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-It's the nation's favourite antiques experts... -All right, viewers? | 0:00:02 | 0:00:05 | |
..with £200 each, a classic car and a goal - | 0:00:05 | 0:00:08 | |
to scour Britain for antiques. | 0:00:08 | 0:00:10 | |
I'm on fire! | 0:00:10 | 0:00:12 | |
-Sold! Going, going, gone! -The aim? | 0:00:12 | 0:00:14 | |
-To make the biggest profit at auction, but it's no mean feat. -50p! | 0:00:14 | 0:00:19 | |
There'll 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 | 0:00:27 | |
Ooh! | 0:00:27 | 0:00:29 | |
Aw! | 0:00:29 | 0:00:31 | |
This is the Antiques Road Trip. | 0:00:31 | 0:00:33 | |
Yeah! | 0:00:33 | 0:00:35 | |
It's a brand-new Road Trip with our latest | 0:00:37 | 0:00:40 | |
pair of pursuers of timeworn classics, Charles Hanson | 0:00:40 | 0:00:44 | |
and Philip Serrell, who are about to embark on an antique adventure. | 0:00:44 | 0:00:48 | |
-Welcome back, big boy. -Good to see you, Carlos. -Welcome back. | 0:00:48 | 0:00:51 | |
-I can't believe it. -It's good fun, isn't it? | 0:00:51 | 0:00:54 | |
-Yeah! -Really good fun. We're going to have a blast on this, Charlie. -Yeah! | 0:00:54 | 0:00:57 | |
Positive thinking - I like it. | 0:00:57 | 0:01:00 | |
-Charles Hanson knows a thing or two about antiques. -It's rustic... Ohh! | 0:01:00 | 0:01:05 | |
With over 14 years in the trade, he knows what he's doing. | 0:01:05 | 0:01:09 | |
I'm going downstairs. I'm going downstairs. | 0:01:09 | 0:01:11 | |
Told you! | 0:01:11 | 0:01:13 | |
Seasoned expert Philip Serrell has worn many hats in his career, | 0:01:15 | 0:01:19 | |
but this antiques game's a tough one. | 0:01:19 | 0:01:22 | |
Ooh! | 0:01:22 | 0:01:24 | |
Urgh! | 0:01:24 | 0:01:25 | |
Philip's got his eyes on the road | 0:01:25 | 0:01:28 | |
and his hands upon the wheel of a 1969 Triumph GT6 Convertible, | 0:01:28 | 0:01:32 | |
as our experts set off with high hopes and £200 each to spend. | 0:01:32 | 0:01:38 | |
Both have a great track record on the Road Trip. | 0:01:38 | 0:01:41 | |
-The only ever trip I lost was against a man called Philip Serrell. -Ha-ha! | 0:01:41 | 0:01:47 | |
So it promises to be a real contest. | 0:01:47 | 0:01:51 | |
Our trip begins in the northwest of England, at Southport, | 0:01:52 | 0:01:56 | |
before winding its way down into Wales, across to London, | 0:01:56 | 0:01:59 | |
before finally reaching Cirencester in the Cotswolds. | 0:01:59 | 0:02:02 | |
This leg takes us from the seaside town of Southport, | 0:02:04 | 0:02:07 | |
meandering south through Merseyside, Staffordshire, Cheshire, | 0:02:07 | 0:02:11 | |
before heading to Wrexham in Wales for the first auction. | 0:02:11 | 0:02:15 | |
Racehorse owner Ginger McCain famously trained | 0:02:17 | 0:02:20 | |
Red Rum on Southport beach, where the three times National | 0:02:20 | 0:02:23 | |
winner would prepare for the event by galloping through the sea water. | 0:02:23 | 0:02:28 | |
Phil's parking his steed right opposite his first shop, | 0:02:28 | 0:02:32 | |
The Antiques Man, as our pair begin their quest to find the best | 0:02:32 | 0:02:36 | |
treasure Southport has to offer. | 0:02:36 | 0:02:38 | |
-Make sure your mum gets her hat back! -It's a Mecca of antiques. | 0:02:38 | 0:02:42 | |
You're in the Mecca. Enjoy yourself. What's your tactics? | 0:02:42 | 0:02:45 | |
I'm going to get a hat like that. | 0:02:45 | 0:02:47 | |
-That's my tactic. God bless, Charlie. -You, too. All the best. | 0:02:47 | 0:02:51 | |
It looks like Charlie's right. | 0:02:52 | 0:02:54 | |
Phil's not even got in the shop and already he's fallen in lurve. | 0:02:54 | 0:02:59 | |
That's a fabulous thing, that is. | 0:02:59 | 0:03:01 | |
It's going to be a lot of money as well. | 0:03:01 | 0:03:04 | |
-I'll go in. Ah, John. Philip. How are you? -Hello, Philip. How are you? | 0:03:06 | 0:03:10 | |
-Good to see you. -Yes. | 0:03:10 | 0:03:11 | |
-Isn't that fantastic? -It is, absolutely unbelievable, that. | 0:03:11 | 0:03:15 | |
Yes. | 0:03:15 | 0:03:17 | |
This model of a coal tender was probably | 0:03:17 | 0:03:19 | |
used as an advertising gimmick in the mid 20th century, | 0:03:19 | 0:03:22 | |
though at £295, it's a bit out of your league, Phil. | 0:03:22 | 0:03:26 | |
Can I take that in? I might be able to talk to you about that. | 0:03:26 | 0:03:30 | |
OK. | 0:03:30 | 0:03:32 | |
Crikey! He's not letting it go. Let's see what else lies within. | 0:03:32 | 0:03:36 | |
This is a child's parasol. | 0:03:36 | 0:03:38 | |
And the person who would buy this today would be a doll collector. | 0:03:38 | 0:03:42 | |
-And that's 25 squid. -25 quid. | 0:03:42 | 0:03:44 | |
What a gentleman. | 0:03:44 | 0:03:46 | |
That seems a little more in your price range. | 0:03:46 | 0:03:49 | |
-How much are your little clogs? -They vary. They're the least expensive. | 0:03:57 | 0:04:01 | |
£10. | 0:04:01 | 0:04:03 | |
Those two are £30. | 0:04:05 | 0:04:08 | |
-Those are quite sweet. -They are. | 0:04:08 | 0:04:11 | |
Decisions, decisions, eh, Phil? | 0:04:11 | 0:04:13 | |
But wouldn't you know it? | 0:04:13 | 0:04:15 | |
He's still got his heart set on the coal tender. | 0:04:15 | 0:04:19 | |
Well, you don't get if you don't ask. | 0:04:19 | 0:04:22 | |
This is the item you really want to buy. | 0:04:22 | 0:04:24 | |
This is the one you've fallen in love with. This is the one you want. | 0:04:24 | 0:04:27 | |
This is... When I came through the door, this is what I loved. | 0:04:27 | 0:04:30 | |
-I absolutely love it. Can I give you £125 for the three? -No. | 0:04:30 | 0:04:36 | |
Blimey! Talk about going in low! | 0:04:36 | 0:04:38 | |
I think you'll need to try again, mate. | 0:04:38 | 0:04:41 | |
£140 and I'll have them. I'll shake your hand now. | 0:04:41 | 0:04:44 | |
You can't. You're holding it. | 0:04:44 | 0:04:46 | |
John, you're a gentleman. | 0:04:48 | 0:04:50 | |
Can I just say, you've been really, really generous to me. | 0:04:50 | 0:04:53 | |
He may have been really generous, but at £30 for the parasol | 0:04:53 | 0:04:56 | |
and clogs and an incredible bargain of £110 for the model coal tender, | 0:04:56 | 0:05:01 | |
that's nearly three-quarters of your budget gone in your first shop. | 0:05:01 | 0:05:05 | |
-Brave boy! Now, what's Charles up to? -Good morning. -How are you? | 0:05:05 | 0:05:09 | |
-I'm fine. -On this very sunny day. -I know. | 0:05:09 | 0:05:12 | |
He's in Market Street Antiques with the lovely Theresa. | 0:05:12 | 0:05:16 | |
-If only this was an oil. That's quite nice. -It is nice. | 0:05:16 | 0:05:21 | |
Nice quality. Oh, yes! | 0:05:21 | 0:05:23 | |
Look at the ceiling as well. | 0:05:23 | 0:05:25 | |
Try and focus, Charles, eh? | 0:05:25 | 0:05:28 | |
These are nice vases. Tell me about them. | 0:05:28 | 0:05:32 | |
-Um... -They're a pair, aren't they? -They are a pair, yes. | 0:05:32 | 0:05:35 | |
Yes. Um... | 0:05:35 | 0:05:37 | |
-I like these because they are what were called Japanese... -Yeah. | 0:05:37 | 0:05:42 | |
..and they are...Kutani. | 0:05:42 | 0:05:44 | |
You had to think for a second there, didn't you, Charles? | 0:05:44 | 0:05:47 | |
