -When he died... | 0:26:59 | 0:27:03 | |
And his son has actually marked the page that was meant to be | 0:27:03 | 0:27:07 | |
open on his deathbed, in his hands. | 0:27:07 | 0:27:11 | |
So, to the very end, he was reading. | 0:27:11 | 0:27:14 | |
That was what they wanted to portray. | 0:27:14 | 0:27:17 | |
11,000 people applied for tickets to attend Tennyson's funeral | 0:27:18 | 0:27:22 | |
at Westminster Abbey. | 0:27:22 | 0:27:25 | |
His work changed the immediacy and relevance of poetry | 0:27:25 | 0:27:28 | |
and his immortal lines continue for generations to appreciate. | 0:27:28 | 0:27:33 | |
Meanwhile, Charles is 20 miles north, | 0:27:36 | 0:27:39 | |
nestled on the banks of the River Trent | 0:27:39 | 0:27:41 | |
in a place called Gainsborough. | 0:27:41 | 0:27:43 | |
Once the location of Britain's most inland port, | 0:27:43 | 0:27:46 | |
it is now home to what claims to be Europe's largest antiques centre. | 0:27:46 | 0:27:51 | |
Stand by. | 0:27:51 | 0:27:52 | |
Where do I start? | 0:27:52 | 0:27:54 | |
Something to really impress. | 0:27:59 | 0:28:01 | |
There's some wonderful things, it's just where to start. | 0:28:02 | 0:28:05 | |
But what I'm really after is that object which just speaks history. | 0:28:05 | 0:28:11 | |
It'll be here. It will be here. | 0:28:12 | 0:28:15 | |
Perhaps some help from Diane will keep you on track. | 0:28:15 | 0:28:18 | |
I quite like that little Georgian cordial glass down there, | 0:28:18 | 0:28:21 | |
-that's quite a sweet thing, isn't it? -It is. | 0:28:21 | 0:28:23 | |
But it's almost like what I would call a toasting glass. | 0:28:23 | 0:28:26 | |
Don't you agree? It's got quite a heavy base. | 0:28:26 | 0:28:30 | |
So almost, to come to attention... | 0:28:30 | 0:28:32 | |
CLASS CLINKS | 0:28:32 | 0:28:35 | |
-Perfect. -I shall make an announcement. | 0:28:35 | 0:28:37 | |
I would like to declare... | 0:28:37 | 0:28:38 | |
you are a fine lady. | 0:28:38 | 0:28:40 | |
And that's almost what it was. | 0:28:40 | 0:28:42 | |
And of course, the Georgians did enjoy their different | 0:28:42 | 0:28:46 | |
air twists and other wine glasses of the period. It is a lead glass. | 0:28:46 | 0:28:51 | |
I would say it dates to around 1780, and it's £23. | 0:28:51 | 0:28:56 | |
But if I said to you, what would be the best price on a toasting glass | 0:28:56 | 0:29:01 | |
made, let's say, 10 years before the French Revolution? | 0:29:01 | 0:29:05 | |
-And I'd say £21. -Really? | 0:29:05 | 0:29:08 | |
There we go, that's really good. | 0:29:08 | 0:29:10 | |
-Could I reserve it for a wee while? -Of course. | 0:29:10 | 0:29:12 | |
And then just possibly come back and make an announcement. | 0:29:12 | 0:29:15 | |
I might buy it. | 0:29:15 | 0:29:17 | |
Well, we'll wait with bated breath then. | 0:29:17 | 0:29:20 | |
Oh, look, Margie has arrived. | 0:29:20 | 0:29:22 | |
If something leaps out at me, I will buy, | 0:29:25 | 0:29:28 | |
but I've actually got enough... | 0:29:28 | 0:29:30 | |
for this leg. But gosh, look at it. | 0:29:30 | 0:29:33 | |
Yes, with six lots tucked away, there's no pressure. | 0:29:33 | 0:29:37 | |
But you never know what you might find, Margie. | 0:29:37 | 0:29:39 | |
-Hello, how are you? -Very well. | 0:29:39 | 0:29:41 | |
Hold on, can I help you at all? | 0:29:41 | 0:29:44 | |
