NARRATOR: The nation's favorite celebrities-- We are special, then, are we?
Oh, that's excellent.
NARRATOR: --paired up with an expert.
That deserves a high five.
NARRATOR: --and a classic car.
Their mission, to scour Britain for antiques.
I have no idea what it is.
Oh, I love it.
NARRATOR: The aim, to make the biggest profit at auction.
NARRATOR: But it's no easy ride.
There's no accounting for taste.
NARRATOR: Who will find a hidden gem?
Who will take the biggest risks?
Well anybody follow expert advice?
Do you like them?
There will be worthy winners and valiant losers.
- Are you happy?
- You promise?
NARRATOR: Time to put your pedal to the metal.
This is "Celebrity Antiques Road Trip."
Who'd drive in a car like this?
Come along, Christopher, around here.
I love it.
What is-- it's a Triumph Herald.
And this is a bit of a triumph for us.
[LAUGHS] NARRATOR: Yes, today's nicely turned out celebrities and friends are Lesley Joseph and Christopher Higgins.
CHRISTOPHER BIGGINS: Here we go.
LESLEY JOSEPH: I have one complaint.
It's not pink.
NARRATOR: Lesley is known to the nation as Dorien the Chigwell Jezebel from TV's "Birds of a Feather."
This is Essex.
This is a yes.
My sort of adopted county.
Because I is like an Essex girl now.
NARRATOR: While Christopher's range includes everything from playing Emperor Nero in "I, Claudius" to cult classic, "Rent a Ghost."
not famous for his driving roles however.
CHRISTOPHER BIGGINS: There is such a backlog of traffic behind us.
Going back for miles.
NARRATOR: Both have form though when it comes to the serious business of celebrity competition.
I don't mind as long as I beat you.
[LAUGHS] NARRATOR: They're big in panto, too, which has not escaped the notice of today's experts auctioneers Mark Stacey and James Braxton.
Your Biggie are going to get on like a house on fire.
Or like a pair of pantomime ladies.
This could be the big break.
NARRATOR: With 400 pounds apiece, celebrities and experts are making their way through the Essex countryside in a 1980s Ford Capri and a 1960s Triumph Vitesse, slowly.
And we're hoping that because they maybe might like us just a little bit, they might give us a really good price.
On the other hand, they might hate us.
NARRATOR: Yeah, fame can cut both ways.
Best behavior now.
Our trip starts in Sawbridgeworth, just over the Hertfordshire border, and then takes an anticlockwise meander around the north of the capital before returning for a West London auction at Chiswick.
I wonder who's going to go with who.
I don't know why, but I just look at you and I think you and Lesley would be birds of a feather.
NARRATOR: Oh, I don't think he gets it, Mark.
Oh, James, look.
Well, good morning, gentlemen.
- How are you?
- Very good.
How are you?
We've had a very good journey.
So what are we going to do?
What are we going to do?
Who'd like to go with who?
Oh, well, I think we've paired up.
We've actually naturally paired up.
So shall we stay like this?
Are we the perfect pairing?
We are the perfect pairing.
Especially on height.
Come on, let's go.
NARRATOR: So, an extremely short walk to their first shop.
LESLEY JOSEPH: OK, where should we go?
JAMES BRAXTON: Let's get straight on.
Let's get rid of them.
CHRISTOPHER BIGGINS: Right, let's go down to here then.
NARRATOR: Yeah, plenty of room.
There shouldn't be too much stepping on each other's toes.
This is my idea of heaven.
NARRATOR: Time for each expert to discover exactly what his celebrity wants to get out of here.
I like China.
I love little silver things.
JAMES BRAXTON: I think we want to go for cabinets.
You see, you've got good variety here.
Very pretty little silver purse with spots and bows, but 195 is much too much.
NARRATOR: Leslie has definitely done this before.
CHRISTOPHER BIGGINS: Do you like-- MARK STACEY: No, I don't.
[LAUGHS] I quite like this.
He won't like it though.
You don't mind me being blunt?
No, I don't mind you being blunt at all.
Now I like that.
I think it's quite fun.
NARRATOR: Oh, lordy.
- Come on.
Find something nice.
Well, I'm trying to.
I don't think you're trying hard enough.
Honestly, I could have got a really good person to be on this show with.
NARRATOR: Oh, now, now, remember, best behavior.
I quite like that.
NARRATOR: At last.
Now, what about Lesley and James?
Small things, attractive things.
LESLEY JOSEPH: But beautiful.
Small but old.
Small and blingy.
Small and bright.
NARRATOR: That's the mantra then.
See 300 pounds for that.
And that's jug and six tumblers.
But it's a lot and not a particularly fine one either.
No it isn't.
NARRATOR: She shows definite promise, you know.
Meanwhile, peace has broken out elsewhere.
MARK STACEY: This is rather interesting.
CHRISTOPHER BIGGINS: Yes, I love the color.
That iridescent green.
Well, what exactly is it?
Well, it's a figure of two deer, I think.
Yeah, not too old dears.
Dear, will it be expensive?
Will it be dear?
Well, it's not-- let's get those in early.
Is it possible we could open this one here?
We want to have a look at the two deer here.
Is it china?
MARK STACEY: It is.
Oh, that's interesting, isn't it?
It's a lovely color.
It's quite unusual, but I'm not, I'm not sure about that base, because they are making modern versions of these now.
These are were made in the art deco period.
I think it might be a more modern one.
CHRISTOPHER BIGGINS: Oh, I see.
MARK STACEY: But it's something we might consider.
Yes, at the back of your head.
You don't know how much we could get that for.
Actually this lady is away on holiday so we make a decision for her.
Has to be a little bit more than that.
NARRATOR: Steady on.
Any more of that and you'll be asked to leave.
What are you doing?
It will be something rude.
NARRATOR: How could he possibly guess?
There's nothing really exciting here.
No, there's not, is it?
Not for us, of course.
That goes without saying.
NARRATOR: In a quieter corner, James has unearthed something.
JAMES BRAXTON: Is that stamps?
NARRATOR: It's not remotely blingy though.
JAMES BRAXTON: Is that real stamps or was that all printed?
LESLEY JOSEPH: Nick, we want you.
You caught me eating a biscuit.
NARRATOR: Oh, crumbs.
Well, we found very unusual coffee table, classic.
What is that?
'70s, '80s coffee table.
But somebody has put underneath the coffee table, a load of stamps.
NARRATOR: Just as well he used to be a porter.
LESLEY JOSEPH: That is actually really rather good.
JAMES BRAXTON: Isn't it fun?
LESLEY JOSEPH: 55?
We can do better than that.
We can do a lot better than that.
LESLEY JOSEPH: Can we just check that it's quite-- Shall we have a look?
JAMES BRAXTON: I mean, because it's had some use.