Kutani is both an area in Japan and a type of porcelain | 0:05:47 | 0:05:51 | |
known for its multiple colours, usually orange. | 0:05:51 | 0:05:54 | |
In perfect condition, they could be very valuable. | 0:05:54 | 0:05:57 | |
But these are priced at only £40. | 0:05:57 | 0:05:59 | |
On this side, you've got these wonderful birds in blossom, | 0:05:59 | 0:06:03 | |
on the reverse, we've got the wonderful Japanese Geisha girls. | 0:06:03 | 0:06:06 | |
You could almost be one yourself with that dark hair. | 0:06:06 | 0:06:09 | |
Theresa, I could put you alongside them in your eastern look. | 0:06:09 | 0:06:14 | |
But what really knocks them for six is the fact that we've got | 0:06:14 | 0:06:17 | |
-this restoration on the rim there. -I know. -What a shame. | 0:06:17 | 0:06:21 | |
I think that's the only thing that's wrong with it, really. | 0:06:21 | 0:06:25 | |
So if I said to you, Theresa, just today, one price only, | 0:06:25 | 0:06:30 | |
one price only... | 0:06:30 | 0:06:32 | |
What's your very best price? I shall walk away. | 0:06:32 | 0:06:35 | |
-Think about it. -35? | 0:06:35 | 0:06:37 | |
-Whisper again? -35. | 0:06:37 | 0:06:39 | |
-Whisper again? -35. | 0:06:39 | 0:06:41 | |
35, OK. OK. That's your one price only. | 0:06:41 | 0:06:44 | |
That's a real bargain. But what just sadly... | 0:06:44 | 0:06:47 | |
-That's it, yeah. -..will affect, I think, | 0:06:47 | 0:06:49 | |
my prestigious standing with Philip Serrell is if he sees that knock. | 0:06:49 | 0:06:54 | |
I shall think about it. It's a really nice discount. | 0:06:54 | 0:06:57 | |
So, unconvinced, Charles moves on. | 0:06:57 | 0:07:00 | |
Good morning. | 0:07:00 | 0:07:01 | |
And heads just along the road to Southport Antiques to meet John, | 0:07:01 | 0:07:05 | |
who is keeping an eye on his daughter-in-law's shop. | 0:07:05 | 0:07:08 | |
Are you a local man? | 0:07:08 | 0:07:10 | |
Yeah, born and bred. | 0:07:10 | 0:07:11 | |
John was a greengrocer, so he knows his onions, | 0:07:11 | 0:07:14 | |
but Charles knows his antiques. | 0:07:14 | 0:07:17 | |
So here you've got a wonderful sarcophagus tea caddy | 0:07:17 | 0:07:19 | |
in mahogany, in rosewood, | 0:07:19 | 0:07:22 | |
in almost satinwood as well, and that caddy would date to around 1820. | 0:07:22 | 0:07:29 | |
-John, there's no price on this, is there? -Let's say £1,000. -£1,000. | 0:07:29 | 0:07:34 | |
I'm out. I'm out. Thanks, John. £1,000. I'm out. | 0:07:36 | 0:07:40 | |
-A bit too much. Thanks, John. I'll leave that one. -Oh, gosh. | 0:07:40 | 0:07:44 | |
Maybe it's just his sense of humour, Charles. Let's try something else. | 0:07:44 | 0:07:48 | |
Lovely cabinet there. Chinoiserie. | 0:07:48 | 0:07:50 | |
John, there's no guide price on this, on the cabinet. | 0:07:50 | 0:07:54 | |
Beautifully lacquered with this Far Eastern influence, 1920s. | 0:07:54 | 0:07:59 | |
-Let me guess, John, £1,000? -OK. | 0:07:59 | 0:08:03 | |
£1,000. No, I'm going to say no, I'm out. OK? | 0:08:03 | 0:08:08 | |
-What's the best price? -You got me all excited there. | 0:08:08 | 0:08:11 | |
Surely not everything in here is £1,000? | 0:08:11 | 0:08:15 | |
-John, there's one thing I've seen outside here, may I show you? -Right. | 0:08:15 | 0:08:19 | |
-I quite like your bust, John. -I beg your pardon? -I call that your bust. | 0:08:19 | 0:08:24 | |
-Oh, the bust, yes. -Because... -And there's a price on it. Great. | 0:08:24 | 0:08:30 | |
John, you're in luck. | 0:08:30 | 0:08:31 | |
She's quite nice. John, do you like her? | 0:08:35 | 0:08:38 | |
-It's a good bust. -A bit ugly, I think. -Do you think so? | 0:08:41 | 0:08:45 | |
I'd like her a lot more if you bought her. | 0:08:45 | 0:08:48 | |
It seems John is keen to part with this French earthenware bust. | 0:08:49 | 0:08:52 | |
-Priced at £75, it's one to consider. -Let's go back inside. | 0:08:52 | 0:08:57 | |
Come on, mate. | 0:08:57 | 0:08:58 | |
Charles has also spotted this pair of watercolours, | 0:08:59 | 0:09:02 | |
dated 1922 and priced at £55. | 0:09:02 | 0:09:05 | |
What I love about history, John, is they're unique. | 0:09:06 | 0:09:10 | |
Nobody has reproduced them and they capture a time, don't they, | 0:09:10 | 0:09:15 | |
they capture the 1920s. And they're just very nice, in their oak frames. | 0:09:15 | 0:09:19 | |
They're not overly well painted. | 0:09:19 | 0:09:21 | |
The artist, I don't know who it is at all, but they're just decorative. | 0:09:21 | 0:09:25 | |
-Yeah. -How much are they worth to you, then, Charles? | 0:09:25 | 0:09:28 | |
I would want to, John, frankly, pay probably about 30 | 0:09:28 | 0:09:33 | |
for the watercolours and I'll probably want to pay | 0:09:33 | 0:09:37 | |
about 50 for your bust. | 0:09:37 | 0:09:40 | |
Which would make £80 in cash. | 0:09:40 | 0:09:43 | |
Look at me. | 0:09:44 | 0:09:46 | |
90 and it's a deal. | 0:09:47 | 0:09:48 | |
-Make it 85, and it's a deal. Look at me. -Are you sure? -Yeah. | 0:09:51 | 0:09:55 | |
But before they can shake on it, Charles wants one last crack | 0:09:57 | 0:10:01 | |
at the £1,000 caddy with the more realistic offer of... | 0:10:01 | 0:10:04 | |
-80? -Round figure, 100. | 0:10:04 | 0:10:07 | |
-I'm taking a chance. -Meet me halfway at 90. | 0:10:12 | 0:10:15 | |
-OK. -John, that's great. | 0:10:16 | 0:10:18 | |
-So, I've bought three items. -Hmm-mm. | 0:10:18 | 0:10:21 | |
-Which makes... -175. -Correct. | 0:10:21 | 0:10:25 | |
Oh, my goodness. That means I've only got £25 left. What have I done? | 0:10:25 | 0:10:30 | |
Not to be outdone on the spending stakes, | 0:10:31 | 0:10:34 | |
Charles has also blown a big part of his budget at the first opportunity. | 0:10:34 | 0:10:38 | |
This should make for an interesting trip. | 0:10:38 | 0:10:41 | |
With their pockets substantially lightened, our experts are | 0:10:41 | 0:10:44 | |
heading south towards Aintree, where Philip's "orf to the gee-gees". | 0:10:44 | 0:10:48 | |
Giddy up! | 0:10:48 | 0:10:49 | |
-At a canter, Phil, slow down. -Over the top! | 0:10:49 | 0:10:52 | |
-Over, Charlie, over, over! -Whoa, boys, steady up! | 0:10:52 | 0:10:57 | |
They're both getting out of the car here, | 0:10:59 | 0:11:01 | |
but Charles has more shopping on his mind. | 0:11:01 | 0:11:04 | |
Phil, at a canter, at a gallop, I'm off, enjoy yourself. | 0:11:04 | 0:11:09 | |
-Enjoy that toy. -What a place. -See you soon. -Bye. | 0:11:09 | 0:11:11 | |
He's swapping the Triumph for the time-honoured shanks pony. | 0:11:11 | 0:11:16 | |
Meanwhile, at a more leisurely pace, | 0:11:16 | 0:11:18 | |
Phil's going to explore the famous Aintree racecourse, | 0:11:18 | 0:11:21 | |
home to the great British institution, the Grand National. | 0:11:21 | 0:11:25 | |
The first official Grand National was held in 1839 | 0:11:25 | 0:11:29 | |
with the aptly-named Lottery declared the winner. | 0:11:29 | 0:11:33 | |
The event was the brainchild of William Lynn, | 0:11:33 | 0:11:35 | |
established to rival a race in St Albans. | 0:11:35 | 0:11:39 | |
Believing he could do it better, | 0:11:39 | 0:11:40 | |
