Browse content similar to Episode 3. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
-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. Yes! | 0:00:10 | 0:00:12 | |
Sold. Going, going, gone. | 0:00:12 | 0:00:14 | |
The aim, to make the biggest profit at auction, but it's no mean feat. | 0:00:14 | 0:00:18 | |
50p! | 0:00:18 | 0:00:19 | |
There will be worthy winners and valiant losers. | 0:00:19 | 0:00:22 | |
So, will it be the high road to glory or the slow road to disaster? | 0:00:23 | 0:00:28 | |
-Ooh! Ooh! -Ow! | 0:00:28 | 0:00:30 | |
This is the Antiques Road Trip. | 0:00:30 | 0:00:32 | |
Yeah! | 0:00:34 | 0:00:35 | |
'TIME IS TIGHT' BY BOOKER T AND THE MG'S PLAYS | 0:00:35 | 0:00:39 | |
It's the third leg of their road trip | 0:00:41 | 0:00:43 | |
for our experts Charles Hanson and Philip Serrell. | 0:00:43 | 0:00:46 | |
As they navigate the streets of South London, | 0:00:46 | 0:00:48 | |
they seem to have gone all Cockney on us, like. | 0:00:48 | 0:00:52 | |
Phil, we're not far from Peckham. | 0:00:52 | 0:00:54 | |
Mickey P, Del Boy, Rodney, you and me. | 0:00:54 | 0:00:57 | |
-Don't call me Grandad, Charlie. -Got a pony in your pocket. | 0:00:57 | 0:01:00 | |
Grandad. Grandad. | 0:01:00 | 0:01:02 | |
I'm Rodney, you'll be Grandad, OK? | 0:01:02 | 0:01:05 | |
-You are a bit of a plonker. -Yeah, Rodney. | 0:01:05 | 0:01:08 | |
At least you're not driving a yellow three-wheeler, chaps. | 0:01:08 | 0:01:11 | |
Charles is an auctioneer and valuer with over 14 years' experience. | 0:01:13 | 0:01:17 | |
Looking good, Charles. | 0:01:20 | 0:01:22 | |
Philip's a seasoned auctioneer and antique expert, | 0:01:23 | 0:01:26 | |
and after falling behind in the last leg the alarm bells are ringing. | 0:01:26 | 0:01:30 | |
BELL RINGS | 0:01:30 | 0:01:31 | |
Our experts began their journey with £200 each, | 0:01:33 | 0:01:36 | |
and two auctions later the gap is widening | 0:01:36 | 0:01:39 | |
with just over £80 separating the pair. | 0:01:39 | 0:01:41 | |
Charles made a winning start to the road trip, | 0:01:43 | 0:01:46 | |
triumphing in the first two auctions, | 0:01:46 | 0:01:48 | |
giving him a very pleasing £335.38 to spend today. | 0:01:48 | 0:01:53 | |
While Phil, the only person to have beaten Charles Hanson | 0:01:53 | 0:01:57 | |
on the Road Trip before, | 0:01:57 | 0:01:59 | |
is trailing this time round, amassing only £254.20 so far. | 0:01:59 | 0:02:04 | |
Slow down. Slow down! Slow down. Just slow down, slow down. | 0:02:04 | 0:02:07 | |
Charles is at the wheel as they bump their way through | 0:02:07 | 0:02:09 | |
the streets of Greater London in a 1969 Triumph GT6 convertible. | 0:02:09 | 0:02:14 | |
Watch out for those sleeping policemen. | 0:02:14 | 0:02:17 | |
Do you know what, Charlie? I'm feeling carsick at the minute. | 0:02:17 | 0:02:22 | |
Charlie, these sleeping policemen, they have a design. | 0:02:22 | 0:02:25 | |
It's actually meant to slow you down when you take them. | 0:02:25 | 0:02:28 | |
-Don't take them at 50. -Oh, no wakey-wakey. | 0:02:28 | 0:02:30 | |
Let's go, guys, you're road-tripping. Wakey-wakey. | 0:02:30 | 0:02:32 | |
Wakey-wakey indeed. | 0:02:32 | 0:02:34 | |
Our road trip covers a massive 900 miles | 0:02:34 | 0:02:37 | |
from the north-west of England, at Southport, | 0:02:37 | 0:02:39 | |
winding down into Wales, | 0:02:39 | 0:02:41 | |
across to London before finally reaching Cirencester | 0:02:41 | 0:02:44 | |
in the Cotswolds. | 0:02:44 | 0:02:45 | |
This leg takes us from the South London district of Bermondsey | 0:02:47 | 0:02:51 | |
into the heart of the capital before ending up at auction in Greenwich. | 0:02:51 | 0:02:55 | |
Bermondsey lies close to Tower Bridge | 0:02:55 | 0:02:58 | |
on the South Bank of the River Thames. | 0:02:58 | 0:03:00 | |
In 1952, the bridge opened | 0:03:00 | 0:03:02 | |
while a double-decker bus was still crossing. | 0:03:02 | 0:03:05 | |
Driver Albert Gunter made a heroic three-foot leap | 0:03:05 | 0:03:09 | |
onto the north bascule | 0:03:09 | 0:03:10 | |
and was later given £10 by the City Corporation | 0:03:10 | 0:03:13 | |
to honour his act of bravery. | 0:03:13 | 0:03:16 | |
Our brave boys, though, are starting their shopping expedition | 0:03:16 | 0:03:19 | |
underneath the arches, at Tower Bridge Antiques. | 0:03:19 | 0:03:22 | |
If they can get out of the car. | 0:03:22 | 0:03:23 | |
We both know what is an antique, and this is the big time, Phil. | 0:03:23 | 0:03:26 | |
This is London. Let's do it. | 0:03:26 | 0:03:28 | |
I don't know what he's talking about half of the time. | 0:03:28 | 0:03:30 | |
Someone's been watching The Apprentice again. | 0:03:30 | 0:03:33 | |
Can you tell? Look at the way he walks. | 0:03:33 | 0:03:36 | |
-After you. -Cheers. Thank you. -My pleasure. | 0:03:39 | 0:03:40 | |
Oh hand to help is dealer Jed. | 0:03:40 | 0:03:42 | |
-Good to see you. Jed? -Jed. -Good to see you, Jed. | 0:03:42 | 0:03:44 | |
-Charles Hanson. -Charles. -What a great emporium you have of antiques. | 0:03:44 | 0:03:48 | |
What's the plan, Phil? | 0:03:48 | 0:03:49 | |
You keep him talking, I'll go and have a look. | 0:03:49 | 0:03:51 | |
He's ahead of me, I've got to try and beat him. | 0:03:51 | 0:03:54 | |
With Phil trailing, | 0:03:57 | 0:03:58 | |
he seems to be on a mission to find something quickly. | 0:03:58 | 0:04:01 | |
This is a brand-new Chinese pot. | 0:04:01 | 0:04:03 | |
What on earth do I want a brand-new Chinese pot for? | 0:04:03 | 0:04:07 | |
But that old is worth thousands. | 0:04:07 | 0:04:09 | |
It's decorated with carp. | 0:04:09 | 0:04:10 | |
Which is very emblematical for the Chinese. | 0:04:11 | 0:04:15 | |
It is brand-new | 0:04:15 | 0:04:17 | |
but it's decorative and it's sort of 30 or 40 quid. | 0:04:17 | 0:04:21 | |
I think it would make quite a cool table lamp. | 0:04:21 | 0:04:24 | |
But it just doesn't want to be any more than that. | 0:04:25 | 0:04:28 | |
Sounds like you're not sure if it can turn a profit at auction. | 0:04:29 | 0:04:33 | |
Maybe you should just browse on, then. | 0:04:33 | 0:04:35 | |
Oh, look, there's loads of them. | 0:04:35 | 0:04:37 | |
Double rubble trouble. | 0:04:37 | 0:04:39 | |
-Charlie! -Philip. -Charlie! -Philip. | 0:04:42 | 0:04:46 | |
I've got just the thing for you. | 0:04:46 | 0:04:48 | |
Oh, Phil, it's my missing lady. | 0:04:48 | 0:04:52 | |
Charlie bought the three seasons out in the last sale | 0:04:52 | 0:04:54 | |
-and was missing the fourth season. -Right. Yeah. | 0:04:54 | 0:04:57 | |
They have a certain weathered look about them. | 0:04:57 | 0:05:00 | |
They're not very old, they're 20 or so years old. | 0:05:00 | 0:05:03 | |
They've got a few knocks. | 0:05:03 | 0:05:06 | |
-By jolly. -What's she made of? Is she a painted metal or is she a stone? | 0:05:06 | 0:05:11 | |
She's concrete, Charlie, like the other ones were. | 0:05:11 | 0:05:13 | |
Rubble. Absolute rubble. | 0:05:13 | 0:05:15 | |
But, Phil, they make money. And what's the name of the game, Jed? | 0:05:15 | 0:05:19 | |
-Making money. -Exactly. Listen to the man, OK? | 0:05:19 | 0:05:22 | |