-What a lovely place. -Isn't it? -Are you enjoying it? | 0:29:44 | 0:29:48 | |
-How's your day been so far? -Not too bad. How's your day been? | 0:29:48 | 0:29:50 | |
Isn't it amazing? You know this is one of four buildings? | 0:29:50 | 0:29:53 | |
-Really? -What are you doing here? | 0:29:53 | 0:29:55 | |
Don't be silly, course there isn't! Why are you always teasing me? | 0:29:55 | 0:29:58 | |
-It's huge, this building is huge. -You're trying to put me off. | 0:29:58 | 0:30:01 | |
Get out of here, Margie Cooper! See you later. | 0:30:01 | 0:30:04 | |
-Are there more buildings? -Yes, there are. There are three more buildings. | 0:30:04 | 0:30:08 | |
-As big as this? -Yes. | 0:30:08 | 0:30:09 | |
There are more buildings. | 0:30:09 | 0:30:11 | |
Good gracious me. | 0:30:11 | 0:30:13 | |
Overwhelming, eh? | 0:30:13 | 0:30:16 | |
This is quite a good place. | 0:30:20 | 0:30:23 | |
Crikey, you could get lost in here. | 0:30:29 | 0:30:32 | |
My word. | 0:30:35 | 0:30:37 | |
Numbered coat hooks. | 0:30:37 | 0:30:38 | |
Must be from the school, mustn't it? | 0:30:40 | 0:30:43 | |
£75. | 0:30:43 | 0:30:45 | |
It's quite nice having them numbered though. | 0:30:45 | 0:30:48 | |
Put that in a kitchen. | 0:30:48 | 0:30:50 | |
No. No. | 0:30:50 | 0:30:53 | |
Maybe a friend for your gnome. | 0:30:53 | 0:30:55 | |
Dogs? | 0:30:55 | 0:30:57 | |
So convincing, but they are brand new. | 0:30:57 | 0:31:00 | |
Well, Margie, you have quite enough already, | 0:31:00 | 0:31:03 | |
so if you can find your way out, perhaps you should leave it at that. | 0:31:03 | 0:31:07 | |
Bye-bye! | 0:31:07 | 0:31:08 | |
Diane, just over a year, I wonder, if I have a quick peek, | 0:31:11 | 0:31:15 | |
I've seen a toasting glass down there, | 0:31:15 | 0:31:17 | |
but the other glass which is interesting because the dealer | 0:31:17 | 0:31:20 | |
has put 19th-century Victorian - | 0:31:20 | 0:31:23 | |
it could be an 18th-century glass. | 0:31:23 | 0:31:25 | |
There we are. | 0:31:28 | 0:31:29 | |
"Victorian double-air twist-stem ale glass." | 0:31:29 | 0:31:32 | |
A big tell-tale sign is the foot room must always be wider | 0:31:32 | 0:31:36 | |
than the rim of the bowl - or it's a very good guideline. | 0:31:36 | 0:31:40 | |
So I'm happy that's 18th century. | 0:31:40 | 0:31:42 | |
It's actually quite heavy. Lead glass, not soda. | 0:31:42 | 0:31:45 | |
Actually, I quite like that. | 0:31:45 | 0:31:47 | |
-Got to be careful. It's got a big chip there. Can you see? -Yeah. | 0:31:47 | 0:31:50 | |
Priced at £58. What could be the best on that? | 0:31:50 | 0:31:54 | |
-52. -52. | 0:31:54 | 0:31:56 | |
If I said to you, I was going to put this with the other toasting glass, | 0:31:56 | 0:32:02 | |
that makes 73. | 0:32:02 | 0:32:04 | |
-Would you round it off to 70? -We can't, I'm sorry, | 0:32:04 | 0:32:07 | |
-it's two different dealers. -Sure. OK. | 0:32:07 | 0:32:09 | |
Never mind, Charles, nice try. | 0:32:09 | 0:32:12 | |
I'll take them. Two together. Yeah, put it there. | 0:32:13 | 0:32:17 | |
Thank you very much, Diana. Fine. Thank you. | 0:32:17 | 0:32:20 | |
The old Hanson charm never wanes. | 0:32:20 | 0:32:23 | |
Two glasses for £73 rounds off our shopping. | 0:32:23 | 0:32:26 | |
And what a spree it's been. | 0:32:28 | 0:32:30 | |
