NARRATOR: The nation's favorite celebrities Oh!
Just want to touch base.
NARRATOR: Pair that with an expert.
Boo!
NARRATOR: And a classic car.
No hands!
NARRATOR: Their mission, to scour Britain for antiques.
My office, now!
NARRATOR: The aim?
To make the biggest profit at auction, but it's no easy ride.
Oh!
NARRATOR: Who will find a hidden gem?
[HONK] - Love that.
NARRATOR: Who will take the biggest risk?
This could end in disaster.
Will anybody follow expert advice?
But I love this.
Why would you buy something you're not going to use?
NARRATOR: There will be worthy winners and valiant losers.
No, I don't want to shake hands.
NARRATOR: Put your pedal to the metal.
Let me get out of first gear.
This is the Celebrity Antiques Road Trip.
[MUSIC PLAYING] Yeah!
[MUSIC PLAYING] Today's celebrities are actors Clare Holman and Felicity Montagu.
FELICITY MONTAGU: Clare, shouldn't you go into another gear?
Don't start.
Oh, but I mean really.
Do you want to drive?
NARRATOR: They're friends, really, although this is their debut on the same bill.
Because we haven't worked together, it's quite interesting, because we don't know.
I know, we don't quite-- Know how.
I think we're quietly competitive, but in a very gracious way.
NARRATOR: Felicity has starred in movies, such as Bridget Jones's Diary and Dad's Army, but is best known as Alan Partridge's long-suffering PA, Lynn.
FELICITY MONTAGU: You like this car, don't you?
CLARE HOLMAN: I do, it's lovely.
I think it suits you.
It's eccentric.
I don't know what you've got, but if you've got a really posh one, then I might be quite jealous of that.
Oh, Clare.
NARRATOR: Actor and director Clare is best known as forensic pathologist, Dr. Laura Hobson in TV classic, Inspector Morse.
CLARE HOLMAN: I know I like, but I don't know what sells.
So how detailed is this knowledge that we need?
I don't know.
FELICITY MONTAGU: Why didn't you ask?
I was hoping you were going to tell me.
I have no idea.
NARRATOR: Fortunately, our celebrities will be on the end of an awful lot of expert guidance from Delia, Arusha Irvine, and auctioneer James Braxton.
ARUSHA IRVINE: It's a 1957, isn't it, this car?
Really.
Yeah, 1957.
Wow.
NARRATOR: It's a Jag from the era before seat belts were mandatory.
ARUSHA IRVINE: I'm glad you're driving because I think it's a bit too much car for me.
This belonged to Fred Astaire, I think.
He must have tiny little dancing feet.
Thank God you've got slim, elegant Tootsies.
NARRATOR: Well, it doesn't take a genius to work out who's going to be dancing with who.
I was a massive fan of Maurice and Louis.
The amount of nights I would shout at the screen saying, Louis ask her out for goodness sake.
He did eventually.
He did?
Best thing that man ever did, I tell you.
JAMES BRAXTON: Well, Felicity, she was great with Alan Partridge, and she was great in Mapp and Lucia.
All right.
Really fun.
So you two are going to have a foot, a hoot.
A foot!
We're going to have a hoot!
ARUSHA IRVINE: Here's a hoot!
NARRATOR: Just wait till he finds out Felicity comes with a bit of provenance herself.
My aunt had an antique shop in the Isle of Wight.
And I used to sit in the shop.
And I used to love the smell of the wood and look at the mirrors and the lampshades.
And I always hunted for antiques, but I wouldn't say I studied them.
NARRATOR: Well, that puts her into exalted company, as far as this program is concerned.
So with 400 pounds each and a 1960s Triumph Herald at their disposal, let's get on with it.
I think I might need to stop.
FELICITY MONTAGU: Oh, come on Clare.
I've only just started.
I know, it's a problem.
I've got used to playing in bushes, but I don't know whether it's appropriate for the show and probably not.
NARRATOR: Naughty.
After a comfort breaker.
ARUSHA IRVINE: Hello!
How are you?
JAMES BRAXTON: Good morning.
What a sweet, dinky car.
Lovely to meet you.
CLARE HOLMAN: Lovely to meet you.
Felicity, that leaves us.
Come, come here.
Nice to meet you, James.
Hello, good morning!
You're in this one, are you?
Hello, Roo.
We're in this one.
We're in this one.
You're in that one.
Eh, wind it down.
Maybe, maybe we will triumph in the Triumph.
Ah, alliteration.
We love it JAMES BRAXTON: Yeah, should we get ahead?
NARRATOR: Let's go!
We're off on a nosy around the Midlands, starting in the East of Old Woolverton, Buckinghamshire, and ending up out west at the Shropshire Auction in Newport.
But just at this moment, anything is possible.
ARUSHA IRVINE: We've got 400 pounds.
Is that a lot?
Well, it depends.
If you're like me and you like a bargain, then yes.
Ah, OK. That could potentially get you 20 items.
23?
NARRATOR: It's here super power, Clare.
ARUSHA IRVINE: Think of me, in a way, as the Robin to your Batman.
So I'm your sidekick.
OK So I've got your back, Batman.
CLARE HOLMAN: All right, without the capes.
NARRATOR: What about our other duo, feeling dynamic?
JAMES BRAXTON: Felicity, if you were in one of your many characters, how would they approach these two days by?
Well, I think Lynn would be very good at the bargaining on behalf of Alan.
Yeah.
But I think she's got bad taste.
So, Godiva in Mapp and Lucia, I think she would buy magazines.
Magazines?
Period magazines.
Perpetua, in Bridget Jones's Diary, Perpetua's got great taste, but Perpetua would have a budget of 20,000.
NARRATOR: Well, where's the fun in that?
JAMES BRAXTON: Do you collect anything?
Well, I love mirrors.
I love antique mirrors, and I have a penchant for lampshades.
I love these lampshades.
JAMES BRAXTON: Are you receiving treatment for this?
NARRATOR: Our first destination today will be a shared one.
Just as well, we're all friends, at the moment.
ARUSHA IRVINE: Maybe, we should actually develop a code word.
Yes.
You can shout tomato across the room, and I would need to come and find you.
Do you think that's wise?
ARUSHA IRVINE: Or something more exciting than tomato.
What about pathologist?
Pathologist!
Come hither.
NARRATOR: I think Roo may be overthinking.
It anyway this is Old Woolverton, which 50 years ago, became part of brand new Milton Keynes.
JAMES BRAXTON: G'Dads.
Is it "Ge-dads?"
FELICITY MONTAGU: "G" Dads, isn't it?
JAMES BRAXTON: Here, we are.
Look at this, very exciting.
NARRATOR: What about, gee whiz?
JAMES BRAXTON: Good morning.
Hello, James.
Hello, James.
I'm Mark.
JAMES BRAXTON: Hello, Mark.
FELICITY MONTAGU: Hello, Mark.
I'm Felicity.
Hello Felicity.
Good to meet you.
So how many floors do you have?
Two floors.
Ground floor and first floor.
We do have another showroom further down the wharf.
And what does that do?
Mainly furniture.
FELICITY AND JAMES: Oh.
MARK: But we do have some bits and pieces down there as well.
Bits and pieces MARK: Yes.
Bargain, Mark.
MARK: Absolute bargains, yes.
Absolute!
Absolute bargains.
Well, We heard it.
What do you think?
I'd like to go there first.
NARRATOR: How could they refuse, especially when they have lampshades?
I mean, you know, they're practical.
How much is that lampshade?
Five for the five, was it 5, We got four, we got 400 pounds to spend.
NARRATOR: She really likes them.
Though this mirror now.
It's a Ripper.
I can tell that from here.
Can you tell it from that?
JAMES BRAXTON: It's too flat.
It's called a fret-cut wall mirror, that shape.
Of course it is.
I can see the frets.
The frets.
Frets, yeah.
Thank you, James.
That's a bit of a nice little information.
NARRATOR: He has his uses, mom.
FELICITY MONTAGU: That's exactly the sort of thing that my parents had.