he set out to create the greatest steeplechase in the world. | 0:11:40 | 0:11:43 | |
At one time, 66 runners and riders entered the Grand National | 0:11:43 | 0:11:47 | |
and they would have all started here in the old Weighing Room, | 0:11:47 | 0:11:51 | |
where Phil's meeting historian Jane Clarke. | 0:11:51 | 0:11:54 | |
This is the old Weighing Room. | 0:11:54 | 0:11:56 | |
Up until 2005, all the jockeys would change here | 0:11:56 | 0:11:59 | |
before they rode in the Grand National | 0:11:59 | 0:12:01 | |
and all the other races at Aintree. | 0:12:01 | 0:12:03 | |
This is where the nerves would jangle. | 0:12:03 | 0:12:05 | |
Mine would jangle before I sat on that thing! You haven't got enough weights there. | 0:12:05 | 0:12:09 | |
-Would you like a go? -Absolutely not. Some things are classified. | 0:12:09 | 0:12:12 | |
The National is the most valuable jump race in Europe, proving popular | 0:12:12 | 0:12:17 | |
with royalty and many people who like to have the occasional flutter. | 0:12:17 | 0:12:21 | |
It's 4.5 miles long, 30 fences, and even in the very early days, | 0:12:21 | 0:12:26 | |
there were 29 fences for them to jump, | 0:12:26 | 0:12:29 | |
but they were all natural fences. | 0:12:29 | 0:12:31 | |
Many of these fences, including Becher's Brook, | 0:12:31 | 0:12:33 | |
have become famous in their own right. | 0:12:33 | 0:12:36 | |
The fence took its name from Captain Martin Becher | 0:12:36 | 0:12:39 | |
who fell off his horse there in the first National | 0:12:39 | 0:12:42 | |
and took shelter in the brook to avoid injury. | 0:12:42 | 0:12:45 | |
I think this is really atmospheric here, but if you want to come | 0:12:45 | 0:12:49 | |
to Aintree, you've got to soak up the course, haven't you? | 0:12:49 | 0:12:51 | |
-You've got to get out there on the turf. -Show me, show me. | 0:12:51 | 0:12:54 | |
THEME MUSIC FROM "Black Beauty" | 0:12:54 | 0:12:57 | |
-Wow. That's incredible, isn't it? -What do you think of that? | 0:13:00 | 0:13:05 | |
And so where do we start? | 0:13:06 | 0:13:08 | |
A good place to start is perhaps the finishing line, | 0:13:08 | 0:13:11 | |
just in front of us, the lollipoppers, they call it. | 0:13:11 | 0:13:14 | |
That's after one of the longest run-ins in British racing, | 0:13:14 | 0:13:18 | |
-or anywhere, really. -And anything could win, couldn't it? | 0:13:18 | 0:13:21 | |
Well, it's unpredictable. | 0:13:21 | 0:13:22 | |
The fairy tale aspect, and you can start off in the small print, | 0:13:22 | 0:13:26 | |
you can end up in the headlines. Anybody can win. | 0:13:26 | 0:13:28 | |
The favourite can be beaten by the no-hoper, and it often happens, | 0:13:28 | 0:13:32 | |
and that's what makes it so magical. | 0:13:32 | 0:13:34 | |
The Antiques Road Trip's a bit like that. | 0:13:34 | 0:13:36 | |
Many horses have experienced the sweet taste of victory on this course, | 0:13:36 | 0:13:40 | |
taking their place in the history books, | 0:13:40 | 0:13:42 | |
but one name in particular leaps out from the page. | 0:13:42 | 0:13:45 | |
Out of all the horses that have raced here, in my eyes, | 0:13:45 | 0:13:47 | |
there's one that stands head and shoulders above the others | 0:13:47 | 0:13:50 | |
as being the icon, the Grand National icon, Red Rum. | 0:13:50 | 0:13:54 | |
Everyone's heard of Red Rum. | 0:13:54 | 0:13:55 | |
He's a very big part of Aintree's history. | 0:13:55 | 0:13:58 | |
-He's buried out here on the course. -Here? | 0:13:58 | 0:14:00 | |
Would you like to come and see his grave? | 0:14:00 | 0:14:02 | |
That would be quite moving, yeah, honestly, thank you. | 0:14:02 | 0:14:04 | |
Red Rum is the only horse to have won the National three times. | 0:14:04 | 0:14:09 | |
He died in 1995, aged 30, | 0:14:09 | 0:14:10 | |
with his death making the national news headlines. | 0:14:10 | 0:14:14 | |
We're at the winning line now. | 0:14:16 | 0:14:18 | |
This is the very point that you pass if you win the Grand National. | 0:14:18 | 0:14:21 | |
-Right next to it is Red Rum's grave. -That's special, isn't it? | 0:14:21 | 0:14:25 | |
-Isn't that nice? -You could almost get quite emotional, couldn't you? | 0:14:25 | 0:14:28 | |
Because you talk of sporting icons of the 20th century, | 0:14:28 | 0:14:33 | |
like Muhammad Ali, Pele, | 0:14:33 | 0:14:35 | |
and Red Rum has got to be up there, hasn't he? | 0:14:35 | 0:14:38 | |
He has, and this is where he belongs. This is his special place. | 0:14:38 | 0:14:42 | |
He always pricked up his ears when they unloaded him at Aintree. | 0:14:42 | 0:14:45 | |
He knew this place was special. He lit up when he was here. | 0:14:45 | 0:14:50 | |
Jane, I've absolutely loved this. It's been fantastic, | 0:14:50 | 0:14:53 | |
because Red Rum was a sporting hero of mine. Is that the finishing post? | 0:14:53 | 0:14:57 | |
Just come and help me get past Hansen before he gets there. Come on. | 0:14:58 | 0:15:01 | |
And trying to get his nose in front, | 0:15:06 | 0:15:09 | |
Charles has meanwhile made his way to the centre | 0:15:09 | 0:15:12 | |
of Liverpool to see how far his remaining £25 will stretch. | 0:15:12 | 0:15:16 | |
He's heading for Wayne Colquhoun Antiques, | 0:15:17 | 0:15:21 | |
-if he can stop waving to his adoring public, that is. -Bye! | 0:15:21 | 0:15:24 | |
Once inside, Charles is having regrets about splashing his cash so early. | 0:15:28 | 0:15:33 | |
If only I hadn't succumbed earlier | 0:15:34 | 0:15:37 | |
-and bought three objects in one shop. I've got £25. -How much? -£25. -£25. | 0:15:37 | 0:15:42 | |
-We'll sort something out for £25. -Really? -Yeah. | 0:15:42 | 0:15:46 | |
Has Charles found a little something that fits the bill? | 0:15:50 | 0:15:53 | |
-It's a turkey. -I have a reprint of the original Sabino catalogue. | 0:15:53 | 0:15:59 | |
Yes, Charles, this is no ordinary turkey. This is a Sabino turkey. | 0:16:00 | 0:16:05 | |
Sabino glass was made in the 1920s and '30s in Paris. | 0:16:05 | 0:16:09 | |
The firm was noted for Art Deco ornaments and figurines | 0:16:09 | 0:16:12 | |
in clear and coloured glass. | 0:16:12 | 0:16:14 | |
What's the best that could be, Wayne? | 0:16:15 | 0:16:18 | |
-How much have you got? -£25. -£30. | 0:16:18 | 0:16:21 | |
-Oh, golly! -£25 to you. -Are you sure? | 0:16:21 | 0:16:24 | |
Crikey! That would leave Charles without a penny | 0:16:24 | 0:16:27 | |
after only his second shop. | 0:16:27 | 0:16:29 | |
So to soften the blow, Wayne's offered his own personalised | 0:16:29 | 0:16:33 | |
-Dali-esque spectacle stand. -So you're going to throw in your... | 0:16:33 | 0:16:39 | |
-I'll sell you the both of them for £20. -Really? | 0:16:39 | 0:16:42 | |
That leaves you a fiver tomorrow. | 0:16:42 | 0:16:44 | |
A very generous offer indeed. | 0:16:44 | 0:16:46 | |
So that's £19 for the Art Deco turkey, | 0:16:46 | 0:16:48 | |
one pound for Wayne's modern art pottery stand. | 0:16:48 | 0:16:52 | |
-I'd shake on that if I were you, Charles. -It's there! Taken. | 0:16:52 | 0:16:56 | |
Sold! Going, going, gone. We've done a great deal, I'm over the moon. | 0:16:56 | 0:16:59 | |