Margie spent £159 on a hand mirror, | 0:32:32 | 0:32:35 | |
a document trunk, | 0:32:35 | 0:32:37 | |
a painted gnome, | 0:32:37 | 0:32:38 | |
a silver sweetmeat dish, | 0:32:38 | 0:32:41 | |
a side table | 0:32:41 | 0:32:42 | |
and a collection of First World War postcards. | 0:32:42 | 0:32:46 | |
Charles spent £268 on a Limoges sugar box | 0:32:46 | 0:32:51 | |
which he's pairing with the wooden tea caddy, | 0:32:51 | 0:32:54 | |
a pair of scent bottles, | 0:32:54 | 0:32:56 | |
a Scottish glass bowl, | 0:32:56 | 0:32:58 | |
an ecclesiastic stool, | 0:32:58 | 0:33:00 | |
a tribal stool, | 0:33:00 | 0:33:02 | |
and his final lot will be his toasting glass | 0:33:02 | 0:33:05 | |
and a Victorian wine glass. | 0:33:05 | 0:33:06 | |
What do they think of each other's purchases? | 0:33:06 | 0:33:09 | |
If I was a gambling man, I would say, "Go, Hanson, go!" | 0:33:09 | 0:33:13 | |
But, Margie, you never know. | 0:33:13 | 0:33:15 | |
She's a bit of a lethal weapon | 0:33:15 | 0:33:16 | |
and I do like very much her table and her silverware. | 0:33:16 | 0:33:20 | |
Yes, I'm quietly confident tomorrow that I will make small profits. | 0:33:20 | 0:33:24 | |
And I'm not that worried about his. | 0:33:24 | 0:33:27 | |
Apart from maybe that stool, the African stool. They can be a worry. | 0:33:27 | 0:33:32 | |
So hopefully that all goes wrong for him. | 0:33:32 | 0:33:35 | |
After starting out in Nottingham, | 0:33:37 | 0:33:39 | |
our pair have zipped their way through Nottinghamshire | 0:33:39 | 0:33:43 | |
up and around Lincolnshire and ending this leg at an auction in Lincoln. | 0:33:43 | 0:33:48 | |
-Margie, I honestly can't believe how misty it is. -Awful. | 0:33:48 | 0:33:52 | |
Many years ago at school, I had a maths teacher called Mr Misty. | 0:33:52 | 0:33:57 | |
Maybe there's a formula there. | 0:33:57 | 0:33:59 | |
-Maybe Charles x Margie = profit all around. -Mr Misty! | 0:33:59 | 0:34:04 | |
Well, let's hope that calculation all adds up to a thrilling encounter | 0:34:05 | 0:34:09 | |
at Unique Auctions in Lincoln. | 0:34:09 | 0:34:12 | |
Come on, follow your lion. I'll follow this one. | 0:34:12 | 0:34:14 | |
Margie spent £159 on six lots. | 0:34:18 | 0:34:21 | |
Charles also picked up six lots for £268. | 0:34:23 | 0:34:27 | |
Unfortunately, his beautiful glass bowl was broken on its way | 0:34:27 | 0:34:31 | |
to the auction and has been given an insurance valuation of £50. | 0:34:31 | 0:34:35 | |
So the bowl may be shattered, | 0:34:35 | 0:34:36 | |
but Charles does get a £10 profit to start him off. | 0:34:36 | 0:34:40 | |
What does auctioneer Terence Woodcock make of the remaining items? | 0:34:40 | 0:34:45 | |
Smashing? | 0:34:45 | 0:34:46 | |
Postcards, very speculative lot, the postcards. | 0:34:46 | 0:34:49 | |
They could do £30. They could to £80. | 0:34:49 | 0:34:53 | |
The toasting glass is an early-Georgian toasting glass. | 0:34:53 | 0:34:56 | |
The hair-twist wine glass. Very nice. Could be between £60 to £80. | 0:34:56 | 0:35:02 | |
We'll soon find out. It's time to take your seats. | 0:35:02 | 0:35:05 | |
The auction is about to start. | 0:35:05 | 0:35:07 | |
Hold tight. | 0:35:09 | 0:35:10 | |
Our first lot of the day is Margie's silver sweetmeat dish. | 0:35:12 | 0:35:15 | |
20 I've got there. 25. 30. | 0:35:15 | 0:35:18 | |