I was brought up with something like that, and I had a loathing of it, but they're now very-- They're quite trendy, aren't they?
Should I see how much it is?
It's not something I'd buy, James.
JAMES BRAXTON: What did your father play?
Collected marching band music?
Probably, but he would get very roused.
Nice.
NARRATOR: Felicity's from military stock.
Ah, the enemy have arrived.
ARUSHA IRVINE: No, they've actually got a head start.
NARRATOR: Might be vulnerable to a flanking maneuver, though.
CLARE HOLMAN: Come on partner, let's go.
NARRATOR: Thanks to the prospect of absolute bargains elsewhere, Clare and Roo have got this part of the shop to themselves.
See dinky toys are very collectible.
They make a lot of money, but they've got to be rare editions.
CLARE HOLMAN: Would you know what the rare one is?
Probably the one that's priced 170 pounds.
NARRATOR: Holy insight, Robin.
Very nice, unusual Art Nouveau.
ARUSHA IRVINE: Crumb brush.
CLARE HOLMAN: Crumb brush, which really interests me, but is that really Art Nouveau, because it looks a bit clumpy.
ARUSHA IRVINE: Animal figures are right.
CLARE HOLMAN: Feminine, elongated, long flowing hair.
This lady looks a little bit more like she's off to the supermarket, and is picking literal from the top shelf.
49 Yeah.
NARRATOR: Sounds like Clare's keen to haggle.
Oh, gosh, look at this.
CLARE HOLMAN: Chicago, circa 1930-1940 American.
ARUSHA IRVINE: It's obviously an address book, but-- Look.
Ta-da!
Look!
That takes you back to-- CLARE HOLMAN: Salem.
Salem cheese and milk.
Do you know Salem?
Yeah, that's where the witches were from Arthur Miller's play.
NARRATOR: The Crucible, she may well have performed it.
CLARE HOLMAN: It's a very Art Deco there, and in fact genuine.
It is very genuine.
It's not something that's valuable enough to do reproduction of.
Oh I see.
Or a fake of, so that is genuine of the period.
But people wouldn't buy it, would they.
NARRATOR: Unless they're from Salem.
Onwards.
Yes, and upwards.
NARRATOR: Any progress elsewhere?
I've noticed that you stand still, and you just like, you're there.
And so you absorb peripherally everything that's going on.
I tend to sort of wander, and I think I miss tricks.
I'm picking up tips from you.
It's just like sports.
It's all in the foot work.
NARRATOR: Very zen, James.
But watch out.
Tomato!
Hello, Hello.
Hello.
Look.
Fancy seeing you two here.
Any luck?
Not as yet.
We're just think thinking.
Anyway, good luck!
CLARE HOLMAN: See you around.
Good luck.
NARRATOR: Well, it's very little worth spying on so far, that's for sure.
FELICITY MONTAGU: What about this?
I know it's probably not an antique.
Right, now I'm going to walk for you with this and see if you think that a woman might buy it.
OK, now what do you think, James?
JAMES BRAXTON: That's good.
I tell you what, by modeling it, you've brought it alive.
OK. NARRATOR: That be acting, that be.
FELICITY MONTAGU: Oh, I've got my oyster card.
JAMES BRAXTON: Oyster card.
Yeah.
Gym pass.
Gym pass.
FELICITY MONTAGU: I like the age of it.
I like the different shades of the leather.
Yeah, it's good quality leather.
It's not heavy.
It's stylish, isn't it?
Do you think it is?
Or I've just lost my buttons, basically.
NARRATOR: No, Felicity.
How are Clare and Roo faring?
ARUSHA IRVINE: See that's quite interesting.
CLARE HOLMAN: I like that.
It's called a Yard-O-LED propelling pencil.
CLARE HOLMAN: Wow, 1941.
ARUSHA IRVINE: So which is right in World War II, London, hallmarked.
So what were they writing?
And who were they writing to?
I know!
What letters and correspondence would have been written with this.
Does that kind of thing sell?
- It does.
- I love it.
It's silver.
It's got quite a good weight to it, and propelling pencils are really collectible.
And the price, 28 pounds, that's reasonable.
NARRATOR: What else has that dealer got?
CLARE HOLMAN: Oh, I like this.
Can I just-- ARUSHA IRVINE: Oh.
Now again, I don't know about whether jewelry sells, but that is, yep Marchesi.
ARUSHA IRVINE: It's beautiful, and a good thing to check with Marchesi jewelry is that all the stones are intact.
CLARE HOLMAN: Oh, good point.
ARUSHA IRVINE: It's got that beautiful citrine stone in there.
Well, you know, those two together wouldn't be that much, would they?
We could get, we could try and get those down.
Yeah, it would be a nice start.
I think we should get the dealer.
- Definitely.
- Let's.
I'm excited now.
NARRATOR: I think we all are.
Mark?
MARK: Yes.
Do you fancy coming upstairs?
MARK: Certainly.
That's an invite, isn't it?
NARRATOR: Cheeky.
ARUSHA IRVINE: There's a couple of items that have caught our eye in this cabinet.
First one is this propelling pencil.
Yes OK. CLARE HOLMAN: What's the best you could do?
MARK: I'm allowed to do 10%, 3 pounds.
It's got some dents on it.
OK. And so I was thinking, you could do us 14?
I don't think we can go that low.
Would you be able to give the dealer a call?
MARK: I can do.
CLARE HOLMAN: And we have one other.
ARUSHA IRVINE: This brooch, which is at 15 pound.
OK. ARUSHA IRVINE: We were thinking, sort of 8 for that.
MARK: Normally, we don't do trade under 20 pounds.
But you've got the beautiful Clare here.
I know This is what's doing it.
Who can resist her?
I know what I would say, straight away.
NARRATOR: But while Mark goes off to call the dealer, the bag's been abandoned and they're about to move on.
FELICITY MONTAGU: Oh, come on, James.
JAMES BRAXTON: Hold on, just let me, sorry I just get-- NARRATOR: Well, trying to.
JAMES BRAXTON: Climb in.
Oh.
NARRATOR: Bingo!
FELICITY MONTAGU: James, you gentlemen.
I am very, very impressed.
NARRATOR: Drivers!
Start your engines.
JAMES BRAXTON: It's all under control.
NARRATOR: Now with that kerfuffle over, do we have a deal?
I've spoken to David and told him what lovely people you are.
You're so sweet.
And he's agreed to go to 18 pounds on the pencil-- OK. And 10 pounds on the brooch.
ARUSHA IRVINE: So it's 28 for the two.
I'm happy with that.
I'm happy with that too.
Yeah, let's go for it.
CLARE HOLMAN: Thank you so much, Mark.
ARUSHA IRVINE: Thank you very much.
NARRATOR: Well worth waiting for.
I probably should take the items.
I think you better.
NARRATOR: Definitely got the hang of this.
Slightly slower off the mark, although not for want of trying, has been her friend, Felicity.
Are you are haggler, Felicity?
Well I don't haggle.
What I do is passive aggressive, so I need you to tell me what to do.
Well, you need to put the fez on, you need to focus, and you need to haggle like somebody from the souk.
NARRATOR: And you need to party like it's 1999 in the County town of Northampton, from Old Woolverton to the old bake house.
JAMES BRAXTON: Here we go.
FELICITY MONTAGU: Yeah.
NARRATOR: The TARDIS parked outside is a bit of a clue that there's really quite a lot in here.
That's fascinating.
What are they?
Very spiky.
FELICITY MONTAGU: It looks like flower displays.
- Try it out.
- Yes, OK. We're allowed to.
Dive in there.
OK.
Dive in.
Oh, it's heavy.
So why would it be so heavy?
That's the Braxton Weight Test.
NARRATOR: Yeah, but what is it?
FELICITY MONTAGU: Do they like-- you put into the base, and then you put the bit of foam, a large piece of foam on it?
And then you do your flower arrangement.
That's how it works.
Oh, I see.
But they're heavy and they stick in the water.
