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'This is Put Your Money Where Your Mouth Is, | 0:00:02 | 0:00:04 | |
'the show that pitches TV's best-loved antiques experts | 0:00:04 | 0:00:08 | |
'against each other in an all-out battle for profit. | 0:00:08 | 0:00:12 | |
Hey-hey! 'And gives you the insider's view of the trade.' | 0:00:12 | 0:00:17 | |
HAMMER BANGS Who's there? | 0:00:17 | 0:00:18 | |
'Each week, one pair of duelling dealers | 0:00:20 | 0:00:22 | |
'will face a different daily challenge.' | 0:00:22 | 0:00:25 | |
The original cheeky chappies. Lovely! | 0:00:25 | 0:00:28 | |
'Putting their reputations on the line...' Full house. Oh, I say! | 0:00:28 | 0:00:33 | |
'..and giving you their top tips and savvy secrets | 0:00:33 | 0:00:36 | |
'on how to make the most money from buying and selling.' | 0:00:36 | 0:00:40 | |
I'm feeling rather lucky. | 0:00:40 | 0:00:42 | |
'Coming up, things get heated in the auction room.' | 0:00:44 | 0:00:48 | |
I'm feeling daggers coming into my back. | 0:00:48 | 0:00:51 | |
'Eric tells you how to hit the bullseye.' | 0:00:51 | 0:00:53 | |
But these bulls, you know, they're very highly collectable. I've seen these making over ?1,000. | 0:00:53 | 0:01:00 | |
'And Kate shows another string to her bow.' | 0:01:00 | 0:01:02 | |
'This is Put Your Money Where Your Mouth Is.' | 0:01:04 | 0:01:06 | |
'Yes, welcome, antiquarians and thrill-seekers, to yet another knick-knack knockabout | 0:01:20 | 0:01:25 | |
'and a chance to witness your favourite antiques experts | 0:01:25 | 0:01:29 | |
'battling over the bric-a-brac and clashing over the collectables. | 0:01:29 | 0:01:33 | |
'And today, it's the turn of two of your top auction heroes. | 0:01:33 | 0:01:36 | |
'First to pop his noddle on the block is a man who's lived and breathed the antiques industry | 0:01:36 | 0:01:41 | |
'for more years than he cares to admit. | 0:01:41 | 0:01:44 | |
'He is the connoisseur's connoisseur, the grand master of wheeler-dealing. | 0:01:44 | 0:01:49 | |
'It's the one, the only Eric 'Knocker' Knowles!' | 0:01:49 | 0:01:52 | |
I'm really going to have to get a move on. | 0:01:52 | 0:01:54 | |
'And coming face to face with Eric is the first lady of antiques. | 0:01:54 | 0:01:58 | |
'From the outside, she looks like butter wouldn't melt in her mouth. | 0:01:58 | 0:02:01 | |
'But inside beats the cold heart of the hardest haggler in the business. | 0:02:01 | 0:02:05 | |
'It's Kate 'Absolute' Bliss.' | 0:02:05 | 0:02:08 | |
Variety is going to be the name of the game today. | 0:02:08 | 0:02:11 | |
'Both our auctioneer experts are going to be in familiar surroundings | 0:02:11 | 0:02:15 | |
'as it's their auction challenge. | 0:02:15 | 0:02:17 | |
'Our gallivanting gaveleers are packing ?1,000 of their own hard-earned cash | 0:02:17 | 0:02:23 | |
'and have rocked up at Cottees Auction House in Wareham in Dorset, | 0:02:23 | 0:02:26 | |
'where there are two sales happening simultaneously. | 0:02:26 | 0:02:30 | |
'With thousands of antiques on sale in the main hall | 0:02:30 | 0:02:32 | |
'and thousands more furniture and bric-a-brac items going under the hammer elsewhere, | 0:02:32 | 0:02:37 | |
'our experts will have to work quickly and methodically | 0:02:37 | 0:02:40 | |
'to make sure they know exactly what's what and don't miss a bargain. | 0:02:40 | 0:02:43 | |
'At your stations, Kate Bliss and Eric Knowles, | 0:02:43 | 0:02:46 | |
'it's time to put your money where your mouth is.' | 0:02:46 | 0:02:51 | |
Good morning! Morning! Fancy seeing you here! | 0:02:52 | 0:02:55 | |
I'm very well. Well, this is probably as well. | 0:02:55 | 0:02:57 | |
Here we are in Wareham at the auction rooms. | 0:02:57 | 0:03:00 | |
You been here before? I haven't. Lovely little corner of Dorset, though. It is! | 0:03:00 | 0:03:05 | |
So, we've got ?1,000 to spend. We've got ?1,000! That's a lot of money! | 0:03:05 | 0:03:10 | |
Well, it's not going to be easy to spend it in so far as this is such a busy auction. | 0:03:10 | 0:03:14 | |
I know. There are actually two auctions going on simultaneously. | 0:03:14 | 0:03:17 | |
Yeah, lots of different buildings. We'll have to be on our toes | 0:03:17 | 0:03:20 | |
not to miss items. Exactly. | 0:03:20 | 0:03:22 | |
I think I'm going to go for really quality items here, cos there's a real mixture. | 0:03:22 | 0:03:26 | |
We both know that this is sort of not an exact science, | 0:03:26 | 0:03:30 | |
so I think it's just a matter of like it, see it, buy it if you can. | 0:03:30 | 0:03:35 | |
'Yes, there you are. Like it, see it, buy it if you can, | 0:03:35 | 0:03:38 | |
'the formula to auction success encapsulated in a sentence. Marvellous. | 0:03:38 | 0:03:43 | |
'But with two simultaneous auctions, our experts will have to stay focused and keep moving. | 0:03:43 | 0:03:48 | |
'So, what's Kate's plan?' | 0:03:48 | 0:03:50 | |
Eric's already gone inside and he's battling with the crowds | 0:03:50 | 0:03:53 | |
to try and view things. But I'll let you into a little secret. | 0:03:53 | 0:03:56 | |
I came down here a couple of days ago when the sale was on view | 0:03:56 | 0:04:00 | |
and had a really good poke about. | 0:04:00 | 0:04:02 | |
Now, Eric could've come down but he wasn't here when I was here. | 0:04:02 | 0:04:06 | |
So I'm going to get in and see what he's up to. | 0:04:06 | 0:04:09 | |
'Ooh, Kate, you're a one! Well, there's nothing in the rules | 0:04:10 | 0:04:14 | |
'that says she can't turn up a couple of days before | 0:04:14 | 0:04:16 | |
'and it shows the lengths these experts will go to not to lose face. | 0:04:16 | 0:04:20 | |
'Good tactic, though, cos even an old hand like Eric seems rather daunted by the size of the auction.' | 0:04:20 | 0:04:27 | |
There is an awful lot to see, so it really is a case of | 0:04:27 | 0:04:32 | |
ferret and find it | 0:04:32 | 0:04:35 | |
and, erm, go for it. | 0:04:35 | 0:04:38 | |
'Yes, more wise words. Ferret, go for it. | 0:04:38 | 0:04:41 | |
'I'm not sure why he's talking about rodents, but he goes scurrying off to have a good old browse. | 0:04:41 | 0:04:46 | |
'Kate, who has had the luxury of a previous viewing, is on the fiddle.' | 0:04:46 | 0:04:51 | |
It's catalogued quite simply as a violin bearing label for Joseph Guarnerius. | 0:04:51 | 0:04:57 | |
And at first glance, it looks pretty tatty. | 0:04:57 | 0:04:59 | |
But if you take a closer look, | 0:04:59 | 0:05:02 | |
you've got the missing components here largely in the case. | 0:05:02 | 0:05:06 | |
It's got a label inside, just as the catalogue says, for Joseph Guarnerius. | 0:05:06 | 0:05:12 | |
And Guarnerius is actually a very famous violin-maker. | 0:05:12 | 0:05:15 | |
He's up there with Stradivarius. | 0:05:15 | 0:05:17 | |
But there are lots of violins that have the Guarnerius label | 0:05:17 | 0:05:23 | |