LESLEY JOSEPH: It needs to be solid.
But it's a working coffee table.
There's no such thing as an old coffee table.
LESLEY JOSEPH: It's actually really fun, isn't it?
NICK: Just to warn you, two screws missing and an odd screw there on this side.
that's a deal breaker.
That would be, but I think, it would be a deal softener.
I just want to-- just in case I make an absolute fool of myself, I do want to reassure myself-- LESLEY JOSEPH: Or a fool of me.
NARRATOR: More to the point.
They are actual stamps.
LESLEY JOSEPH: Oh, they are they absolutely 100% are.
JAMES BRAXTON: I've never seen something like that.
So, Mr. Nick.
NICK: I shall do some phone calls.
Will you do some phone calls and let us know.
We're looking at about 20, Nick, for heavily damaged.
NARRATOR: Slight exaggeration, James.
LESLEY JOSEPH: We don't like all of the stamps.
NARRATOR: Frank, Leslie.
I think she's joking.
JAMES BRAXTON: It's good fun.
It's somebody using their noodle.
Give me high five.
NARRATOR: Nick has news.
Would that be?
Are we getting there?
Do you think there's even more movement there, Nick?
What about 20.
See if you can get it for 20.
NARRATOR: Time for Nick to make one more plea then.
For you, yes.
I'm celebrating with a cup of tea.
NARRATOR: Cheers you two.
Because there are eyes around us, Nick.
Thank you very much indeed.
JAMES BRAXTON: Thanks very much indeed.
LESLEY JOSEPH: Thank you for looking after us.
NARRATOR: First bite are Lesley and James for 20 pounds.
Ah, now that's familiar.
I just love the color.
I love the flowers, which are halfway up.
I love the orange down below, the yellow, I like everything.
MARK STACEY: And it's very, very 1930s.
CHRISTOPHER BIGGINS: Yes, I would have thought that was quite commercial too.
It is quite commercial, isn't it?
CHRISTOPHER BIGGINS: It's a lemonade set, I think.
It's a lot of money.
NARRATOR: Yes, the ticket price is 300 pounds, far too much for their rivals.
MARK STACEY: We've got a combination of techniques, haven't we?
We've got hand painting and transfer printing.
This is transfer printed I think.
But it's very much in the style of that very famous designer, Clarice Cliff.
LESLEY JOSEPH: Very vibrant.
And this is very much her shape.
Maybe but it's clearly not the real thing, Mark.
Even if you're celebrity smitten.
Christopher is really sold on this.
You need to really, really get a good price.
MARK STACEY: You know this is-- seriously.
I'll see what I can do for you.
CHRISTOPHER BIGGINS: Thank you very much.
Would you accept 150 if she came down.
MARK STACEY: Oh, yes, I think we'd accept that.
CHRISTOPHER BIGGINS: Exactly.
NARRATOR: That would be quite a reduction.
Anything a bit cheaper, you two?
So it's that one over there.
MARK STACEY: And what was it you wanted to see?
CHRISTOPHER BIGGINS: It's that the bronze boar of the ball.
Yes, I'm working with one so I thought I see a bronze one.
Now, is that bronze?
Because it's not terribly heavy, is it?
No, but what else would it be?
I think it is.
I think, I mean, I think it's got a lovely face.
I think it's got a lovely face.
I really like it.
CHRISTOPHER BIGGINS: What price is it?
The dealer has got 85 on it.
He's not very good on trade, but we could try and beat him down for you.
He's not very good on trade.
No, he's not, unfortunately.
MARK STACEY: That means that he doesn't like giving big discounts.
CHRISTOPHER BIGGINS: No.
NARRATOR: Bad luck.
CHRISTOPHER BIGGINS: Oh.
MARK STACEY: Are you sure you're all right to carry that.
Because I'm here to help.
NARRATOR: Sounds like anything better than about 10% off is down to Polly and the team.
The boar, so I can only go down to 75.
CHRISTOPHER BIGGINS: Oh, that's so boring.
What would you pay for it?
In a perfect world, I'd want to pay 50 quid.
CHRISTOPHER BIGGINS: Yeah.
Oh, that was funny?
I went, oh.
CHRISTOPHER BIGGINS: No, you laughed.
I did laugh.
Nick's going to try again for you.
CHRISTOPHER BIGGINS: He's not trying very hard, though, Nick is he?
Got another five.
CHRISTOPHER BIGGINS: You're all happy, aren't you.
I got him down to 70.
NARRATOR: That's the best, but Nick's still not managed to speak to the dealer who owns the lemonade set yet.
It just rings and rings.
They could bring us back.
Or could we ring you?
Would you mind, Nick, trying-- Because we'd love to get it.
I think I'll talk-- Would you try on the hour, every hour.
NICK: We'll carry on ringing all day.
MARK STACEY: Would you?
Nick, you are marvelous.
So what are we going to do about this little boar.
I think we should go for it.
- I think we should.
- Because you love it.
I do like it.
I do like it.
And I can always say that at the auction when it doesn't make a profit.
NARRATOR: 170 pounds boar in the bag.
We'll have to wait and see about the lemonade set though.
Meanwhile, who's got the Ford?
Yes, that one.
Leslie and James are heading west, motoring from Sawbridgeworth to the countryside near Ware.
Would Dorien have loved that antique center or not?
Not really, no.
I mean, let's put it this way.
It was second hand.
It was second hand.
There was nothing leopard skin about it.
And there were no gorgeous young Huns.
You know, Dorien's a fickle character.
NARRATOR: Not so Leslie.
Welcome to the Curious Collectibles Emporium, an internet only establishment welcoming some rare personal callers.
How are you?
Are you Alan?
- Yes, I am.
Nice to meet you.
Lovely to meet you.
- Hello, James.
- Hi, James.
It's nice to meet you.
Feel free to have a look around.
Oh, look at this.
I'll let you guys carry on and have a look.
Give a shout if you need anything.
NARRATOR: The place to themselves, but not a cabinet in sight.
I think the bling thing might have to take a backseat, don't you?
It's not quite as crowded as I'd like.
Must be something, Leslie.
Let's grasp the nettle, shall we?
Look at this.
That is cool.
I had a McCartney set.
NARRATOR: Something tells me Leslie didn't.
It's a proper tool.
Where your nuts and bolts.
I think it's definitely a shop fitting, isn't it?
LESLEY JOSEPH: Yes, without question.
It looks like it's all but Meccano spares, doesn't it?
It does, doesn't it?
We must ask in the price on that.
Do they sell well?
- That would sell well.
- Would it?
It's very unusual.
People prize the unusual.
I've never seen one.
NARRATOR: He's keen, but with the public not usually allowed in here, there's something missing.
JAMES BRAXTON: I think the absence of price tags is lovely.
NARRATOR: James has spotted something else.