£1, and £19 for my dong-dong turkey. | 0:16:59 | 0:17:03 | |
Back together, it's been a busy day for our antiquarians, | 0:17:05 | 0:17:09 | |
but will their risky strategy of spending so much money | 0:17:09 | 0:17:11 | |
so quickly leave them with regrets? | 0:17:11 | 0:17:14 | |
Time to get your heads down, for tomorrow's another day! | 0:17:14 | 0:17:18 | |
Nighty-night! | 0:17:18 | 0:17:19 | |
Ah! The Great British countryside, | 0:17:24 | 0:17:26 | |
a chance to breathe in the fresh air | 0:17:26 | 0:17:28 | |
and let whatever comes to mind out into the open. | 0:17:28 | 0:17:31 | |
So, Phil, impress me. Entertain me. | 0:17:31 | 0:17:34 | |
Let the past wax lyrical and for you to just invest heavily, deeply, | 0:17:34 | 0:17:38 | |
passionately, and love the object. | 0:17:38 | 0:17:40 | |
Don't buy knobbly knick-knacks, please. | 0:17:40 | 0:17:43 | |
Because I love you. | 0:17:43 | 0:17:45 | |
Oh, dear. Looks like someone's had a little bit too much sun. | 0:17:45 | 0:17:48 | |
To be fair, Charles has invested heavily, | 0:17:50 | 0:17:53 | |
deeply and passionately in his four lots, | 0:17:53 | 0:17:56 | |
spending a whopping £195 of his budget on a tea caddy, | 0:17:56 | 0:17:59 | |
a pair of watercolours, | 0:17:59 | 0:18:01 | |
an earthenware bust and a glass turkey and spectacle stand combo. | 0:18:01 | 0:18:06 | |
That leaves him with just £5 to spend on his final item. | 0:18:06 | 0:18:09 | |
Philip has also pushed the boat out, | 0:18:11 | 0:18:12 | |
spending a mighty £140 on two lots so far - | 0:18:12 | 0:18:15 | |
a miniature parasol and clogs and a model of a coal tender, | 0:18:15 | 0:18:19 | |
leaving him with a healthy £60 still to spend. | 0:18:19 | 0:18:23 | |
-I could almost buy a leek. -Sorry? | 0:18:23 | 0:18:27 | |
-I could almost buy a leek. -No, they're a penny a go, Charlie. | 0:18:27 | 0:18:30 | |
-Do you like leeks? L-E-E-K? -Charlie, where is this going? | 0:18:30 | 0:18:34 | |
Because we're going to Leek! | 0:18:34 | 0:18:35 | |
That's where we're going. We're going to Leek. | 0:18:35 | 0:18:38 | |
Ha! Charles is rather excited about it, | 0:18:38 | 0:18:40 | |
but that is exactly where he's taking you, Phil - | 0:18:40 | 0:18:43 | |
58 miles south-east to the town of Leek in Staffordshire. | 0:18:43 | 0:18:47 | |
This busy market town is known as the Queen Of The Moorlands | 0:18:50 | 0:18:54 | |
and has a large selection of antique shops. | 0:18:54 | 0:18:56 | |
-Go on, in you go. -After you. -No, no, no, age before beauty. | 0:18:57 | 0:19:00 | |
Including Phil Masters Antiques. | 0:19:00 | 0:19:03 | |
Good morning! | 0:19:03 | 0:19:04 | |
He's the one in the spiffing red jacket. | 0:19:04 | 0:19:07 | |
-This is a proper shop, isn't it? -Fantastic! | 0:19:07 | 0:19:10 | |
Our experts are going head-to-head here. | 0:19:10 | 0:19:13 | |
Charles is dashing straight upstairs, hoping that's where | 0:19:13 | 0:19:16 | |
they put the cheap stuff, with his £5 note. | 0:19:16 | 0:19:19 | |
I don't even dare advise the dealer I've got £5, because actually, | 0:19:19 | 0:19:23 | |
I don't think there's anything here for £5. I'll go hunting. | 0:19:23 | 0:19:28 | |
So Charles is struggling, | 0:19:30 | 0:19:31 | |
but how's Phil faring with the £60 in his pocket? | 0:19:31 | 0:19:34 | |
-What is that on the end of that shelf there? -This? | 0:19:34 | 0:19:38 | |
Yeah, what's that? | 0:19:38 | 0:19:39 | |
It came out of a pub, and I could do that for 30 quid. | 0:19:40 | 0:19:45 | |
-I think that's a bit of fun, isn't it? -It's fun, yeah. | 0:19:45 | 0:19:49 | |
So what we've got is just a bit of, almost like an orange box, | 0:19:49 | 0:19:54 | |
-isn't it, just a bit of timber, isn't it? -Yeah. | 0:19:54 | 0:19:57 | |
That someone's painted in the 1950s, | 0:19:57 | 0:20:00 | |
but we don't know where the pub is. Oh, it's the Shoulder Of Mutton. | 0:20:00 | 0:20:04 | |
But they've also done it in a.... | 0:20:05 | 0:20:07 | |
Like, tried to create a 3-D effect | 0:20:07 | 0:20:09 | |
by fretting out the shape of the pub. | 0:20:09 | 0:20:12 | |
I've got to buy three things | 0:20:14 | 0:20:15 | |
and I've got 60 quid. | 0:20:15 | 0:20:17 | |
Can I give you 20 quid for it? | 0:20:17 | 0:20:19 | |
That's my best shot. | 0:20:19 | 0:20:21 | |
-OK. -Are you sure? -Yes, we'll do that. Yeah. -You're a gentleman. | 0:20:21 | 0:20:25 | |
-I think that's really quite fun. -Yeah. | 0:20:25 | 0:20:28 | |
What's he up to with that picture, and where's he going? | 0:20:28 | 0:20:32 | |
Charlie, how you doing? | 0:20:32 | 0:20:34 | |
-I'm OK. Are you OK? -Yeah, yeah. | 0:20:34 | 0:20:36 | |
-Yeah, nothing for me here, Charlie. -No? -No. | 0:20:36 | 0:20:40 | |
-Are you enjoying it? -Yeah, it's quite nice. -What's behind your back? | 0:20:40 | 0:20:43 | |
-Where? -CHARLIE LAUGHS | 0:20:43 | 0:20:45 | |
-I told you! -There's nothing behind my back. -That looks very nice. | 0:20:45 | 0:20:47 | |
What? | 0:20:47 | 0:20:49 | |
HE LAUGHS | 0:20:49 | 0:20:51 | |
-Anyway, enjoy. -I will enjoy. | 0:20:51 | 0:20:52 | |
My back, it's killing me. It really is. | 0:20:52 | 0:20:54 | |
Phil, you're good with your hands, aren't you? | 0:20:54 | 0:20:56 | |
-What? -You're good with your hands. | 0:20:56 | 0:20:58 | |
-You could be a magician, the way you sort of... -What? | 0:20:58 | 0:21:01 | |
What?! It's my back. | 0:21:01 | 0:21:03 | |
Honestly, just here. It's just been... I think it's your driving. | 0:21:03 | 0:21:08 | |
-Anyway, I'll see you, mate. -Yeah. | 0:21:08 | 0:21:10 | |
-Cheers, buddy. -That was quite clever, where's it gone? | 0:21:10 | 0:21:13 | |
Our Philip's ready to move on, | 0:21:13 | 0:21:15 | |
leaving a thoroughly confused Charles | 0:21:15 | 0:21:17 | |
to get himself out of a pickle. | 0:21:17 | 0:21:19 | |
He's enlisted owner Phil's help | 0:21:19 | 0:21:21 | |
to pick out some of his inexpensive items. | 0:21:21 | 0:21:25 | |
Pewter mug can be a fiver, | 0:21:25 | 0:21:26 | |
-but, you know, it's quite a nice shape. -It is. | 0:21:26 | 0:21:28 | |
-But you might find that it's nothing rare. -Uh-huh. | 0:21:28 | 0:21:31 | |
I think these are undervalued, these ships in bottles, | 0:21:31 | 0:21:34 | |
First World War, quite a lot of them, | 0:21:34 | 0:21:36 | |
you can have it for a fiver. | 0:21:36 | 0:21:38 | |
I can see you're also looking at a Staffordshire lady playing her... | 0:21:38 | 0:21:43 | |
Is that a harpsichord or... It's some sort of little... | 0:21:43 | 0:21:47 | |
It is a harpsichord, or a Welsh harp. | 0:21:47 | 0:21:50 | |
That's a harp if I ever saw one... | 0:21:50 | 0:21:52 | |
Yeah, there she is, playing a Welsh harp | 0:21:52 | 0:21:55 | |
and, obviously, the auction is in Wales, | 0:21:55 | 0:21:57 | |
and she's quite tempting actually. | 0:21:57 | 0:21:59 | |
-Ah... Yes. -What can her best price be, Phil? | 0:21:59 | 0:22:02 | |
I thought perhaps £10? | 0:22:02 | 0:22:04 | |
Phil, could she, would she happily be... | 0:22:04 | 0:22:09 | |
It sounds better if I say 500... | 0:22:09 | 0:22:13 | |
pence. | 0:22:13 | 0:22:14 | |
Oh. Right! | 0:22:14 | 0:22:17 | |