Resisting her charms this time round, | 0:05:22 | 0:05:24 | |
Charles has decided there's nothing for him here and is moving on. | 0:05:24 | 0:05:28 | |
Back inside, Phil's been drawn to the vase again. | 0:05:29 | 0:05:32 | |
It has a ticket price of £50. | 0:05:32 | 0:05:35 | |
Perhaps there's a discount to be had. | 0:05:35 | 0:05:38 | |
-I think I'm going to make between 40 and 60 quid at auction. -Right. OK. | 0:05:38 | 0:05:41 | |
-So I've got to buy them at, like, 30, 35 quid. -Yeah. | 0:05:41 | 0:05:43 | |
-30 quid. -30 quid. | 0:05:43 | 0:05:45 | |
Gentleman. Ooh-hoo. You're a gentleman. | 0:05:45 | 0:05:47 | |
Let me just give you some money. | 0:05:47 | 0:05:49 | |
Meanwhile, Charles has headed over the Thames to Bethnal Green, | 0:05:50 | 0:05:54 | |
hoping to find some bargains north of the river. | 0:05:54 | 0:05:57 | |
Le Grenier specialises in vintage pieces | 0:05:57 | 0:06:00 | |
which, for an antiques man like our Charles, | 0:06:00 | 0:06:02 | |
could be out of his comfort zone. | 0:06:02 | 0:06:04 | |
But he'll need to get with it. | 0:06:04 | 0:06:06 | |
Vintage and retro are booming these days. | 0:06:06 | 0:06:09 | |
It's vintage, it's retro and it's "Get forward-thinking, hey, Charles? | 0:06:09 | 0:06:14 | |
"Get with the times, Hanson." | 0:06:14 | 0:06:15 | |
You know, you've got to start looking at this market, because to me it's amazing. Wow. | 0:06:15 | 0:06:20 | |
Glad to see you're embracing it, Charles. | 0:06:20 | 0:06:22 | |
Sweet Mila is on hand to help with all your vintage needs. | 0:06:24 | 0:06:28 | |
I suppose I've got to delve into the unknown. That's quite sweet. | 0:06:28 | 0:06:31 | |
What's in there? | 0:06:31 | 0:06:32 | |
That's quite nice. Isn't that cute? | 0:06:34 | 0:06:36 | |
Isn't that nice? A little cruet set. Oops. | 0:06:36 | 0:06:39 | |
There we are. That's just quite... | 0:06:39 | 0:06:42 | |
Wobbly? | 0:06:42 | 0:06:44 | |
-..colourful, isn't it? -Mm-hm. | 0:06:44 | 0:06:46 | |
The reason I like this is it's a Melmac or a Bakelite... | 0:06:46 | 0:06:49 | |
-Oops! -..cruet set, and it's just striking. | 0:06:49 | 0:06:52 | |
And if we're going to Greenwich, it's just got a real look about it. | 0:06:52 | 0:06:56 | |
The salt and pepper shakers look original | 0:06:56 | 0:06:58 | |
but the yellow one should be a mustard pot, | 0:06:58 | 0:07:01 | |
not another salt cellar, as the ticket points out. | 0:07:01 | 0:07:04 | |
I'm getting quite desperate. I've bought nothing yet, Mila. | 0:07:05 | 0:07:09 | |
You know, give me a smile, Mila. Smile, Mila, hey? | 0:07:09 | 0:07:12 | |
-What's the best price on that? -Um...£6. | 0:07:12 | 0:07:16 | |
Yeah. I was going to offer £5 for it. | 0:07:17 | 0:07:20 | |
-Could that be a sale? -OK. | 0:07:20 | 0:07:22 | |
First item bagged | 0:07:22 | 0:07:24 | |
but Charles seems to be struggling to get his head out of the 1900s. | 0:07:24 | 0:07:28 | |
What we're seeing at the moment on our trip so far | 0:07:28 | 0:07:31 | |
is either expensive antiques which are too traditional | 0:07:31 | 0:07:34 | |
or I'm seeing things that really are just very, very vintage, | 0:07:34 | 0:07:38 | |
and I need to buy. | 0:07:38 | 0:07:41 | |
A frock? | 0:07:41 | 0:07:42 | |
Ooh. | 0:07:42 | 0:07:44 | |
That's quite nice, Mila. | 0:07:44 | 0:07:45 | |
I suspect it's probably, I don't know, I mean, it could be 1980s, | 0:07:45 | 0:07:50 | |
it could be '60s, but the summer is here. | 0:07:50 | 0:07:52 | |
Oh, crikey, what's he doing, eh? | 0:07:52 | 0:07:56 | |
That may be far out, Charlie, | 0:07:56 | 0:07:57 | |
far out from what you should be looking at. | 0:07:57 | 0:08:00 | |
Whatever it is, it has flower power, and Philip will go berserk | 0:08:00 | 0:08:03 | |
if he sees me buying a frock, | 0:08:03 | 0:08:06 | |
but, actually, when needs must you've got to dig deep | 0:08:06 | 0:08:09 | |
for the cause of making a profit. | 0:08:09 | 0:08:10 | |
What's best price, Mila? Come on, let me see if it suits you. | 0:08:10 | 0:08:13 | |
Does it? | 0:08:13 | 0:08:15 | |
-Um...£8. -£8. -I like this colour. | 0:08:17 | 0:08:21 | |
Do you like... Well, I'm pleased you like the colour, yeah. | 0:08:21 | 0:08:24 | |
Yeah. I'll take £5 for it. | 0:08:24 | 0:08:26 | |
-5? -£5. -Yes, OK. | 0:08:26 | 0:08:30 | |
Hmm. Meanwhile, Phil's made his way west to Kennington. | 0:08:31 | 0:08:35 | |
Kennington is the location of famous cricket ground the Oval, | 0:08:37 | 0:08:41 | |
but Phil's heading just along the road to the Cinema Museum. | 0:08:41 | 0:08:45 | |
Devoted to keeping alive the spirit of cinema's halcyon days, | 0:08:49 | 0:08:53 | |
the museum houses a unique collection of memorabilia | 0:08:53 | 0:08:57 | |
and equipment from the 1890s to the present day. | 0:08:57 | 0:09:00 | |
-So, I'm Martin. -Martin. | 0:09:01 | 0:09:04 | |
-This brings back memories, doesn't it? -Well, it would do, I think, yes. | 0:09:04 | 0:09:07 | |
Blimey. | 0:09:07 | 0:09:08 | |
The building was originally the Lambeth Workhouse, | 0:09:08 | 0:09:11 | |
offering shelter and employment to the poor. | 0:09:11 | 0:09:14 | |
Thousands of Londoners were helped out of destitution here, | 0:09:14 | 0:09:18 | |
including a certain cinema legend. | 0:09:18 | 0:09:20 | |
In 1898, with an absent father and his mother confined to an asylum, | 0:09:20 | 0:09:25 | |
the young Charlie Chaplin was brought to stay. | 0:09:25 | 0:09:28 | |
Charlie Chaplin came here, with his mother and half-brother Sydney. | 0:09:30 | 0:09:33 | |
Hannah was unable to earn a living so she had no choice | 0:09:33 | 0:09:37 | |
but to go into the workhouse, | 0:09:37 | 0:09:39 | |
as she knew the boys would be looked after and educated. | 0:09:39 | 0:09:42 | |
Within 20 years, his meteoric rise | 0:09:43 | 0:09:46 | |
had made him one of the most famous men in the world. | 0:09:46 | 0:09:48 | |
This was the birth of the golden age of cinema. | 0:09:50 | 0:09:52 | |
It became a special event | 0:09:52 | 0:09:54 | |
and theatres were designed to reflect that. | 0:09:54 | 0:09:57 | |
With smartly dressed staff, | 0:09:57 | 0:09:59 | |
you could even be greeted by the house manager. | 0:09:59 | 0:10:01 | |
Well, it's a great social experience, the cinema. | 0:10:03 | 0:10:05 | |
I can remember, I don't know what it would cost to go to a cinema today but 5p to go and see a film. | 0:10:05 | 0:10:09 | |
5p, yeah. | 0:10:09 | 0:10:10 | |
And this is like a trigger for all sorts of different things, | 0:10:10 | 0:10:13 | |
because, like, I used to have to go to school on Saturday | 0:10:13 | 0:10:16 | |
but I know lots of children didn't go to school on Saturdays... | 0:10:16 | 0:10:18 | |
They used to go to the Saturday morning picture club. | 0:10:18 | 0:10:21 | |
-Very popular. -All sorts of different things they'd see. | 0:10:21 | 0:10:24 | |
With tiny numbers of televisions in homes in the 1950s, | 0:10:24 | 0:10:28 | |
Saturday morning movies became a staple for kids, | 0:10:28 | 0:10:32 | |
giving the parents a rest | 0:10:32 | 0:10:33 | |
as the local cinema screened popular cartoons and Westerns. | 0:10:33 | 0:10:37 | |