It's difficult to miss though.
Enough to make you croak.
JAMES BRAXTON: This is a fountain.
LESLEY JOSEPH: No, is it?
JAMES BRAXTON: Yes.
Do you like that?
JAMES BRAXTON: People love gardens.
I always think, pollution can come in many things.
But noise pollution is one of the worst.
And if you had a little garden in London.
LESLEY JOSEPH: You do love water.
And you splash, and it's your noise then, rather than your neighbors.
Is it bronze though?
This rather points that this is fairly green, copper oxide.
But if you really wanted to test it, what you do, is take an area here, where it's got robbed, I don't even need to do it with a knife.
But if I went like that, comes up yellow rather than silver.
Is a leaping frog fountain on the top of everybody's to buy list?
LESLEY JOSEPH: Personally, no.
NARRATOR: Oh, dear.
Anything you'd choose, Leslie?
- I mean, I love this.
- You love that.
I love little chairs.
JAMES BRAXTON: Yeah.
It's got a little crack there.
That's been there for some time, hasn't it?
OK. Do you think that is old?
So it's 19th century.
LESLEY JOSEPH: It's lovely.
JAMES BRAXTON: Yeah, it's lovely and worn.
It's just quite a nice honest chair, that.
LESLEY JOSEPH: Shall we get a price on that?
NARRATOR: From an unpromising start, we suddenly have quite a short list.
Time to talk to Alan.
JAMES BRAXTON: It's a very attractive Meccano.
I've tried to find a value on it.
I've searched the internet.
I can't find anything like it.
NARRATOR: So is unusual.
ALAN: I don't have a price in mind as yet.
LESLEY JOSEPH: There's not a huge amount in it.
NARRATOR: No, interestingly, it's for the parts.
And maybe I think it is a shop display, because I see everything is sort of packaged, isn't it?
There are some bits inside that haven't even been opened yet.
I don't know.
It's just rather interesting.
LESLEY JOSEPH: It doesn't float my boat necessarily.
NARRATOR: Doesn't hide her feelings, does she?
What about this little chair?
I love chairs.
NARRATOR: Oh god.
ALAN: Yes, I've had that for a while actually.
JAMES BRAXTON: Definitely 19th century.
But Windsor chairs were made in Buckinghamshire.
This sort of know, not far away forever and ever.
I'll have to advertise at 70.
And it's something that we'd like to buy at sort of 30, 40, isn't it?
LESLEY JOSEPH: There's a frog in the corner.
JAMES BRAXTON: Your bronze, your new bronze frog.
ALAN: Yeah, to be honest, he was more for decoration.
But he is for sale.
JAMES BRAXTON: Yeah.
ALAN: I think I've got him up for 100, I believe.
NARRATOR: I think they had a lot less in mind.
But Leslie's also found another aquatic, cheaper surely.
I quite liked this.
NARRATOR: Oh, no.
JAMES BRAXTON: Definitely a hardwood of some sort, probably African.
How much is that?
JAMES BRAXTON: It's got a charm, hasn't it?
He looks at those slyly.
LESLEY JOSEPH: It sort of has.
And I quite like, it's quite nice and sharp, actually.
You're not thinking of doing any hazardous dangerous, are you?
NARRATOR: Give her daggers, hey?
Well, I've just might.
NARRATOR: So then there were four.
JAMES BRAXTON: We thought we put a package to you.
And our offer is 200 pounds for the lot.
ALAN: I can't really sell the Meccano at the moment.
The guy that lets me store the stuff here, he actually showed me it yesterday.
JAMES BRAXTON: Yeah.
And I said to him I'd research it before I got a price for him.
JAMES BRAXTON: So that was just a rather nasty draw, wasn't it?
ALAN: It was.
Then you could always phone him now and talk to him.
Very, very foolish, laying bait.
You never know whether it's going to be gobbled up, do you?
NARRATOR: So, time for a cup of tea out in the farmyard while Alan calls a cabinet meeting.
At this stage, he doesn't really want to sell it.
He doesn't want to be bounced into it.
He doesn't want to be bounced into it now.
LESLEY JOSEPH: That leaves us with a frog, a chair, and a thing.
But I don't think I particularly want to pay 100 pounds for those.
What if we offered you 80 for the three?
ALAN: I not 100.
JAMES BRAXTON: Not 100.
LESLEY JOSEPH: I reckon we could go to 85 and that would be it.
I'll agree to that.
Lovely, shake hands on it.
Actually, the high five.
Well on that.
Thank, thank you very much.
Pay him as well.
Pay the man.
NARRATOR: Like the lady said, James.
Meanwhile, back in the Vatesse.
Christopher and Mark are heading to the theater.
I'm a pantomime queen.
NARRATOR: Get away.
I used to say veteran.
I'm with the Hoff this year in South End.
It'll be like Baywatch for a few months.
Pamela Anderson and the Hoff.
CHRISTOPHER BIGGINS: My favorite pantomime role as the Dame is without doubt Mother Goose.
She's like the Hamlet of the Dame world.
NARRATOR: But with a quackier ending.
Mark now maneuvers into greater London and the borough of Ilford, where Christopher and Mark have come to meet one of our greatest authorities on the art of pantomime.
Nice to see you.
This is my friend, Mark.
Lovely to meet you.
He wants to do pantomime this year.
What can we do for him?
NARRATOR: Dread to think.
Nigel Ellacott is a costume designer and lifelong panto buff who, like Christopher, has played the Dame countless times.
Now, where's all the pantomime stuff.
NARRATOR: Behind you.
Nigel may be based at a theater named after the stiff upper lip hero of loads of war movies like "Reach for the Sky," but his true passion is for our uniquely British form of slapstick.
This is the oldest thing I've got in the collection.
This is a playbill of Joseph Grimaldi.
CHRISTOPHER BIGGINS: Good Lord.
It dates from 1822.
It is, to me anyway, it's the very beginning of pantomime, Joseph Grimaldi.
Even today if you go to a circus, every single clown is known as a Joey.
And that's because of him.
Here you've got the white face and the makeup.
These Harlequin aides, they were the origins of pantomime.
We don't have a clown anymore in Panto.
But if you look at his face and you've got the silly hair and the makeup, he sort of became the Dame.
I'm just looking to see if Christopher is on there.
[LAUGHS] CHRISTOPHER BIGGINS: Here I am, small print.
MARK STACEY: Small print.
NARRATOR: Nigel's collection, most of which can be found online, demonstrates how older European theatrical forms with stock characters and familiar plots evolved into what we would recognize today as panto.
We, British, we said, we like the Italian and the French entertainment.
But let's put a little something different in the British spin.
And they created, of course, slapstick Harlequin's stick was slapstick.
It was two pieces of wood that make a slapping noise.