35. 40, fresh bid. At 45. | 0:35:18 | 0:35:21 | |
-At 45. 50. -Marge, you're flying. | 0:35:21 | 0:35:24 | |
-You're flying. -At 50, I'll take five now. At £50, have you all done? | 0:35:24 | 0:35:28 | |
I'm selling, the second row. | 0:35:28 | 0:35:30 | |
-That's good, that's good. -Fish! | 0:35:30 | 0:35:32 | |
Is it fish? Margie, Margie, like a flying fish, you have flown. | 0:35:32 | 0:35:37 | |
It may be small fry to you, Margie, | 0:35:37 | 0:35:40 | |
but that's a decent profit to get you started. | 0:35:40 | 0:35:42 | |
The day has started well. | 0:35:42 | 0:35:45 | |
Well, surely you can be optimistic about your silver hand mirror. | 0:35:45 | 0:35:49 | |
£40 straight in. At £40. I'll take five now. 50 now. | 0:35:49 | 0:35:54 | |
-55 now. -Wow, Margie. -I'll take 60 now. | 0:35:54 | 0:35:58 | |
At 55, have you all done? | 0:35:58 | 0:35:59 | |
£55, it is yours. | 0:35:59 | 0:36:02 | |
A good steady profit. | 0:36:02 | 0:36:04 | |
That's all it's worth in that condition. | 0:36:04 | 0:36:06 | |
Charles's first purchase is up, the cut glass perfume bottles. Lovely. | 0:36:06 | 0:36:11 | |
You'll get...maybe get your money back. | 0:36:11 | 0:36:15 | |
-Who'll start me at £100 the pair? -Come on, come on. | 0:36:15 | 0:36:18 | |
-Come on, 30. 30 I've got there. -I'm in trouble, come on, let's go. | 0:36:18 | 0:36:21 | |
-At 40... -Come on! -Ssh! -Sorry. -LAUGHTER | 0:36:21 | 0:36:25 | |
Let the man do his job, Charles. | 0:36:25 | 0:36:27 | |
-I'm so embarrassed. -I'm doing my best. | 0:36:27 | 0:36:31 | |
40 I've got there. 40. At 45. | 0:36:31 | 0:36:34 | |
At 55 I've got there. 55, I'm looking for 60 I've got. | 0:36:34 | 0:36:38 | |
At 60, I'll take five. Now 65 in the front. | 0:36:38 | 0:36:40 | |
I'm looking for 70 now. At 65 I sell. | 0:36:40 | 0:36:44 | |
Sold. | 0:36:44 | 0:36:46 | |
That's a small loss. But there's plenty of time to make that back. | 0:36:46 | 0:36:51 | |
-How often do you make a loss? -Margie... -I'm really enjoying it. | 0:36:51 | 0:36:55 | |
Margie, it could be a big one loss today, I tell you. | 0:36:55 | 0:36:59 | |
Can Margie fare any better with her First World War postcards? | 0:36:59 | 0:37:03 | |
50 straight in. 50 I've got there. At £50. I'll take five now. | 0:37:03 | 0:37:07 | |
At 55, straight in at 55. | 0:37:07 | 0:37:09 | |
I'll take 60. 60, fresh bid. | 0:37:09 | 0:37:11 | |
At £60 in the room, I'll take five. | 0:37:11 | 0:37:13 | |
Marge, I'm in the bunker. | 0:37:13 | 0:37:15 | |
I'm staying in the bunker, I'm not coming out yet. | 0:37:15 | 0:37:17 | |
70 back in. At 75, 75, 80. | 0:37:17 | 0:37:19 | |
80, I'm looking for five. 85. | 0:37:19 | 0:37:21 | |
Margie, you know what, sometimes there is an escape to victory. | 0:37:21 | 0:37:25 | |
And I'm going to salute you. | 0:37:25 | 0:37:27 | |
I sell to the gentleman at £85. | 0:37:27 | 0:37:29 | |
Well, that bought the sale room to attention, | 0:37:29 | 0:37:32 | |
and a cracking profit for Margie. Well done. | 0:37:32 | 0:37:35 | |
Hold on, Margie. I'm surrendering now. | 0:37:35 | 0:37:37 | |
Well, there's no giving up, | 0:37:40 | 0:37:41 | |
and your sugar box and tea caddy could just get you back in the game. | 0:37:41 | 0:37:45 | |
Straight in at 10, 12, 14, 16, 18. | 0:37:45 | 0:37:49 | |