At that time, audiences young and old | 0:10:37 | 0:10:39 | |
were often shown to their seats by uniformed usherettes. | 0:10:39 | 0:10:43 | |
The usherettes always seemed to be | 0:10:43 | 0:10:45 | |
almost dressed like waitresses, didn't they? | 0:10:45 | 0:10:47 | |
Well, they had uniforms. | 0:10:47 | 0:10:49 | |
They varied according to the cinema circuit and so on, | 0:10:49 | 0:10:54 | |
and the cinema owners wanted the staff to look smart and presentable. | 0:10:54 | 0:10:57 | |
So, come with me and I'll show you our uniform exhibition. | 0:10:57 | 0:11:00 | |
-Oh, really? Which way are we going? -That way. | 0:11:00 | 0:11:03 | |
And unforgettably they weren't just responsible for seating arrangements | 0:11:03 | 0:11:07 | |
but provided a much-loved treat as well. | 0:11:07 | 0:11:09 | |
And there's the lady I'll hold in my... | 0:11:11 | 0:11:13 | |
-Oh, the Eldorado ice cream. -Yeah. Have you got any of those? | 0:11:13 | 0:11:16 | |
There's an ice cream tray down there. | 0:11:16 | 0:11:18 | |
How does that work? Does it literally just fit? | 0:11:18 | 0:11:20 | |
Can I try it? | 0:11:20 | 0:11:21 | |
-So, that would just fit on there. -Right. Yeah, round there. | 0:11:23 | 0:11:26 | |
Then you'd just have your tray of ice creams. And what was that? | 0:11:26 | 0:11:28 | |
-That's a light. -So you'd have a light in there, would you? | 0:11:28 | 0:11:31 | |
There'd be a light, yes. | 0:11:31 | 0:11:32 | |
-So, it would be ice creams, chocolate... -Peanuts. Yeah. | 0:11:32 | 0:11:36 | |
I can just remember going to the cinema, | 0:11:36 | 0:11:38 | |
as, like, an eight- and nine-year-old, | 0:11:38 | 0:11:40 | |
and the lady would come down, and there was the anticipation. | 0:11:40 | 0:11:43 | |
-Particularly if it was a bit of a dull film. -Yes. | 0:11:43 | 0:11:46 | |
That you're going to get an ice cream at half-time. | 0:11:46 | 0:11:48 | |
-There's no half-time now. -There's no half-time. -There's no trays. | 0:11:48 | 0:11:51 | |
-No. -The world's a sadder place, for that. | 0:11:51 | 0:11:53 | |
Sadder and not so sweet. | 0:11:53 | 0:11:55 | |
-Thank you, Martin. -Thank you, Phil. | 0:11:57 | 0:11:59 | |
Listen, this has been really special. I've really enjoyed it. | 0:11:59 | 0:12:02 | |
Cinema may have lost some of its grandeur | 0:12:02 | 0:12:05 | |
but it still remains a hugely popular pastime in Britain today. | 0:12:05 | 0:12:09 | |
But how's Charles getting on? | 0:12:11 | 0:12:13 | |
He's off to hipster central, Brick Lane Market. | 0:12:13 | 0:12:17 | |
Once more famous for curry restaurants, | 0:12:19 | 0:12:21 | |
it's now become a busy destination for locals and out-of-towners | 0:12:21 | 0:12:25 | |
in search of retro clothing, vintage furniture and bric-a-brac. | 0:12:25 | 0:12:29 | |
Feeling a little out of place, | 0:12:30 | 0:12:33 | |
Charles is hoping Eddie will keep him right. | 0:12:33 | 0:12:36 | |
It's great to be on Brick Lane. I can't believe I'm first time here. | 0:12:36 | 0:12:39 | |
-First time? -And the culture, the ambience. | 0:12:39 | 0:12:41 | |
-Don't know what you're missing. -I can't believe it. | 0:12:41 | 0:12:43 | |
-It's got a je ne sais quoi element. -It has. And you sell antiques? | 0:12:43 | 0:12:46 | |
Oh, this is definitely up your street. Definitely. | 0:12:46 | 0:12:49 | |
-It is up my street, definitely. -Let me show you some interesting objects. | 0:12:49 | 0:12:53 | |
These OMK stacking chairs | 0:12:55 | 0:12:57 | |
were designed in the '70s by Rodney Kinsman. | 0:12:57 | 0:13:01 | |
In good condition, they could fetch up to £150 each. | 0:13:01 | 0:13:05 | |
However, these have seen better days. | 0:13:05 | 0:13:07 | |
25, 50, 75, £100 | 0:13:08 | 0:13:13 | |
and you might be going, going, going... | 0:13:13 | 0:13:17 | |
How about £120? | 0:13:17 | 0:13:18 | |
I've got to go £100. I can't go... | 0:13:18 | 0:13:20 | |
It's such a gamble for me because, you know what? | 0:13:20 | 0:13:23 | |
Life is a gamble and these, in their condition, a huge gamble. | 0:13:23 | 0:13:25 | |
How about if we buy something else as well? | 0:13:25 | 0:13:28 | |
That could be an option. | 0:13:28 | 0:13:30 | |
Yeah. | 0:13:30 | 0:13:32 | |
So, you might let these go at £100 if I can find something else? | 0:13:32 | 0:13:34 | |
-Yeah, find something else... -OK. -..and then we can do a... | 0:13:34 | 0:13:37 | |
Do a deal. | 0:13:37 | 0:13:39 | |
Steady Eddie's no pushover, Charles. | 0:13:39 | 0:13:41 | |
-That's quite nice, Eddie. -Yeah. | 0:13:43 | 0:13:45 | |
-That's got great style, hasn't it? -Yeah. | 0:13:45 | 0:13:48 | |
Handkerchief vases were popular from the late 1950s, | 0:13:48 | 0:13:51 | |
made from crimped glass and often in vibrant colours. | 0:13:51 | 0:13:55 | |
Eddie, if I bought those three there, handkerchief vases, would you take... | 0:13:58 | 0:14:04 | |
-Charles. -..100 for the chairs | 0:14:04 | 0:14:07 | |
and would you take 30 for the vases? | 0:14:07 | 0:14:12 | |
It would be £130 cold cash. | 0:14:12 | 0:14:15 | |
100... Let's say 140. | 0:14:15 | 0:14:17 | |
Are you happy with that? And I have no idea about those chairs. | 0:14:17 | 0:14:20 | |
Charles, you're the man and I want you to win, right? | 0:14:20 | 0:14:24 | |
So, at the end of the day, if I can give you a bargain, why not? | 0:14:24 | 0:14:28 | |
Yeah. Let's do it, Eddie. | 0:14:28 | 0:14:30 | |
-Sold. -That's right. -I'll do it. Thank you very much. | 0:14:30 | 0:14:33 | |
At £140, he'll either be weeping into his vases | 0:14:33 | 0:14:36 | |
or sitting on a profit with these items. | 0:14:36 | 0:14:39 | |
The boys are now back together, ready to get some rest, | 0:14:40 | 0:14:44 | |
so nighty-night. | 0:14:44 | 0:14:46 | |
Rise and shine, chaps. | 0:14:53 | 0:14:55 | |
Your capital adventure continues, but what's this? | 0:14:55 | 0:14:58 | |
Has Phil been taking fashion lessons from Charles? | 0:14:58 | 0:15:01 | |
Phil, what's made you follow the Hanson lead? | 0:15:01 | 0:15:04 | |
Well, I just think, Charlie, you're a man of style. | 0:15:04 | 0:15:08 | |
And I've always thought, actually, most of it's not very good. | 0:15:08 | 0:15:12 | |
But I just feel that that hat, I think it's the way forward. | 0:15:12 | 0:15:17 | |
Hats off to you, chaps. | 0:15:17 | 0:15:19 | |
You might look like a pair of twits but you're our pair of twits. | 0:15:19 | 0:15:24 | |
And we love you for it. | 0:15:24 | 0:15:25 | |
Charles has gone on a bit of a retro tangent, | 0:15:27 | 0:15:30 | |
spending £150 of his budget | 0:15:30 | 0:15:31 | |
on a set of four chairs, a green dress and a cruet set and vases, | 0:15:31 | 0:15:36 | |
leaving him with £185.38 still to spend. | 0:15:36 | 0:15:39 | |
Philip has only bought one item so far, | 0:15:43 | 0:15:45 | |
the 18th-century Chinese-style vase for £30, | 0:15:45 | 0:15:48 | |
leaving him with a lot to do and £224.20. | 0:15:48 | 0:15:52 | |
The boys are making their way to Crystal Palace, | 0:15:56 | 0:15:59 | |
where Charles is being dropped off, hoping to find something | 0:15:59 | 0:16:02 | |