JAMES BRAXTON: They're different shades.
FELICITY MONTAGU: But why?
JAMES BRAXTON: Because you can join those two.
CLARE HOLMAN: Now that is clever.
JAMES BRAXTON: They're Japanese.
FELICITY MONTAGU: Are they?
Yeah, it says made in Japan on them.
Where?
NARRATOR: That's handy.
FELICITY MONTAGU: Worth a go, or should we just put them back?
It's too expensive, aren't they?
Yeah.
NARRATOR: Crikey.
I thought that was a possibility.
What about upstairs?
Like that, James.
NARRATOR: Well, there's a turn up.
I don't like the lamp stand, but I love the lamp shade.
JAMES BRAXTON: You're magnetically drawn to anything pleated, are you?
I am.
Does it come off?
Do you do know if it comes off?
FELICITY MONTAGU: No, James you can't.
JAMES BRAXTON: You can.
What material is this?
Is that chiffon?
FELICITY MONTAGU: Cheap chiffon.
I think making lampshades is a real skill.
JAMES BRAXTON: Yeah.
FELICITY MONTAGU: I'm in love with it.
There's a certain store on Fulham Palace Road, which I actually just go and look at the quality of the pleating.
It's like a beautiful dress.
It's like a wedding dress, you know.
It's very feminine, I suppose.
JAMES BRAXTON: I will look at lampshades with renewed interest.
FELICITY MONTAGU: I sort of think it's quite theatrical, I suppose.
I like to walk in a room where the lamps are a low, setting the mood.
This is reduced from 80 to 65 for the whole thing, and I would no more have that fly to the flipping moon.
JAMES BRAXTON: No, nor would I.
Go.
If it was an offer for the lamp shade.
It would be a 10-er, wouldn't it?
NARRATOR: Let's hope no one sits on it.
Still, at least Felicity's happy.
But now, a bit of beachcombing.
It's very smooth.
It's very polished.
NARRATOR: Like you that, James.
You could add this to any hole of any flat or house in the land.
So it should have some sort of demand.
I'm a take this stuff for Felicity.
NARRATOR: Steady, James.
It's quite a ways.
Though, it's a very slim fit.
NARRATOR: Again, a bit like you, James.
Don't touch the drawer.
Look at this.
What a handsome piece!
FELICITY MONTAGU: I think it's unusual.
JAMES BRAXTON: Yeah.
I think I like the Edwardian period.
JAMES BRAXTON: It's older than that.
Is it?
JAMES BRAXTON: It is, yeah.
- Seriously?
- Victorian.
I'd say mid-- FELICITY MONTAGU: How do you know?
JAMES BRAXTON: You've got a rather nice sort of Grecian element to here.
You've got a triangular pediment.
FELICITY MONTAGU: That's what I like.
It's so unusual.
And I like these ribbon-toned legs.
So nice, aren't they?
FELICITY MONTAGU: It's slightly clumsy around here.
It's got knobbly knees, isn't it?
Knobbly knees.
NARRATOR: Yes, and what about the knobbly price?
225.
That's expensive, isn't it?
If I was an auctioneer, I'd probably put 100 to 150, hoping it would make 150, 200.
Really?
NARRATOR: OK, with a pricey table and an inexpensive lampshade on the list, let's talk to the proprietor!
Here's this young man.
STEVE: Hello you two.
Hello, Hello.
James.
Pleasure.
Felicity, hi.
Steve.
Steve, good to meet you, Steve.
We spotted a couple of things.
That whole table like the whole table but expensive Steve 2 to 5 it hasn't been long really only a couple of Days I spoke to the trader and he's looking to be nearer to 170 165?
I think lower than that.
FELICITY MONTAGU: 160?
You know, I think.
NARRATOR: This isn't going to plan.
I think we could go lower than that, Felicity.
Yeah, I do actually.
What do you think?
What about sort of 130?
I need bit more I think for that one Six five got to be the death on that one well come in at 150 that's it I'm done go on really OK well that's good and there was one other item Yeah, the lampshade without the lamp stand.
JAMES BRAXTON: It's rather like having the hake without the hay, isn't it.
FELICITY MONTAGU: It is, but I think 10-er?
You liked the pleats, didn't you?
I like the pleats.
STEVE: So you just want a shade, but not a base.
Yes, not the base.
That's where the value is, is in the base.
NARRATOR: Nudge, nudge.
Well, look.
No, we'll do that.
FELICITY MONTAGU: Great, Shake the man's hand.
Shake the man's hand.
NARRATOR: So, Felicity finally has her shade.
JAMES BRAXTON: 160.
STEVE: Thank you very much.
NARRATOR: And while those two take a break, our other couple have been doing a bit of bonding.
CLARE HOLMAN: I love Art Deco.
I love glass.
My love and passion is glass.
Is it?
My husband's father was a glass blower.
I never met him, but he was responsible for all the lights in Piccadilly.
You know, the neon lights?
Really.
Yeah.
NARRATOR: It seems like those two got much more in common than just TV detectives.
And now, they're also in Northampton, a town that's justly famous for footwear and engineering.
But tucked away in a Georgian terrace is a bit of Glasgow star.
Would you believe that?
- Hi there, I'm Roo.
- Hello, Roo.
I'm David.
Lovely to meet you.
- Hello, I'm Clare.
- Hello, Clare.
Very nice to meet you.
Good to you.
Do you want to come up and look at 78 Derngate Absolutely, very excited.
Lead the way.
Thank you.
NARRATOR: 100 years ago, this home was substantially remodeled by the legendary Scottish architect, Charles Rennie Mackintosh.
CLARE HOLMAN: David, this is amazing.
This is the only place outside of Glasgow that Charles Rennie Mackintosh designed.
Is that right?
That's right.
It's more or less his final sort of major architectural work.
It was a really difficult period during the First World War.
The building trade really, you know, suffered.
So Mackintosh and his wife, Margaret, were making most of their money at that time from textile design.
But this really would have been very welcome to Mackintosh, this commission.
NARRATOR: Although nowadays his work is justly lauded, in 1916, Mackintosh was no longer actively involved as an architect, and was a fairly obscure figure outside Glasgow.
So much credit is due to his patron, Wenman Joseph Bassett-Lowke.
DAVID: Bassett-Lowke was a model engineer.
He virtually invented the concept of the home model railway.
And he had a factory here in Northampton, and made a lot of money.
And therefore, was able to indulge his passion for good design.
And one of the things he wanted to do was to have a house in which nothing was older than himself.
And did they collaborate, or was all or was it all Mackintosh's?
DAVID: It was very much collaboration.
Unusually, in Mackintosh's work, his sort of history of clients because he was quite a control freak, where Bassett-Lowke was a lot more forthcoming and almost was telling Mackintosh, in some cases, what to do.
And you know it would have been interesting to be a fly on the wall in the meetings between the two.
And they're both very strong personalities.
NARRATOR: Their creation, which became a girls school for many years before it was restored earlier this century, is both clearly a work by Mackintosh, but also heralds something new.
ARUSHA IRVINE: In a way, the design almost seems ahead of its time, because you think of Mackintosh, you think of Art Nouveau and soft flowing curves and geometric lines.
This is almost Art Deco.
DAVID: It is.
78 Derngate is significant for that reason, really.
It's the first, I think, glimpse of Art Deco in a domestic interior in Britain, before the term was even invented.
Bassett-Lowke was very plugged into modern aesthetics.
He'd been in the continent, he traveled, he was in touch with the latest trends, particularly in places like Vienna, which was a hot spot with the secessionists and Vienna [INAUDIBLE].
Macintosh was also in that scene.
He'd been in Vienna.
And he could deliver that.
And that's why we've got, really in a way, a little bit of Vienna here in Northampton.
It's been a delight to meet you and to see the house.
As two art lovers, I think we've enjoyed every second.
Yeah, it's thrilling.
Great pleasure to have you.
Thank you very much for coming.
Thank you.
NARRATOR: Now back in their respective cars, but for how long?