-I need some help now. -20, fresh bid. -Come on, let's move. | 0:37:49 | 0:37:53 | |
-Get the caddy out, man. -28, £30. At £30, are you all done? | 0:37:53 | 0:37:57 | |
It's in the doorway at 30, and I sell at £30. | 0:37:57 | 0:38:00 | |
Doubling his money. This could be the start of a comeback for Mr Hanson. | 0:38:00 | 0:38:06 | |
The rollercoaster is now at the big dipper and I'm about to come down. | 0:38:06 | 0:38:10 | |
I thought we were supposed to be going up, not down. | 0:38:10 | 0:38:13 | |
That's it, Margie, going up. | 0:38:13 | 0:38:14 | |
It almost started a fight in the antique shop, | 0:38:14 | 0:38:17 | |
but will there be a brawl in the sale room for Margie's gnome? | 0:38:17 | 0:38:21 | |
Who'll start me at £50 on the garden gnome? | 0:38:21 | 0:38:23 | |
-£30 on the garden gnome? -Get out of here. | 0:38:23 | 0:38:25 | |
Come on, somebody, please. | 0:38:25 | 0:38:27 | |
10 on the garden gnome? | 0:38:27 | 0:38:30 | |
Thank you, sir. At 12, 14, 16, 18, 20, 22. | 0:38:30 | 0:38:34 | |
-Oh, no. -At 26, 28. | 0:38:34 | 0:38:39 | |
£30. At £30, £30 still in the doorway. | 0:38:39 | 0:38:42 | |
-That's brilliant. -At £30. £30 it is. Have you all done? | 0:38:42 | 0:38:47 | |
It's Margie's lucky day. | 0:38:47 | 0:38:48 | |
They might not be paying for the paintwork, | 0:38:48 | 0:38:51 | |
but that's still a great profit. | 0:38:51 | 0:38:53 | |
-It's rolling in. -And the gap here in Lincolnshire | 0:38:53 | 0:38:56 | |
-is widening and widening. -It's rolling in. | 0:38:56 | 0:38:58 | |
A chance for Charles to claw back with his two glasses. | 0:38:58 | 0:39:02 | |
£30, I've got. At £30. At 30, | 0:39:02 | 0:39:04 | |
-I'm expecting this to make 100. -Come on. -At £30. | 0:39:04 | 0:39:08 | |
-And 35, 45, 50, 55. -Come on, let's move, come on. | 0:39:08 | 0:39:12 | |
The little twist one used to make 200. | 0:39:12 | 0:39:15 | |
-Absolutely. Come on, let's go. -At 65. At 65 and I sell now at £65. | 0:39:15 | 0:39:20 | |
Oh, dear me! | 0:39:21 | 0:39:24 | |
That's an amazing price for two glasses that are over 200 years old. | 0:39:25 | 0:39:29 | |
-Oh, dear, I don't know what to say. -I could cry. | 0:39:30 | 0:39:33 | |
Yeah, we feel your sympathy, Margie. Time for your document trunk. | 0:39:34 | 0:39:39 | |
30 I've got. At £30. | 0:39:39 | 0:39:41 | |
-I'll take five now. -Profit? Is that a profit? -At £30, are we all done? | 0:39:41 | 0:39:44 | |
What's wrong with this? 35, thank you. 40 with the original bidder. | 0:39:44 | 0:39:48 | |
45, I'll take 50 now. | 0:39:48 | 0:39:50 | |
At 45, I'm going to sell it, and I think it's very, very cheap, | 0:39:50 | 0:39:53 | |
at 45, but there you are. | 0:39:53 | 0:39:55 | |
That's another good profit and edges Margie further into the lead. | 0:39:55 | 0:39:59 | |
Well chuffed. | 0:39:59 | 0:40:01 | |
Time for the first of Charles's wooden stools. | 0:40:02 | 0:40:05 | |
20 I've got there. At £20. | 0:40:05 | 0:40:07 | |
-Let's go. -25 straight in. | 0:40:07 | 0:40:11 | |
30. 35. 38, thank you. | 0:40:11 | 0:40:14 | |
38, eight pounds profit. | 0:40:14 | 0:40:16 | |
I'll take one if it will help. | 0:40:16 | 0:40:18 | |
It might do. | 0:40:18 | 0:40:19 | |
I'll tell you the provenance afterwards. 41. | 0:40:19 | 0:40:23 | |
I'll tell you as well. 42. | 0:40:23 | 0:40:25 | |