which weren't actually made by him. | 0:05:23 | 0:05:25 | |
They're just simply in his style. | 0:05:25 | 0:05:27 | |
So this could be quite a good fiddle. So I'm going to have a bit of a punt on this. | 0:05:27 | 0:05:33 | |
'So, that could be a real hidden treasure Kate's discovered there, | 0:05:33 | 0:05:36 | |
'but we'll have to wait till the bidding begins to find out if she's successful. | 0:05:36 | 0:05:41 | |
'Eric has set his sights on a treasure of his own | 0:05:41 | 0:05:44 | |
'and it is, of course, ceramic.' COW MOOS | 0:05:44 | 0:05:48 | |
This may be, sort of, a Herefordshire bull, | 0:05:48 | 0:05:51 | |
but in all fairness, he started off life in Stoke-on-Trent, | 0:05:51 | 0:05:55 | |
because it was made by Beswick. | 0:05:55 | 0:05:58 | |
But these bulls, you know, they're very highly collectable. | 0:05:58 | 0:06:02 | |
I mean, some are worth very little and some are worth an awful lot. | 0:06:02 | 0:06:06 | |
I mean, I don't know what the record price is, but I've seen these making over ?1,000. | 0:06:06 | 0:06:12 | |
'?1,000? That would be Eric's whole budget blown on one little bull. | 0:06:12 | 0:06:16 | |
'Meanwhile, Kate is also taking the bull by the horns | 0:06:16 | 0:06:19 | |
'as she gravitates towards a silver purse.' | 0:06:19 | 0:06:22 | |
This is silver, it's not silver-plate, and it's engraved | 0:06:22 | 0:06:27 | |
with leafage scrolls and initials on the front here. | 0:06:27 | 0:06:30 | |
Have a look inside, ooh, and look at that. | 0:06:30 | 0:06:33 | |
That has a lovely leather interior | 0:06:33 | 0:06:37 | |
which almost is in mint condition. We've got a hallmark down here. | 0:06:37 | 0:06:41 | |
And that is dated for Birmingham, which is where the silver was tested to check it was silver, | 0:06:42 | 0:06:48 | |
and the date letter S, which is 1917. | 0:06:48 | 0:06:51 | |
Might have a little go at that. Where's Eric gone? | 0:06:51 | 0:06:55 | |
'Well, Eric is still browsing | 0:06:55 | 0:06:57 | |
'and has found a little something that reminds him of his rival, | 0:06:57 | 0:07:00 | |
'an old 19th century auction notice.' | 0:07:00 | 0:07:03 | |
This has got my competitor's name written all over it, | 0:07:05 | 0:07:10 | |
because if she hasn't spotted that, | 0:07:10 | 0:07:14 | |
I might have a go at it. | 0:07:14 | 0:07:16 | |
Because this is all to do with Ledbury in Herefordshire, which is a lovely town | 0:07:16 | 0:07:22 | |
not a million miles from where the Absolute Bliss hangs out. | 0:07:22 | 0:07:28 | |
So, 92. We'll have a go on that. | 0:07:28 | 0:07:32 | |
'So, Eric's slowly building up his wish list of lots he'd like to take home. | 0:07:32 | 0:07:37 | |
'But with so many items on display, he's struggling to cover the whole auction.' | 0:07:37 | 0:07:42 | |
Time is of the essence. It's about to start so I've got to get going. | 0:07:42 | 0:07:45 | |
'Yes, there's a palpable air of tension over the place as the auctioneer readies himself | 0:07:46 | 0:07:51 | |
'for the impending proceedings. Even our seasoned experts are feeling the strain.' | 0:07:51 | 0:07:55 | |
I have to say, I'm quite nervous! Well... | 0:07:55 | 0:07:58 | |
I feel quite excited! Normally I feel really relaxed. Oh, he's going to kick off. | 0:07:58 | 0:08:03 | |
He is. OK, then, shove over. OK, all right. OK, OK. | 0:08:03 | 0:08:07 | |
'Yes, Kate is battling with her butterflies, | 0:08:07 | 0:08:10 | |
'but it's too late to back out now. | 0:08:10 | 0:08:12 | |
'There's nowhere to run and nowhere to hide as the starting pistol fires and the auction kicks off. | 0:08:12 | 0:08:19 | |
'And before Kate can even catch her breath, Eric has decided to bid on something that's caught his eye.' | 0:08:19 | 0:08:24 | |
?20 bid. I'm going to go on some prints. | 0:08:24 | 0:08:27 | |
They're a bit out of fashion but they're 1851. | 0:08:27 | 0:08:30 | |
?20. ?20 I've got. | 0:08:30 | 0:08:32 | |
20. 25 now behind. 25. 30. | 0:08:32 | 0:08:36 | |
Selling at ?30. HAMMER BANGS | 0:08:36 | 0:08:39 | |
Thank you. First blood. | 0:08:39 | 0:08:42 | |
'So, success for Eric. His first purchase in the bag, | 0:08:42 | 0:08:45 | |
'?35.40 after fees for two prints of the Great Exhibition.' | 0:08:45 | 0:08:49 | |
What I've bought, in actual fact, | 0:08:49 | 0:08:51 | |
are two prints by a man called George Baxter. | 0:08:51 | 0:08:55 | |
But they're quite special to me because these prints are showing | 0:08:55 | 0:08:59 | |
some of the exhibits in the Crystal Palace in Hyde Park | 0:08:59 | 0:09:02 | |
on 1st May 1851. | 0:09:02 | 0:09:04 | |
You've got the emboss insignia there of Baxter. | 0:09:04 | 0:09:08 | |
George Baxter, one of the best print-makers of the time. | 0:09:08 | 0:09:13 | |
'So, Eric off and running. And not resting on his laurels, | 0:09:13 | 0:09:16 | |
'he's straight back into the fray for a bit more bidding. | 0:09:16 | 0:09:19 | |
'This time he's on home territory - a job lot of ceramic jugs.' | 0:09:19 | 0:09:23 | |
35, sir? 35 I've got. 35. | 0:09:23 | 0:09:27 | |
HAMMER BANGS 35. He's got them! He's got two things! Thank you. | 0:09:27 | 0:09:30 | |
Talk about quick out of the blocks, Eric! | 0:09:30 | 0:09:32 | |
'Yes, Kate rattled by Eric shooting out of the traps like a dog with two things. | 0:09:32 | 0:09:37 | |
'So, what's he bought?' | 0:09:37 | 0:09:39 | |
I find myself with five jugs. | 0:09:39 | 0:09:41 | |
Now, I've got to say that these two are in such a state | 0:09:41 | 0:09:45 | |
that they've got no great commercial value, | 0:09:45 | 0:09:47 | |
but they all date to around about 1860. | 0:09:47 | 0:09:51 | |
And at this stage, I've got to do my research, | 0:09:51 | 0:09:54 | |
but just looking at the sort of decoration on here, | 0:09:54 | 0:09:56 | |
I've got a sneaky feeling that they're not actually Staffordshire. | 0:09:56 | 0:10:00 | |
I've got a sneaky feeling that these might be Welsh. | 0:10:00 | 0:10:02 | |
And that adds a certain kudos to them. | 0:10:02 | 0:10:05 | |
When I say 1860s, the thing that tells me | 0:10:05 | 0:10:09 | |
that these pots date from that period is the style of decoration, | 0:10:09 | 0:10:12 | |
the colours that have been used and the shapes. | 0:10:12 | 0:10:15 | |
If they're Welsh, they're going to be worth that little bit more. | 0:10:15 | 0:10:18 | |
'Yes, Eric paid ?41.30 including fees for the five jugs | 0:10:18 | 0:10:22 | |
'and his buying spree doesn't stop there. | 0:10:22 | 0:10:24 | |
'He bids and wins a third lot and pays another ?41.30 | 0:10:24 | 0:10:29 | |
'for an Edward VII commemorative panel.' | 0:10:29 | 0:10:32 | |
I've bought this printed panel which celebrates His Majesty King Edward VII | 0:10:33 | 0:10:38 | |
at different ages. | 0:10:38 | 0:10:41 | |
The colours are pristine, it's not faded, it's a little gem. | 0:10:41 | 0:10:46 | |
'So, Eric's happy with his royal gem while Kate is trailing in his wake. | 0:10:46 | 0:10:50 | |