NARRATOR: But it was under the influence of theater manager, Sir Augustus Harris in the late 19th century that the modern pantomime was born.
He brings in stars to pantomime for the very first time.
And he got him from Music Hall, all those popular stars like Marie Lloyd, Little Titch, Dan Lino, well he made them huge pantomime stars.
So that way he didn't just get the middle classes, he got the working classes in there.
And now his theaters are full.
And they're packed and have-- Do you know the expression bring the house down?
I don't know, why?
Well, it's the old time musical days when they were open all day and people with acts would go on all day from early morning right up to late at night.
But mainly, you went there to eat and drink in the bars at the back.
And then somebody like Marie Lloyd would come on and she'd bring the house down from the back.
And they'd go and sit to watch her.
And that's when you got that expression that this was the top bill.
I think it's lovely.
NARRATOR: Harris' leading male star was Dan Lino, known as the funniest man on Earth.
Lino, who started out as little George The Infant Wonder became in the course of a short but brilliant career, the Dane's Dame.
When he started with Augustus Harris, he was earning 28 pounds a week.
Which was a heck of a lot of money in the 1880s.
But by the time he died in 1903, he was earning 245 pounds a week.
CHRISTOPHER BIGGINS: Good heavens.
In pantomime alone, he was the highest paid comic in the world.
But panto's other great cross-dressing role is the principle boy and Nigel's collection includes this doll modeled on Cora Goffin, the actress who at the height of her fame had her legs insured for 20,000 pounds, when 20,000 was 20,000 pounds.
This is probably a very early form of pantomime off sale.
This doll was sold in the theater.
And on her foot there it says Emile Littler's Jack and Jill.
So that was the pantomime at Birmingham.
And Cora Goffin was the most famous principal boy of her time.
When she did radio panto, she got so much fan mail from that one radio broadcast that the BBC were forced to bring in a secretary to handle the fan mail.
It was the first time that had ever happened.
NARRATOR: Of course, one of the reasons that panto is still so well loved is the comfort of unchanging conventions, like audience participation.
Oh, yes, it is.
Villains entering from stage left and the good fairy from the stage right.
We are a sort of fraternity.
And I think we should have new members.
I think I couldn't agree Shall we do we try this on our new member?
I think we ought to give it a go.
Let's see how it goes.
Because you're the new member, darling.
Oh, I'm-- You're the new member.
See, come in the middle here.
If it fits, it's like Cinderella.
You will go to the panto.
I will go to the panto.
Oh, my gosh.
Let me have a look.
Oh, you look.
But not quite ready yet.
Just put your arms through there for a moment.
Oh, I feel like Dame Shirley Bassey.
In your dreams.
Oh, you're lovely.
Give us a twirl.
A Dame is born.
Well that's your Christmas season sold out.
I think Cleethorpes, don't you?
NARRATOR: Ah, well, antique's loss is vaudeville's gain.
Now back to our original double acts.
LESLEY JOSEPH: Off we go, Christopher.
CHRISTOPHER BIGGINS: Here we go.
LESLEY JOSEPH: Look at the road.
NARRATOR: Nighty night, you two.
Next morning, Leslie is ready for yet more rummaging.
I have to say I had the best day.
I mean, James is lovely.
We laughed a lot.
And um-- Mark is very dull and he has no fun whatsoever.
Honestly it was like being with my grandmother.
NARRATOR: If your Granny knew a thing or two about antiques.
Despite a few differences of taste.
CHRISTOPHER BIGGINS: Now, I like that.
Christopher and Mark managed to acquire a bronze boar for 70 pounds, leaving them 330 pounds.
Although they were sorely tempted by a lemonade set, as you do.
I honestly love it.
NARRATOR: But couldn't reach the dealer.
While Leslie and James set off at boy racer pace, splashing out on a frog fountain, a crocodile paper knife, a chair, and a coffee table.
Give me a high five.
NARRATOR: That nice mix cost a mere 105 pounds, leaving almost 300 pounds to spend today.
Later they'll be wending towards West London for an auction at Chiswick.
But our next stop is in Buckinghamshire at the village of Waddeston.
JAMES BRAXTON: Morning, boys.
I use the term loosely.
JAMES BRAXTON: Here we are.
Good morning, Mr. James.
Good morning, Lesley.
Lovely to see you.
You're looking resplendent.
We're all in blue today.
We're all in blue.
LESLEY JOSEPH: Did you have a good day yesterday?
We had a wonderful day.
Honestly, we've got a truckload of stuff.
But that scares me, because we're got more.
I'm not sure about ours.
Ours is lovely.
You're not sure?
Oh, he's told me.
Leslie, I'm so sorry.
Don't listen to him.
I've got work to do.
MARK STACEY: And remember it is the taking part that counts.
JAMES BRAXTON: Don't spend too much money.
LESLEY JOSEPH: I'll see you later.
CHRISTOPHER BIGGINS: So where are we going?
MARK STACEY: Shopping, shopping, shopping, shopping.
CHRISTOPHER BIGGINS: What, nearby?
It's literally just across the road.
Oh, how marvelous.
NARRATOR: Christopher and Mark have an awful lot of shopping to do.
So they're heading for the High Street.
But first, there's that lemonade set they were keen on.
Before they buy here, they need to make a call.
Is that Polly?
POLLY (ON PHONE): It is.
Polly, it's Biggins and Mark.
How are you?
How are you?
Very well indeed.
What's the news on the lemonade jug and glasses?
POLLY (ON PHONE): We got him down just a little bit more for you and the price is 225.
POLLY (ON PHONE): I know, I know.
It's the best we could do.
We're so close.
You don't think he's do 175?
POLLY (ON PHONE): No, definitely not.
That was his final offer.
Oh go on, let's take it.
- Have you made and executive?
I've made an executive.
We're going to take it.
POLLY (ON PHONE): You've made an executive.
Yes, we're going to take it.
Mark's collapsed on the floor.
NARRATOR: I think he's taken it pretty well, considering, Christopher.
225 pounds is a huge gamble.
On the nose, you might even say.
Leaving just 105 pounds to spend today.
CHRISTOPHER BIGGINS: Junk and Disorderly, that's us.
Do you like pigeons?
I love pigeons.
I mean, that I have never seen anything like that.
NARRATOR: A clock garniture with what looks like a broken clock.
What's it made from?
From a distance, it looks bronze, doesn't it?
It's actually made out of spelter, which is a cheaper version and then it's been bronzed.
I mean it's almost certainly French, early 20th century.
It's so OTT.
It can't be for the three of them, it must be it.
Even that's more than half of what they have left.
What do you think he'll take?
Well, I can try.
Or if we pushed, we can say a tenner for each piece.
NARRATOR: Nice start.
Anything else out here?
I get to buy this, look.
- For me?
For all your special memories.
Oh, Oh, yes.