that is actually antique. | 0:16:02 | 0:16:05 | |
Phil, listen, give me some hope and belief. | 0:16:05 | 0:16:08 | |
-Get out of here. See you, Charlie. -See you. Bye. | 0:16:08 | 0:16:10 | |
Looks like he's back on familiar ground here. | 0:16:17 | 0:16:19 | |
And there's a gorgeous box on here. | 0:16:21 | 0:16:23 | |
It's a porcelain box with a lady and gentleman, | 0:16:23 | 0:16:25 | |
and if I'm not mistaken this box and cover here, | 0:16:25 | 0:16:29 | |
you've got a gentleman in a pink frock jacket looking quite colourful, | 0:16:29 | 0:16:33 | |
a lady in a really rich crinoline dress. | 0:16:33 | 0:16:36 | |
And I suspect this box... | 0:16:36 | 0:16:38 | |
..it's being described as 19th-century, | 0:16:40 | 0:16:43 | |
just possibly it could be 18th-century. | 0:16:43 | 0:16:47 | |
And, if it is, it could be quite valuable. | 0:16:47 | 0:16:50 | |
On display at £165, it's time to get dealer Nick involved. | 0:16:50 | 0:16:54 | |
This little box here. | 0:16:55 | 0:16:58 | |
-Right. -Can I look at it? | 0:16:58 | 0:17:00 | |
OK. Yeah. That...can be 140 on that. | 0:17:00 | 0:17:03 | |
Yeah. Nick, I think it's a wonderful box because it's a marvel of history, | 0:17:03 | 0:17:06 | |
and I'll take it for 140. | 0:17:06 | 0:17:08 | |
-Fantastic. -That's one purchase done. I love it. | 0:17:08 | 0:17:10 | |
Brilliant. OK. | 0:17:10 | 0:17:12 | |
That was quick. No haggle, then, Charles? | 0:17:12 | 0:17:14 | |
He must be confident it will turn a profit. | 0:17:14 | 0:17:16 | |
Nicholas, I bought the box. I would like to buy one more thing. | 0:17:16 | 0:17:20 | |
This clock on the back here, the only reason I like it is because, | 0:17:20 | 0:17:24 | |
number one, it's coated in the exotic. | 0:17:24 | 0:17:28 | |
It's coated in the tropical jazz snakeskin. | 0:17:28 | 0:17:33 | |
I love these ivory discs here. | 0:17:33 | 0:17:36 | |
Really capture the exotic, which is all about the Art Deco. | 0:17:36 | 0:17:39 | |
And you've got this really wonderfully clear dial that really | 0:17:39 | 0:17:43 | |
oozes style, what, from the 1930s? | 0:17:43 | 0:17:46 | |
-I think so, yes. -Great clock. | 0:17:46 | 0:17:48 | |
Mmm. Not everyone will be as keen on snakeskin and ivory. | 0:17:48 | 0:17:52 | |
But it pre-dates 1947, so it's legal to buy and sell. | 0:17:52 | 0:17:56 | |
Charles only has £45.38 left, so Nick's checking to see | 0:17:58 | 0:18:03 | |
if a deal can be done. | 0:18:03 | 0:18:04 | |
OK, I'll have a look upstairs and see what I can find out. | 0:18:04 | 0:18:07 | |
All right. Thanks. | 0:18:07 | 0:18:08 | |
I've got nothing left. | 0:18:08 | 0:18:10 | |
That's my entire budget blown if Nicholas will take... | 0:18:10 | 0:18:15 | |
Going, going... | 0:18:15 | 0:18:17 | |
Will it be a yes or will it be a flat no? | 0:18:17 | 0:18:19 | |
-I think it's going, going, gone. -Gone, sold. Brilliant. Are you sure? | 0:18:19 | 0:18:22 | |
Yes, it's all good. | 0:18:22 | 0:18:24 | |
This is becoming a habit, Charles. | 0:18:24 | 0:18:27 | |
But spending every penny hasn't failed you yet, boy. | 0:18:27 | 0:18:30 | |
Meanwhile, having only spent £30 so far, | 0:18:31 | 0:18:34 | |
Philip's back in Bermondsey. | 0:18:34 | 0:18:36 | |
He's made his way to a studio | 0:18:38 | 0:18:40 | |
belonging to a couple with peculiar names. | 0:18:40 | 0:18:42 | |
-Hello? Hello? -Hello. | 0:18:42 | 0:18:45 | |
-Hi. How are you? -Hi. How are you doing? -I'm Phil. | 0:18:45 | 0:18:48 | |
That's Dustbin and that's lovely Bones beside him. | 0:18:48 | 0:18:52 | |
Together, they're Dustbin and Bones, | 0:18:52 | 0:18:54 | |
and their shop is the epitome of vintage and retro. | 0:18:54 | 0:18:57 | |
-This is an artillery case, isn't it? -That's correct, yes. | 0:18:59 | 0:19:02 | |
-It's very hard to find one this size. -What's your price on that? | 0:19:02 | 0:19:05 | |
That one is... That would probably be about 250 to 300. | 0:19:05 | 0:19:09 | |
I shall put that back quickly. | 0:19:09 | 0:19:11 | |
And what about this cartwheel? How much is that? | 0:19:17 | 0:19:20 | |
Oh, that one can go for 80. | 0:19:20 | 0:19:22 | |
There might be a bit of scope to do something with that. | 0:19:22 | 0:19:24 | |
Definitely. Yes, yes. | 0:19:24 | 0:19:25 | |
That, at auction, I think that's going to make between 50 and 80 quid. | 0:19:25 | 0:19:28 | |
-Yeah. -That's where I'm at. So let's put that back. | 0:19:28 | 0:19:31 | |
Now, let's go outside. Is all this your out here? | 0:19:32 | 0:19:35 | |
Yeah. It's a bit of a mess. | 0:19:35 | 0:19:37 | |
It's all right. I like your easel. | 0:19:37 | 0:19:40 | |
Is that yours or is that a... | 0:19:40 | 0:19:42 | |
That, actually, I found here many years ago. | 0:19:42 | 0:19:45 | |
You found here, so it's free stock. | 0:19:45 | 0:19:47 | |
Free stock. Did you hear that? Free stock. He's got free stock. | 0:19:47 | 0:19:51 | |
Nice try, Phil, but they're looking for £20 for this artist's easel. | 0:19:51 | 0:19:55 | |
OK. | 0:19:55 | 0:19:57 | |
We can buy something here. | 0:19:58 | 0:20:00 | |
Cos I'd quite like to buy this off you. | 0:20:00 | 0:20:02 | |
-And the easel. -Yeah. | 0:20:03 | 0:20:06 | |
But I'm going to be mean. I'm going to be mean, I'll tell you that now. | 0:20:06 | 0:20:09 | |
Don't scare them, Philip. You've still got to get them to agree. | 0:20:09 | 0:20:12 | |
Tell you what, I'll give you 50 for the two, that's my best shot. | 0:20:12 | 0:20:15 | |
-I'd be happy with 50. -OK. | 0:20:15 | 0:20:18 | |
You'll definitely make a profit. | 0:20:18 | 0:20:20 | |
I think you could be right. | 0:20:20 | 0:20:22 | |
At £40 for the wheel and £10 for the easel, | 0:20:22 | 0:20:25 | |
that's a great deal, Philip. | 0:20:25 | 0:20:26 | |
But you've still got shopping to do, mate. | 0:20:27 | 0:20:30 | |
With no such worries on his mind, | 0:20:30 | 0:20:32 | |
Charles has headed over to the district of Lambeth. | 0:20:32 | 0:20:35 | |
He's going to learn the full story of the lady with the lamp, | 0:20:35 | 0:20:39 | |
Florence Nightingale. | 0:20:39 | 0:20:41 | |
A Derbyshire girl, this museum details her life | 0:20:41 | 0:20:44 | |
from Victorian childhood to the Crimean War and beyond, | 0:20:44 | 0:20:47 | |
based here in St Thomas' Hospital. | 0:20:47 | 0:20:50 | |
-Nice to meet you. -Nice to see you as well. -I'm Charles Hanson. | 0:20:50 | 0:20:52 | |
-I'm a Derbyshire man. Need I say more? -No, absolutely not. | 0:20:52 | 0:20:57 | |
I know Florence Nightingale is held in very, very high regard | 0:20:57 | 0:21:00 | |
in Derbyshire, and her family home was there. | 0:21:00 | 0:21:02 | |
And she always saw herself as a daughter of Derbyshire. | 0:21:02 | 0:21:05 | |
Florence was actually born in the Italian city of Florence, | 0:21:07 | 0:21:10 | |
hence the name. | 0:21:10 | 0:21:11 | |
The family moved back to Derbyshire where life was tough | 0:21:11 | 0:21:14 | |
for most children in Victorian Britain, | 0:21:14 | 0:21:16 | |
but Florence had a privileged upbringing, | 0:21:16 | 0:21:19 | |
making her choice of career even more surprising. | 0:21:19 | 0:21:23 | |