'Having started out all confident, she's had the smile wiped right off her face. Round one to Eric.' | 0:10:50 | 0:10:56 | |
So that's three lots to my credit. | 0:10:56 | 0:11:00 | |
But it also has the psychological effect on the opposition. | 0:11:00 | 0:11:04 | |
They see you steaming ahead and it puts them into a mode, | 0:11:04 | 0:11:08 | |
that well-known mode that we've seen on this programme so many times, | 0:11:08 | 0:11:12 | |
the panic mode. | 0:11:12 | 0:11:14 | |
ALARM BLARES | 0:11:14 | 0:11:18 | |
'Yes, Eric knows how to rattle a cage when he wants to. | 0:11:18 | 0:11:21 | |
'Has he got Kate in a flap? Well, she's still looking for that first buy | 0:11:21 | 0:11:25 | |
'and instead of bidding on her specialist silverware, | 0:11:25 | 0:11:28 | |
'she's straying to Eric's territory - ceramics.' | 0:11:28 | 0:11:32 | |
The next lot to come up is a lot with two pieces of Poole pottery. | 0:11:32 | 0:11:36 | |
I'm sure Eric will be interested in this and I'm sure he's spotted it. | 0:11:36 | 0:11:40 | |
If they go for the right price, I think I can find a collector. Here they are. | 0:11:40 | 0:11:44 | |
5. Oh, 55? | 0:11:44 | 0:11:46 | |
55, then. | 0:11:46 | 0:11:49 | |
60, just come in, 60. | 0:11:49 | 0:11:51 | |
?60 now. 60 bid. | 0:11:51 | 0:11:53 | |
'Yes, Kate weighs in at 60, but Eric not bothering to bid. That must be worrying her.' | 0:11:53 | 0:11:58 | |
At 60. That's my final bid. ?60. If anybody else comes in, I'm not going again. | 0:11:58 | 0:12:03 | |
HAMMER BANGS First purchase! | 0:12:03 | 0:12:05 | |
'Yes, first purchase! ?70.80 with fees. | 0:12:05 | 0:12:09 | |
'But telling that the prince of pottery didn't raise an eyebrow. | 0:12:09 | 0:12:13 | |
'Has she paid over the odds?' | 0:12:13 | 0:12:15 | |
These are two examples of art pottery. | 0:12:15 | 0:12:18 | |
They date from the 60s and 70s in terms of pottery and you can tell that by looking at the base. | 0:12:18 | 0:12:24 | |
Now, what we've got here with this vase is an example of Delphis Ware. | 0:12:24 | 0:12:28 | |
So we've got the dolphin mark, which dates from 1966 until 1980, | 0:12:28 | 0:12:33 | |
and then we've got a funny little squiggle here and that is the decorator's mark. | 0:12:33 | 0:12:38 | |
I think it's got a great retro look. | 0:12:38 | 0:12:41 | |
For the right collector or retro enthusiast, I think I can get a profit. | 0:12:41 | 0:12:46 | |
'So, Kate off the mark, but you've got to wonder, if it's ceramic, | 0:12:46 | 0:12:50 | |
'if it's got profit potential, why didn't her rival bid on it, hm? | 0:12:50 | 0:12:55 | |
'Well, maybe he's up to his mind games again. | 0:12:55 | 0:12:57 | |
'Yes, these two will try any trick in the book to get one over on their opponent. | 0:12:57 | 0:13:01 | |
'Now, remember that old auction poster Eric had his eye on?' | 0:13:01 | 0:13:05 | |
?10 for it. 10 at the back. 'Well, Kate doesn't want him to have it.' | 0:13:05 | 0:13:09 | |
Straight in. 15. 20. | 0:13:09 | 0:13:12 | |
25. | 0:13:12 | 0:13:13 | |
30. It's with the gentleman in the middle at ?30. | 0:13:16 | 0:13:20 | |
38. | 0:13:20 | 0:13:21 | |
Take it! LAUGHTER | 0:13:21 | 0:13:25 | |
38 I'm bid. I'm out. Thank you very much. Back to the lady, then. | 0:13:25 | 0:13:29 | |
It's ?38. At 38. HAMMER BANGS That's mine. | 0:13:29 | 0:13:34 | |
'Ooh! Kate get the sign for ?44.84 with fees, | 0:13:34 | 0:13:38 | |
'but has Eric just bumped the price up?' | 0:13:38 | 0:13:41 | |
I'm not looking over there because I'm feeling daggers coming into my back. | 0:13:41 | 0:13:46 | |
'Yes, Kate hard as nails, but even she is starting to buckle under the strain. | 0:13:46 | 0:13:51 | |
'Mind games - Eric's forte. | 0:13:51 | 0:13:53 | |
'So Miss Bliss decides to try her luck in the other sales room | 0:13:53 | 0:13:56 | |
'and quickly wins a pine chest for ?64.90 with fees.' | 0:13:56 | 0:14:00 | |
Now, this is a modern pine piece | 0:14:00 | 0:14:03 | |
but I'm going to paint it and then try and sell it. | 0:14:03 | 0:14:06 | |
And I got it for 55, which I don't think is too bad. | 0:14:06 | 0:14:09 | |
'Yes, Kate there hoping to paint a brighter future when it comes to selling. | 0:14:09 | 0:14:13 | |
'Now, back indoors and Eric has slipped to the back of the room. What are you up to, Eric?' | 0:14:13 | 0:14:19 | |
Going to be going on a lot which involves Staffordshire pottery. | 0:14:19 | 0:14:24 | |
I'm speaking like this because people can hear me | 0:14:24 | 0:14:26 | |
and I don't want to alert them as to what I'm going for. | 0:14:26 | 0:14:29 | |
'Eric knows that as the crowned price of pottery, just his mere presence in the room | 0:14:29 | 0:14:34 | |
'might set off the other bidders. So, a bit of sneaky bidding.' | 0:14:34 | 0:14:38 | |
?50 bid. 50. 5. | 0:14:38 | 0:14:41 | |
60. 5. 70. 5. | 0:14:41 | 0:14:44 | |
80. 5. | 0:14:44 | 0:14:47 | |
85 at the back. ?85. In the room it's 85. 90 anybody else? | 0:14:47 | 0:14:52 | |
HAMMER BANGS 85. 230. | 0:14:52 | 0:14:56 | |
'Yes, the pottery figures are his. ?85 at the gavel. | 0:14:56 | 0:15:00 | |
'That's ?100.30 with fees. But are they worth it?' | 0:15:00 | 0:15:04 | |
I'm very pleased with my purchase | 0:15:04 | 0:15:07 | |
of the milkmaid and the cowman. As a subject, these figures are always popular. | 0:15:07 | 0:15:12 | |
If you look at the faces, they're very beautifully detailed. | 0:15:12 | 0:15:15 | |
That tells me that they were made in Staffordshire | 0:15:15 | 0:15:18 | |
in and around about 1855 | 0:15:18 | 0:15:21 | |
or 1860, so they are early. | 0:15:21 | 0:15:25 | |
'So, Eric's seduced by the charms of the ceramic figurines. | 0:15:25 | 0:15:28 | |
'But ceramics isn't his only weakness. | 0:15:28 | 0:15:31 | |
'After missing out on a collection of Cadbury's memorabilia, | 0:15:31 | 0:15:33 | |
'he buys it off the winning bidder for ?50.' | 0:15:33 | 0:15:37 | |
So, what did my ?50 buy me? | 0:15:37 | 0:15:39 | |
Well, it bought me this very interesting book | 0:15:39 | 0:15:43 | |
on The Century Of Progress, 1831 to 1931. | 0:15:43 | 0:15:48 | |
I've also got a couple of tin boxes, | 0:15:48 | 0:15:52 | |
which probably date to the 1950s. | 0:15:52 | 0:15:56 | |
I've got also the Sixty Years Of The Bournville Experiment. | 0:15:56 | 0:16:02 | |
All in all, I'm very happy, | 0:16:02 | 0:16:04 | |
because me and chocolate have always got on. | 0:16:04 | 0:16:07 | |
'Oh, really, Eric? Well, if that's the case, at this midway point, | 0:16:07 | 0:16:11 | |
'let's see who's picked up a luxury selection | 0:16:11 | 0:16:13 | |
'and who's hanging around the pick and mix. | 0:16:13 | 0:16:16 | |
'Remember, both our experts started the day with ?1,000 of their own money to spend. | 0:16:17 | 0:16:23 | |
'Eric Knocker Knowles has so far splashed out ?268.30 on five items, | 0:16:23 | 0:16:29 | |