[LAUGHING] Don't they go on the side of a horse or something?
I have no idea.
I'm just making it up as I go along.
Ah, On that note, let's meet the proprietor.
How are you?
Very well, thank you.
Chris, nice to see you.
Nice to see you.
You're, Roger, lovely.
This is my friend, Mark.
Nice to meet you.
What a lovely shop you've got.
What a small shop.
Strange little emporium, isn't it really?
Well, it's certainly a bit disorderly, Roger.
Although your stock's much nicer than you describe.
So we quite like your pigeons outside.
They're unusual, aren't they?
They're interesting, aren't they?
The clock is absolutely useless.
But you know, the pigeons are nice.
What's your best offer on that?
I suppose-- Tenner apiece?
We've spent a lot of money already.
I know, you always say that.
Roger, we are gentlemen.
We only tell you the truth.
Be lovely if we could get it for that.
Well done, Roger.
Thank you very much.
NARRATOR: Thanks to Roger, those two have finally got something going cheap.
I'm really excited.
I've got the lemonade jug and the six tumblers, which I'm thrilled about.
We've got our bronze.
And I'm absolutely thrilled with our three pigeons.
I think it's so camp and over the top that it's wonderful, a great price.
And I'm really thrilled.
NARRATOR: Now, what about those other birds of a feather, nipping up the road to nearby Waddesdon Manor.
Have you and Christopher, have you ever worked together?
Well, I'm trying to think.
We've never actually done a play together.
But you did your radio show, am I right?
Oh, yes, we did that.
On a Sunday morning.
That was sometimes difficult to get through from laughing.
NARRATOR: Lesley is a huge fan of stately homes, so this gorgeous creation by Baron Ferdinand de Rothschild should make her very happy.
Modeled in the French Chateau style, Waddesdon was where the banking dynasty displayed their magnificent collection of art.
Isn't this amazing?
Come round into the dining room.
Look at the chandelier, James.
NARRATOR: Leslie and James are here to see some highlights from that collection in the company of curator, Pippa.
This is the red drawing room.
This room was the principal reception room here at Waddesdon.
And the house was built essentially for entertaining.
So what we're standing in is a very grand holiday cottage.
It was used at-- It would be like, house, love.
But when you come to rooms like this, you sort of get kind of the essence of what was called the Rothschild style, which is this very interesting combination of English 18th century portraits on the walls here, but French 18th century decorative arts.
Wonderful wonderful china.
And we've got something on the table.
This object, in a sense, is the one which kicks the whole thing off for Ferdinand as a collector.
Because this is the first really significant piece that he acquires.
And what age is it?
What is it?
So it's a serve porcelain vase.
It's a potpourri vase.
But it's in the form of a ship.
It was made in 1761.
NARRATOR: Only 10 are known to exist and Waddesdon has three of these rare and exquisite confections.
Am I right with saying this is a sort of bleu celeste?
This is a famous bleu celeste, yes, which was copied from Chinese porcelain, which of course was the great thing that kicked off this search in the 18th century for the secret of true porcelain.
And it's quite usual to have different scenes on either side, because often these pieces in the 18th century would set up with a mirror behind them.
So you'll be able to see the scenes behind them.
And does the top come off?
And the top-- the top-- I'm not going to try it.
NARRATOR: No, don't.
Wealthy Ferdinand soon collected many other treasures, some from English aristocrats fallen on hard times.
They were a lavish backdrop to his weekend house parties.
I want to show you now one of the most extraordinary objects in the collections, which is this chap here.
It's an automaton and it's a musical automaton.
So it's a very, very elaborate music box.
NARRATOR: This incredible creature, which plays four tunes, is the work of a French clock maker.
LESLEY JOSEPH: Oh, it's the most beautiful thing.
JAMES BRAXTON: It is glorious, isn't it?
Look, look, Lesley.
Isn't that incredible?
PIPPA: It has a very key role in a sense in the history of the house.
Ferdinand acquired it when he'd been asked to host a visit from the Shah of Persia in 1889.
The Shah was so thrilled by the elephant that he had it wound again and again and again, until as Ferdinand said, he had to distract his Excellency for fear that, he was also rather worried that his new acquisition was going to break through all the attention.
NARRATOR: When the Baron died in 1898, his sister Alice inherited the manor and continued to develop the collection.
But it was another female member of the Rothschild family who was responsible for some of the finest lace at Waddesdon.
PIPPA: These were collected by Baroness Edmond in the French branch of the family.
And she was a great collector of all sorts of different accessories, so fans, lace, buttons.
But she was quite scholarly about it.
So she collected from particular centers of production.
And I love this on from the 1750s.
And it's got Shinwari ornament in it.
So you can see the firebirds there.
And then little bridges there.
LESLEY JOSEPH: Oh my goodness.
PIPPA: So charming, isn't it?
This one is much more Baroque, much denser.
And that is from what period?
That's a little bit early.
That's from the 1700 to 1720.
And these were produced to be incorporated in dress, so cuffs and collars.
And lappets, too, which were the long strips which hung down from a cap, hung down in the back.
You see them in contemporary portraits very often.
Anyway we've got someone who knows all about that.
And I think you're actually going to have a go, Lesley, to make lace, James.
Here is Christine.
Good morning, Christine.
PIPPA: Christine is going to unravel some of the secrets of lace making.
You only need to learn two movements.
LESLEY JOSEPH: Across the whole of that?
Everything is built up from two movements.
So you start with four threads.
And the first movement is a cross, which means cross in the left of right over the right.
And then you do a twist, which is like that.
And I'm going to do a couple of extra twists here.
LESLEY JOSEPH: I can do that.
And I'm going to put the pin in.
And I'll do that again.
So cross, twist, twist, twist, twist, and pin.
So I brought along a much simpler piece.
I thought you might like to have a go.
This is Joseph lace.
So going to work along here.
So just look at these.
Just look and learn, James.
Yeah, I am I'm fascinated.
Look at the first four threads.
Now take that one.
Over that one.
With that one.
And then I do that over there.
And now, I'm going to-- When do you put the pin in?
In a minute.
I'm going to be here for the next three days.
[LAUGHING] NARRATOR: Not really, although it might well feel like it, James.
I'm sure he's musing now on how Christopher and Mark getting on.
As they head for the hills, the Chilton hills and Wendover.
It's raining on our parade a bit.
It certainly is raining, but I think we've done rather well.
But we've still got some money in our pocket.
With our persuasive techniques, what would you like to find though, Christopher?
I suppose I wouldn't mind finding a little bit of silver.
Or a painting.
A painting would be nice.
A painting, well, I would love to buy a painting, I have to say.
And do you wonder what Ms. James has been up to.
She's got a very good eye as far as art is concerned.
I don't know quite what her object d' art is like.
A bit wonky, I would think.
