Browse content similar to Episode 3. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
-TIM WONNACOTT: -Some of the nation's favourite celebrities... | 0:00:02 | 0:00:03 | |
What if we said 150 for the two? Then you've got yourself a deal. | 0:00:03 | 0:00:07 | |
..one antiques expert each... | 0:00:07 | 0:00:08 | |
Thank you, baby! | 0:00:08 | 0:00:10 | |
Da da da-da da-da da-da da! | 0:00:10 | 0:00:13 | |
..and one big challenge - who can seek out | 0:00:13 | 0:00:15 | |
and buy the best antiques at the very best prices... | 0:00:15 | 0:00:19 | |
I can feel something. | 0:00:19 | 0:00:20 | |
THEY LAUGH | 0:00:20 | 0:00:22 | |
..and auction for a big profit further down the road? | 0:00:22 | 0:00:25 | |
Who will spot the good investments? Who will listen to advice? | 0:00:28 | 0:00:31 | |
What you've just come out with there, I cannot believe that! | 0:00:31 | 0:00:33 | |
And who will be the first to say, "Don't you know who I am?!" | 0:00:33 | 0:00:38 | |
Time to put your pedal to the metal - | 0:00:38 | 0:00:42 | |
this is Celebrity Antiques Road Trip. | 0:00:42 | 0:00:44 | |
Yeah! | 0:00:47 | 0:00:48 | |
Welcome to West Yorkshire - | 0:00:52 | 0:00:54 | |
2,029 square kilometres of gorgeous Britain. | 0:00:54 | 0:00:59 | |
Whee...! | 0:01:01 | 0:01:02 | |
And now a haven for two light-footed celebrities | 0:01:02 | 0:01:05 | |
with £400 each and antiques in their sights. | 0:01:05 | 0:01:08 | |
That's not their back view, by the way. Ha! | 0:01:08 | 0:01:11 | |
From the world of dance, we have both sides of the judging arena. | 0:01:11 | 0:01:15 | |
Mirror, signal, manoeuvre. | 0:01:15 | 0:01:17 | |
Watch that man! | 0:01:17 | 0:01:18 | |
All right. Oh, my God! | 0:01:18 | 0:01:21 | |
Oh, my God! | 0:01:21 | 0:01:23 | |
She is the girl who changed choreography | 0:01:24 | 0:01:28 | |
and who outraged the censors with Hot Gossip | 0:01:28 | 0:01:31 | |
and helped a nation to dance better. | 0:01:31 | 0:01:34 | |
Now here for your viewing pleasure, it's Arlene Phillips. | 0:01:34 | 0:01:38 | |
And Arlene's glamorous partner is this fine young specimen. | 0:01:40 | 0:01:44 | |
A stalwart of the ballroom, a veteran of Strictly | 0:01:46 | 0:01:49 | |
and a man who faces adversity with grace and poise. | 0:01:49 | 0:01:53 | |
He's the outgoing rear of the year - he's Anton du Beke. | 0:01:54 | 0:01:59 | |
Are you looking forward to two days of this? | 0:01:59 | 0:02:01 | |
I'm very much looking forward to two days of this. | 0:02:01 | 0:02:04 | |
I can't think of anything I'd rather do. | 0:02:04 | 0:02:06 | |
And while our celebrities savour their affable 1969 Ford Cortina, | 0:02:06 | 0:02:12 | |
they simply cannot find auction prospects all on their lonesome. | 0:02:12 | 0:02:17 | |
-Do you know who the experts are? -No, not a clue. | 0:02:17 | 0:02:19 | |
-I hope he's a good expert. -Yeah, I hope he's an expert! | 0:02:19 | 0:02:21 | |
-I hope he's knowledgeable. An expert expert. -An expert expert. | 0:02:21 | 0:02:24 | |