CLARE HOLMAN: Is there anything we can do about driving the Jag?
I have to say, that is a beautiful car.
Well, you know tomorrow, in the name of Morse and Lewis-- What are you thinking?
I get in that car.
I think we keep it between ourselves, and then we just get in and drive off.
CLARE HOLMAN: Yeah, I think so.
Should we try that?
ARUSHA IRVINE: Yes, as long as you can get it started.
NARRATOR: Nighty night.
Next day, we're amongst the lakes in Leicestershire.
CLARE HOLMAN: Oh, look at this bridge.
Isn't this lovely.
Oh, this is amazing.
Oh, there's water.
I might have to stop.
ARUSHA IRVINE: Oh, come on, Clare.
Ooh!
NARRATOR: It's at about this point that we usually recap what's been purchased.
Did you find anything yesterday?
Oh, there was a-- CLARE HOLMAN: I don't know, let me think.
Oh!
How many?
I'm not saying how many.
NARRATOR: Unbeknownst to her chum, Clare picked up a silver pen and pencil and a Marchasi brooch, leaving her with over 370 pounds for today's purchases.
I probably should take the items.
I think you better.
NARRATOR: While Felicity splashed out a bit more on a side table, and yes, a lampshade.
You're magnetically drawn to anything , pleated are you?
NARRATOR: But she still has 240 pounds to go forth and haggle.
Felicity comes from a military background.
She's tough.
She's thrifty.
She played Captain Mannering's wife, who is particularly fierce.
ARUSHA IRVINE: Clare was really good.
She did ask my advice, but then she went straight to it and did the deal.
We might even be redundant by the end of this road trip, James.
NARRATOR: Yes, those actors are very quick on the uptake.
JAMES BRAXTON: Look at these-- ARUSHA IRVINE: Morning Ladies!
JAMES BRAXTON: --two glamorous ladies.
Morning.
Morning, sir.
You're looking very summery.
It's so summery.
- How are you?
How are you?
- I'm fine.
Very good.
We got a lot to do today.
NARRATOR: Here we go.
FELICITY MONTAGU: It's a bit frightening.
It's a bit too much.
Hey, what's going on?
ARUSHA IRVINE: Have a lovely day!
JAMES BRAXTON: She's going off the rocker.
Bye, Clare.
I know what you're doing.
FELICITY MONTAGU: Yep, watch the gears, Clare.
JAMES BRAXTON: Watch the gears.
May the best ladies win.
Bye!
NARRATOR: Later on, our celebrities and experts will be bearing down upon Shropshire for an auction at Newport.
But the first stop today is in the city of Leicester.
They've nicked our car.
I wasn't surprised there, James.
Why?
Because Clare's had her eyes on them at the beginning from day one.
JAMES BRAXTON: Naughty girl.
FELICITY MONTAGU: Yeah, she's a naughty girl.
NARRATOR: What's the mood in the getaway car?
Does it suit me better, or does it suit me better?
It suits you perfectly.
CLARE HOLMAN: It's nice, isn't it?
ARUSHA IRVINE: Yeah.
CLARE HOLMAN: How do you feel this one?
ARUSHA IRVINE: Maybe now that we're in the Jag, we can take our buying to the next level.
I definitely don't want to play it safe.
No, let's risk.
Yeah, because someone wants a 10 pound profit here and there.
I think I just heard a cow moo-ing.
CLARE HOLMAN: I did, too.
What have you got to lose?
Yeah, apart from complete failure.
NARRATOR: That's the spirit, exactly the sort of attitude which has made Leicester's football team rather famous in recent times.
Their ground is close by.
Wow, this is my kind of place.
I like this.
NARRATOR: Yep, almost big enough for a foxes match, although the antiques would definitely get in the way.
That is gorgeous.
CLARE HOLMAN: You want the price?
I'm going in.
Let it be 79.99.
650.
I was close.
What do you think of this?
CLARE HOLMAN: 68 pounds, that not very much.
I like it.
ARUSHA IRVINE: British railway lamps.
This is not my style at all.
British railway lamps are really collectable.
I wouldn't like it, but a train spotter would.
They would.
What we need to look at, it's in very good condition, so has it been repainted?
Looks like it might have been.
Have a feel of the weight of that.
CLARE HOLMAN: Oh my God.
We've got some delicate stuff, and now we've got something that's a bit of industrial.
Industrial is in, isn't it?
Industrial is very in, and it would be cool obviously.
NARRATOR: Quickly.
That's exciting.
ARUSHA IRVINE: Oh.
What about advertising signs?
Because I see something over there.
Well, the BP one is lovely.
The Fry's Chocolate is glorious.
That's the one that's rare.
And it's called the five stages of fries.
Look.
Desperation.
Pacification.
Pacification.
FELICITY AND ARUSHA: Expectation.
Acclimation.
Realization.
It's fries.
CLARE HOLMAN: A real bargain at 2,800 pounds.
ARUSHA IRVINE: I know.
NARRATOR: OK, so where to next?
Do you know what?
There's too much exciting stuff here!
Where do you want to go?
I'll follow you.
I am your Robin, remember.
Not round Robin.
NARRATOR: Your super powers are failing.
Oh, hello.
What's this?
ARUSHA IRVINE: These are quite interesting.
CLARE HOLMAN: Are they silver?
No, they're actually silver plate.
Right And these are very interesting because there are WMF silver plated vases.
What is WMF?
Wurttembergishe Metallwarenfabrik, with a roll of the r, which is not German.
Are you serious?
Yeah, it's a German manufacturer from the 1850s.
They actually started off making boring cutlery.
And from the 1900s to sort of 1930, Art Nouveau, Art Deco time, they moved into vases.
And some of their items can go for thousands of pounds.
CLARE HOLMAN: What we got?
ARUSHA IRVINE: 40 pound, which is quite a bit for silver plate vases.
- We've got-- The name is brilliant.
And if you look at the bottom here, tiny little logo, WMF.
CLARE HOLMAN: Roo, that is a good one.
We get that down, that's a good buy because we're then adding a solid name to a bunch of items.
Well done, you.
NARRATOR: Not redundant just yet then.
Now, Clare's gone solo.
Oh, that's nice.
French.
NARRATOR: It's a Globe de Marrée, or marriage globe.
CLARE HOLMAN: I've seen one of these before.
They're very beautiful.
Roo!
NARRATOR: Time for a second opinion.
ARUSHA IRVINE: It's late 19th century French, which is your-- Which I love.
You love late 19th century French.
And you put your wedding photograph in.
And then into the cushion, you stick anything memorable on it.
So maybe a flower from that day or a ribbon?
Yeah NARRATOR: But is it the real thing?
ARUSHA IRVINE: It's little clues that give it away.
If you look at the jagged teeth around this mirror, when you can see little signs of age and genuine wear, and the lovely velvet is worn away on the cushion, that little bit of damage is good because it shows it is authentic.
NARRATOR: Because the glass domes are fragile, it must be quite rare.
ARUSHA IRVINE: I like that.
You said that was 160?
It's expensive.
That's the only thing.
ARUSHA IRVINE: What would you think, in terms price wise, that you would buy that at?
Well, I'd love to offer 80, but I think that's going to be low.
So I'd say 100.
NARRATOR: Time for a breath of fresh air.
Yes, this is not my kind of stuff, too much rust here.
But this stuff sells well.
I want that.
ARUSHA IRVINE: I'm sensing a bit of conviction there.
Yeah, conviction.
Shall we have a closer look?
Yeah, let's look.
ARUSHA IRVINE: Wow, that's some amount of rust on it, isn't it?
That is original, isn't it?
ARUSHA IRVINE: Yes.
If you look closely, the actual glaze has cracked.
But it's called crazing, and that's a sign of age.
And what about the rust?
Is that a problem, or does it come off?
Oh, look.
It's already come off on my finger.
Well, if you carry on, you might be able to clean it up right now.
ARUSHA IRVINE: Once that's restored, that would be beautiful because that green is so vibrant.