What we need to understand is that Nightingale's life, | 0:21:23 | 0:21:26 | |
although she was very privileged, was very, | 0:21:26 | 0:21:28 | |
very narrow and the expectations on her were very clear. | 0:21:28 | 0:21:32 | |
She would have been expected to marry a nice, respectable older man, | 0:21:32 | 0:21:38 | |
but she certainly wouldn't have been expected to work for her living. | 0:21:38 | 0:21:42 | |
Nursing back in the 19th century, it wasn't an upmarket girl thing to do, | 0:21:42 | 0:21:47 | |
like the police force. I mean, it wasn't for that affluent class, | 0:21:47 | 0:21:51 | |
so how did she go against the grain? | 0:21:51 | 0:21:54 | |
She was a very serious, a very studious | 0:21:54 | 0:21:57 | |
but also a very religious girl and young woman, | 0:21:57 | 0:22:00 | |
and she felt very, very strongly | 0:22:00 | 0:22:02 | |
that she'd been called by God to serve her fellow man. | 0:22:02 | 0:22:06 | |
So, really from this sort of graceful, I suppose, | 0:22:06 | 0:22:09 | |
youth and her direction through her religion | 0:22:09 | 0:22:12 | |
and through her desire to be a nurse, of course, | 0:22:12 | 0:22:14 | |
what I know as being Florence, what made her so important was the Crimea. | 0:22:14 | 0:22:19 | |
-Yep. -Wasn't it? -Yes. | 0:22:19 | 0:22:21 | |
I mean, in that it is her work in the Crimean War | 0:22:21 | 0:22:23 | |
that is the reason why Florence Nightingale is so well known today. | 0:22:23 | 0:22:29 | |
In the 19th century, Britain and its allies | 0:22:29 | 0:22:31 | |
were engaged in a conflict with Russia, the Crimean War. | 0:22:31 | 0:22:35 | |
In 1854, Florence and 38 volunteer nurses were sent to the front line. | 0:22:35 | 0:22:41 | |
New communication systems meant that British press | 0:22:41 | 0:22:44 | |
could report daily as events unfolded. | 0:22:44 | 0:22:46 | |
So, this is one of my favourite objects in the entire museum. | 0:22:46 | 0:22:51 | |
-This here? -Yeah. | 0:22:51 | 0:22:52 | |
This is Nightingale's own personal chest | 0:22:52 | 0:22:56 | |
that she actually took to the Crimean War. | 0:22:56 | 0:22:58 | |
That's incredible. | 0:22:58 | 0:23:00 | |
This, for me, has such a strong connection to Florence Nightingale, | 0:23:00 | 0:23:05 | |
that I think it really does pack a big emotional punch. | 0:23:05 | 0:23:08 | |
Initially, the conditions at the barracks hospital were so bad, | 0:23:10 | 0:23:14 | |
in that first winter Nightingale and her nurses were just firefighting. | 0:23:14 | 0:23:20 | |
They were doing what they could in really appalling circumstances. | 0:23:20 | 0:23:24 | |
When I ever think of Florence Nightingale, | 0:23:26 | 0:23:29 | |
across Derbyshire we romanticise and think it's the lady with the lamp. | 0:23:29 | 0:23:34 | |
Is the lamp here? | 0:23:34 | 0:23:35 | |
We do have the lamp itself in the museum, yes, we do. | 0:23:35 | 0:23:38 | |
-The real lamp? -Yes. -Really? | 0:23:38 | 0:23:40 | |
-Would you like to see it? -I'd love to. | 0:23:40 | 0:23:42 | |
So, here we have Nightingale's very own lamp. | 0:23:44 | 0:23:48 | |
-Is that the lamp? -This is her lamp. -I've always thought the lamp... | 0:23:48 | 0:23:51 | |
You know, you sort of had to rub it and the genie would come out. But it's not, is it? | 0:23:51 | 0:23:55 | |
No, a lot of people do have that... That's an imaginary vision. | 0:23:55 | 0:23:58 | |
-With a handle, yes. -And, yes, absolutely. | 0:23:58 | 0:24:00 | |
-The brass Aladdin's lamp. -Exactly. | 0:24:00 | 0:24:02 | |
But, actually, this is a Turkish workingman's lamp, | 0:24:02 | 0:24:07 | |
and it's much more practical because you can carry it around, | 0:24:07 | 0:24:12 | |
hook it up and it casts a nice light all around it. | 0:24:12 | 0:24:16 | |
But, equally, when you're not using it, it concertinas up. | 0:24:16 | 0:24:21 | |
The idea of 'the lady with the lamp' is, of course, incredibly symbolic | 0:24:22 | 0:24:27 | |
because she was seen as casting light and creating order, | 0:24:27 | 0:24:32 | |
but also somehow being quite a sort of angelic person. | 0:24:32 | 0:24:36 | |
When the war ended, Nightingale, in her 30s, | 0:24:36 | 0:24:39 | |
suffered recurrent ill health. | 0:24:39 | 0:24:41 | |
However, she still campaigned constantly | 0:24:41 | 0:24:44 | |
for the development and improvement of nursing standards | 0:24:44 | 0:24:46 | |
across the world. | 0:24:46 | 0:24:47 | |
She believed passionately that the lessons that had been learned | 0:24:47 | 0:24:52 | |
from the Crimean War, should be applied. | 0:24:52 | 0:24:56 | |
So she was passionate about public health | 0:24:56 | 0:24:59 | |
and the health of the army. | 0:24:59 | 0:25:01 | |
And she believed that the two went hand-in-hand. | 0:25:01 | 0:25:04 | |
Recognised as one of the founders of modern nursing, | 0:25:05 | 0:25:08 | |
the current nurses' pledge, the 'Florence Pledge', | 0:25:08 | 0:25:12 | |
was named in her honour. | 0:25:12 | 0:25:13 | |
I'm so grateful, it's been a wonderful visit | 0:25:15 | 0:25:17 | |
and I won't forget this because she was a Derbyshire girl. | 0:25:17 | 0:25:21 | |
Florence died in 1910, | 0:25:21 | 0:25:22 | |
but her tireless campaigning and zeal for health reform | 0:25:22 | 0:25:26 | |
helped pave the way for what would become | 0:25:26 | 0:25:29 | |
the National Health Service. | 0:25:29 | 0:25:30 | |
A truly fitting legacy for this incredible woman. | 0:25:30 | 0:25:33 | |
Phil's headed to Greenwich, meantime... Ha! | 0:25:36 | 0:25:40 | |
..and with only three items bought, he's got his work cut out. | 0:25:40 | 0:25:43 | |
But in a junk shop, THE Junk Shop and Spreadeagle | 0:25:44 | 0:25:48 | |
is actually the longest established antique shop in the south of London. | 0:25:48 | 0:25:53 | |
Perfect for our Phil. | 0:25:53 | 0:25:55 | |
That's...a complete and utter piece of nonsense, isn't it? | 0:26:09 | 0:26:13 | |
Sounds about right for you, then. | 0:26:13 | 0:26:15 | |
Just ask Ian, eh? | 0:26:15 | 0:26:17 | |
-It's a rudder off a little dinghy, isn't it? -Yeah. | 0:26:17 | 0:26:19 | |
Well, Phil, we are auctioning in Greenwich, | 0:26:19 | 0:26:22 | |
which has a strong maritime history, so this could be a clever buy. | 0:26:22 | 0:26:26 | |
Now, me and my mate, we've been pretty much rudderless | 0:26:26 | 0:26:28 | |
for most of this trip. | 0:26:28 | 0:26:30 | |
How much is that, please? | 0:26:30 | 0:26:32 | |
Um, that I would have to phone up and I can find out for you. | 0:26:32 | 0:26:36 | |
A quick phone call to Toby, the owner, gives him his answer. | 0:26:36 | 0:26:40 | |
OK, Toby. Thank you. | 0:26:40 | 0:26:41 | |
Alright, see you soon. Bye now. Bye. | 0:26:43 | 0:26:46 | |
-So what did Toby have to say, then? -£20. | 0:26:46 | 0:26:49 | |
20 squid? | 0:26:49 | 0:26:51 | |
What do I want to buy a rudder off a ship for? | 0:26:51 | 0:26:54 | |
-You might find a ship to go with it. -Oh, yeah. | 0:26:54 | 0:26:57 | |
So while Phil ponders, owner Toby and his son Otto have arrived... | 0:26:57 | 0:27:01 | |
..and might have landed him the catch of the day - | 0:27:02 | 0:27:05 | |