'leaving him with ?731.70 | 0:16:29 | 0:16:32 | |
'still in his kitty for the rest of the auction. | 0:16:32 | 0:16:34 | |
'Kate Absolute Bliss is lagging behind slightly, | 0:16:34 | 0:16:38 | |
'having only bought three lots and spent just ?180.54, | 0:16:38 | 0:16:43 | |
'leaving her a weighty ?819.46 still to spend. | 0:16:43 | 0:16:48 | |
'But there's plenty more auction action to come as the bidding continues. | 0:16:50 | 0:16:54 | |
'Both our experts are in the main saleroom. | 0:16:54 | 0:16:57 | |
'Kate may be behind at the moment, but one of her star lots | 0:16:57 | 0:17:01 | |
'is about to go under the hammer.' | 0:17:01 | 0:17:04 | |
The next lot is that violin I was telling you about. | 0:17:04 | 0:17:06 | |
Now, if it was a proper Guarnerius, it would be worth millions. | 0:17:06 | 0:17:10 | |
In fact, one sold four or five years ago for $4 million US. | 0:17:10 | 0:17:16 | |
But it isn't a proper Guarnerius, it's a copy. | 0:17:16 | 0:17:19 | |
And I'm really hoping nobody's had a proper look at it. | 0:17:19 | 0:17:22 | |
160 here. 160. | 0:17:22 | 0:17:25 | |
170. 170 in the corner. | 0:17:25 | 0:17:27 | |
Fingers crossed, get the hammer down. Yes! 170. I'm really pleased with that! | 0:17:27 | 0:17:31 | |
'Yes, Kate's delighted. That would be quite some profit | 0:17:31 | 0:17:34 | |
'if she did sell it for $4 million, | 0:17:34 | 0:17:36 | |
'as it cost her just over ?200 with fees. | 0:17:36 | 0:17:39 | |
'And Miss Bliss goes straight on to bid for the silver purse she spotted earlier.' | 0:17:39 | 0:17:43 | |
Selling in the room at ?80. HAMMER BANGS | 0:17:43 | 0:17:48 | |
'?94.40 including fees on the silver purse | 0:17:48 | 0:17:51 | |
'and Kate is going from strength to strength.' | 0:17:51 | 0:17:54 | |
I'm pleased with that because I think with a little bit of cleaning up, | 0:17:54 | 0:17:57 | |
I've got a buyer in mind. | 0:17:57 | 0:17:59 | |
'And she's not the only one who's quick-fire bidding.' | 0:17:59 | 0:18:03 | |
?45. HAMMER BANGS | 0:18:03 | 0:18:06 | |
'Eric gets his bovine Beswick figurine for ?53.10 including fees.' | 0:18:06 | 0:18:11 | |
I've just bought myself a Hereford bull. | 0:18:11 | 0:18:13 | |
'And goes on to successfully bid on a job lot of fireside items.' | 0:18:13 | 0:18:17 | |
Sell at 85. Are we all done at 85? HAMMER BANGS | 0:18:17 | 0:18:20 | |
I've got a bit of a hunch about these two pieces, | 0:18:20 | 0:18:23 | |
cos it's all in the design. | 0:18:23 | 0:18:26 | |
And the design in profile | 0:18:26 | 0:18:29 | |
is very reminiscent of an important designer | 0:18:29 | 0:18:34 | |
working in the late 19th century called Dr Christopher Dresser. | 0:18:34 | 0:18:37 | |
These were my two reasons | 0:18:37 | 0:18:41 | |
for spending that little bit more than the under-bidder. | 0:18:41 | 0:18:45 | |
'Well, Eric paid ?100.30 including fees for the fireside set | 0:18:45 | 0:18:49 | |
'and he appears to be on fire at the moment, | 0:18:49 | 0:18:52 | |
'bidding on all and sundry.' | 0:18:52 | 0:18:55 | |
?40 then. HAMMER BANGS Thank you. 230. | 0:18:55 | 0:18:59 | |
'He walks away with a nostalgic framed pair of soap adverts | 0:18:59 | 0:19:02 | |
'for ?47.20 including fees.' | 0:19:02 | 0:19:05 | |
Anyone else? I'm out. HAMMER BANGS | 0:19:05 | 0:19:08 | |
Same buyer. Thank you very much. | 0:19:08 | 0:19:11 | |
'Followed by another pair of soap adverts for the same price.' | 0:19:11 | 0:19:15 | |
Just short of 100 for the two, but they're in nice order, | 0:19:16 | 0:19:19 | |
they're in nice frames and they're full of Victorian sentimentality. | 0:19:19 | 0:19:23 | |
'Yes, sentimental Eric is buying like there's no tomorrow. | 0:19:25 | 0:19:28 | |
'So what's Kate's up to? Well, she's now bought all the items she targeted. | 0:19:28 | 0:19:32 | |
'So as there's still a bit of money left over, she's having to loiter around, | 0:19:32 | 0:19:36 | |
'ready to pounce on anything that's going cheap.' | 0:19:36 | 0:19:40 | |
This lot has some quite interesting photographs of World War II biplanes. | 0:19:40 | 0:19:45 | |
I'll just see what they go for. | 0:19:45 | 0:19:47 | |
?15 for those. 15 bid. | 0:19:47 | 0:19:49 | |
15. 20 now. | 0:19:49 | 0:19:51 | |
Selling at ?20. | 0:19:51 | 0:19:54 | |
HAMMER BANGS Yes! That's with me! | 0:19:54 | 0:19:56 | |
'So, Kate gets an unexpected bonus, | 0:19:56 | 0:19:58 | |
'a set of early unframed photos for ?23.60 including fees.' | 0:19:58 | 0:20:04 | |
Now, I've had a punt at these old prints. | 0:20:04 | 0:20:06 | |
They're all of First World War and later aircraft. | 0:20:06 | 0:20:09 | |
But I think these, actually, mounted and framed, | 0:20:09 | 0:20:13 | |
could have a real look about them, could be really smart and stylish. | 0:20:13 | 0:20:16 | |
'Yes, just like you, Kate. And with that last-minute purchase, both our dealers call it a day. | 0:20:16 | 0:20:21 | |
'So, while they pause to refuel, let's have a look at the final tallies. | 0:20:21 | 0:20:26 | |
'"Oh, yes, let's." | 0:20:26 | 0:20:28 | |
'Both our trading titans started out with ?1,000 of their own money. | 0:20:28 | 0:20:33 | |
'Eric ended up buying nine lots at a total cost of ?516.10. | 0:20:33 | 0:20:38 | |
'Kate lagged behind on the spending stakes, buying just six lots, | 0:20:39 | 0:20:43 | |
'and spent a little less than her rival, forking out ?499.14. | 0:20:43 | 0:20:48 | |
'So, as things stand, it could be anybody's game. | 0:20:51 | 0:20:54 | |
'But before we get onto the selling, let's find out what Eric and Kate thought of each other's purchases.' | 0:20:54 | 0:21:00 | |
Well, I think it fair to say that with any auction, | 0:21:00 | 0:21:03 | |
we've both been through the mill today, haven't we? | 0:21:03 | 0:21:06 | |
It's a bit like a rollercoaster ride, isn't it? But I think you've got more for your money. | 0:21:06 | 0:21:11 | |
The reason I'm holding these objects here | 0:21:11 | 0:21:13 | |
is that this sort of chocolate ephemera, this is my ticket to Nirvana, | 0:21:13 | 0:21:19 | |
and Nirvana for me is a chocolate factory somewhere near Birmingham. | 0:21:19 | 0:21:23 | |
I have a bone to pick with you, Knocker Knowles, on my auction notice. Yes. | 0:21:23 | 0:21:27 | |
Because you were bidding against me on that. | 0:21:27 | 0:21:30 | |
Let's get one thing straight, I started the bidding. | 0:21:30 | 0:21:34 | |
So none of that bidding me up business. | 0:21:34 | 0:21:36 | |
I started the bidding. Anyway, listen, let's not lose sleep on that one. Let's part friends. | 0:21:36 | 0:21:41 | |
'Now, with the auction house action vanishing into the mists of memory, | 0:21:45 | 0:21:49 | |
'it's time for our experts to put away their wallets and get out their contacts books | 0:21:49 | 0:21:54 | |
'as they prepare to sell all of their items for as much money as they can manage | 0:21:54 | 0:21:58 | |