80 pounds.
50?
45?
40?
- 40.
Should we try for 40?
So let's try for 40.
NARRATOR: Sounds like they urgently need to talk to shopkeeper, Jane.
Now we've got quite a few things we've fallen in love with a little bit.
Yes.
Well, no.
We can take or leave them, really.
Yeah.
ARUSHA IRVINE: The first one is this Art Nouveau fireplace.
JANE: Yes.
CLARE HOLMAN: Can I make an offer to you?
You can, yes.
Would you take 40 for it?
I'm afraid I can't do that, no.
We're supposed to only take 10% off, which would put you at 72 pounds.
But I'm sure we could do a bit more.
What's the best you could do for us?
We could possibly stretch it to 60.
ARUSHA IRVINE: The WMF vases, the silver plated ones.
They run at 40 pounds, I think.
What is the best price you can do on that?
The best price I can do on those is 30.
ARUSHA IRVINE: The railway lamp, which is at 68.
We could do that at 50, I think.
CLARE HOLMAN: The marriage dome.
Yes, I think our best price on that would be 120 pounds.
CLARE HOLMAN: OK, so.
ARUSHA IRVINE: Plenty to think about.
CLARE HOLMAN: Who's good at maths?
NARRATOR: Well, it adds up to 260 at the moment, but we might be about to lose Clare's globe.
It could make 30 pound.
It could make 200.
Right.
I think I will bow to your expertise and you decide.
So you happy then, the three items?
The fireplace, the two WMF vases, and railway lamp, 140.
Yes.
OK, that's fine.
My brain can breathe again.
Thank you.
Done deal.
- Thank you very much.
- Thank you.
You've got some lovely stuff here.
NARRATOR: And those two have just bought a nice chunk of it.
Shall we go?
- Yes, let's go.
- Whew!
OK. NARRATOR: But while Clare and Roo leave Leicester, the others are on their way there.
How'd you get into acting?
It hit me at high school because I was in Pride and Prejudice.
I played Mr. Wickham.
Yeah.
And I had one line.
And I winked at the audience, and they all howled with laughter.
So I did it again and again.
JAMES BRAXTON: What did your parents want you to do?
It was father that wanted me to join the Wrens.
JAMES BRAXTON: Why the Wrens?
Well, I think he thought I'd be a good officer.
It's all about bonding in the army.
And acting is a bit like that.
It's nothing as, you know, it's nothing as serious as fighting in the army, but it's teamwork.
NARRATOR: Felicity's father served in the 2nd Punjab Regiment of the British Indian Army.
And they've come to the Newark Museum to learn how followers of the Sikh faith acquired their reputation as skilled fighters from Gurinder Singh Mann.
The Sikh religion was founded by Guru Nanak in the 15th century in the area of Punjab, which is in northern India.
They were facing persecution from the Mongols, so as a result, they militarized themselves and were able to actually combine themselves into a military force.
Did they integrate these combat skills within their religion?
Absolutely.
They have the religious side of actually praying, et cetera, with the Sikh scriptures.
But they balanced it out with these military skills as well.
So they became saint-soldiers in a sense, using a number of weapons.
Which, they actually also used to worship as well, in a similar way that they worshipped the scriptures.
NARRATOR: But during the 19th century, the powerful and very wealthy Sikh Punjab region was threatened by the expansionist plans of the British East India Company.
GURINDER SINGH MANN: It was one of the last states for the British to really seize upon, in terms of gaining control over all of India.
The Punjab was the last prize.
It absolutely was, yeah.
Umar Raja Ranjit Singh died in 1839.
He didn't actually leave any successors.
And as a result, the court had gone into chaos.
So the British, looking inwards, saw this as a great opportunity to actually now move in on the territories.
So were the British confident they could take the area easily?
GURINDER SINGH MANN: Yes, they were.
But they'd never come across a fighting force such as the Sikhs.
The Sikhs had actually been trained by European generals.
But on top of that, the Sikhs actually had better hand-to-hand fighting skills as well.
And this was demonstrated in the Battle of Ferozeshah, for instance, where the British were on the verge of defeat and state papers were sent to be burnt, because they never thought that they'd be able to win that particular battle.
NARRATOR: No wonder, when you consider the bravery of the Sikhs and the weapons at their disposal.
GURINDER SINGH MANN: We actually have a punch tagger, known as of kataar.
They would actually have this on their attire.
And then eventually, when it came down to a particular battle, they would just pull it out.
And then they would use this with deadly force.
So what about this?
JAMES BRAXTON: I'm familiar with this.
The Greeks invented this.
Did they?
Yeah, the quoite.
The quoite.
So this quoite, in particular, what we call a chakar or chackram, was actually used by the Sikhs, who actually used to wear them within their turbans.
They used to wear it on their necks, as well.
And then actually used to use this within warfare, to actually fight against a particular enemy.
What is this insignia here?
GURINDER SINGH MANN: Some of the Sikh weapons actually had verses from the Sikh scripture, and was actually a reminder of their Sikh faith once going into battle.
NARRATOR: Eventually, after four years of conflict, the Sikhs were defeated, their territory becoming part of the empire.
So that slow war of attrition.
Absolutely.
Sikh numbers weren't being replenished, and the British were increasing their forces day by day.
So when we get to the Battle of Gujarat in 1849, the British overran the Sikhs with ease, really.
NARRATOR: After that, the Punjab was annexed by the victors, and the Sikhs would remain under British rule until independence, almost 100 years later.
GURINDER SINGH MANN: The British saw the Sikhs as being a very formidable enemy.
So as a result, the Sikhs were actually employed in various campaigns.
So this mutual friendship developed over a course of many years, where the Sikhs were the backbone of the Commonwealth, in terms of the numerous places they went to.
So military opponents quickly became fellow fighters.
That's absolutely correct.
NARRATOR: Despite being just 1% of the Indian population, the fighting Sikhs came to make up a quarter of the British Indian Army and play a vital role in two world wars.
Now, the last time we saw Clare and Roo, they were busily stocking up.
How were you finding the haggling?
Quite like it.
ARUSHA IRVINE: Yeah?
Yeah.
ARUSHA IRVINE: Have we created a beast?
Well, maybe.
Yes.
I'll remember, going to every shop I go into now, I'm going to have to haggle, aren't I?
10% off, at least.
NARRATOR: That bulging boot must be a source of some consolation, too.
Because as our teams make for their final shop, this lot have work to do.
- Two items.
- Only two.
That's all we've got.
I hope you don't think I've been too fussy.
NARRATOR: Well, whoever makes it to Market Harborough first, eh?
Triumph Jack?
Jack Triumph?
Triumph it is!
JAMES BRAXTON: Look at this.
What a place!
NARRATOR: There should be plenty to go around.
93,000 square feet, to be exact.
Plus, 240 pounds left to spend.
What we need to do, is we want to walk around the whole extent of this shop and find out the good stand.
FELICITY MONTAGU: James, there's a taxi sign there.
I wouldn't have that in my home, but some people love things like that.
Plastic?
I didn't like it.
Do you mind?
NARRATOR: Definitely don't seem too fussy now.
And I'm beginning too panicked, James.
No, don't panic.
Let's keep walking around.
You're getting quite fast.
I know.
It's important to walk fast.
NARRATOR: Don't panic, Mrs. Mannering.
On second thought-- We've got quite a bit of money left to spend.
I want to big.
I'd love to go big.
NARRATOR: Best foot forward, everyone!
Oh!
How are you doing?
Very well, how are you?
Yes, we're doing well.
FELICITY MONTAGU: Clare, what would you put in here what would you put in there?
CLARE HOLMAN: Scotch.
JAMES BRAXTON: Scotch.
CLARE HOLMAN: Vodka.
FELICITY MONTAGU: No, no.
Anyway, girls.
We must rush.
You must rush.
I think-- Busy, busy eh?
Thinks of high-- They have a desperate look about them.
NARRATOR: Quite the opposite, I'd say.
Now they've split up.
Now that, it's lovely.