NARRATOR: The others will soon be coming, wonky or not.
But buying something old shouldn't be too much of a problem in Wendover.
After all, Anne Bolin's family were once landowners round here.
And the Ridgeway, possibly Britain's most ancient road, runs right along the High Street.
CHRISTOPHER BIGGINS: I like that plate.
MARK STACEY: Oh, it's lovely.
But that'll be over 75 pounds.
CHRISTOPHER BIGGINS: I don't know.
Let's have a look.
MARK STACEY: Oh, I think it might be.
CHRISTOPHER BIGGINS: 95.
Maybe he'll do a deal.
Hello, how are you?
Nice to see you.
Nice to see you.
Welcome to Wendover.
Nice to see you.
This is lovely.
Is this is yours?
I wish it was.
There's 30 dealers here.
NARRATOR: Looks promising too.
But thanks to something they bought earlier, our pair have severely limited funds.
MARK STACEY: How much have we got left.
75 pounds of our 400 pound budget.
Oh, that's fine.
- Are you sure?
- You can find-- Two items.
NARRATOR: Well said, Mike.
Does that apply to the paintings you have here too?
See, that I rather like as well, Study of Holland Park, London.
That's Holland Park, London.
No that's so 1950s.
The most modern British colors, those slate greys.
Yeah, I think that's-- I think that's very nice, actually.
I love it.
We may be to get that for a good price.
NARRATOR: You see, I think that.
It's unsigned early to mid 20th.
I think it's mid.
And that would go anywhere.
And it's only marked up at 95.
Yes, we might get that.
Do you like it?
I think it's very nice.
I think that's a possible.
Shall I pop that down?
Because that's definitely a possibility.
And the auction's just down the road from Holland Park in Chiswick, remember?
NARRATOR: Ah, look who's here.
Is this Last Chance Saloon?
NARRATOR: A couple of gunslingers in search of antiques and collectibles apparently.
Nice to meet you.
Hello, nice to meet you.
Nice to meet you too.
LESLEY JOSEPH: Lots of lovely stuff.
We have some brilliant things.
Where's the best place to start, upstairs?
And then come back down and have a wander through.
It's all the way through the back as well.
NARRATOR: They've still got almost 300 pounds left of course, unlike the competition upstairs.
Pretty chairs, aren't they?
Yes, 115 pounds for the two.
It's not a lot, is it?
We wouldn't get the two for 75, no.
But I mean to be honest, let's have a little look at them.
What have we got?
I mean they're French in style, aren't they?
What's the date on these, 20s?
You know, you're probably right.
It's probably 1900 or so.
They put late 19th century.
It's on that cusp.
They're very pretty.
Mike, what's the best you think on these two little chairs here.
Let's have a little-- oh, we ought to get it for 75.
For the two?
It's 40 pounds off.
And that is about a 35% discount, which even as welcome as you all are, is too much.
95 is the very best.
Then we can't buy them because we've only got 75.
I mean you've only taken 20 pounds off.
That is very true.
It's not very much.
Even 20% would be 25 quid, would be 90 pounds.
MARK STACEY: What's really very, very difficult is I thought we were going to get on.
[LAUGHS] He's tried his best.
I think it's measly.
It's not good enough.
It's really not good enough.
Steady, it is his shop.
But there's always that more affordable painting, chaps.
What are Lesley and James on the lookout for?
MARK STACEY: I think we want precious objects I feel inspired by Waddeston.
LESLEY JOSEPH: Inspired by where we've been.
JAMES BRAXTON: Oh, there's a lovely Samson Mordan pencil.
Oh, that's a mighty one.
There in the desk.
LESLEY JOSEPH: Does it actually come with the-- JAMES BRAXTON: Don't know.
Shall we have a quick look?
LESLEY JOSEPH: 22 pounds.
JAMES BRAXTON: It's a bit tatty.
It's been actually used, this one.
125 for the desk set.
It's not exotic enough.
NARRATOR: They're canny, these two, you know.
Now, what's Mike got to show Christopher and Mark.
What's that cameo?
That one there.
I love that.
I think that looks rather sweet.
And that is a cameo, Mike, isn't it?
Yes, yes, it's a carved cameo.
It's quite sweet, isn't it?
I mean cameos aren't particularly the flavor of the month.
But I think it is pinchbeck.
NARRATOR: An alloy of copper and zinc, which looks a lot like gold.
It's called Pinchbeck, after its London clock maker inventor.
You see it reminds me of my mother in I, Claudius.
And it can be your for 15 pounds.
NARRATOR: Well, if that isn't reason enough to buy it, I don't know what is.
LESLEY JOSEPH: That vintage cameo brooch, 20 quid.
It's real bling, isn't it?
NARRATOR: Suddenly, they're all the rage.
But I think the others are about to propose a deal on theirs, plus the painting of course.
What are you saying?
I'm waiting for the obvious question.
Well, you know what I'm going to say, Mike, because we've been absolutely honest with you.
We've got to offer what we've got.
How much have you got?
CHRISTOPHER BIGGINS: 75 pounds.
And that's it.
We've then spent the entire 400.
I'll tell you what we'll do because this is a fine painting, and I don't really think it justifies being reduced too much, I'm going to charge you five pounds for that and I'm going to charge you 70 pounds for that to make your 75.
[PRETEND SOBBING] NARRATOR: Oh, really.
Here we go again.
Save it for your widow, Twankie.
Can I just say thank you very much.
Now that's a pleasure.
On behalf of both of us.
[LOUD SOBBING] Stop it.
I've never seen so much overacting in my life.
And he's doing the amateur theatricals tonight.
Well, I think you've just done it for him NARRATOR: Well that really did bring the house down.
Hey, they look a bit fishy.
LESLEY JOSEPH: Gosh, I love these plates.
Oh, aren't they fun?
Aren't they fantastic?
They're fish plates.
LESLEY JOSEPH: Oh, they're stunning.
Look at them.
JAMES BRAXTON: Carp.
They're very restrained, aren't they?
LESLEY JOSEPH: They are absolutely gorgeous.
NARRATOR: Still, no bling.
But they can certainly afford them.
JAMES BRAXTON: They're fine, aren't they?
I think they seem to be all right.
There's just one now with a chip.
NARRATOR: Well, they are fish plates.
If you cook and have a lot of dinner parties, I think these are divine.
I mean, I was thinking of buying them for myself.
Let's put it that way.
There's the little chip there.
I quite like, you know, space, isn't it?
They've just got one image.
It's quite clever, that.
LESLEY JOSEPH: Let's see what he'll do on them.
Instead of being hectic.
I think he would.
LESLEY JOSEPH: Mike.
NARRATOR: Don't worry these two are less given to histrionics.
LESLEY JOSEPH: Michael.