-When the going gets tough, squeeze a bit. -43. | 0:40:25 | 0:40:29 | |
-44. 45. -He's really working hard. | 0:40:30 | 0:40:34 | |
Now, after what I've done, you've got to go 46. 46. | 0:40:34 | 0:40:39 | |
We could be up to 200 in a minute. | 0:40:39 | 0:40:41 | |
Good lad. I like your style. | 0:40:41 | 0:40:43 | |
Stylish work from Terence and a profit for Charles. | 0:40:45 | 0:40:48 | |
-Happy, Margie, I'm happy. -Happy. -Very happy indeed. | 0:40:48 | 0:40:51 | |
Margie wasn't convinced by the married sidetable, | 0:40:51 | 0:40:54 | |
but will it come back to haunt her? | 0:40:54 | 0:40:57 | |
I'm not holding out, but I think I might be lucky | 0:40:57 | 0:40:59 | |
because it's my lucky day, isn't it? | 0:40:59 | 0:41:01 | |
I've got the lady at 20, 25 straight in. | 0:41:01 | 0:41:04 | |
I'll take 30 now, at £30. | 0:41:04 | 0:41:06 | |
35, 35, I'll take 40. £40 I've got. | 0:41:06 | 0:41:08 | |
At £40 now. At £40, come on now, at £40. | 0:41:08 | 0:41:12 | |
-45. -45, 45, £50. | 0:41:12 | 0:41:15 | |
At 50. Have you all done, at £50? | 0:41:15 | 0:41:18 | |
-That's good. -Made a profit all day. | 0:41:18 | 0:41:20 | |
That nice little profit seals a 100% record on the day. | 0:41:20 | 0:41:24 | |
Something special is about to happen. I can feel it. | 0:41:26 | 0:41:30 | |
Will you stop it? | 0:41:30 | 0:41:31 | |
No pressure then, but Charles's final lot is his big hope | 0:41:31 | 0:41:35 | |
and the last chance to catch Margie today. | 0:41:35 | 0:41:38 | |
-50 I've got, thank you. At £50 now. -Come on, guys. -At 50. | 0:41:38 | 0:41:42 | |
-At 55. At 55. -Need to run a bit here. | 0:41:42 | 0:41:46 | |
65, fresh bid. At 65. 70. At 70. | 0:41:46 | 0:41:51 | |
I'll take two if it will help. | 0:41:51 | 0:41:53 | |
70 I've got. Back in, 72. | 0:41:53 | 0:41:55 | |
75, I'm looking for now. | 0:41:55 | 0:41:58 | |
No, at 72 and I sell. At 72. | 0:41:58 | 0:42:02 | |
-That's our game over, Margie. -Not bad. | 0:42:02 | 0:42:04 | |
That's a good profit, but was it enough? Time to find out. | 0:42:04 | 0:42:08 | |
Give me a high five. Margie, give me a high five. There we go. | 0:42:09 | 0:42:13 | |
Keep going, get out of here. | 0:42:13 | 0:42:14 | |
Charles started with £545.02, | 0:42:14 | 0:42:18 | |
and after auction costs he made 96p profit - ha! - | 0:42:18 | 0:42:23 | |
giving him a total of £545.98p. | 0:42:23 | 0:42:27 | |
Margie had £325.74p at the start of this leg. | 0:42:30 | 0:42:35 | |
After auction costs, she racked up a fantastic profit of £99.30p. | 0:42:35 | 0:42:40 | |
She wins the day and edges ever closer to Charles, | 0:42:40 | 0:42:44 | |
going into the final leg. | 0:42:44 | 0:42:46 | |
-What a turn-up for the books. -I don't know what to say, Margie. -I won at auction. | 0:42:46 | 0:42:50 | |
-Another day yet. -Exactly, Margie. -There's another day. -One big day. | 0:42:52 | 0:42:56 | |
-Bye, everybody! -Bye! See you, bye! | 0:42:56 | 0:42:59 | |
Cheerio! | 0:42:59 | 0:43:01 | |
Next time, the last chance to shop before the final auction... | 0:43:03 | 0:43:07 | |
-Let's just go for it. -..as Margie races to the finish line... | 0:43:07 | 0:43:10 | |
I'm going to take a chance. | 0:43:10 | 0:43:12 | |
..Charles walks all over the competition. | 0:43:12 | 0:43:14 | |
The last thing I want is Hanson on stilts. | 0:43:14 | 0:43:17 |