Real arts and crafts tradition here.
This is a sort of tree of life.
Look at the depth of the carving.
You get carving in low relief and high relief, and this is really high relief.
And it would have been in a cabinet.
You can see where the polish was.
Something that might have come from Liberty's.
NARRATOR: Possibly under the influence of the celebrated designer Archibald Knox.
What's the price?
58 quid.
I love that.
Felicity!
What do you think of that?
So that's real arts and crafts.
FELICITY MONTAGU: Very cleverly carved.
JAMES BRAXTON: It's beautifully carved.
I wouldn't go for it, but I appreciate the craft in it.
Yeah.
And I can see somebody might go for this.
So you're going to have to do your Mrs. Mannering.
NARRATOR: Time to chat with dealer, Sally.
Now we love this panel, hate the price.
But if you were buying that, what would you pay for it?
About 58, I would think.
Yeah, I thought she might say that.
Can I make a cheeky offer at 25?
25 is too cheeky.
30?
SALLY: No, she would let it go for 53.
Other than that, we need to make a phone call.
I think 35.
35 is fine.
35 is your offer.
You communicate 35.
In the meantime, we've got more buying to do.
Yeah, we have.
OK, happy hunting.
Yeah.
NARRATOR: Now definitely not from Liberty.
ARUSHA IRVINE: 1950.
CLARE HOLMAN: It's 1950s.
And guess how much.
ARUSHA IRVINE: Less than 50?
48.
I like it.
It screams 1950s, which is good.
I mean, it's so kitsch and plasticky.
ARUSHA IRVINE: The post-war is now becoming really fashionable.
If it was a crisp flavor, it would be a Quaver.
Or a what's it.
Yeah.
ARUSHA IRVINE: A hint of cheese.
NARRATOR: Other snacks are available.
Oh, the others have stepped outside.
JAMES BRAXTON: Isn't this fun?
NARRATOR: Quite a choice here, too.
JAMES BRAXTON: Do you like that lamp stand there?
No.
No.
Sorry.
Still awaiting news on that carved panel, but needing to buy more.
I love these enamel signs.
An anomaly is a great thing.
I think it's incredible workmanship.
It is.
It's fantastic, and I love the colors.
But it's so heavily damaged, James.
JAMES BRAXTON: If we found it in mint condition, it would be too much.
Yeah, OK.
I'm expecting that to be low, low, low money.
Excuse me, sir.
Are you the store holder, sir?
James.
- Yes.
Andy.
Andy, good to meet you, Andy.
Hi.
JAMES BRAXTON: Price on your enamel sign?
I can do that 85 pound for that one.
Oh dear, oh dear.
ANDY: It's got a lovely wear on it as well.
Lovely wear?
To me, it looks like damage, Andy.
The patina of it.
Patina?
There's very little patina left on it.
I can move down a little bit, though.
- Can you?
- OK. 55?
Yeah, maybe 70?
FELICITY MONTAGU: 60?
Go on then, yeah.
Do it that.
60?
About price.
Thanks.
Well done.
NARRATOR: A steely resolve.
This is Cookie.
Cookie.
And Cookie, is that a French bulldog?
ANDY: It is indeed.
JAMES BRAXTON: Yeah, bonjour.
Does she not speak French?
ANDY: No.
Oh, OK. NARRATOR: Shame.
Anyway, 60 pounds spent.
JAMES BRAXTON: Now, well done, Cookie.
ANDY: Not at all.
NARRATOR: And back inside, Clare seems to be thinking along very similar lines.
CLARE HOLMAN: Just tell me about this.
ARUSHA IRVINE: That is actually very collectible, that it's tobacco.
Is that not problematical?
No, it depends what you're buying.
The fact that smoking was obviously banned in public, and then smoking advertising was also banned.
Yeah.
That makes this now rare.
CLARE HOLMAN: So there would be an interest in it?
ARUSHA IRVINE: Yes.
Definitely.
In fact, if I was to pick my ideal enamel signs that I would find, it would either be chocolate and confectionery, or tobacco.
CLARE HOLMAN: It's 145, so we can afford it.
NARRATOR: Yes, they still have over 270 pounds.
Do you want to ring for attention, or shall I?
Ring for attention.
It's a little bell.
I'll let you do it.
OK. We will be with you shortly.
NARRATOR: Here comes Sally.
CLARE HOLMAN: We're looking at this enamel sign here.
It has got a big piece of damage there, which we think means it's worth a lot less.
What would you say about 60 pounds?
What's the ticket price on that one?
It's 145.
NARRATOR: I think that's a no.
CLARE HOLMAN: What would be your best price-- Based on that, probably-- --that you could do.
--will be 130.
ARUSHA IRVINE: Right.
It is a lot of damage.
Would you do it for 80?
We'll do 85 for you.
Do you think that we might be able to get a little bit lower if you speak to the dealer?
Maybe.
Could we try?
NARRATOR: While they wait, I wonder what happened about the carved panel.
Ticket price, 58 pound.
Sally, did we have any luck?
We did.
We spoke to the dealer, and the best that they'll do for you is 38.
38?
What do you think?
I think we should go for it.
I think we should go for it.
Sally.
- OK, thank you.
- Thank you.
- Thank you.
- Thank you.
It's really tight.
Money.
Thank you.
NARRATOR: More deals.
Quick Sally.
Back to the others.
Oh, hi there.
Did you manage to get a hold of the dealer?
We did, and she said the absolute best one she'll do for you is 80 pounds.
ARUSHA IRVINE: You happy with that?
CLARE HOLMAN: I think so.
I think we've got a good chance at auction with that price.
- OK. - Brilliant!
- OK.
Done deal.
Thank you again, Sally.
Thank you.
Would you like some money?
NARRATOR: Good plan.
Quite a team, aren't they?
Which just leaves Felicity and James looking for one more buy.
But it's getting late.
How do you feel about snooker cue stands?
Is that high on your shopping list?
If you had a snooker table and a snooker room, that's a very easy fit.
FELICITY MONTAGU: It's 30 quid.
JAMES BRAXTON: 30 quid.
Doesn't seem a lot.
Yeah.
I quite like that.
So what should be going at with it?
Why, I don't know.
They might do it for 20, wouldn't they?
Oh, here's our seller.
Hello, you are the owner of this fine object?
James.
What is your name?
Mervyn.
Mervyn, Felicity.
Felicity, hi.
And have you had that long, Mervyn?
No.
NARRATOR: Scout's honor?
JAMES BRAXTON: He's had it for ages.
You don't want to load it back in the lorry, do you?
No, not really.
It doesn't take much room.
No.
- But I'm willing to sell it.
- Yeah.
Yeah.
Would 18 buy it?
MERVYN?
19.
JAMES BRAXTON: Go on.
You've got yourself a deal.
Go on.
Let's furnish you with the money, Mervyn.
NARRATOR: In there somewhere.
JAMES BRAXTON: Mervyn, there we are.
We've got a pound on it.
Oh dear, twinge.
Parting with money normally does that.
NARRATOR: Well, it's over now, James.
So let's see it all in the full light of day.
Hot.
ARUSHA IRVINE: Are you Melting, James?
FELICITY MONTAGU: I'm quite excited to see your stuff.
- Oh.
- Really.
Yeah.
CLARE HOLMAN: I'm a bit nervous.
ARUSHA IRVINE: OK. One, two, three.
Kapow!
Oh!
ARUSHA IRVINE: These are WMF.
JAMES BRAXTON: Yeah.
Are they heavy?
ARUSHA IRVINE: They're not bad.
They're silver plate, as opposed to silver.
They won't be that heavy then.
We got the WMF, magic initials.
ARUSHA IRVINE: Very collectible.
But they're quite, they're quite elegant.
ARUSHA IRVINE: Yes.
And the smaller bits, they look interesting.
ARUSHA IRVINE: Oh, that's a silver propelling pencil from 1941.
JAMES BRAXTON: And the ring?
That's a silver Marchasi brooch.
Yeah, so we've paired the silver items together.