About these plates, now there's a bit of a problem because two of them have got very tiny chips around the rim.
But I think they're actually rather nice.
And we're wondering, I'm just wondering what the best on those would be.
What do you think would be a sensible offer?
I don't know.
What do you think?
I think sort of 25, 30.
Come on, chaps.
Dealer has to make a living.
MIKE: To be fair to the dealer.
JAMES BRAXTON: 33.
They are unusual.
They have a slightly modern look.
But if I was a keen cook, I'd quite like those.
Shall we go 32.
NARRATOR: Blimey, Leslie's determined, isn't she?
Don't shake my hand.
I'm not the man with the money.
This lady with the money, 32.
I think they're nice.
I found those.
I found those.
NARRATOR: Pescatoral platters purchased, it's time to take a cold blooded look at their buys.
I like those.
I like those.
What is it?
Oh, I love the frog.
LESLEY JOSEPH: Do you like the frog?
I love the frog.
Oh, the frog is fabulous.
Do you like him?
I love him.
And you put your stamp on that table, I see.
And look, a little chair for Lesley.
Oh, it's gorgeous.
NARRATOR: How about another Lesley find?
I love these.
LESLEY JOSEPH: Do you like them?
I think these are gorgeous.
Who are they made by?
By Marks and Spencer's.
It's their new range.
They're lovely though.
Look at the quality.
Look through the light.
Can't see a thing.
No, I do think they're very pretty actually.
I love the table.
That's very on trend.
Do you, do you like that?
Very on trend.
Are we on trend?
Are we cool?
NARRATOR: Highly unlikely, but we can't rule it out.
Likewise this lot.
LESLEY JOSEPH: That is really outrageous.
This is birds of a feather.
MARK STACEY: There's three of you.
There's Lesley in the middle.
LESLEY JOSEPH: I love it.
Now this I just love this.
I think it's beautiful.
LESLEY JOSEPH: It is beautiful.
We paid quite a lot of money though for it.
What did you pay?
NARRATOR: Straight face, you two.
It's not a signed Clarice Cliff, but it's very much-- It's like Clarice Cliff, but it's not.
CHRISTOPHER BIGGINS: It is made by the Wilkinson factory.
The shape is very Clarice Cliff.
It's a great shape.
I think it's joyous.
I think the color.
The other thing we love is this mid-twentieth century 1950s oil on board.
- Holland Park.
- Holland Park.
- I love that.
- That's lovely.
That is lovely.
- How much did you pay for that?
LESLEY JOSEPH: That is very you.
LESLEY JOSEPH: And that, I saw the boar.
- Did you see the boar?
Did you like it?
I loved it.
It is bronze.
Now I would buy that for me.
CHRISTOPHER BIGGINS: I would buy it and also it's got such a lovely face.
JAMES BRAXTON: It's got a great face, hasn't it?
+ LESLEY JOSEPH: Beautiful.
Well, I have to say, I think we've done-- CHRISTOPHER BIGGINS: I think we've done awfully well, all of us.
MARK STACEY: We spent-- How much?
Every last-- 400 pounds.
CHRISTOPHER BIGGINS: Exactly.
I wouldn't worry.
If that's going to lose money, that's going to make money in buckets.
I think this will make, absolutely.
I love it.
I reckon that could absolutely fly.
NARRATOR: But what did they really think?
CHRISTOPHER BIGGINS: I loved the frog.
MARK STACEY: Oh the frog is amazing.
- 50 quid.
Yeah, I know.
That clock garniture with the pigeons.
If there's a pigeon racer, pigeon fancier, they're going to love that.
Yeah, but if there's only one, you're going to need two or three.
The pigeons were a scene stealer.
They really were.
The lemonade set, I think they will definitely lose money on.
I think it's overpriced.
I'm very proud we spent the entire 400.
I don't think they've got the edge at all because I think our things we paid so little for, I think there's a good chance for a good profit on all of them.
NARRATOR: After starting out in Hertfordshire at Sawbridgeworth, our celebrities and experts will now wind up in West London for an auction at Chiswick, famously home to the 18th century artist and satirist, William Hogarth, Chiswick's name originates from the old English for cheese farm.
I didn't know that.
LESLEY JOSEPH: We had a great couple of days.
JAMES BRAXTON: Yes, we did.
LESLEY JOSEPH: And now it's raining.
JAMES BRAXTON: Is it?
LESLEY JOSEPH: My hair will go into a frizz ball if we do not get there quite soon.
NARRATOR: Vitesse, ah, Christopher?
Hello, how are you?
NARRATOR: Oh, lordy.
Welcome to High Road Auctions for an evening sale of antiques, interiors, and collectibles.
Let's hear what auctioneer Ross Mercer makes of their chances.
The frog fountain, well, a great addition to any garden.
Once plumbed in, I think it's going to bring a lot of fun.
We hope that it's going to make at least 100, 150 pounds.
The cameo brooch is a wonderful example of Etruscan revival.
It is wonderful quality.
We should be looking at about 80, 120 pounds.
Now the lemonade set, you would have thought that it would have come from the factory of Clarice Cliff.
However, it is later 20th century copy.
We hope that it's going to make at least 30 to 50 pounds.
NARRATOR: Oh dear, that'll be a bit of a shock.
Lesley and James bought five auction lots, spending just 137 pounds.
While Christopher and Mark spent all 400 pounds, mostly on one very expensive and risky lot.
Gosh, so Greek tragedy or a complete farce.
What is it to be?
So what do you want?
The running boar?
The running boar.
Is that paraphrase for something.
It's their very first purchase.
There he is.
Wouldn't want to get near him on a dark night, would you?
Straight in at five at 65.
80 with you, sir.
At 80 pounds, high bid stood in front at 80.
80, that's good.
It's absolute lovely by the bedside table.
I'm so very sorry to sell this at 80 pounds only.
So are we.
You've made a profit.
What a bargain you got.
NARRATOR: A small profit which certainly gets their snouts in front.
Made a tenner.
That's all right.
Yeah, but after commission.
That dreaded commission.
You mean, you do profit after commission?
We lost a bit of commission.
It's a working job.
It's just like you and your agent.
NARRATOR: A salutary lesson.
Now for one of Leslie's fine catches, the fish plate's.
What does that mean?
He's been looking in his book again.
A lot of interest.
Five straight in.
A 45 bid.
Now 50 pounds.
A bid five.
Five new buyer.
At 65 pounds, exceeding all expectations.
It's-- last chance to get involved at 65.
NARRATOR: Quite a haul, with gilt edged profits like that, they could well win.
That's not too shabby.
It's not terribly chic either.
But never mind.
NARRATOR: Time for Christopher and Mark's bargain cameo.
The auctioneer rates it highly.
I've got bids here at 20 pounds.
20 pounds, but it seems pretty mean.