'and make the biggest profits. Before they hit the road, | 0:21:58 | 0:22:02 | |
'our tussling two must assess their lots. | 0:22:02 | 0:22:04 | |
'Back in Kate's Herefordshire headquarters, | 0:22:04 | 0:22:07 | |
'Miss Bliss is drawing up a road map to success.' | 0:22:07 | 0:22:10 | |
So, I've got my pine tall boy. I'm going to paint this and I've decided on the colour. | 0:22:10 | 0:22:14 | |
It's going to be what's known as matchstick, which is a lovely cream. | 0:22:14 | 0:22:19 | |
And I've lined this up for a vintage shop | 0:22:19 | 0:22:22 | |
that deals specially in painted pine, so this is going to fit in really well with their stock. | 0:22:22 | 0:22:27 | |
My Poole, it's the key symbol on the base, | 0:22:27 | 0:22:31 | |
this little mark here, which is the mark of the decorator, | 0:22:31 | 0:22:34 | |
the paintress, which is really crucial. | 0:22:34 | 0:22:37 | |
So I'm hoping somebody is going to be collecting that mark, that decorator. | 0:22:37 | 0:22:43 | |
Next is my lovely silver purse. Now, the thing that really appealed to me | 0:22:43 | 0:22:47 | |
when I saw this at the auction was the immaculate condition, | 0:22:47 | 0:22:50 | |
not of the outside, cos it's a little bit tarnished, but that would soon clean up really nicely, | 0:22:50 | 0:22:55 | |
but of the inside, because it's the interior leather which is absolutely pristine. | 0:22:55 | 0:23:00 | |
My auction notice was a bit of a gamble. | 0:23:00 | 0:23:03 | |
That Knocker Knowles bid against me, so I paid far more than I wanted to for it, | 0:23:03 | 0:23:07 | |
but it's quite interesting because it refers to Ledbury in Herefordshire | 0:23:07 | 0:23:11 | |
which, of course, is not a million miles from me at all. | 0:23:11 | 0:23:14 | |
And I know The Feathers Hotel. | 0:23:14 | 0:23:16 | |
For my First World War biplane photographs, I'm going to go for an aircraft enthusiast | 0:23:16 | 0:23:21 | |
and hope that I can pass them off as really stylish furnishing prints. | 0:23:21 | 0:23:25 | |
Now, I've got one piece missing here and that is my lovely violin. | 0:23:25 | 0:23:30 | |
Now, the reason it isn't here is because I've sent it off to a restorer to have a look at it, | 0:23:30 | 0:23:34 | |
and if she can put it together for me, I've got a buyer in mind. | 0:23:34 | 0:23:39 | |
So all in all, Knocker Knowles, the plan is in action. | 0:23:39 | 0:23:44 | |
'So, Kate's scheming away, but over in his Buckinghamshire base, | 0:23:44 | 0:23:48 | |
'how confident is Mr Knowles feeling?' | 0:23:48 | 0:23:51 | |
Erm, I've been somewhat eclectic | 0:23:51 | 0:23:54 | |
in what I've managed to purchase. | 0:23:54 | 0:23:57 | |
Now, as for the sort of chocolate memorabilia, | 0:23:57 | 0:24:02 | |
I'm hoping that what I've got here | 0:24:02 | 0:24:05 | |
is going to be of interest to the Bournville Museum | 0:24:05 | 0:24:09 | |
from an archive point of view. | 0:24:09 | 0:24:11 | |
What about my Hereford bull? I'm hoping to find somebody who's a breeder. | 0:24:11 | 0:24:16 | |
And then we've got Edward, Edward VII. | 0:24:16 | 0:24:20 | |
I'll probably be looking for a royal memorabilia collector. | 0:24:20 | 0:24:26 | |
And finally, I've got my 1851 | 0:24:26 | 0:24:30 | |
Great Exhibition prints by George Baxter. | 0:24:30 | 0:24:34 | |
Very important to keep the mounts | 0:24:34 | 0:24:36 | |
and they've been there since the 1850s. | 0:24:36 | 0:24:39 | |
So all in all, I thought that my day at the auction | 0:24:39 | 0:24:42 | |
panned out quite nicely. | 0:24:42 | 0:24:45 | |
So I'm quietly optimistic. | 0:24:45 | 0:24:48 | |
'Bullish Eric's other eclectic collectables include three pottery figurines, | 0:24:48 | 0:24:53 | |
'the pair of Pears prints, the china jugs | 0:24:53 | 0:24:56 | |
'and the fireside items. | 0:24:56 | 0:24:58 | |
'So both our dealers spread their wings and take to the sky | 0:24:58 | 0:25:02 | |
'as they fly off in search of a profit, | 0:25:02 | 0:25:05 | |
'knowing that no deal is sealed until they've shaken and the cash is in their hands. | 0:25:05 | 0:25:10 | |
'And first off the mark is Kate, | 0:25:10 | 0:25:12 | |
'who's tracked down the perfect potential buyer for her auction notice. | 0:25:12 | 0:25:17 | |
'She's come to the market town of Ledbury, having cleverly concocted a plan to sell it to Edward, | 0:25:17 | 0:25:22 | |
'a hotel manager who she hopes will bid high enough to make some money | 0:25:22 | 0:25:27 | |
'on the ?44.84 she paid for it.' | 0:25:27 | 0:25:30 | |
Now, I have brought you an auction notice | 0:25:30 | 0:25:32 | |
and I understand you've got quite a few of these. We have got a few hanging up around the place. | 0:25:32 | 0:25:37 | |
I've also got one here to show you. Ah! | 0:25:37 | 0:25:40 | |
Oh, I see. Now, this is very similar to what I've got | 0:25:40 | 0:25:43 | |
because we've got valuable freehold property being advertised | 0:25:43 | 0:25:48 | |
and the auction for it is here at The Feathers in Ledbury. | 0:25:48 | 0:25:50 | |
Yours is dated 1838, I see. | 0:25:50 | 0:25:53 | |
But mine is slightly earlier. | 0:25:53 | 0:25:56 | |
The auction was held here at The Feathers, Ledbury, | 0:25:56 | 0:25:58 | |
31st January and it's dated just down here, 1822. | 0:25:58 | 0:26:03 | |
And here we've got lot one, a dwelling house, having capital cellaring. | 0:26:03 | 0:26:08 | |
And you've got the people who are actually holding the auction down here, | 0:26:08 | 0:26:14 | |
Messrs Holbrook Son, attorneys at law. | 0:26:14 | 0:26:18 | |
There are quite a few Holbrooks around Ledbury still. Oh, are there? That's interesting. | 0:26:18 | 0:26:22 | |
So, Edward, I'm looking for about ?100 to ?150 for this. | 0:26:22 | 0:26:26 | |
I would probably be looking for around the 100 mark, rather than the higher estimate. | 0:26:26 | 0:26:31 | |
Could we say 125? | 0:26:31 | 0:26:33 | |
I'd go up to 110. 115? 115. | 0:26:33 | 0:26:36 | |
Wonderful. Great deal. Thank you very much. | 0:26:36 | 0:26:38 | |
'Going once, going twice, and sold for a profit of ?70.16, | 0:26:38 | 0:26:42 | |
'giving Kate just the flying start she was looking for.' | 0:26:42 | 0:26:45 | |
Well, what a great result. Thank goodness I outbid Knocker Knowles at the auction, | 0:26:45 | 0:26:50 | |
because I've managed to return the auction notice back to its home in Ledbury | 0:26:50 | 0:26:53 | |
and I've got a great profit. | 0:26:53 | 0:26:56 | |
'Yes, well done, Kate. But don't celebrate just yet | 0:26:57 | 0:27:00 | |
'because Eric has his own plan to make a right royal profit | 0:27:00 | 0:27:04 | |
'from the King Edward print that cost him ?41.30. | 0:27:04 | 0:27:06 | |
'He's taking it to Margaret, a collector of royal memorabilia, | 0:27:06 | 0:27:11 | |
'whose house is stuffed with more kings and queens than a pack of cards.' | 0:27:11 | 0:27:16 | |