-I'd like an expert. -Not just any old expert. | 0:02:24 | 0:02:26 | |
-Not any old jobby. -God, no. | 0:02:26 | 0:02:27 | |
Oh, no! In an ideal world, | 0:02:27 | 0:02:29 | |
the finest expert minds would be at Arlene and Anton's disposal. | 0:02:29 | 0:02:33 | |
But today... | 0:02:33 | 0:02:35 | |
There you go. Very good for the buttocks. | 0:02:35 | 0:02:37 | |
If we build up a sweat for you, | 0:02:37 | 0:02:39 | |
Arlene will see your real credentials for dancing. | 0:02:39 | 0:02:43 | |
HE LAUGHS | 0:02:43 | 0:02:45 | |
Oh. Right, take it away. Take it away. | 0:02:45 | 0:02:49 | |
Hmm. | 0:02:51 | 0:02:53 | |
A surveyor and auctioneer, | 0:02:53 | 0:02:55 | |
he's done 25 years' hard antiques labour. | 0:02:55 | 0:02:59 | |
He loves fine furniture and great British design. | 0:03:00 | 0:03:03 | |
Don't do it, madam. Don't do it. | 0:03:03 | 0:03:06 | |
He's James Braxton. | 0:03:06 | 0:03:08 | |
What should I do, James? | 0:03:09 | 0:03:11 | |
And I know what you're thinking - | 0:03:11 | 0:03:13 | |
school's out early, and that chap needs a haircut. | 0:03:13 | 0:03:18 | |
However, he's a successful auctioneer, | 0:03:19 | 0:03:21 | |
he's a shrewd businessman, he's a bit of a charmer. | 0:03:21 | 0:03:25 | |
He's Charles Hanson. And he's cool. Well, he thinks so. | 0:03:25 | 0:03:29 | |
Following in their almost reliable 1982 Citroen 2CV, | 0:03:29 | 0:03:33 | |
our experts are dressed to impress. | 0:03:33 | 0:03:36 | |
I always wanted to be a dancer. | 0:03:36 | 0:03:38 | |
Did you? Really? You've got the figure for it, Charles. | 0:03:38 | 0:03:40 | |
I'm often told I'm a very good dancer. | 0:03:40 | 0:03:42 | |
I am the total opposite of you, Charles. | 0:03:42 | 0:03:45 | |
HE LAUGHS | 0:03:45 | 0:03:47 | |
When the music starts, I think | 0:03:47 | 0:03:50 | |
I can cut some shapes on the dancefloor, | 0:03:50 | 0:03:52 | |
but everybody around me tells me I can't. | 0:03:52 | 0:03:55 | |
-My old singing teacher went to see you in Oh! Calcutta! -Oh, my gosh! | 0:03:55 | 0:04:00 | |
-Where you were dancing with your kit off. -Yeah, I was. | 0:04:00 | 0:04:03 | |
-I tried to get Ann Widdecombe to do that but she wasn't having it. -Yay! | 0:04:03 | 0:04:06 | |
I know, you said we'd never make it! | 0:04:06 | 0:04:09 | |
-I used to be called Twinkletoes. -Did you? -Twinkletoes Hanson. | 0:04:09 | 0:04:12 | |
Well, he may be light on his feet, but he's also late. | 0:04:12 | 0:04:15 | |
Hello! | 0:04:17 | 0:04:18 | |
-Hello! -Perfect, perfect. -Well done, Charles. | 0:04:18 | 0:04:20 | |
Take it easy, take it easy. | 0:04:20 | 0:04:22 | |
Dancing feet. | 0:04:22 | 0:04:23 | |
Exactly, exactly. | 0:04:23 | 0:04:25 | |
Come on, give us a shuffle! | 0:04:25 | 0:04:27 | |
THEY LAUGH | 0:04:27 | 0:04:29 | |
I am the most wooden man ever! | 0:04:29 | 0:04:30 | |
-Look at this! -How are you? | 0:04:30 | 0:04:32 | |
Good to see you. | 0:04:32 | 0:04:34 | |
-I'm James, how are you? -I'm Arlene. | 0:04:34 | 0:04:37 | |