-Oh, go on, then. -Are you sure? -Yes. | 0:22:17 | 0:22:19 | |
Well, I never. Charles, hats off to you. | 0:22:19 | 0:22:22 | |
You pulled it out of the bag | 0:22:22 | 0:22:24 | |
and got a cracking little item to finish your shopping. | 0:22:24 | 0:22:26 | |
Well done. | 0:22:26 | 0:22:27 | |
The boys are back on the road and heading 17 miles west to Wheelock, | 0:22:29 | 0:22:34 | |
where Charles is dropping Phil off at his last shop. | 0:22:34 | 0:22:37 | |
Phil, this place is amazing. | 0:22:37 | 0:22:38 | |
-I'm looking forward to this shop. -Hidden Treasures, Phil. | 0:22:38 | 0:22:41 | |
-Hidden Treasures. -CAR BANGS | 0:22:41 | 0:22:43 | |
-Oh, Lord, what are you doing?! -What's that? | 0:22:43 | 0:22:46 | |
-That was our exhaust, Charlie. -Oh, Charles. | 0:22:46 | 0:22:49 | |
Hidden Treasures lives up to its name, | 0:22:49 | 0:22:53 | |
you never know what you might find amongst all this lot - | 0:22:53 | 0:22:56 | |
maybe even a new exhaust. | 0:22:56 | 0:22:57 | |
Surely Richard has some serious antiques | 0:22:57 | 0:23:00 | |
for Philip to get his head around. | 0:23:00 | 0:23:02 | |
Oh. Ow... | 0:23:02 | 0:23:04 | |
Ohh... | 0:23:04 | 0:23:06 | |
-Ow, try that again, Philip. -That's made your eyes water. | 0:23:06 | 0:23:09 | |
Yeah, I might... Was it Mr Hodges out of Dad's Army? | 0:23:09 | 0:23:13 | |
"Put that light out!" | 0:23:13 | 0:23:15 | |
-He was the ARP warden, wasn't he? Was it ARP? -Yeah. | 0:23:15 | 0:23:18 | |
This is a warden's helmet, | 0:23:18 | 0:23:21 | |
which is, what, Second World War, 39-45. | 0:23:21 | 0:23:24 | |
Today there is a well-established market for collecting militaria. | 0:23:24 | 0:23:29 | |
Priced up at £39, that could be a possibility. | 0:23:29 | 0:23:32 | |
Quite like that, Richard. | 0:23:34 | 0:23:36 | |
That's a piece of coloured, leaded light glass, isn't it? | 0:23:38 | 0:23:42 | |
-It is, yeah. -Dates to about the 1920s, | 0:23:42 | 0:23:44 | |
-cos it's in a steel casement, isn't it? -Yep. -So it's sort of... | 0:23:44 | 0:23:48 | |
It's a bit Art Deco rather than Art Nouveau, isn't it? | 0:23:48 | 0:23:50 | |
That's right, yeah. | 0:23:50 | 0:23:51 | |
That's a lot of questions you seem to know the answer to, Phil, | 0:23:51 | 0:23:55 | |
but how about the all-important one? | 0:23:55 | 0:23:56 | |
-How much is that? -That is £25. | 0:23:56 | 0:23:59 | |
Secular leaded lights like this, | 0:23:59 | 0:24:02 | |
as opposed to the more ornate stained-glass windows | 0:24:02 | 0:24:05 | |
found in churches, | 0:24:05 | 0:24:07 | |
were popular in the early part of the 20th century. | 0:24:07 | 0:24:10 | |
-Can we perhaps put that by? -Yeah, no problem. | 0:24:10 | 0:24:13 | |
Still on the prowl, | 0:24:13 | 0:24:14 | |
are there any other hidden treasures for Phil? | 0:24:14 | 0:24:17 | |
That brings back memories for me. | 0:24:17 | 0:24:19 | |
One of the best moments of my television career | 0:24:19 | 0:24:24 | |
was on the Antiques Road Trip, | 0:24:24 | 0:24:26 | |
and I got to sit in a Lancaster bomber. | 0:24:26 | 0:24:29 | |
Just absolutely fantastic. | 0:24:29 | 0:24:32 | |
MUSIC: The Dam Busters' March | 0:24:32 | 0:24:35 | |
Let me put that back down. | 0:24:43 | 0:24:45 | |
Yes. We do look after you on the Road Trip. | 0:24:45 | 0:24:48 | |
Good memories, eh? | 0:24:48 | 0:24:50 | |
But it's time to make a decision on those items you looked at. | 0:24:50 | 0:24:53 | |
So we've got the leaded light, steel-case window, | 0:24:53 | 0:24:56 | |
that was priced at, what, £25? | 0:24:56 | 0:24:58 | |
Yeah. | 0:24:58 | 0:24:59 | |
And this warden's helmet, | 0:24:59 | 0:25:01 | |
-which was priced at thirty...? -£39. -£39. | 0:25:01 | 0:25:04 | |
Right, I'm going to be really cheeky here. | 0:25:04 | 0:25:06 | |
Richard, this is all I've got, right, there is no more, | 0:25:06 | 0:25:09 | |
it's not much. | 0:25:09 | 0:25:11 | |
-That is me, every last penny spent - £40. -Right. | 0:25:11 | 0:25:15 | |
£20 apiece, any good to you? | 0:25:15 | 0:25:17 | |
Well... | 0:25:18 | 0:25:19 | |
Since you've got no more and you're buying the two, | 0:25:20 | 0:25:22 | |
-I'll do it. -You're a gentleman, thank you ever so much. | 0:25:22 | 0:25:24 | |
Look at that. | 0:25:24 | 0:25:26 | |
So, both our experts are all shopped out and all spent out. | 0:25:26 | 0:25:29 | |
Jolly handsome. | 0:25:31 | 0:25:32 | |
Get to the auction, you're going to bomb. | 0:25:33 | 0:25:36 | |
Well, you'll have to wait a little longer for that auction, Phil. | 0:25:37 | 0:25:40 | |
While you've been busy shopping... | 0:25:40 | 0:25:42 | |
Charles has headed south | 0:25:42 | 0:25:44 | |
to Englesea Brook Chapel. | 0:25:44 | 0:25:47 | |
He has come to discover | 0:25:47 | 0:25:48 | |
how a small village on the Cheshire-Staffordshire border | 0:25:48 | 0:25:52 | |
had a huge impact on the world | 0:25:52 | 0:25:54 | |
as the birthplace of a movement | 0:25:54 | 0:25:56 | |
that was seen as a threat to the fabric of British society. | 0:25:56 | 0:25:59 | |
In the aftermath of the American and French Revolutions, | 0:25:59 | 0:26:03 | |
Britain introduced oppressive laws to quell domestic dissent. | 0:26:03 | 0:26:07 | |
Battling to be heard | 0:26:07 | 0:26:09 | |
was a religious splinter group called Primitive Methodism, | 0:26:09 | 0:26:13 | |
which played a major role | 0:26:13 | 0:26:15 | |
in changing the political landscape of 19th-century Britain. | 0:26:15 | 0:26:20 | |
This museum celebrates its history. | 0:26:20 | 0:26:23 | |
Good afternoon. It feels like going back to my primary school. | 0:26:23 | 0:26:26 | |
-Oh, does it! -All over again. Charles Hanson. -All right, welcome. | 0:26:26 | 0:26:29 | |
I'm Jill Barber, I'm the director of the museum here at Englesea Brook. | 0:26:29 | 0:26:32 | |
-Fantastic, may we go in? -Yes, please do. -Thank you very much. | 0:26:32 | 0:26:35 | |
Primitive Methodism was a working-class movement | 0:26:36 | 0:26:40 | |
which began in Mow Cop | 0:26:40 | 0:26:42 | |
in Staffordshire at the beginning of the 19th century. | 0:26:42 | 0:26:45 | |
Because of my ignorance, Jill, first of all, | 0:26:45 | 0:26:47 | |
I'm a very simple man from Derbyshire, when you say Primitive... | 0:26:47 | 0:26:50 | |
-Yeah. -..Methodism. Just give a simple man a bit of a background. | 0:26:50 | 0:26:53 | |
OK, let's get rid of the Primitive first of all, | 0:26:53 | 0:26:56 | |
because that just sounds terrible. Primitive means "early", | 0:26:56 | 0:26:59 | |
so, back to basics. | 0:26:59 | 0:27:00 | |
So it's about going back to | 0:27:00 | 0:27:02 | |
the early form of Methodism under John Wesley. | 0:27:02 | 0:27:04 | |
John Wesley founded the Methodist movement in the mid-18th century | 0:27:04 | 0:27:09 | |
which focused on helping the poor | 0:27:09 | 0:27:11 | |
and, ultimately, they split from the Anglican Church. | 0:27:11 | 0:27:15 | |
And what happens after John Wesley's death, | 0:27:15 | 0:27:18 | |
all the things that he stood for | 0:27:18 | 0:27:20 | |
about reaching out to the poor, that sort of stopped a bit. | 0:27:20 | 0:27:23 | |