Nice.
ARUSHA IRVINE: Made a nice, delicate little lot.
Now that's clever.
Compared to this not very delicate item here.
JAMES BRAXTON: Lovely bull's eye lens.
But probably that black is covering up rust?
No, it's just very well preserved.
And the fireplace.
ARUSHA IRVINE: Lovely Art Nouveau fireplace.
JAMES BRAXTON: Really?
Look at those tiles, those tiles alone.
They are nice.
And we have-- JAMES BRAXTON: An enamel sign!
Players please.
- Yeah.
- Good condition.
How much do you pay for that?
ARUSHA IRVINE: That we got from 145 down to 80.
Well done.
Well done.
NARRATOR: OK, a change of ends.
FELICITY MONTAGU: One, two, three.
Go, James.
Oh, lovely!
Right?
You've got a tobacco enamel sign.
JAMES BRAXTON: Oh, yes.
There we are.
Just leave that off.
What's your favorite bit, Felicity?
The lamp shade?
No.
My favorite bit is this.
ARUSHA IRVINE: Now see, I personally, I love brand furniture, but does it make much at auctions?
JAMES BRAXTON: Well, we're going to find out.
James, Mr. Braxton.
JAMES BRAXTON: We're going to find-- that's my favorite bit.
CLARE HOLMAN: James, I think that's rather beautiful.
JAMES BRAXTON: It is lovely.
FELICITY MONTAGU: It's craftsmanship is extraordinary.
It's arts and crafts, yeah?
JAMES BRAXTON: Arts and crafts Yes, very nice.
JAMES BRAXTON: Yeah, bang on.
Oh, I have a passion for lampshades.
Yes.
Pleated lampshades.
Yeah.
FELICITY MONTAGU: But I like the light level dresses.
Yeah.
It's lovely.
But I like silk pleat, but that was the best I could find.
And that strange object is-- That was James.
A cue stand, snooker cue stand.
I think game is on.
Game is on.
We'll see you-- should we see them at the auction?
Well, it'd be very nice if we did.
It'd be lovely to.
- See you there!
- Bye.
Bye.
Bye.
I think we won.
FELICITY MONTAGU: I think it's quite imaginative what they've chosen.
Yeah.
It's a nice sort of, a wide sort of, choice.
I think the table looks lovely, but I'm not sure, quite, whether that will sell.
And there's so much damage on that sign.
You can actually poke a few holes through their sign.
CLARE HOLMAN: Yeah.
Yeah.
I do think we've got quality.
We have got quality.
We could furnish a flat with that.
NARRATOR: Is that a proposition?
After getting started in Old Woolverton, our celebrities and experts have headed west for an auction in the Shropshire town of Newport, with just one Morris Minor alteration.
CLARE HOLMAN: Third car.
ARUSHA IRVINE: How are you finding this one?
Like it.
FELICITY MONTAGU: Yeah.
I like the color.
I like the starter.
NARRATOR: Not quite so welcome is the fact that seat belts weren't mandatory in the early 60's, so they're not wearing any seat belts, that is, girls.
You see James is really confident.
Yes, so is Roo.
How are you feeling?
FELICITY MONTAGU: Well, didn't sleep well last night.
You nervous?
A little bit worried if nothing sells.
NARRATOR: Cheer up!
Welcome to the normal new town they used to call Nova's Burgers.
Also noted for a wine bar, once owned by metal maestro, Ozzie Osborne.
This is Brettells Cell Room with internet bidding.
JAMES BRAXTON: That's what I call an entrance.
Come on.
Hello.
How are you?
ARUSHA IRVINE: Making an entrance.
FELICITY MONTAGU: Fine, I mean, a bit-- What?
Excited?
Nervous?
NARRATOR: All of the above.
Felicity and James parted with 277 pounds for five auction lots, one of which appears to have settled in transit.
Shake the man's hand.
Shake the man's hand NARRATOR: While Clare and Roo spent a bit less.
248 pounds for 5 auction lots.
I might put it down now because it's heavy.
NARRATOR: But who does auctioneer, David Brettle, think will shave it?
The lampshade Yes, virtually unsaleable.
I am not looking forward to it.
It will not take long on this auction.
The railway lamp, well in favor.
Railway items here, at the moment, doing really well.
It's got its burner inside, which you don't always find.
The arts and crafts panel is by far the best thing.
It is a stunner.
It's caused huge amount of interest.
By far and away, the most watched item on the internet.
NARRATOR: Very exciting.
So how are you feeling?
Excited.
A bit nervous.
It's like where we're standing in the wings, and we're just about to go on.
It's like that terrifying moment, I think.
NARRATOR: Well, you're first, Felicity, with your biggest buy, too.
I think it'll do well.
I like the side table a lot.
We paid a lot for it.
How much did you pay for it?
150.
150.
It's beautifully decorated.
It is lovely.
It stands out.
It's very practical, isn't it?
I can start at 50.
5- 60.
5- 55, 70 Anywhere?
70 at the bottom.
75.
Bid for me.
75 It's moving.
DAVID BRETTLE: 75.
Bid.
Hammer's up.
Wading up.
80 on the bottom.
85.
85, bid.
85, 85, 85, hammer's up.
85.
Nobody on the net.
85, hammers up.
Last chance.
Round we go.
Sold this time at 85.
[GAVEL POUNDS] I would say that you're probably in the lead at this juncture.
NARRATOR: Yeah, oh, girls have that effect, don't they, James?
Well, this stuff doesn't sell easy now.
I think I was saying, when we were buying it, how well it would do.
NARRATOR: Clare's propelling pencil and brooch.
Should be a banker, though.
How much did you pay for this item?
28 for both.
Oh, not about.
That's not playing the game.
It's too cheap.
Pretty lump, 20 pounds for that.
20 bid, 20 on the net.
20 pounds had.
20 keys on the net.
Very good.
DAVID BRETTLE: 5 on the net.
25.
We need more.
28, bid.
30 on the net.
30 pounds, half.
30 pounds.
In profit.
All internet so far.
Nobody in here?
30 pounds two's on the net.
We really want 40 and above.
Anyone?
32, internet bid.
32.
Nobody in the room?
5, in the room now.
35's in the room.
35.
I think that's enough, don't you?
5 more.
Fair Warning.
I'm 35, eight on the net.
38 30-- 40 in the room.
40 pounds bid.
40 pounds, hammers up.
Your last chance on the internet of Selling in the room.
All done at 40.
[GAVEL POUNDS] For the love.
40, good.
NARRATOR: Well done.
A solid start, you two.
Nothing so obscene as people crowing.
With the least crowy people I know.
No, we're very humble.
Humble, humble.
NARRATOR: Time for Felicity's pick.
Doesn't look too crumpled, does it?
FELICITY MONTAGU: It's a set piece, an antique in a Tennessee Williams play, lighting a set.
I can see it in a farce, can't you?
Oh!
I can see it wobbling.
I'm the lamp shade.
There we are.
10-er for it?
5-er four it?
1 pound for it?
50p for it?
30p for it?
20-- stop me when you like!
20p.
10 pence for it?
Penny for it?
[GAVEL POUNDS] Sold I didn't know you could go down to pennies.
NARRATOR: Apparently, you can.
Can we just review things, Felicity?
We're doing quite well.
- You just shut up, James.
Quite well here.
And you see-- I don't want to be polite anymore.
Thumping great loss on the first one.
That was your fault we spent money on it.
And then, I think some sort of record loss, we've established.
NARRATOR: I think this fireplace might be Clare's favorite.
How much did you pay for it?
About 60.
60.
Oh, well they're looking vulnerable for this thing.
Oh.
Well, stop me there.
30 pounds for that.
30 pounds, off we go.
20, then.
Start me then, 20 pounds.
Come on, come on!
DAVID BRETTLE: 20 pounds.
Don't make me get angry.
Worth 20 pounds, anyway.
Not good.
Joking.
Beautiful.
10?
10 pounds, thank you through the gap.
10 pounds, bid.