-Nice to see you, Arlene, good to see you. -Nice to meet you. | 0:04:37 | 0:04:39 | |
-How are you? -I'm good, I'm really good. So, what happens now? | 0:04:39 | 0:04:44 | |
Antiques. | 0:04:44 | 0:04:45 | |
-And you're an expert? -I'm an expert. | 0:04:45 | 0:04:48 | |
-And you're an expert. -Absolutely. | 0:04:48 | 0:04:50 | |
And I'm a bit more of a mover. This man needs some practice. | 0:04:50 | 0:04:54 | |
Give me your hand. | 0:04:54 | 0:04:55 | |
THEY LAUGH | 0:04:55 | 0:04:58 | |
Very good. | 0:04:58 | 0:04:59 | |
Good moves, good moves. Come on, Eileen. Arlene. | 0:04:59 | 0:05:02 | |
-Come on, Arlene. -Arlene! | 0:05:02 | 0:05:04 | |
Come on, Arlene. | 0:05:04 | 0:05:05 | |
It's Arlene, by the way! | 0:05:05 | 0:05:06 | |
Nice one, James, get the name right(!) | 0:05:07 | 0:05:10 | |
So our celebrities now have a sort of expert and £400 each. | 0:05:10 | 0:05:13 | |
Bring on the rummaging. | 0:05:13 | 0:05:14 | |
They will take in the best of the west of Yorkshire | 0:05:15 | 0:05:18 | |
before hopping over borders to Lancashire and Merseyside | 0:05:18 | 0:05:22 | |
for an imminent, decisive Liverpudlian auction | 0:05:22 | 0:05:26 | |
in just two days' time. | 0:05:26 | 0:05:28 | |
First, glorious Cullingworth opens its doors, | 0:05:28 | 0:05:32 | |
and the local antiques fair here on the third Sunday of every month | 0:05:32 | 0:05:36 | |
will need to give everyone a good start. | 0:05:36 | 0:05:39 | |
-Anton, this is it. -Ah! | 0:05:39 | 0:05:41 | |
-This is it, this is what you call antiques. -Is it? | 0:05:41 | 0:05:44 | |
Are you a collector? | 0:05:44 | 0:05:45 | |
I do like old sort of...um...things. | 0:05:45 | 0:05:48 | |
Well, that sounds... sort of like antiques. | 0:05:48 | 0:05:51 | |
Maybe Arlene can throw herself in more sort of wholeheartedly, maybe. | 0:05:51 | 0:05:56 | |
"The Yorkshire Stone Castle". Ruined castle, 1860s, watercolour. | 0:05:56 | 0:06:02 | |
Someone's framed them in rather ugly frames. | 0:06:02 | 0:06:06 | |
Don't say that, it's probably the lady here! | 0:06:06 | 0:06:08 | |
It's a matter of opinion, isn't it? | 0:06:08 | 0:06:10 | |
-Quite. -Yeah, I suppose so. | 0:06:10 | 0:06:11 | |
I was just about to say how beautifully framed they were. | 0:06:11 | 0:06:15 | |
Anton, I'll test you. What is an antique? | 0:06:15 | 0:06:17 | |
Something aged, would it be? | 0:06:17 | 0:06:19 | |
Yeah. Aged, it must be 100 years old. 100. | 0:06:19 | 0:06:23 | |
So think pre-Titanic, think Edwardian and earlier, | 0:06:23 | 0:06:27 | |
and all these objects here, they're collectable. | 0:06:27 | 0:06:30 | |
We have £400 to spend. | 0:06:30 | 0:06:32 | |
I think we can get lunch out of that, don't you? | 0:06:32 | 0:06:35 | |
Not really the spirit! | 0:06:35 | 0:06:36 | |
If Anton can't offer Charles enthusiasm, then, well, | 0:06:36 | 0:06:40 | |
what can he offer? | 0:06:40 | 0:06:41 | |
I want to walk round the antiques fair today with a swagger, | 0:06:41 | 0:06:44 | |
almost to follow your lead, | 0:06:44 | 0:06:46 | |