There were some who felt the Methodist Church | 0:27:23 | 0:27:26 | |
had lost sight of his legacy. | 0:27:26 | 0:27:28 | |
And others like them felt, actually, | 0:27:28 | 0:27:31 | |
the good news was about going out and preaching to the poor, | 0:27:31 | 0:27:34 | |
and they were influenced by an American called Lorenzo Dow, | 0:27:34 | 0:27:37 | |
who was a bit crazy, looked a bit like a 1960s hippy. | 0:27:37 | 0:27:40 | |
And he came and preached in this area | 0:27:40 | 0:27:43 | |
and he was telling them about the camp meetings they have in America, | 0:27:43 | 0:27:46 | |
they were going, "Wow! That sounds just what we need to do." | 0:27:46 | 0:27:49 | |
It was this enthusiasm for Dow's radical preaching | 0:27:49 | 0:27:53 | |
from revolutionary America | 0:27:53 | 0:27:55 | |
that made the Primitive Methodists | 0:27:55 | 0:27:57 | |
seem such a danger to the British government. | 0:27:57 | 0:28:00 | |
But it was this new style of outdoor teaching | 0:28:00 | 0:28:03 | |
that proved so popular with the working class. | 0:28:03 | 0:28:05 | |
And as a result of that, the Methodist Church said, | 0:28:05 | 0:28:08 | |
"Wow, this is not respectable. | 0:28:08 | 0:28:10 | |
"Anybody that does open-air preaching, | 0:28:10 | 0:28:13 | |
"goes to a camp meeting, | 0:28:13 | 0:28:14 | |
"is out of the Methodist Church." | 0:28:14 | 0:28:16 | |
It really just met the needs of the age, | 0:28:16 | 0:28:20 | |
because what it did, it empowered ordinary working people. | 0:28:20 | 0:28:23 | |
The followers learned skills in leadership and public speaking, | 0:28:24 | 0:28:28 | |
making them the perfect candidates | 0:28:28 | 0:28:31 | |
for a burgeoning trade union movement. | 0:28:31 | 0:28:33 | |
Most of the early trade union leaders were Methodists, | 0:28:33 | 0:28:36 | |
and particularly Primitive Methodists, | 0:28:36 | 0:28:39 | |
because they were working people | 0:28:39 | 0:28:41 | |
who'd developed the skills through the chapel. | 0:28:41 | 0:28:43 | |
And what Primitive Methodism did, it gave them a voice, | 0:28:43 | 0:28:46 | |
it gave them a means, and possibly, arguably, | 0:28:46 | 0:28:49 | |
averted a French Revolution happening here. | 0:28:49 | 0:28:52 | |
This forward-thinking movement | 0:28:52 | 0:28:55 | |
was also ahead of its time | 0:28:55 | 0:28:56 | |
by actively encouraging women to preach. | 0:28:56 | 0:28:59 | |
What Hugh Bourne did, he was a real man of vision, | 0:28:59 | 0:29:02 | |
I admire him because it's hard to go against the ideas of your age, | 0:29:02 | 0:29:06 | |
and that's what he did. | 0:29:06 | 0:29:07 | |
And he not only encouraged girls, | 0:29:07 | 0:29:11 | |
young girls to preach, | 0:29:11 | 0:29:14 | |
go out as local preachers, | 0:29:14 | 0:29:16 | |
but he even paid them as travelling ministers. | 0:29:16 | 0:29:20 | |
While Primitive Methodism | 0:29:20 | 0:29:22 | |
merged with mainstream Methodism | 0:29:22 | 0:29:24 | |
in the early 20th century, | 0:29:24 | 0:29:26 | |
it had been at the vanguard | 0:29:26 | 0:29:28 | |
of the fledgling democracy in Britain | 0:29:28 | 0:29:30 | |
that gave working-class people a voice and a vote. | 0:29:30 | 0:29:34 | |
So, after that enlightening visit, | 0:29:34 | 0:29:37 | |
our two treasure-seekers are meeting up for the grand unveiling. | 0:29:37 | 0:29:41 | |
-Three, two, one - Phil, reveal all. -Oh, Lord. -Hello. | 0:29:41 | 0:29:46 | |
There's my little bits, Charlie. | 0:29:46 | 0:29:47 | |
-I like them. -Do you? -Do you know what, I really, really do. | 0:29:47 | 0:29:51 | |
-You're just saying that. -No, I'm being serious, Phil. What I love... | 0:29:51 | 0:29:54 | |
No, I'm being serious, Phil. You've got a lovely lot of clobber, | 0:29:54 | 0:29:57 | |
-but the biggest and best piece of clobber you've got... -Clobber?! | 0:29:57 | 0:30:00 | |
-No, clobber, for the auction. I love this. -It's nice, isn't it? | 0:30:00 | 0:30:03 | |
-Phil, that could fly. -Who knows? That was £110. -Yes. | 0:30:03 | 0:30:06 | |
I love this. You were there when I was sneaking out with this. | 0:30:06 | 0:30:09 | |
-Absolutely. -20 quid. -Yeah. | 0:30:09 | 0:30:10 | |
-20 quid. -What's its history? | 0:30:10 | 0:30:12 | |
Well, it's dated 1939, so it's Second World War. | 0:30:12 | 0:30:15 | |
Do you remember Dad's Army? "Put that light out!" | 0:30:15 | 0:30:18 | |
-Yes. Yes, I do. -It's him, isn't it? -Yeah, I like it. | 0:30:18 | 0:30:20 | |
-Yeah? -I like it. -That little lot was 30 quid. | 0:30:20 | 0:30:23 | |
-Tell me about your little kinky boots. -I thought they were your size. | 0:30:23 | 0:30:26 | |
They're not my size! | 0:30:26 | 0:30:28 | |
Are they old, because you've gone for National Coal Board | 0:30:28 | 0:30:31 | |
-and then this reflects... -I'm going for a working man's ethic. | 0:30:31 | 0:30:35 | |
I think you are. I like your style. | 0:30:35 | 0:30:37 | |
I bought this leaded light window here, | 0:30:37 | 0:30:39 | |
-and I thought I'd got two shots with this. -That's nice. -Because... | 0:30:39 | 0:30:42 | |
Take the leaded glass out and you've got a nice industrial steel frame | 0:30:42 | 0:30:47 | |
-to stand down and put a mirror in. -Absolutely. -Double whammy. | 0:30:47 | 0:30:49 | |
But also, it's in that lovely Art Nouveau taste, isn't it, as well? | 0:30:49 | 0:30:53 | |
-It's a bit later than that, I think. -Is it? -£200 all gone. | 0:30:53 | 0:30:55 | |
Now for Charles' £200 worth. | 0:30:55 | 0:30:58 | |
Phil, prepare to be intrigued, I think, | 0:30:58 | 0:31:01 | |
by my first batch of items just for you. | 0:31:01 | 0:31:04 | |
Right. | 0:31:04 | 0:31:05 | |
-I like your box, Charlie. -Do you really? | 0:31:07 | 0:31:09 | |
That's got to be your top lot. | 0:31:09 | 0:31:11 | |
I bought this off a greengrocer, | 0:31:11 | 0:31:13 | |
and if you want a wonderful 1820s-1830s tea caddy, this is it. | 0:31:13 | 0:31:16 | |
It is missing its mixing bowl, but look at that inlay on the back, | 0:31:16 | 0:31:19 | |
look at the top. | 0:31:19 | 0:31:20 | |
It's a gorgeous tea caddy, big and bulky. | 0:31:20 | 0:31:23 | |
Yeah, that's a good lot, Charlie. | 0:31:23 | 0:31:25 | |
But 20 years ago it would have fetched far more. | 0:31:25 | 0:31:28 | |
20 years ago that was 250 quid. | 0:31:28 | 0:31:30 | |
Now, if you have a good day, it might make you 150-160. | 0:31:30 | 0:31:33 | |
-That's what I thought. Exactly, Phil. -What's this all about, Charlie? | 0:31:33 | 0:31:36 | |
Well, Phil, I know you like the female form | 0:31:36 | 0:31:39 | |
and I know you like a bit of organic feel in a lady | 0:31:39 | 0:31:43 | |
and this lady represents the Art Nouveau. | 0:31:43 | 0:31:46 | |
-I think she's a good decorative lot, actually. -Seriously? | 0:31:46 | 0:31:49 | |
Yeah, I do, honestly. What did you pay for that? | 0:31:49 | 0:31:51 | |
-£55. -Well done, John. | 0:31:51 | 0:31:53 | |
That's fantastic. Well done. | 0:31:53 | 0:31:55 | |
Here is a Welsh girl playing the harpsichord. | 0:31:55 | 0:31:58 | |
I'm hoping, Phil, she's Staffordshire pottery, she's 1860, | 0:31:58 | 0:32:02 | |
she might play sweet music in Wales. | 0:32:02 | 0:32:04 | |