Well, I have to say that when I bought this particular print, I thought of you. | 0:27:16 | 0:27:21 | |
That's lovely, isn't it? Well, I thought so. | 0:27:21 | 0:27:23 | |
Oh, I do like that, yes. And the colours are nice and strong. Aren't they? | 0:27:23 | 0:27:27 | |
When you think how old it is, they're very good, aren't they? | 0:27:27 | 0:27:30 | |
I think what's incredible is the fact that you've got him in all the stages of his life, | 0:27:30 | 0:27:34 | |
from being a baby, a small boy, all the way through. Yes. | 0:27:34 | 0:27:37 | |
It's amazing how when they were small, they looked very girly. | 0:27:37 | 0:27:40 | |
Well, it was quite traditional to put them into small, | 0:27:40 | 0:27:45 | |
very effeminate dresses. Yes, definitely. | 0:27:45 | 0:27:48 | |
I think it's in pretty reasonable order. I think it is. | 0:27:48 | 0:27:50 | |
Original frame. Yes. And that's very important. It would be awful if it was in a modern frame. | 0:27:50 | 0:27:54 | |
Oh, no, that would kill it. I would not have wasted your time. No. | 0:27:54 | 0:27:58 | |
My starting gambit is around about sort of ?80. | 0:27:58 | 0:28:02 | |
I think ?80 would be fine, actually. Are you sure? Fine for me. | 0:28:02 | 0:28:05 | |
You are sure? Yes, I think it's lovely. OK, well, there you go. | 0:28:05 | 0:28:08 | |
Thank you for thinking of me. Not at all! | 0:28:08 | 0:28:11 | |
'So, the print brings in a princely profit of ?38.70 | 0:28:12 | 0:28:15 | |
'and Eric feels like a king.' | 0:28:15 | 0:28:18 | |
Well, a fair profit but at a fair price, | 0:28:20 | 0:28:23 | |
and at least Edward VII's going to feel very much at home amongst his own. | 0:28:23 | 0:28:27 | |
'With this symphony of selling underway, Kate is next | 0:28:29 | 0:28:31 | |
'with a plan to sell the violin that cost her just over ?235 including restoration. | 0:28:31 | 0:28:37 | |
'She's taking it to her old school | 0:28:37 | 0:28:40 | |
'with a mind to sell it to director of music David.' | 0:28:40 | 0:28:43 | |
So, David, this is the violin. So, it's got a label inside here | 0:28:43 | 0:28:47 | |
for Giuseppe Guarnerius. | 0:28:47 | 0:28:51 | |
He was Stradivarius's greatest rival in Cremona in the 18th century. | 0:28:51 | 0:28:55 | |
But, of course, this is based on his design. Just cos it's got a label inside, | 0:28:55 | 0:28:59 | |
doesn't mean it's exactly by him. | 0:28:59 | 0:29:01 | |
And, of course, it's a lot later than the 18th century. I think it's probably very early 20th century. | 0:29:01 | 0:29:06 | |
What do you think? I think you're absolutely right. | 0:29:06 | 0:29:09 | |
If it was a genuine, we would be looking at huge money. | 0:29:09 | 0:29:13 | |
Sadly, I don't think it is genuine. | 0:29:13 | 0:29:16 | |
I think it's possibly French and it's probably around the turn of the century, | 0:29:16 | 0:29:20 | |
maybe early 1920s. | 0:29:20 | 0:29:24 | |
'But before he's willing to commit, David wants to test the violin | 0:29:24 | 0:29:28 | |
'by giving it to his star pupil, 17-year-old Hannah.' | 0:29:28 | 0:29:32 | |
SHE PLAYS VIOLIN | 0:29:32 | 0:29:35 | |
Well, I think you can safely say, David, the standard has seriously gone up since I was here. | 0:29:40 | 0:29:45 | |
What do you think of it? Erm, I think it's got some peg issues and some string issues, | 0:29:45 | 0:29:49 | |
but it could sound nice with some sorting out. Mm-hm. OK. | 0:29:49 | 0:29:54 | |
Well, David, I'm looking for around ?350, | 0:29:54 | 0:29:57 | |
particularly, actually, as Hannah has made it sound so amazing. | 0:29:57 | 0:30:00 | |
Yes, I'm not sure it's worth quite as much as that. | 0:30:00 | 0:30:05 | |
We'd obviously need to change the strings | 0:30:05 | 0:30:07 | |
and have it reset up again. | 0:30:07 | 0:30:10 | |
Erm, I think I'd be happy round about the 300. | 0:30:10 | 0:30:14 | |
Mm-hm. How does that sound? | 0:30:14 | 0:30:16 | |
Could I ask for just a wee bit more? Say, 320? | 0:30:16 | 0:30:18 | |
Well, go on, as it's you. | 0:30:20 | 0:30:22 | |
320? 320. Wonderful. Thank you very much. | 0:30:22 | 0:30:24 | |
'Yes, the sale of the violin brings in a profit | 0:30:24 | 0:30:27 | |
'to the tune of ?84.40 | 0:30:27 | 0:30:30 | |
'and Kate shows that she has more than one string to her bow.' | 0:30:30 | 0:30:33 | |
SHE PLAYS TWINKLE TWINKLE LITTLE STAR | 0:30:33 | 0:30:36 | |
'Will you put that cat down? | 0:30:41 | 0:30:43 | |
'Right, Eric is not one to play second fiddle to anyone. | 0:30:46 | 0:30:49 | |
'In a spectacular move, he's sold the china jugs to Diane | 0:30:49 | 0:30:53 | |
'from Pontypridd for a profit of ?108.70. | 0:30:53 | 0:30:56 | |
'Now he's descended on Sydenham, South London, with the George Baxter prints. | 0:30:56 | 0:31:01 | |
'He paid ?35.40 for the prints that date back to the Great Exhibition of 1851 | 0:31:01 | 0:31:06 | |
'and Eric has cleverly targeted the chairman of the Crystal Palace Foundation | 0:31:06 | 0:31:11 | |
'as a possible buyer.' | 0:31:11 | 0:31:13 | |
What I've got are two prints of the sculpture gallery. | 0:31:13 | 0:31:17 | |
They've got their original mounts for George Baxter. | 0:31:17 | 0:31:20 | |
Baxter prints are very classic because they have the roundel here | 0:31:20 | 0:31:24 | |
and the rounded top edges. Yep. But they're very nice pictures. | 0:31:24 | 0:31:27 | |
Now, the question is, would these make a welcome addition | 0:31:27 | 0:31:32 | |
to the Crystal Palace Foundation's collection? Indeed, yes. | 0:31:32 | 0:31:39 | |
When it came to price, I was looking for somewhere around about ?55 or thereabouts. | 0:31:39 | 0:31:46 | |
Maybe, I don't know, ?20 each? | 0:31:46 | 0:31:50 | |
If we could go in at 45, | 0:31:50 | 0:31:53 | |
I think we've got ourselves a deal. I think 45 is reasonable. | 0:31:53 | 0:31:57 | |
'Eric makes ?9.60 on the sale of the prints, | 0:31:57 | 0:32:01 | |
'which brings us to the halfway point of this selling extravaganza. | 0:32:01 | 0:32:04 | |
'So, let's find out who's charging ahead | 0:32:04 | 0:32:06 | |
'and who's in need of a recharge. | 0:32:06 | 0:32:09 | |
'Eric has sold three items and already has a healthy profit | 0:32:10 | 0:32:14 | |
'of ?157. | 0:32:14 | 0:32:16 | |
'Kate has sold one fewer, and after the restoration costs of the violin, | 0:32:16 | 0:32:21 | |
'is ever so slightly behind with ?154.56. | 0:32:21 | 0:32:24 | |
'It could hardly be any closer | 0:32:26 | 0:32:29 | |
'as our supersonic sellers step back onto the stage, | 0:32:29 | 0:32:32 | |
'each hoping to get that one sale that will leave their opponent for dust. | 0:32:32 | 0:32:37 | |
'But it's Kate who flies over the horizon next. | 0:32:37 | 0:32:40 | |
'She's in Hamnish, Herefordshire, with the aeroplane prints.' | 0:32:40 | 0:32:44 | |
I spent just under ?24 on my aeroplane prints | 0:32:46 | 0:32:50 | |
and I've had them all mounted up and I'm really pleased with how they've turned out. | 0:32:50 | 0:32:54 | |