a wicker laundry basket priced at £45. | 0:27:05 | 0:27:07 | |
I like that. | 0:27:07 | 0:27:09 | |
It's one of those, like, hotel laundry, I suppose. | 0:27:09 | 0:27:12 | |
I just think it's a cool, funky thing, that. | 0:27:12 | 0:27:15 | |
-Rather nice with the rope handles. -I just love it all. | 0:27:16 | 0:27:19 | |
I tell you what, you've been really, really kind to me | 0:27:19 | 0:27:21 | |
but I am gonna make you an offer, 'cause I have to. | 0:27:21 | 0:27:24 | |
Can I give you 50 quid for that and the rudder? | 0:27:24 | 0:27:26 | |
I think that's fair, actually. You knocked me down on the rudder. I will go for that. | 0:27:28 | 0:27:31 | |
-Is that fair? -Yeah. | 0:27:31 | 0:27:32 | |
So with the basket for £40 and the rudder for a tenner, | 0:27:33 | 0:27:36 | |
Phil's finally bought all his lots for £130 - half his starting budget. | 0:27:36 | 0:27:42 | |
This could make for an interesting auction. | 0:27:42 | 0:27:45 | |
But first, it's time for our experts' grand reveal. | 0:27:45 | 0:27:49 | |
-That's part one, Charlie. -Oh, Phil, that's nice. | 0:27:49 | 0:27:51 | |
I like...oh, my goodness me, Phil. | 0:27:51 | 0:27:53 | |
That's almost part two, Charlie. | 0:27:53 | 0:27:55 | |
-Oh, Phil! -Whoa! Look at this, Charlie. | 0:27:55 | 0:27:57 | |
Wowee! Oh, my goodness me, Phil. | 0:27:57 | 0:28:00 | |
It's just taking it all in in one go. | 0:28:00 | 0:28:02 | |
-One, two, three, four, five lots. -Yes. | 0:28:02 | 0:28:04 | |
I love your easel, by the way. | 0:28:04 | 0:28:05 | |
I think that's really cool. | 0:28:05 | 0:28:06 | |
This was retrieved... this cost me a tenner. | 0:28:06 | 0:28:10 | |
-It wasn't £10! -Yeah, it was a tenner. | 0:28:10 | 0:28:12 | |
And it's worth all day long between £50 and £70. | 0:28:12 | 0:28:14 | |
You'd hope so. And that was a tenner as well, Charlie. | 0:28:14 | 0:28:17 | |
-£10?! -Well, I thought we were rudderless. | 0:28:17 | 0:28:19 | |
-Do you sail? -Only close to the wind. | 0:28:19 | 0:28:21 | |
-No, I don't at all, Charlie. -HE LAUGHS | 0:28:21 | 0:28:23 | |
And then I had two 40 quid lots. | 0:28:23 | 0:28:25 | |
The old laundry basket, country house laundry basket. | 0:28:25 | 0:28:28 | |
And one wheel on my wagon. | 0:28:28 | 0:28:31 | |
And the big wagon wheel is gonna roll, Phil. | 0:28:31 | 0:28:33 | |
-What I really want is a three-wheeled wagon. -Ah! | 0:28:33 | 0:28:35 | |
And then that would be ideal. | 0:28:35 | 0:28:37 | |
Now it's Charles' turn. What's Phil going to make of those chairs? | 0:28:37 | 0:28:41 | |
Look at these, Phil. Aren't they just so, so stylish? | 0:28:41 | 0:28:45 | |
Look, Phil. Look at the chairs. Aren't they wonderful? | 0:28:45 | 0:28:48 | |
Look at the chairs, Phil. | 0:28:48 | 0:28:49 | |
They're a bit rusty, but it doesn't matter. | 0:28:49 | 0:28:52 | |
Uh-oh. | 0:28:52 | 0:28:54 | |
They're awful. | 0:28:54 | 0:28:56 | |
-What do you mean, they're awful? -They're absolutely awful. | 0:28:56 | 0:28:59 | |
-You didn't buy those? -I did buy them. | 0:28:59 | 0:29:01 | |
Charlie...how much did you pay for those? | 0:29:01 | 0:29:04 | |
£100. | 0:29:04 | 0:29:05 | |
-Anyway... -They're wrecked. | 0:29:05 | 0:29:07 | |
I must admit, Phil, looking at them now in this light, | 0:29:09 | 0:29:12 | |
they are quite tired. | 0:29:12 | 0:29:13 | |
What do you mean looking at them in this light? | 0:29:13 | 0:29:15 | |
Charlie, look at them. They're awful. | 0:29:15 | 0:29:18 | |
I don't think he likes them. | 0:29:18 | 0:29:20 | |
That's nice. I like that. How much was that? | 0:29:20 | 0:29:23 | |
It cost me £140, and to me, Phil... | 0:29:23 | 0:29:25 | |
-I like that. -Thank you. | 0:29:25 | 0:29:26 | |
And I like that as well. That's really cool. How much was that? | 0:29:26 | 0:29:29 | |
I years ago had a pair of snakeskin shoes and feeling this finish... | 0:29:29 | 0:29:33 | |
-You had a what?! -Pair of snakeskin shoes. | 0:29:33 | 0:29:35 | |
Why? | 0:29:35 | 0:29:36 | |
Because back in my heyday, Phil, I had a bit of a London look about me. | 0:29:36 | 0:29:40 | |
-Not now, I'm an old man. -Alright, OK. How much was that? | 0:29:40 | 0:29:43 | |
-Phil, this was £45...38 pence. -That's alright, that's profit. | 0:29:43 | 0:29:47 | |
It was my last bit of money left over. £45.38. | 0:29:47 | 0:29:50 | |
Don't sneeze, Phil, don't sneeze. You might miss them. | 0:29:50 | 0:29:53 | |
Aren't they great? | 0:29:53 | 0:29:55 | |
-Ah... -Handkerchief vases. | 0:29:55 | 0:29:57 | |
Phil, we're mid-week through our Road Trip, I'm just going a bit wild, | 0:29:57 | 0:30:00 | |
I'm just taking a bit of time out from the normal... | 0:30:00 | 0:30:02 | |
-Let me ask a question. -Yeah. | 0:30:02 | 0:30:04 | |
Have you been out in that sun without that hat on? | 0:30:04 | 0:30:06 | |
No, it's over there, my hat. | 0:30:06 | 0:30:08 | |
-Really? -Yeah. | 0:30:08 | 0:30:09 | |
-Just come with me a minute. -Yeah. That lot's... | 0:30:09 | 0:30:12 | |
As if we didn't already know, let's find out what they really think. | 0:30:12 | 0:30:15 | |
What on earth was he doing with those chairs? | 0:30:15 | 0:30:19 | |
I mean they are just, truly, remarkably, awful. | 0:30:19 | 0:30:23 | |
Phil...I take my hat off to you, it's gone. | 0:30:23 | 0:30:26 | |
You bought really, really well and... | 0:30:26 | 0:30:28 | |
..I think all your lots, the wagon wheel as well... | 0:30:30 | 0:30:33 | |
Yeah, I'm in trouble. | 0:30:33 | 0:30:34 | |
It's time to get back on the road and head to auction. | 0:30:35 | 0:30:39 | |
Charlie, there's a bus here, Charlie. Over that way. | 0:30:40 | 0:30:43 | |
No, back over this way now. | 0:30:45 | 0:30:46 | |
-Just try and keep it straight. -Sorry, Phil. | 0:30:46 | 0:30:49 | |
If you just hold this wheelie thing here, like that, | 0:30:49 | 0:30:51 | |
it tends to go in a straight line. | 0:30:51 | 0:30:53 | |
-It's the pre-match nerves. -Really? | 0:30:53 | 0:30:55 | |
Big auction, Phil. | 0:30:55 | 0:30:57 | |
Oh, sounds exciting. | 0:30:57 | 0:30:59 | |
It's been a cracking third leg, | 0:30:59 | 0:31:02 | |
kicking off in Bermondsey with stops on both banks of the River Thames | 0:31:02 | 0:31:06 | |
and ending in Greenwich for the big auction. | 0:31:06 | 0:31:08 | |
Phil, this is officially halfway. | 0:31:10 | 0:31:12 | |
-Are your chairs in there? -And I think after halfway... | 0:31:13 | 0:31:17 | |
-Are they? -..you'll be leading me. | 0:31:17 | 0:31:19 | |
Go and have a look and see if your chairs are in there. | 0:31:19 | 0:31:23 | |
-Come on. -Now, now, Philip. Remember who's in the lead. | 0:31:23 | 0:31:26 | |
Our boys are at Greenwich Auctions. | 0:31:27 | 0:31:30 | |
Established in 1999, | 0:31:31 | 0:31:33 | |
and at its helm today is straight-talking Robert Dodd. | 0:31:33 | 0:31:38 | |
Let's see what he thinks of our experts' choices. | 0:31:38 | 0:31:42 | |
The artist's easel... it's a nice easel. | 0:31:42 | 0:31:45 | |
It's a nice one. | 0:31:45 | 0:31:47 | |
We tried to look for a signature, | 0:31:47 | 0:31:49 | |
perhaps it has been used by Lowry or Van Gogh, | 0:31:49 | 0:31:51 | |