She might do, Charles, but not on a harpsichord - | 0:32:04 | 0:32:07 | |
once again, that's a harp. Oh, boy... | 0:32:07 | 0:32:09 | |
And this is the last lot, is it, these watercolours? | 0:32:09 | 0:32:13 | |
-I know that artist. -Do you really? -Yeah, I do. | 0:32:13 | 0:32:16 | |
-I can't remember, but I've sold work by him before. -Really? -Yeah. | 0:32:16 | 0:32:19 | |
I think you've done really, really well. | 0:32:19 | 0:32:22 | |
And off they go. | 0:32:22 | 0:32:24 | |
It's time to get back on the road and head to auction. | 0:32:28 | 0:32:31 | |
It's been a frenetic first leg | 0:32:33 | 0:32:35 | |
for our dynamic duo, | 0:32:35 | 0:32:37 | |
kicking off in Southport, | 0:32:37 | 0:32:38 | |
passing through Liverpool | 0:32:38 | 0:32:39 | |
before heading into the Cheshire countryside | 0:32:39 | 0:32:42 | |
and ending in Wrexham | 0:32:42 | 0:32:43 | |
for their first auction of the trip. | 0:32:43 | 0:32:45 | |
Wrexham is the largest town in North Wales | 0:32:45 | 0:32:49 | |
and claims to be the first place that lager was brewed in Britain. | 0:32:49 | 0:32:52 | |
Just park, Charlie, park. | 0:32:53 | 0:32:55 | |
-Just park, Charlie! -Perfect. -Charlie, stop, stop. | 0:32:55 | 0:32:58 | |
Stop, Charlie, stop. | 0:32:58 | 0:32:59 | |
-Phil, that is like a hand in a glove. -What? Yeah... | 0:32:59 | 0:33:03 | |
At least he didn't hit the wall(!) | 0:33:04 | 0:33:06 | |
The first auction of the Road Trip for our boys is at Wingetts. | 0:33:06 | 0:33:10 | |
Established for over 50 years, | 0:33:10 | 0:33:12 | |
they hold a monthly antique, fine art and collectable sale | 0:33:12 | 0:33:16 | |
that is renowned. | 0:33:16 | 0:33:17 | |
-Are you going first, or shall I go in first? -You go first, Charlie. | 0:33:17 | 0:33:20 | |
-Why? -I want to just delay the pleasure for as long as possible. | 0:33:20 | 0:33:23 | |
Look, try hard not to break anything. | 0:33:23 | 0:33:25 | |
Ah, he knows you well, Charles. | 0:33:25 | 0:33:28 | |
The man with the gavel in his grasp is Richard Hughes. | 0:33:29 | 0:33:33 | |
Let's see what he thinks of our experts' choices. | 0:33:33 | 0:33:36 | |
Decorative piece. | 0:33:36 | 0:33:37 | |
I don't know whether you'd want to leave it in the garden too long, | 0:33:37 | 0:33:40 | |
but I'd be hoping to get towards £100 or so for that, | 0:33:40 | 0:33:44 | |
certainly getting there. | 0:33:44 | 0:33:46 | |
The railway cart, NCB, National Coal Board, | 0:33:46 | 0:33:50 | |
nice well-made model. | 0:33:50 | 0:33:52 | |
It looks like it's been either in a fire or a bit too close to a fire, | 0:33:52 | 0:33:56 | |
because the condition's a little bit blistered, | 0:33:56 | 0:33:59 | |
but £50, £60. All of that. | 0:33:59 | 0:34:01 | |
Sounds promising. | 0:34:01 | 0:34:03 | |
Phil and Charles both began this leg | 0:34:03 | 0:34:06 | |
with the Road Trip's bulging budget of £200 | 0:34:06 | 0:34:10 | |
and both blew the lot. | 0:34:10 | 0:34:12 | |
That's the spirit. | 0:34:12 | 0:34:13 | |
Both bought true to form, | 0:34:13 | 0:34:15 | |
with Philip Serrell spending every last penny of his budget | 0:34:15 | 0:34:18 | |
on an eclectic mix of items to make up his five lots. | 0:34:18 | 0:34:21 | |
While Charles Hanson went down a more classical route | 0:34:22 | 0:34:26 | |
in choosing his five lots. | 0:34:26 | 0:34:27 | |
-It's a very tense auction. -'All the jewellery, £5...' | 0:34:31 | 0:34:34 | |
Do you feel tense? | 0:34:34 | 0:34:35 | |
Yes, I've got a slight clenching feeling around the buttocks. | 0:34:35 | 0:34:39 | |
Too late for nerves, boys, the auction is about to begin. | 0:34:40 | 0:34:43 | |
First up is Charles' Staffordshire pottery figure. | 0:34:45 | 0:34:49 | |
Start me then, £5. | 0:34:49 | 0:34:51 | |
-£5? -Oh... | 0:34:51 | 0:34:53 | |
£5 I've got on my right then, straight in with you, who'll say 8? | 0:34:53 | 0:34:55 | |
It's the maiden bid, 8. I'm bid 10. 10, madam? 12. | 0:34:55 | 0:35:00 | |
15? | 0:35:00 | 0:35:02 | |
18. | 0:35:02 | 0:35:03 | |
£15 lady's bid front. | 0:35:03 | 0:35:07 | |
Goes at 15. | 0:35:07 | 0:35:08 | |
A £10 profit, Charles. Steady... | 0:35:10 | 0:35:12 | |
but not much to harp about. | 0:35:12 | 0:35:14 | |
-That's a good start, isn't it? -Yeah, it was. | 0:35:14 | 0:35:17 | |
OK, it's a good start. | 0:35:17 | 0:35:19 | |
Now, if anyone by chance came along | 0:35:21 | 0:35:23 | |
looking for a glass turkey | 0:35:23 | 0:35:24 | |
and spectacle stand, | 0:35:24 | 0:35:26 | |
then they're in luck. | 0:35:26 | 0:35:27 | |
Stand by. | 0:35:27 | 0:35:29 | |
Nice little group, those. £30 the two. | 0:35:31 | 0:35:33 | |
-Got to be that. -Come on. | 0:35:33 | 0:35:35 | |
I've got £10 bid with me, then. | 0:35:35 | 0:35:36 | |
Big loss. | 0:35:36 | 0:35:38 | |
15, 18, 20, 22. | 0:35:38 | 0:35:40 | |
£22, the bid's in the room at £25. | 0:35:40 | 0:35:44 | |
A fresh bidder - 28. | 0:35:44 | 0:35:47 | |
£25, the bid's dead centre with you, sir, at 25. | 0:35:47 | 0:35:50 | |
You're out behind? All done. | 0:35:50 | 0:35:53 | |
Charlie, there's just no stopping you, is there? | 0:35:53 | 0:35:55 | |
-Isn't that a loss due to commission? -No, no, no, no. | 0:35:55 | 0:35:58 | |
No, don't worry, Charles, | 0:35:58 | 0:36:00 | |
after commission that actually scraped a profit. | 0:36:00 | 0:36:03 | |
Next up is Phil's first lot, | 0:36:04 | 0:36:06 | |
the miniature clogs and the parasol. | 0:36:06 | 0:36:10 | |
10 to start, £10 I got, thank you, madam. | 0:36:10 | 0:36:13 | |
Again, now, is there 12 in the room? | 0:36:13 | 0:36:15 | |
It's the main bid, the lady's bid. | 0:36:15 | 0:36:17 | |
15, 18. 20. | 0:36:17 | 0:36:18 | |
20, sir, and 22. 25. | 0:36:18 | 0:36:22 | |
£22. 25. | 0:36:22 | 0:36:24 | |
A fresh bidder - 28. | 0:36:24 | 0:36:26 | |
28, sir. | 0:36:26 | 0:36:28 | |
30. It's only money. And 32. | 0:36:28 | 0:36:32 | |
£30 bid's in front. | 0:36:32 | 0:36:35 | |
Charlie, could you wipe that smile off your face, please? | 0:36:36 | 0:36:40 | |
He's probably just worked out | 0:36:40 | 0:36:42 | |
that that's a loss after commission, Phil. | 0:36:42 | 0:36:45 | |
But here's the warden's helmet | 0:36:46 | 0:36:48 | |
that you were confident would blow Charles away. | 0:36:48 | 0:36:51 | |
I've got £20 bids. | 0:36:52 | 0:36:54 | |
INAUDIBLE SPEECH | 0:36:54 | 0:36:56 | |
30. And 35, sir? | 0:36:56 | 0:36:57 | |
40. And 45? | 0:36:57 | 0:36:59 | |
45. | 0:36:59 | 0:37:00 | |
Well done, it's getting there. | 0:37:00 | 0:37:02 | |
I'll take 48 if you like it. | 0:37:02 | 0:37:05 | |
Sold at 45. | 0:37:07 | 0:37:08 | |
-That's a shock, Charlie. -Well done. Well done. -What a great result. | 0:37:10 | 0:37:13 | |
You called it, Phil - a healthy profit to edge you in front. | 0:37:13 | 0:37:18 | |
Now, can Charles combat it with this pair of watercolours? | 0:37:18 | 0:37:23 | |
These are nice, but they could crash. | 0:37:23 | 0:37:25 | |
HB Davis, 1922, | 0:37:25 | 0:37:27 | |
it's going to be £50 for them. For the pair. | 0:37:27 | 0:37:29 | |
Come on... | 0:37:29 | 0:37:31 | |
Nice frames as well. | 0:37:31 | 0:37:33 | |