I'm about to see Gordon, who's an ex-pilot. I really hope he's going to like them. | 0:32:54 | 0:32:59 | |
'She paid ?23.60 for the prints | 0:33:00 | 0:33:02 | |
'and spent a further ?12.50 getting them framed. So will Gordon help her find a profit?' | 0:33:02 | 0:33:08 | |
Gordon, I've brought you this set of five prints of biplanes. | 0:33:09 | 0:33:14 | |
The thing I love about these prints is that they are really atmospheric, | 0:33:14 | 0:33:18 | |
particularly this one, which is in flight, | 0:33:18 | 0:33:20 | |
and you can see the gunner standing up there in the cockpit. Yeah, indeed. | 0:33:20 | 0:33:25 | |
We've got a De Havilland scout aircraft behind us there. That's quite an early one. | 0:33:25 | 0:33:30 | |
Very, very early. What a design! The pilot sitting up at the front here in all weathers | 0:33:30 | 0:33:35 | |
with his goggles and trying to keep warm in his sheepskin. | 0:33:35 | 0:33:37 | |
So, do you think you might be interested in purchasing the set? | 0:33:37 | 0:33:40 | |
Well, they certainly look in better condition, some of them, | 0:33:40 | 0:33:44 | |
than I anticipated. A little bit of water damage. | 0:33:44 | 0:33:47 | |
Condition isn't fantastic, you're right. This one's quite badly marked around there. | 0:33:47 | 0:33:51 | |
But I'm hoping, you know, I've mounted them up, they're part of the history. | 0:33:51 | 0:33:55 | |
You need to have the atmosphere that they give off, I think, | 0:33:55 | 0:33:59 | |
to sort of get you back into that time. | 0:33:59 | 0:34:02 | |
Well, for the set of five, I've had them mounted up, | 0:34:02 | 0:34:07 | |
I'm looking at around the ?200 mark. How does that sound to you? | 0:34:07 | 0:34:11 | |
I'm thinking more around the 150 mark myself. | 0:34:11 | 0:34:15 | |
Mm-hm. Erm... 150 sounds fair to me for the five. | 0:34:15 | 0:34:20 | |
Grand. Great. Done. Thank you. Wonderful. I really hope you enjoy them. | 0:34:20 | 0:34:24 | |
'Kate zooms off with a profit of ?113.90 for the prints. | 0:34:24 | 0:34:29 | |
'But she's not finished there. Oh, no! Our Kate is one busy bee. | 0:34:29 | 0:34:33 | |
'She sells her pottery bowl to a Poole collector | 0:34:33 | 0:34:36 | |
'for a profit of ?89.20. | 0:34:36 | 0:34:39 | |
'She then moves straight on to shifting her pine tall boy. | 0:34:39 | 0:34:42 | |
'She's spruced it up with a bit of leftover paint | 0:34:42 | 0:34:45 | |
'and is taking it to Nick, hoping he'll want it for his vintage furniture shop in Herefordshire. | 0:34:45 | 0:34:49 | |
'Kate paid ?64.90. Will she get a profit?' | 0:34:49 | 0:34:53 | |
So, what do you think of this tall boy? Cos I think it looks pretty much at home in here. Yeah, it does. | 0:34:53 | 0:34:58 | |
I think it's a good, saleable item. | 0:34:58 | 0:35:00 | |
I thought it would be ideal for a children's bedroom. It's that sort of size. | 0:35:00 | 0:35:04 | |
You've got a little shelf inside here which is quite good for storage. | 0:35:04 | 0:35:09 | |
And then you've got three good-size drawers below. | 0:35:09 | 0:35:12 | |
So it's all good to go, really. | 0:35:12 | 0:35:14 | |
It's great. It absolutely perfect for kids' rooms | 0:35:14 | 0:35:17 | |
and people want something that's not too expensive, sensibly priced. | 0:35:17 | 0:35:20 | |
I'm looking for roughly 250, something like that. How does that sounds? | 0:35:20 | 0:35:24 | |
That's a bit more than we'd like to pay. Right. | 0:35:24 | 0:35:26 | |
Erm... Ideally, we'd like it more around the 200. OK. | 0:35:26 | 0:35:32 | |
Could I say 210? Go on, then. All right, that sounds great. Super. Thank you. | 0:35:32 | 0:35:38 | |
'Kate makes a healthy ?145.10 on the tall boy. | 0:35:38 | 0:35:42 | |
'But Eric is burning up a profit, too. | 0:35:43 | 0:35:46 | |
'He makes ?109.70 | 0:35:46 | 0:35:49 | |
'selling his fireside items to an antiques dealer in Brighton. | 0:35:49 | 0:35:52 | |
'And when it comes to selling his nostalgic chocolate fare, | 0:35:52 | 0:35:55 | |
'sweet-toothed Eric has come up with the perfect plan. | 0:35:55 | 0:35:58 | |
'He paid ?50 for the chocolate memorabilia, | 0:35:58 | 0:36:01 | |
'so will he be able to make a sweet profit from Colin of Cadbury's?' | 0:36:01 | 0:36:06 | |
When I came across these items, the first thing that hit me was condition. | 0:36:06 | 0:36:10 | |
First of all, we've got The Building Of A Modern Business, 1948. | 0:36:10 | 0:36:15 | |
We've got Royal Visits To Bournville, 1919, 1929 and 1939. | 0:36:15 | 0:36:22 | |
And on top of that, I have got not one box but two boxes. | 0:36:22 | 0:36:27 | |
So I'm hoping that I bought wisely | 0:36:27 | 0:36:31 | |
and I'm hoping that they're going to be of interest to you. | 0:36:31 | 0:36:33 | |
The booklets are in absolutely fabulous condition. | 0:36:33 | 0:36:36 | |
With the souvenir tins, | 0:36:36 | 0:36:39 | |
from 1902, we opened up our visitor's department | 0:36:39 | 0:36:44 | |
and as a souvenir of their visit, | 0:36:44 | 0:36:47 | |
we gave them a box of chocolates. Right. | 0:36:47 | 0:36:49 | |
And we've estimated there are approximately three million people | 0:36:49 | 0:36:54 | |
actually took advantage of the factory tour. | 0:36:54 | 0:36:57 | |
So there's a lot of these around. You're being polite. | 0:36:57 | 0:37:00 | |
I'm being polite. All right. But are they things you'd like to add to your archive? That's the question. | 0:37:00 | 0:37:05 | |
They certainly would be. OK. I estimate ?5 each. | 0:37:05 | 0:37:09 | |
That's 5, 10, 15, 20, 25. | 0:37:09 | 0:37:14 | |
I'm just wondering if I might nudge you a little bit? 45. | 0:37:14 | 0:37:18 | |
?45. Colin, I'm prepared to sell these for ?45, OK. | 0:37:18 | 0:37:25 | |
It's a deal. Put it there. | 0:37:25 | 0:37:27 | |
'So, Eric makes a loss of ?5 on the chocolate collectables. | 0:37:27 | 0:37:31 | |
'But he soon cheers himself up with a bit of choccie-making. | 0:37:31 | 0:37:35 | |
'Yes, he should be called Eric Chocker Knowles. | 0:37:37 | 0:37:40 | |
'Oi, you've spelt your own name wrong there, Eric! | 0:37:41 | 0:37:44 | |
'Lucky he's selling antiques, not spelling them. | 0:37:44 | 0:37:46 | |
'Anyway, Kate is down to her final item, the silver ladies' purse. | 0:37:46 | 0:37:51 | |
'She's come to London with a cunning plan to sell it to Daniel, | 0:37:51 | 0:37:54 | |
'who's setting up a new shop selling silverware. | 0:37:54 | 0:37:57 | |
'It cost her ?94.40 at auction.' | 0:37:57 | 0:38:00 | |
This is just the sort of thing that you buy, so I heard. | 0:38:00 | 0:38:04 | |
Have a little look at it. It's a lovely little silver purse. | 0:38:04 | 0:38:07 | |
Hallmarked quite clearly down at the bottom here. Oh, it is. | 0:38:07 | 0:38:12 | |
1917, I think, Birmingham. Birmingham, 1917. | 0:38:12 | 0:38:15 | |
The leather is actually lovely. | 0:38:15 | 0:38:17 | |