and to see how I can evolve myself as a dancer. | 0:06:46 | 0:06:50 | |
-Really? -Yeah, I do, yeah. | 0:06:50 | 0:06:51 | |
Well, it will start from the floor up. | 0:06:51 | 0:06:54 | |
Oh, look, it's a stalking party. 1895. | 0:06:54 | 0:06:58 | |
So when Queen Victoria made the Highlands so fashionable | 0:06:58 | 0:07:01 | |
with the purchase of Balmoral | 0:07:01 | 0:07:04 | |
and society moved for the 12th of August | 0:07:04 | 0:07:06 | |
up to the Highlands for grouse shooting and then stalking. | 0:07:06 | 0:07:11 | |
-This is the beautiful 12th, or whatever it was called. -Yeah. | 0:07:11 | 0:07:14 | |
-Glorious twelfth. -Glorious 12th. | 0:07:14 | 0:07:15 | |
If it wasn't antiques, it'd be dancing. I really mean it. | 0:07:15 | 0:07:18 | |
Yes, yes. I think you have a natural talent. | 0:07:18 | 0:07:20 | |
You have something in there that we can work on. | 0:07:20 | 0:07:22 | |
You're going to walk properly. So stand tall, | 0:07:22 | 0:07:24 | |
and you're going to walk naturally, | 0:07:24 | 0:07:26 | |
because if you can't walk, as Josephine Bradley said - | 0:07:26 | 0:07:28 | |
-you would have liked her - you can't possibly dance. -OK, OK. | 0:07:28 | 0:07:31 | |
So I'm going to walk, see? My feet, natural swinging leg action here. | 0:07:31 | 0:07:35 | |
Natural, natural, natural. I do a little turn and I walk back. | 0:07:35 | 0:07:39 | |
Don't turn on your heels, dear. Keep walking. | 0:07:39 | 0:07:42 | |
This doesn't look much like shopping, does it? | 0:07:42 | 0:07:44 | |
-Do a turn. On your toes. -Oh! | 0:07:44 | 0:07:46 | |
Whilst Charles works on his new career, | 0:07:46 | 0:07:49 | |
Arlene is expanding her horizons in the field of antiques appraisal. | 0:07:49 | 0:07:53 | |
What could you do this for? | 0:07:53 | 0:07:55 | |
-45. -45. I think that's a great price | 0:07:55 | 0:07:58 | |
and I think it would be churlish... | 0:07:58 | 0:08:00 | |
-So, £45... -£45. | 0:08:00 | 0:08:03 | |
..is on our very, very, very first purchase. | 0:08:03 | 0:08:06 | |
-Well done. That's great. -Well done! | 0:08:06 | 0:08:10 | |
Arlene's got straight down to some serious antiques business already. | 0:08:10 | 0:08:14 | |
This girl certainly knows what she wants, | 0:08:14 | 0:08:16 | |
and I'm sure the boys are busy shopping too. Right? | 0:08:16 | 0:08:20 | |
-Now walk. -Maybe not. -Yes? -Yeah, walk. Keep the body up. | 0:08:20 | 0:08:24 | |
Roll through your feet. Don't go up and down. | 0:08:24 | 0:08:27 | |
-Turn. Good turn! -Really good turn. | 0:08:27 | 0:08:30 | |
Grip. You must grip both buttocks. | 0:08:30 | 0:08:34 | |
Never mind about buttocks, how about gripping some shopping? | 0:08:34 | 0:08:37 | |
I love this. | 0:08:39 | 0:08:41 | |
She is glam, isn't she? Very glam. | 0:08:41 | 0:08:43 | |
I love this. | 0:08:43 | 0:08:45 | |
Marilyn Monroe. | 0:08:45 | 0:08:46 | |
Oh, my God, look at the bathing belle and her ball. | 0:08:46 | 0:08:49 | |
Now, which one do you like out of the both or do you like them both? | 0:08:51 | 0:08:55 | |