but, unfortunately, there's no provenance. | 0:31:51 | 0:31:55 | |
I really like the chairs. | 0:31:55 | 0:31:57 | |
And we knew as soon as we saw the OMK Design on it and London | 0:31:57 | 0:32:00 | |
that they were quite important. | 0:32:00 | 0:32:01 | |
Ooh, very interesting. | 0:32:01 | 0:32:03 | |
But, ultimately, of course, it's up to the bidders. | 0:32:03 | 0:32:07 | |
Charles Hanson set out on this leg with £335.38 | 0:32:07 | 0:32:12 | |
and spent every last penny on his five lots. | 0:32:12 | 0:32:15 | |
While Philip Serrell began this leg with £254.20 | 0:32:17 | 0:32:21 | |
and only spent half of that, | 0:32:21 | 0:32:23 | |
parting with £130 on his five lots. | 0:32:23 | 0:32:26 | |
Listen up, it's time for the auction cry. | 0:32:28 | 0:32:30 | |
Good luck. | 0:32:30 | 0:32:32 | |
First up is Phil's Chinese 18th-century style vase. | 0:32:33 | 0:32:37 | |
Stunning lot, this. | 0:32:37 | 0:32:39 | |
Stunned? | 0:32:39 | 0:32:42 | |
And the bid's with me at only £15 on that. | 0:32:42 | 0:32:44 | |
Looking for 18. I've got 15, 18, 20 with me. | 0:32:44 | 0:32:48 | |
Looking for 22. | 0:32:48 | 0:32:49 | |
-It's profit. -No, it's not. | 0:32:49 | 0:32:51 | |
No, that's lost money. | 0:32:51 | 0:32:53 | |
Are you really, really sure? The lid's worth that. | 0:32:53 | 0:32:55 | |
Are we all done? | 0:32:55 | 0:32:57 | |
-Profit, isn't it? -No, no, no. | 0:32:57 | 0:32:59 | |
-At £20. -Ouch! | 0:32:59 | 0:33:01 | |
A commission bid from someone not in the auction wins it. | 0:33:01 | 0:33:04 | |
But that's a loss to start for poor Phil. | 0:33:04 | 0:33:07 | |
Mind you, we've got your really nice chairs next, haven't we? | 0:33:07 | 0:33:10 | |
HE GAGS | 0:33:10 | 0:33:12 | |
Phil detests them, our auctioneer loves them. | 0:33:12 | 0:33:15 | |
But what will the bidders think of Charles' chairs? | 0:33:15 | 0:33:18 | |
These are iconic, and as far as we've been able to find out, | 0:33:18 | 0:33:22 | |
there's also one or two on permanent display | 0:33:22 | 0:33:26 | |
in the contemporary design section at the Victoria and Albert Museum. | 0:33:26 | 0:33:29 | |
Hear that? In the V&A. | 0:33:29 | 0:33:32 | |
I know what they say, you know, they talk about condition. | 0:33:32 | 0:33:35 | |
No, the condition's not that good. | 0:33:35 | 0:33:37 | |
But if you know anybody who sprays cars, | 0:33:37 | 0:33:40 | |
they'll be able to do these. | 0:33:40 | 0:33:41 | |
AUDIENCE LAUGHS | 0:33:41 | 0:33:43 | |
-I've had a bit of interest in these. -Oh, come on. | 0:33:45 | 0:33:47 | |
International bids, Isle of Dogs, Isle of Sheppey. | 0:33:47 | 0:33:50 | |
AUDIENCE LAUGHS | 0:33:50 | 0:33:51 | |
Is that really being serious? | 0:33:51 | 0:33:53 | |
I don't know. I think so. | 0:33:53 | 0:33:54 | |
I've gotta start these straight in with a bid of £45. | 0:33:54 | 0:33:59 | |
-OK. -Looking for 50. 55. 60. 65 with me. | 0:33:59 | 0:34:03 | |
Looking for 70 anywhere. | 0:34:03 | 0:34:05 | |
-75 with me. -Keep going. -Looking for 80. This is cheap. | 0:34:05 | 0:34:09 | |
80. 85 with me. 90. £100 with me. | 0:34:09 | 0:34:12 | |
-I'm looking for 110... -Keep going, keep going. | 0:34:12 | 0:34:15 | |
110 I need. 120 with me. Looking for 130. | 0:34:15 | 0:34:18 | |
-Charlie, how he's made those I don't know, Charlie. -Keep going. | 0:34:18 | 0:34:22 | |
At £120. | 0:34:22 | 0:34:24 | |
-Give him a round of applause. -Thank you very much. | 0:34:24 | 0:34:27 | |
See, Phil? You never can tell. | 0:34:29 | 0:34:31 | |
So much for being rude about the chairs. | 0:34:31 | 0:34:33 | |
Lesson learned, eh? | 0:34:33 | 0:34:35 | |
Now, how will the bidders react to your late-19th-century cartwheel? | 0:34:35 | 0:34:40 | |
The bid's with me on that cartwheel at £10 only. Looking for 12. | 0:34:40 | 0:34:44 | |
15, 18, 22, I'm out. | 0:34:44 | 0:34:47 | |
22, 25. 28 I want. 28 there, I've seen ya. | 0:34:47 | 0:34:52 | |
£30, 32, 35, 38. | 0:34:52 | 0:34:55 | |
£40 I want. £40 standing. 42. 45 I want. | 0:34:55 | 0:34:59 | |
No? Why not? You started it, you can't pull out. | 0:34:59 | 0:35:02 | |
I've got 42, looking for 45. We all done? | 0:35:02 | 0:35:05 | |
45 new player. See you all. 48. 50. | 0:35:05 | 0:35:09 | |
52, 55, 58. | 0:35:09 | 0:35:12 | |
58 there, looking for 60. It's only another couple of pound. All done? | 0:35:12 | 0:35:16 | |
60 there, then. 62 there. 65. 68. £70. | 0:35:16 | 0:35:21 | |
72, 75, 78. 80 I want. 78 there, then. | 0:35:21 | 0:35:26 | |
We all done this time? | 0:35:26 | 0:35:28 | |
At £78 on the cartwheel. | 0:35:28 | 0:35:31 | |
You do know your wood, Philip. | 0:35:32 | 0:35:34 | |
That's turned you a nice little profit. | 0:35:34 | 0:35:36 | |
Next up is Charles' green dress. | 0:35:37 | 0:35:40 | |
Will anyone fork out for this frock? | 0:35:40 | 0:35:43 | |
-You should have worn that, Charlie. -It happened so fast. | 0:35:43 | 0:35:45 | |
Bid's with me at £8. £10 there, then. | 0:35:45 | 0:35:48 | |
I'm out. Looking for 12. | 0:35:48 | 0:35:49 | |
I've got £10, I'm looking for 12. | 0:35:49 | 0:35:52 | |
Where you gonna get another one? | 0:35:52 | 0:35:54 | |
-Why would you want another one? -We all done at 10? | 0:35:54 | 0:35:56 | |
£12 on there... I can't do 50p, love. | 0:35:56 | 0:35:59 | |
I've got £10, I'm looking for 12. Are we all done this time? | 0:36:00 | 0:36:04 | |
At £10 only on the frock. | 0:36:04 | 0:36:07 | |
BANGS GAVEL | 0:36:07 | 0:36:09 | |
Well, who'd have thought it? | 0:36:09 | 0:36:11 | |
One very happy buyer and another profit. | 0:36:11 | 0:36:13 | |
Now, can Philip clean up with his large wicker laundry basket? | 0:36:15 | 0:36:20 | |
The bid's with me at only £22 on this. | 0:36:20 | 0:36:22 | |
Looking for 25. I've got 25. 28. 32...35...38. £40 I'm out. | 0:36:22 | 0:36:29 | |
Anywhere. | 0:36:29 | 0:36:31 | |
£40 there, then. I'm out. 42. 45. 48. 50. | 0:36:31 | 0:36:37 | |
Five I want. 50 there, looking for 55. | 0:36:37 | 0:36:40 | |
I have £50 in the middle of the room, are we all done? | 0:36:40 | 0:36:43 | |
Profit. | 0:36:43 | 0:36:45 | |
Last time at £50. | 0:36:45 | 0:36:46 | |
Nice work, Philip. This is starting to go very well. | 0:36:46 | 0:36:50 | |
It's another of Charles' vintage lots next. | 0:36:50 | 0:36:53 | |
He's paired his Melmac cruet set | 0:36:53 | 0:36:56 | |
with the selection of handkerchief vases. | 0:36:56 | 0:36:58 | |
They are good old English retro vases. | 0:36:58 | 0:37:01 | |
I think they're worth 8 quid - what did you pay for them? | 0:37:01 | 0:37:03 | |
-45. -They'll make 400. | 0:37:03 | 0:37:06 | |
And it's gotta start with a bid with me straight in at £15. | 0:37:06 | 0:37:09 | |
Oh, 15. Oh, shame. I thought it was 50. | 0:37:09 | 0:37:13 | |
22 I want. 22. I'm out, looking for 25. | 0:37:13 | 0:37:16 | |
I've got 22 on this lot. Are we all done? | 0:37:16 | 0:37:19 | |
Last time. At £22! | 0:37:19 | 0:37:22 | |
Well, that represents a hefty loss, Charles. | 0:37:22 | 0:37:25 | |
Your retro gamble just isn't paying off. | 0:37:25 | 0:37:28 | |
Now, will there be interest in Phil's maritime lot? | 0:37:28 | 0:37:31 | |