So often they can dry out and start splitting. | 0:38:17 | 0:38:20 | |
And it's lovely that you haven't cleaned it. In fact, running my fingers across, you can feel | 0:38:20 | 0:38:24 | |
where they've engraved it, it's still a little bit sharp, so you know it hasn't really been used. | 0:38:24 | 0:38:28 | |
10, 15 years ago when I was selling these, the only people that ever bought them were collectors. | 0:38:28 | 0:38:33 | |
But things are slightly changing now. I love these little rings. | 0:38:33 | 0:38:36 | |
You could just imagine, you know, beautiful kid gloves. That's right. | 0:38:36 | 0:38:39 | |
And this just going through the finger, very elegant. Yes. | 0:38:39 | 0:38:43 | |
Being very girly. Exactly. | 0:38:43 | 0:38:46 | |
Right, OK. So the piece is absolutely lovely. | 0:38:46 | 0:38:49 | |
So what sort of price had you been thinking about? | 0:38:49 | 0:38:51 | |
I was thinking, because it is in such good order, | 0:38:51 | 0:38:53 | |
and you know as well as I do that it's quite hard finding these pieces in good order... That's true. | 0:38:53 | 0:38:58 | |
I was hoping towards the ?200 mark. | 0:38:58 | 0:39:01 | |
It's the sort of thing I think one of my regular dealers would come in | 0:39:01 | 0:39:04 | |
and it would be offered to me between about 140 to 175. | 0:39:04 | 0:39:09 | |
175 is good for me, I would say. | 0:39:09 | 0:39:12 | |
I was looking for around there. | 0:39:12 | 0:39:16 | |
Well, that's working out pretty well, then. Brilliant. Thank you. | 0:39:16 | 0:39:19 | |
'Yes, Kate makes a profit of ?80.60 for the silver purse | 0:39:19 | 0:39:22 | |
'and it takes pride of place in the new shop, | 0:39:22 | 0:39:25 | |
'which means that Kate is all done and sold up. | 0:39:25 | 0:39:28 | |
'And our Eric is not far behind her. | 0:39:28 | 0:39:31 | |
'He's sold the ceramic figures to Mark, a collector of Staffordshire pottery, | 0:39:31 | 0:39:35 | |
'for a profit of ?19.70. | 0:39:35 | 0:39:37 | |
'But no sooner was the money in his wallet | 0:39:37 | 0:39:40 | |
'than he went and made a loss of ?19.40 | 0:39:40 | 0:39:43 | |
'selling the pair of Pears prints. | 0:39:43 | 0:39:45 | |
'Which brings us to Eric's final item, the china bull. | 0:39:45 | 0:39:49 | |
'He's targeted Hereford breeder Phil as a potential buyer | 0:39:49 | 0:39:52 | |
'for the bull that cost him ?53.10. | 0:39:52 | 0:39:54 | |
'And so we have a story of one beast... | 0:39:54 | 0:39:59 | |
'..against one man. One potential sale.' | 0:40:00 | 0:40:04 | |
By way of introduction, who's this? This is Flynn. Flynn. | 0:40:08 | 0:40:11 | |
And Flynn is a Hereford bull. He's a Hereford bull, yeah. | 0:40:11 | 0:40:16 | |
And how old is Flynn? Flynn's three, nearly four. | 0:40:16 | 0:40:18 | |
So as a breed, how far do they go back? They started in about the 1700s. | 0:40:18 | 0:40:23 | |
OK. I'm trying to make a comparison with my bull, | 0:40:23 | 0:40:27 | |
because this is my Beswick bull. | 0:40:27 | 0:40:30 | |
How does that stand up? Well, he reminds me very much, | 0:40:30 | 0:40:34 | |
and we're just down the road from the Vern, and he's a Vern-style bull. | 0:40:34 | 0:40:38 | |
Well, mine's got horns and Flynn has not got horns. | 0:40:38 | 0:40:41 | |
Well, the ones with horns are a newer sort of... | 0:40:41 | 0:40:46 | |
Carry on. Carry on. I'm enjoying this. | 0:40:46 | 0:40:49 | |
..a much newer thing coming along. | 0:40:49 | 0:40:52 | |
I was looking somewhere in the region of around about the ?150 mark. | 0:40:52 | 0:40:55 | |
But you come at me with what you'd be happy to pay. | 0:40:55 | 0:40:58 | |
Well, I was thinking more like 50 or 60 quid, really, to be honest. | 0:40:58 | 0:41:04 | |
If I could get, for that bull, ?100, | 0:41:04 | 0:41:07 | |
I'd be selling it to you at half the price, I promise you. | 0:41:07 | 0:41:09 | |
Go on, then. Is it a deal? Go on. OK. All right. | 0:41:09 | 0:41:13 | |
'So Eric charges off with a profit of ?46.90 for the figurine. | 0:41:13 | 0:41:17 | |
'And that brings this magnificent bullfight to an end. | 0:41:17 | 0:41:21 | |
'But before we learn which of our matadors has tamed the mighty beast of profit | 0:41:21 | 0:41:25 | |
'and which one is running for their life, | 0:41:25 | 0:41:28 | |
'let's see how much our experts have spent today. | 0:41:28 | 0:41:32 | |
'They each started the day with ?1,000 of our their own money. | 0:41:33 | 0:41:36 | |
'Eric bought nine lots at a total cost of ?516.10. | 0:41:36 | 0:41:41 | |
'Kate bought just six lots, and after some repairs and restoration, | 0:41:41 | 0:41:45 | |
'spent ?546.64. | 0:41:45 | 0:41:48 | |
'But the question remains, who has made the biggest profit? | 0:41:48 | 0:41:53 | |
'All of the money from today's challenge will go to our dealers' chosen charities. | 0:41:53 | 0:41:56 | |
'So let's find out who is today's Put Your Money Where Your Mouth Is champion.' | 0:41:56 | 0:42:01 | |
How we doing? Mr Knowles. Good to see you. How are you? | 0:42:01 | 0:42:04 | |
I'm very well, thank you. How did you do, then? | 0:42:04 | 0:42:06 | |
Well, I did well with my three graduated pottery jugs | 0:42:06 | 0:42:10 | |
cos I bought them for ?41 and I then sold them for ?150. | 0:42:10 | 0:42:14 | |
Did you? You tinker! What about you? | 0:42:14 | 0:42:17 | |
Well, do you remember that rather sad looking fiddle that was lying around the auction house? | 0:42:17 | 0:42:21 | |
I don't remember a violin. I remember something that looked like firewood. But carry on. | 0:42:21 | 0:42:25 | |
Well, I bought it for just over ?200, had it restored | 0:42:25 | 0:42:29 | |
and then sold it to my old school | 0:42:29 | 0:42:32 | |
for ?320. | 0:42:32 | 0:42:36 | |
Where does that leave us at the end of the day? Let's find out. | 0:42:36 | 0:42:39 | |
Are you ready? Count us in. (BOTH) One, two, three. | 0:42:39 | 0:42:42 | |
Go. | 0:42:42 | 0:42:43 | |
(BOTH) Ooooh! | 0:42:43 | 0:42:46 | |
Trounced! Pretty good. Well, pretty good from your point of view. | 0:42:46 | 0:42:50 | |
So... Tell you what else. What's that? That auction commission is a killer. | 0:42:50 | 0:42:55 | |
'So, Kate's today's winner, having made money at every turn.' | 0:42:55 | 0:42:59 | |
I took a bit of a gamble with some of those things I bought. | 0:42:59 | 0:43:02 | |
It's never easy to know exactly what things are going to go for at auction, | 0:43:02 | 0:43:06 | |
but I'm really pleased that it paid off. | 0:43:06 | 0:43:08 | |
Well, I think it's safe to say for me that when it comes to auctions, | 0:43:08 | 0:43:11 | |
I'm probably better off taking them than bidding at them. | 0:43:11 | 0:43:15 | |
'But Eric gets to defend his honour once again tomorrow | 0:43:15 | 0:43:18 | |
'at a UK antiques fair in Newark.' | 0:43:18 | 0:43:21 | |
Subtitles by Red Bee Media Ltd | 0:43:21 | 0:43:25 | |
. | 0:43:25 | 0:43:25 |