£20 to start, then. £20 I've got, thank you. | 0:37:33 | 0:37:36 | |
-That's all right, Charles. -Down 10. | 0:37:36 | 0:37:38 | |
Maiden bid at £20 with you, sir. | 0:37:38 | 0:37:40 | |
25 bid, 30. | 0:37:40 | 0:37:42 | |
£25 bid, I'll take 28 if it helps you now. | 0:37:42 | 0:37:46 | |
£25. | 0:37:46 | 0:37:47 | |
Is there 28? | 0:37:47 | 0:37:49 | |
Sold at £25. | 0:37:49 | 0:37:53 | |
That's cost you 8 quid, I think. | 0:37:53 | 0:37:56 | |
And your profit overall is sailing away from you. | 0:37:58 | 0:38:01 | |
But will Phil's stay on track | 0:38:02 | 0:38:05 | |
with his model of a coal tender? | 0:38:05 | 0:38:07 | |
Lovely quality, nicely made and put together. Lot 90. | 0:38:07 | 0:38:10 | |
-Give me 100 for it. -Wow. | 0:38:10 | 0:38:12 | |
£100 I got. | 0:38:12 | 0:38:13 | |
Straight in. At £100, it's the lady's bid at the back of the room. | 0:38:13 | 0:38:17 | |
Who'll say 105 for it? | 0:38:17 | 0:38:19 | |
Maiden bid with you, madam, at £100. | 0:38:19 | 0:38:22 | |
Starting bid £100. | 0:38:22 | 0:38:24 | |
Sold for 100! | 0:38:24 | 0:38:26 | |
Wow. | 0:38:26 | 0:38:28 | |
Oh, dear. The face says it all. | 0:38:28 | 0:38:30 | |
I think Phil saw more than £100 on that. | 0:38:30 | 0:38:33 | |
You need two to tango, and she had no-one to tango with. | 0:38:33 | 0:38:35 | |
Best wait until your big purchase has been sold, Charles. | 0:38:38 | 0:38:41 | |
It's your large tea caddy up next. | 0:38:41 | 0:38:43 | |
It is too much, I love it. | 0:38:43 | 0:38:45 | |
No regrets. No regrets. | 0:38:45 | 0:38:47 | |
How much for it? Give me 50. | 0:38:47 | 0:38:49 | |
-Start me. -Oh, it's a killer. | 0:38:49 | 0:38:51 | |
£50 I've got, straight in. 55 bid, 60. 65. | 0:38:51 | 0:38:55 | |
70, 75, 80, 85. | 0:38:55 | 0:38:59 | |
90, 95. 100. | 0:38:59 | 0:39:02 | |
-Go on, go on. -95, madam. | 0:39:02 | 0:39:05 | |
Sold at £95. | 0:39:05 | 0:39:09 | |
That's great. I've lost money, but it was an object worth buying. | 0:39:09 | 0:39:12 | |
That's the spirit, Charles, you're right. | 0:39:12 | 0:39:15 | |
After auction costs that'll be a small loss, | 0:39:15 | 0:39:18 | |
but I'd say you were unlucky there. | 0:39:18 | 0:39:20 | |
Moving on, it's Phil's leaded light window. | 0:39:20 | 0:39:23 | |
He feels it's got more than one use | 0:39:23 | 0:39:26 | |
but will it have more than one bidder this time? | 0:39:26 | 0:39:28 | |
Window light. Give me £20 for that one. | 0:39:28 | 0:39:30 | |
£10. £10. 12 bid. | 0:39:31 | 0:39:34 | |
15, madam, 18, 20. | 0:39:34 | 0:39:37 | |
And 22. 25. | 0:39:37 | 0:39:39 | |
£22, seated right at the back... | 0:39:39 | 0:39:43 | |
That's a relief, Charles. | 0:39:43 | 0:39:45 | |
22 bid. All done. | 0:39:45 | 0:39:48 | |
That's another loss after the auction takes its commission. | 0:39:49 | 0:39:52 | |
Maybe buying their items so quickly is coming back to haunt them. | 0:39:52 | 0:39:56 | |
Come on, Charles, let's end with a profit on your last lot, | 0:39:57 | 0:40:01 | |
the earthenware bust of a lady. | 0:40:01 | 0:40:03 | |
Gosh, I'm quite nervous now. | 0:40:03 | 0:40:04 | |
-I've got 50 bid with me to start with, 50 bid. -Good start. | 0:40:04 | 0:40:07 | |
50 bid. 55, 65, sir. | 0:40:07 | 0:40:09 | |
70, and 75. | 0:40:09 | 0:40:11 | |
£70, 75, 80. 85, madam? | 0:40:11 | 0:40:14 | |
90, 95. £95 and out now, | 0:40:14 | 0:40:17 | |
the bid's the lady's bid at the back of the room at £95. | 0:40:17 | 0:40:21 | |
I'll take 100 if you want. | 0:40:21 | 0:40:22 | |
100 bid, 110, madam. | 0:40:22 | 0:40:25 | |
105 if it helps you? | 0:40:25 | 0:40:27 | |
105 bid. 110. | 0:40:27 | 0:40:28 | |
115. | 0:40:28 | 0:40:30 | |
Bid's by me. Finished at 110. | 0:40:30 | 0:40:33 | |
I'll let you have a little smile, Charlie, | 0:40:35 | 0:40:37 | |
cos I know you'll break in your next two. | 0:40:37 | 0:40:39 | |
-That's really well done, you. -I'm pleased, I'm really pleased, yeah. | 0:40:39 | 0:40:42 | |
A great way to finish off, Charles, well done. | 0:40:42 | 0:40:45 | |
That's brought some respectability back. | 0:40:45 | 0:40:48 | |
At last, but hopefully not least, | 0:40:49 | 0:40:51 | |
it's Phil's folk art panel painting of a pub. | 0:40:51 | 0:40:55 | |
A bit of fun. Give me £20 for it. | 0:40:55 | 0:40:58 | |
I'll take 10 to start, then. | 0:40:58 | 0:41:00 | |
Must be that, surely. | 0:41:00 | 0:41:01 | |
-Ouch. -No bid for it. | 0:41:01 | 0:41:04 | |
£5. Needs a new home. | 0:41:04 | 0:41:07 | |
Nobody want it? | 0:41:07 | 0:41:09 | |
£2? | 0:41:09 | 0:41:12 | |
Oh, no, don't sell it for that! | 0:41:12 | 0:41:15 | |
Who'll say 4 in the room? That is for nothing, that. | 0:41:15 | 0:41:17 | |
The main bidder 2. | 0:41:17 | 0:41:18 | |
4, I'm bid, standing. 6, 8? | 0:41:18 | 0:41:21 | |
No? We tried. | 0:41:21 | 0:41:23 | |
Sold at 6, then. | 0:41:23 | 0:41:25 | |
That's hard. | 0:41:25 | 0:41:27 | |
Well, Phil, it's closing time on your first auction | 0:41:28 | 0:41:32 | |
and you've ended up with a loss. | 0:41:32 | 0:41:34 | |
-Do you want me to go? -Yes, I do, I want you to leave the building. | 0:41:34 | 0:41:38 | |
CHARLES LAUGHS | 0:41:38 | 0:41:39 | |
I hate him. I really don't like him at all. | 0:41:39 | 0:41:42 | |
There's room for improvement, there, boys, | 0:41:45 | 0:41:48 | |
but onwards and upwards. | 0:41:48 | 0:41:49 | |
Both our experts started this leg with £200 | 0:41:49 | 0:41:52 | |
and, after paying auction costs, | 0:41:52 | 0:41:54 | |
Phil has made a sorry loss of £33.54 | 0:41:54 | 0:41:58 | |
that leaves him with £166.46 to carry forward. | 0:41:58 | 0:42:02 | |
That cheeky scamp Charles Hanson, on the other hand, | 0:42:04 | 0:42:06 | |
has triumphed today. | 0:42:06 | 0:42:08 | |
He's made a profit of £21.40, | 0:42:08 | 0:42:10 | |
which means he takes forward £221.40 | 0:42:10 | 0:42:14 | |
to spend next time. | 0:42:14 | 0:42:16 | |
The way I look at it, you're up, I'm down, | 0:42:16 | 0:42:19 | |
but there is a bright side. | 0:42:19 | 0:42:21 | |
-I get to drive now. -And also, Phil, this is only act one. | 0:42:21 | 0:42:24 | |
-There's four acts to go. -Theatre, romance, drama, | 0:42:24 | 0:42:27 | |
but I do get to drive, don't I? | 0:42:27 | 0:42:29 | |
-Yes, you do. -Thank the Lord for that. | 0:42:29 | 0:42:31 | |
Charlie, stop it. It's not big. I'm going to kick you. | 0:42:31 | 0:42:35 | |
No, don't kick me in the bottom. Ow! | 0:42:35 | 0:42:39 | |
-Oh! Ow. -Get out. Go on. -What was that for? That's not fair. | 0:42:39 | 0:42:43 | |
All the best! | 0:42:43 | 0:42:44 | |
Oh, do behave, Charles. | 0:42:49 | 0:42:50 | |
I'm sure you'll both bring the big guns out on the next leg. | 0:42:50 | 0:42:54 | |
Next time on Antiques Road Trip, Philip goes out on a limb. | 0:42:55 | 0:42:58 | |
I don't know what it's worth and I don't know what it is. | 0:42:58 | 0:43:01 | |
And Charles has the dealers wrapped around his finger. | 0:43:01 | 0:43:04 | |
Would you be open to an offer on the whole lot? | 0:43:04 | 0:43:07 | |
I'll listen, but I won't... | 0:43:07 | 0:43:08 | |
No! I'm your mate. | 0:43:08 | 0:43:11 |