Well, OK. I love the Marilyn because of the pose, | 0:08:55 | 0:08:59 | |
because of the look, I love the colours, | 0:08:59 | 0:09:02 | |
but this one feels to me that if you put her up in auction, | 0:09:02 | 0:09:06 | |
people would be going bump, bump, bump. | 0:09:06 | 0:09:09 | |
I'd like to take it off your hands. | 0:09:09 | 0:09:12 | |
What do you really think I could get this bathing belle for? | 0:09:12 | 0:09:16 | |
It's 75, and that's it. | 0:09:16 | 0:09:18 | |
Could we do it for 70? | 0:09:18 | 0:09:19 | |
-No. -75. | 0:09:19 | 0:09:22 | |
-Lovely, thank you very much. -Should we leave here? | 0:09:22 | 0:09:24 | |
Let's move on out of here, let's go! | 0:09:24 | 0:09:26 | |
Yeah, let's go to another antiques shop. Come on. | 0:09:26 | 0:09:29 | |
That's two in the bag for Team Arlene. | 0:09:29 | 0:09:31 | |
Feels like Anton and Charles are just... | 0:09:31 | 0:09:34 | |
dragging their feet, frankly. | 0:09:34 | 0:09:36 | |
There's a plethora of history on this table. | 0:09:36 | 0:09:39 | |
Of an antique history. | 0:09:39 | 0:09:42 | |
And where are you swaying to? | 0:09:42 | 0:09:44 | |
Well, a nice scent bottle over there I saw earlier. Look at that. | 0:09:44 | 0:09:47 | |
-It's blue enamelled on top. -Yeah. What do we think about that? | 0:09:47 | 0:09:51 | |
It says made by Adie Brothers of Birmingham, 1902. | 0:09:51 | 0:09:54 | |
So this was made, let's say, 10 years before Titanic sank. | 0:09:54 | 0:09:59 | |
Is it collectable? | 0:09:59 | 0:10:00 | |
Oh, absolutely. Silver hallmark, look, that's all-important... | 0:10:00 | 0:10:03 | |
-that lion there confirms it's solid silver. -Keep going. | 0:10:03 | 0:10:07 | |
That's nostalgia, OK? | 0:10:07 | 0:10:08 | |
And then you sort of throw your arms out, can't you, | 0:10:08 | 0:10:11 | |
and you can believe in it. | 0:10:11 | 0:10:12 | |
Oh. Hey, can you feel it? | 0:10:12 | 0:10:15 | |
I think Anton's beginning to feel something. Oh, Lord. | 0:10:15 | 0:10:19 | |
Could a £90 perfume bottle awake his senses? | 0:10:19 | 0:10:22 | |
-Anton, you know, I'm here to serve you. -Are you? | 0:10:24 | 0:10:27 | |
-I'm here to... -Advise me. | 0:10:27 | 0:10:31 | |
..advise you and I would like to buy | 0:10:31 | 0:10:34 | |
a good scent bottle for about £60. | 0:10:34 | 0:10:36 | |
What do you think, £70? | 0:10:39 | 0:10:40 | |
-£70. -What do you think? | 0:10:40 | 0:10:41 | |
We'll give you 70 of our best pounds for it. | 0:10:41 | 0:10:44 | |
OK. For you. Just for you. | 0:10:44 | 0:10:46 | |
Should have said 65. I told you! | 0:10:46 | 0:10:48 | |
Let's hope we've awoken Anton's inner antique shopping sense | 0:10:48 | 0:10:51 | |
with that long-awaited purchase. | 0:10:51 | 0:10:53 | |
Right. Well, I'm very happy with that. | 0:10:53 | 0:10:56 | |
One down. | 0:10:56 | 0:10:57 | |
However, the competition are hot-footing it and are on the move. | 0:10:57 | 0:11:01 | |
When I actually go looking for antique bargains, | 0:11:02 | 0:11:07 | |