The boat rudder. | 0:37:31 | 0:37:33 | |
No-one should be without a boat rudder. | 0:37:33 | 0:37:35 | |
And the bid's with me at only £10 on those. | 0:37:35 | 0:37:39 | |
Looking for 12, they're worth all of that. | 0:37:39 | 0:37:41 | |
Look great in the garden. | 0:37:41 | 0:37:43 | |
15 with me. 18. I'm out. Looking for 20. | 0:37:43 | 0:37:46 | |
I've got £18 on a boat rudder and a tiller. Are we all done? | 0:37:46 | 0:37:51 | |
£20 there at the back of the room, 22 you need. | 0:37:51 | 0:37:54 | |
22. Five I want. 25. | 0:37:54 | 0:37:56 | |
28 I want. 25 down there. | 0:37:56 | 0:37:59 | |
I'm still looking for £28 anywhere. Are we all done? | 0:37:59 | 0:38:02 | |
Down the back of the room at £25. | 0:38:02 | 0:38:06 | |
That's a profit and a healthy lead, Phil. So well done. | 0:38:07 | 0:38:10 | |
Next is Charles' big purchase. | 0:38:12 | 0:38:14 | |
He said it was a rare 18th-century porcelain box. | 0:38:14 | 0:38:18 | |
So can his antiques knowledge save him from his retro blunders? | 0:38:18 | 0:38:21 | |
And it's gotta start with a bid with me of £30 on that. | 0:38:21 | 0:38:26 | |
Looking for 32 anywhere. | 0:38:26 | 0:38:29 | |
32, 35, 38, £40. | 0:38:29 | 0:38:31 | |
Some interest on the phones for this one. | 0:38:31 | 0:38:33 | |
55. I'm out. 55 I'm out, I need £60. | 0:38:33 | 0:38:39 | |
65 on the second phone. £70... | 0:38:39 | 0:38:41 | |
A lot of interest. | 0:38:41 | 0:38:43 | |
I'm looking for 75. £80 I want. | 0:38:43 | 0:38:47 | |
80 I've got, 85 I need. | 0:38:47 | 0:38:49 | |
£85, Louis. 85...£90. £90 on the first phone. Yes. | 0:38:49 | 0:38:55 | |
I'd rather have this at 100 quid rather than your chairs, Charlie. | 0:38:55 | 0:38:58 | |
105. 110 I'll take. | 0:38:58 | 0:39:01 | |
110. 115 I'll take. 120 I need. | 0:39:01 | 0:39:06 | |
125 I'll take. | 0:39:06 | 0:39:08 | |
125 I've got. 130. 135 I need, Luke. | 0:39:08 | 0:39:13 | |
-Well done, Charlie. -I've broken even, that's alright. | 0:39:13 | 0:39:16 | |
I'm happy now, it's broken even. The phones are flying. | 0:39:16 | 0:39:19 | |
£150 please, Louis. | 0:39:19 | 0:39:21 | |
150. I've got 145, I'm looking for £150. Are we all done at £145? | 0:39:21 | 0:39:28 | |
Selling this box at £145. | 0:39:28 | 0:39:32 | |
Nice piece, Charles. | 0:39:32 | 0:39:33 | |
But that was a lot of work for a £5 profit. | 0:39:33 | 0:39:36 | |
And that'll be a loss after auction costs, I'm afraid. | 0:39:36 | 0:39:39 | |
But it's cracked. | 0:39:39 | 0:39:40 | |
We've both got one lot left each. | 0:39:40 | 0:39:42 | |
Your artist's easel and my snakeskin mantel clock. | 0:39:42 | 0:39:46 | |
Exciting, isn't it? | 0:39:46 | 0:39:47 | |
Oh, I'm having a job to hold myself in, Charlie. | 0:39:47 | 0:39:50 | |
Come on, Phil, a bit more enthusiasm, please. | 0:39:50 | 0:39:53 | |
It's your artist's easel next. | 0:39:53 | 0:39:55 | |
It may not have been Van Gogh's, | 0:39:55 | 0:39:57 | |
but you'll swap provenance for a profit, I'm sure. | 0:39:57 | 0:40:00 | |
Straight in at £25 on that. | 0:40:00 | 0:40:04 | |
Well done. | 0:40:04 | 0:40:05 | |
Looking for 28. I've got 25 on it. | 0:40:05 | 0:40:07 | |
I'm looking for 28. | 0:40:07 | 0:40:09 | |
30 with me. 32, 35. 38 I need. | 0:40:09 | 0:40:13 | |
You gotta go for it, mate. | 0:40:13 | 0:40:14 | |
£38 I want. 38, 40. Two I want. 45, 48. | 0:40:14 | 0:40:19 | |
50, 55, 60 with me. | 0:40:19 | 0:40:22 | |
65. 70 with me. I've got 72. 75 with me. | 0:40:22 | 0:40:26 | |
I'll take £80. Are we all done? | 0:40:26 | 0:40:29 | |
Last time. At £75 on the easel. | 0:40:29 | 0:40:33 | |
-Give him a round of applause. -Well done, Philip. Well done. | 0:40:34 | 0:40:37 | |
That's a great result. I mean that really is...fantastic. | 0:40:37 | 0:40:41 | |
Yeah, best profit of the day so far. | 0:40:41 | 0:40:43 | |
So well done, Philip. | 0:40:43 | 0:40:44 | |
It depends on the clock. | 0:40:44 | 0:40:46 | |
It's gonna be really, really close this one, Charlie. | 0:40:46 | 0:40:49 | |
All we can guarantee is an exciting finale. | 0:40:49 | 0:40:52 | |
Yeah. | 0:40:52 | 0:40:54 | |
To win today's auction, | 0:40:54 | 0:40:56 | |
they'll need to get really excited by your snakeskin clock, Charles. | 0:40:56 | 0:41:00 | |
Great-looking piece, this. | 0:41:00 | 0:41:02 | |
And it's gotta start with a bid with me of £25 only on that clock. | 0:41:02 | 0:41:06 | |
Looking for 28. It's worth all of that. | 0:41:06 | 0:41:10 | |
25, 28, £30. | 0:41:10 | 0:41:12 | |
Looking for 32 anywhere. 35 here. | 0:41:12 | 0:41:14 | |
Looking for 38. 38. | 0:41:14 | 0:41:17 | |
£40. I'm out at the back of the room looking for 42. | 0:41:17 | 0:41:21 | |
I've got 42 on the telephone. | 0:41:21 | 0:41:23 | |
Looking for 45. Are we all done at £42? | 0:41:23 | 0:41:27 | |
You won't see another one of these. | 0:41:27 | 0:41:29 | |
Are we all done at 42? Looking for 45? | 0:41:29 | 0:41:31 | |
At 42... £45 just in time, looking for 48. | 0:41:31 | 0:41:37 | |
48 on the telephone. Looking for 50, I've got. | 0:41:37 | 0:41:40 | |
I'll take 52, Luke. | 0:41:40 | 0:41:42 | |
52 I need. I've got £50, are we all done? | 0:41:42 | 0:41:44 | |
Last time. At £50 on the clock... | 0:41:44 | 0:41:48 | |
That is cheap. | 0:41:48 | 0:41:49 | |
Give 'em a round of applause. Thanks very much. | 0:41:49 | 0:41:51 | |
-Thank you very much. You tried. -Thank you very much. | 0:41:51 | 0:41:54 | |
-I think they're cheap, Charlie. -Yeah. | 0:41:54 | 0:41:56 | |
Sometimes the bidders just don't bite, Charlie. Bad luck. | 0:41:58 | 0:42:02 | |
-Well played, Phil. -I think you might be driving. | 0:42:04 | 0:42:06 | |
And I think you might be winning. HE LAUGHS | 0:42:06 | 0:42:09 | |
So, Charles Hanson let his retro theme get the better of him | 0:42:12 | 0:42:15 | |
and, after auction costs, he made a loss of £50.84, | 0:42:15 | 0:42:19 | |
which means he starts next time with £284.54. | 0:42:19 | 0:42:24 | |
While Philip Serrell played it safe, starting this leg with £254.20 | 0:42:24 | 0:42:29 | |
and making a tidy profit of £73.36. | 0:42:29 | 0:42:33 | |
Which means he's in the lead in the trip and takes forward £327.56 | 0:42:33 | 0:42:39 | |
to spend next time. | 0:42:39 | 0:42:40 | |
The sun's come out, it's a happy day. | 0:42:42 | 0:42:44 | |
Happy day, Phil. | 0:42:44 | 0:42:45 | |
North-east, here we come. That way. | 0:42:45 | 0:42:47 | |
BOTH SING # The sun has got his hat on | 0:42:47 | 0:42:50 | |
# Hip, hip, hip, hooray! | 0:42:50 | 0:42:51 | |
# The sun has got his hat on... # | 0:42:51 | 0:42:54 | |
That's the right attitude, chaps. Stay bright. | 0:42:54 | 0:42:56 | |
-Next time on Antiques Road Trip... -Ruff! Ruff! | 0:42:56 | 0:42:59 | |
..the pressure's getting to Phil. | 0:42:59 | 0:43:02 | |
What the hell have I done? | 0:43:02 | 0:43:04 | |
And Charles is pulling out all the stops to get back in the game. | 0:43:04 | 0:43:08 | |
They could make 400 in the right sale and that's exciting. | 0:43:08 | 0:43:11 | |
Subtitles by Red Bee Media Ltd | 0:43:24 | 0:43:28 | |
E-mail [email protected] | 0:43:28 | 0:43:32 |