Coming in at five, at 25, bid 30.
Five with you, madam, at 35 pounds bid.
40 with you, sir, at 40 pounds.
Seems cheap to me.
Seems rather expensive to me.
No further interest now at 40.
Sold to you, sir.
LESLEY JOSEPH: Well done.
NARRATOR: Eight times over from cameo to star role.
But what will the more expensive painting they bought with her make?
We loved this.
We did love this.
You liked it, didn't you?
I like that.
I like it.
LESLEY JOSEPH: We all like it.
NARRATOR: I like it.
Just needs some bidders now.
How do you value it?
Ought to be 30 pounds starting at long.
30 pounds bid.
See five, 35 bid, 40.
40 pounds now left hand side at 40.
With the lady at 40 pounds.
This is your bid, madam, at 40.
Sold to you at 40 pounds.
NARRATOR: Oh, she's got a nice painting for a very small price.
Take care with Lesley's sharp little crocodile paper knife.
Five pounds I'm bid on the books, at five.
Eight pounds, bid 10.
10 pounds only.
At 14 pounds.
16 pounds, I'm bid on my left.
There's only a certain amount of people that need one.
I'm going to sell it at 16 pounds and breaking my heart.
NARRATOR: He looks happy enough.
I can see it was Lesley who found these interesting things.
Much better than his usual stuff.
Normally I make a loss.
You didn't tell me that when I joined up with you.
Moving on, we have Christopher and Mark's pigeon clock garniture.
Any pigeon fanciers out there?
Now's your chance.
[COOING NOISES] I think we've got a loft in here.
That was frighteningly good.
Listen, don't give in to little annoyances, will you?
We've had some interest over the view.
50 pounds I'm bid.
At 50 pounds, may I say five at 55.
55 pounds bid, 60.
65 bid 70.
And five at 75.
At 80 pounds in front.
I'm going to have to sell it now at 80 only.
Sold at 80 pounds.
NARRATOR: An amazing profit, chaps.
Lofty, you might say.
Will the table that James unearthed earn the stamp of approval though?
All it needs is a glass, bit of plate glass.
Because it's got a rather cheap plastic perspex.
CHRISTOPHER BIGGINS: Rather cheap.
You heard it here first.
At 10 pounds I'm bid.
10 pounds, 15, 15 bid 20 now.
20 bid, 25 going.
At 25, bid 30.
At 30 pounds.
JAMES BRAXTON: Quite steady work, 35.
It's a table.
You have to use your imagination.
At 35 at 35 pounds.
I'm bid at 35.
I've got to sell it now at 35 pounds, internet last chance.
- That's OK. 35.
NARRATOR: Yeah, it's not bad.
With Lesley's little chair to follow.
It is perfect for you, wasn't it?
You could sit on it beautifully.
It's absolutely lovely.
Being a very small person.
What would you bid me.
10 pounds surely in front?
Which leg would you like for 10 pounds?
JAMES BRAXTON: 20.
20 I have.
20 new place, 20 I have.
20 25 bid, 30.
35 35 pounds.
Shakes his head at 35.
I'm going to sell it now.
Sold to you, sir.
NARRATOR: Well, it's a profit before costs are deducted.
But this is the big one.
If Christopher's lemonade gamble disappoints, then I think Lesley may have it.
A lot of interest here.
Oh, lot of interest.
At 30 pounds.
CHRISTOPHER BIGGINS: A lot of interest starts at 30.
LESLEY JOSEPH: It'll go up, Christopher.
60. five at 65 pounds at 65, I'm out.
At 65, That's not what I'd call a lot of interest, is it?
NARRATOR: This is not looking good.
70 now, 75, 75, 80.
Don't be put off at 85.
90 now, madam.
90 and 95.
I have with the gentleman.
Make it 100 to you.
Last chance, otherwise I've got to take the internet bid.
100 pounds now to the internet 100.
110 pounds I have.
CHRISTOPHER BIGGINS: It's creeping up.
CHRISTOPHER BIGGINS: Come on.
CHRISTOPHER BIGGINS: It should be a lot more than that.
140, 150, sir.
JAMES BRAXTON: Oh.
And if you're all sure, I've got to sell it now at 150 pounds.
CHRISTOPHER BIGGINS: This is a bargain.
It is a bargain, thank you, Christopher.
CHRISTOPHER BIGGINS: I'm furious with this room.
140 pounds, sold to the internet at 140.
NARRATOR: It did a lot better than the auctioneer expected, but not quite enough for Christopher.
Obviously people in Chiswick don't have lemonade.
NARRATOR: Now for Lesley and James's frog find.
Give us a kiss.
You bought this very well, didn't you.
Only paid 50 pounds for it.
Yeah, cheeky offer.
We tried cheeky offers.
They said no.
It's the massive frog that you've all been walking past.
Yeah, beautiful frog.
80 pounds I'm bid on the books.
But it seems pretty mean at 80.
LESLEY JOSEPH: Come on.
I want you to come in at 85, at 85.
90 I have in the room.
NARRATOR: Leaps and bounds.
At 110 pounds I have.
JAMES BRAXTON: That's good.
JAMES BRAXTON: Come on, internet.
LESLEY JOSEPH: Come on.
Internet, we've got 120.
At 120 pounds.
130 in the room.
At 130 pounds.
At 130 pounds.
It is your bid, sir, at 130.
140 pounds, it's leaping away.
He's shaking his head at 140 pounds.
At 140 pounds with fair warning.
Sold to the internet.
That was all right.
NARRATOR: Cor, he turned out to be a handsome prince after all than.
LESLEY JOSEPH: Thank you, internet.
Thank you, internet.
You have Lesley now thanking the internet.
LESLEY JOSEPH: Yes.
140, we're happy with that.
We're not greedy people, are we?
No, not at all.
NARRATOR: So thanks to some shrewd buys and not one loss, Lesley and James have done very well indeed.
JAMES BRAXTON: We're all very clever.
You are clever.
What are we?
We, we're not clever.
NARRATOR: Christopher and Mark began with 400 pounds and after paying auction costs they made a loss of 88 pounds and 40p, leaving them with 311 pounds and 60p.
Whilst Lesley and James, who also started out with 400 pounds made, after paying auction costs, a profit of 101 pounds and 62 pence.
So they're today's victors with 501 pounds and 62p.
All profits of course, go to children in need.
What and evening.
Now I have the news you've all been waiting for.
Sadly, you've lost it.
Yes, it's been terrible.
No, no, no, I'm afraid, Mark, we lost 90 pounds, whereas Lesley and James, you made 100 pounds.
Well done, James.
What can I say?
I tell you though, the whole experience has been wonderful, especially the lunches and the dinners.
They've been fantastic.
The rest of it was rubbish.
LESLEY JOSEPH: Let's go.
Thank you, Christopher.