In the room?
10 pounds, 12 pounds!
Stood up.
12, 15, 18 on the net.
18 pounds internet, bidding Come on, it's beautiful!
Here on the net.
At 18 pounds, all done.
Anybody else moving in?
No!
18.
[GAVEL POUNDS] 18!
Oh.
Substantial loss.
NARRATOR: Oh, Riley.
Now they can empathize a bit.
I think it's the wrong place.
It's strange, isn't it.
Let's make excuses.
- Let's make excuse.
- I like excuses.
It's summer.
NARRATOR: Well luckily, snooker and billiards aren't especially seasonal.
I didn't want to buy it.
You didn't?
I told you.
This is-- Is that your choice?
That man stopped me.
Surely, 10.
Thank you.
ARUSHA IRVINE: Oh, you've got 10, you're halfway there.
At 10 pound, anybody have a 10 pounds, here.
To go 12 for David.
12, bidded in the room.
Well done.
They're off then, they are off.
DAVID BRETTLE: 80 now.
ARUSHA IRVINE: Come on, you're almost in profit.
20 pounds, internet.
Bid 20 pounds, half.
20 pounds, 20 pounds.
Profit.
Well done.
Nobody else in the room?
And selling in the net, 20 pounds, all the way at 20.
[GAVEL POUNDS] That was obviously a good buy then, Mr. Braxton.
Huge.
NARRATOR: Aren't we glossing over the loss after costs bit?
Well done, James.
I think it's a change of fortune, isn't it?
NARRATOR: Can Roo's WMF turned the tide yet further?
This is really your choice.
I knew nothing about this.
20 pounds.
- Well, we did not-- - No.
Bid on the net.
20 bid, 20 pounds, I have.
He's off.
DAVID BRETTLE: 20 pounds, here we go.
To you on the net, 22 bid on the internet.
Wow.
DAVID BRETTLE: 22, nobody in the room.
22 pounds, bid.
22, 22 here we go.
5 on the net.
5, come on.
DAVID BRETTLE: 25 have now.
Eight on the net.
28, all on the internet.
Nobody in the room?
At 28, mid 30 on the net.
30 pounds have.
30 pounds, fair warning.
I'm selling.
It's just on the internet.
Last chance.
All done.
Sold away at 30.
[GAVEL POUNDS] - Broke even.
Broke even.
That's all right.
I think right now, I think we'll take a break here.
NARRATOR: That's a very good idea.
The most fun part of this for me is the battle of the tobacco enamel signs.
NARRATOR: Kicking off with Felicity and James's acquisition.
James was actually verging on stained-glass.
NARRATOR: Cheeky.
Oh, no, don't.
Oh, I'm sorry.
We'll start bidding at 50.
50 pounds for that?
Three watching on the internet.
Everybody watching on the internet.
35, 45, 45, 8, 48 bid, 48 pound.
It a 40.
DAVID BRETTLE: 48 pounds, here to be gone, at 48.
48, 50 on the phone.
50 pounds bid.
On the phone.
On the phone!
DAVID BRETTLE: On the phone.
The bidding's on the telephone.
Hammer's up.
Fair warning.
I'm selling.
Last chance to everybody on the net.
Sold on the phone at 50.
I was worried about the condition, to be fair.
And James didn't listen to me, as usual.
Team, team, team, team.
Team.
NARRATOR: Yep.
Teams win and mostly lose together, it seems.
I think, actually, we lost more than we spent last night.
Kind of an achievement.
NARRATOR: Can Clare's sign buck the trend?
I can start at 55, 65, 75.
75?
Said 75.
Players place 80 on the net.
80 pounds.
Bid.
So don't worry.
So come on.
Nobody in the room?
At 80 pounds.
Sold this time.
Anybody else moving it?
5 if you want it.
Do it.
Take it.
DAVID BRETTLE: I'll lend him three quid.
They don't, don't.
Oh, do it.
Do it.
5, 85, 85, 85 bid.
85 bid, 85.
We have to work it out.
DAVID BRETTLE: 85 pounds, bid here out on the internet now.
90 on the internet.
90, 90.
90 pounds bid.
90 pounds.
Round we go.
Little more, little bit more.
AUCTIONEER: 90 pounds, rough we go.
Now he stays at 90.
[GAVEL POUNDS] Was it 90?
- 90.
Well done.
Well done.
Well, very well done.
NARRATOR: They got there.
First profit for a while.
This is our last opportunity to regain some dignity.
NARRATOR: Well, we're all rooting for you, James.
How much did you pay for it?
38 pounds.
Oh, that's nothing.
Thank you, Clare.
Nothing.
That is nothing, is it?
AUCTIONEER: It's my favorite lot in the sale.
This arts and crafts.
Favorite lot of the sale.
AUCTIONEER: With a stylized pear tree.
There we are.
We'll start at 20, but I expect it to make 100.
20, 85.
85.
85, it does it.
DAVID BRETTLE: 85, 95.
95, bid 95, 100.
100 pounds.
100 pounds.
100 pounds.
10 anywhere.
10 on the net.
110-- James, you have bought well.
It only takes one item.
On the net, 120 bid.
120, I have.
120, bid ARUSHA IRVINE: If you run away with this, I will be sick to my stomach.
130, 140 anywhere.
Can't watch.
I cannot watch.
You're out on the 40 on the net.
140 bid.
50 bid now.
150 bid, 150, 150 pound.
At 150 pounds, then once.
Amazing buy.
DAVID BRETTLE: 150 pounds then twice.
It's being sold at 150 pounds.
Well done.
That was a very good buy.
NARRATOR: That's a fine result.
Really turned things around.
How are you feeling, James?
- I'm smug.
- Smug.
Yeah.
It's funny, because you look quite smug.
NARRATOR: This lamp's your last chance to wipe that smile, Clare.
Stop grinning.
All right.
It's just a naturally happy.
But it's very close.
Start at 50, 5-60, 5-70.
Well done.
It's-- It's-- 75 bid coming again.
Fair warning, I'm selling.
75 How did you do that?
80, 80 pound on the--a 80.
OK, so 80.
85 bid, 85, now you're at 85.
Fair warning, I'm selling.
85 pounds.
No, don't sell.
At 85 And a late night sale, here on a commission bid at 85.
That's good.
Yeah, that's good.
- Yeah.
It's very good.
You had some good buys.
Thank you guys.
Thank you.
Some nice pieces.
I liked your lamp shade.
Bless you.
NARRATOR: Nice to end on a profit, though.
I think we've earned ourselves a big cup of tea and a huge slice of cake.
Definitely, let's go.
Go on.
Let's get.
NARRATOR: While we add up what's sure to be a close finish.
Clare and Roo started out with 400 pounds.
And after auction costs, they made a lot of 32 pounds and 34 pence.
So they ended up with 367 pounds and 66p.
While Felicity and James, who began with the same sum, made a slightly smaller loss of the costs, of 26 pounds and 89 pence.
Meaning that, with a total of 373 pounds and 11p, they are our winners!
Jazzy!
Congratulations.
Congratulations.
Very good job.
Very well done.
I think it's the journey-- people said to me, it's the journey that matters more than the end themselves.
It is the journey.
And it's a journey you should start.
Get in.
Get in.
We'll take our lady-like umbrellas, James.
CLARE HOLMAN: Can I give you my umbrella?
ARUSHA IRVINE: Yes.
This typical thing with vintage cars.
Should I take that umbrella?
Yes, I'm going.
Go, well done.
You're great.
Wait!
FELICITY MONTAGU: Bye!
NARRATOR: So what will the critics make of it?
FELICITY MONTAGU: It's been good fun, and I've loved coming on this trip with you.
Yeah, I've loved doing it with you.
NARRATOR: We've loved having you.
I just want to say, probably, sorry for not driving.
But it's-- What, Clare?
If I'm really honest, I've really loved the drive.
Yeah, and you're good at it.
[SWERVING SOUNDS] Clare, take care.
Take care.
[MUSIC PLAYING]