I'm up at 5am and I'm hitting the markets with the traders | 0:11:07 | 0:11:14 | |
and I'm getting worried that it's getting a little bit late. | 0:11:14 | 0:11:19 | |
-We're a bit casual about this, aren't we? -Yeah. | 0:11:19 | 0:11:21 | |
So you are an early bird? | 0:11:21 | 0:11:23 | |
I am an early bird when I decide to go hunting. | 0:11:23 | 0:11:27 | |
And now the Road Trip leads Arlene and James due north | 0:11:27 | 0:11:32 | |
by a whopping nine miles to Keighley on the outskirts of Bradford. | 0:11:32 | 0:11:36 | |
Keighley has been home to the greats. | 0:11:38 | 0:11:41 | |
Former residents include Mollie Sugden, | 0:11:41 | 0:11:44 | |
aka Mrs Slocombe of Are You Being Served?, | 0:11:44 | 0:11:47 | |
and actor Peter Mayhew, | 0:11:47 | 0:11:49 | |
better known as Chewbacca from the once-popular Star Wars films. | 0:11:49 | 0:11:54 | |
Were you ever in Hot Gossip? | 0:11:54 | 0:11:57 | |
No, I wasn't IN Hot Gossip - I created Hot Gossip. | 0:11:57 | 0:12:00 | |
You created it. So have you always been sort of more choreographer? | 0:12:00 | 0:12:05 | |
I fell into choreography by accident. | 0:12:05 | 0:12:08 | |
I was babysitting for Ridley Scott. | 0:12:08 | 0:12:10 | |
Really?! | 0:12:10 | 0:12:12 | |
HE LAUGHS | 0:12:12 | 0:12:13 | |
No, I know. This is a true story. | 0:12:13 | 0:12:15 | |
And he was offered the job of creating a commercial | 0:12:15 | 0:12:19 | |
for Lyons Maid ice cream with a dancing cow and a milk maid, | 0:12:19 | 0:12:23 | |
and he said to me, "Could you do a few steps?" | 0:12:23 | 0:12:27 | |
And it went on from there. | 0:12:27 | 0:12:29 | |
So that was...Ridley Scott? | 0:12:29 | 0:12:30 | |
That was my start. | 0:12:30 | 0:12:32 | |
That is quite a start. | 0:12:32 | 0:12:33 | |
A very good start. | 0:12:33 | 0:12:35 | |
Right, Arlene, here we are. | 0:12:37 | 0:12:39 | |
Fabulous. | 0:12:41 | 0:12:42 | |
A lady of your calibre, to the front door, I think, with you. | 0:12:42 | 0:12:45 | |
Thank you. | 0:12:45 | 0:12:46 | |
Arlene and James have begun well, | 0:12:46 | 0:12:48 | |
and Keighley's tantalising Heathcoat Antiques | 0:12:48 | 0:12:51 | |
could help them stay ahead of the game. Owner Michael is here to help | 0:12:51 | 0:12:54 | |
and has a selection of silver items to tempt them with. | 0:12:54 | 0:12:58 | |
Now, what is this? What are they? | 0:12:58 | 0:13:01 | |
So that looks like... | 0:13:01 | 0:13:03 | |
Are they studs or buttons? | 0:13:03 | 0:13:04 | |
Yeah, a dress set. 14-carat fronts. | 0:13:04 | 0:13:08 | |
And these are 14 quid, are they? | 0:13:08 | 0:13:09 | |
No, they're 14 carat. | 0:13:09 | 0:13:11 | |
14 c... Sorry. | 0:13:11 | 0:13:12 | |
-TIM LAUGHS -Keep up, James! | 0:13:12 | 0:13:15 | |
But clearly, Team Arlene has set their sights on buying | 0:13:15 | 0:13:18 | |
a number of quality items. | 0:13:18 | 0:13:20 | |
Keen searching unearthed a gold, dress stud set, | 0:13:20 | 0:13:25 | |
a silver-topped jar, | 0:13:25 | 0:13:27 | |
a Georgian silver tablespoon, | 0:13:27 | 0:13:29 | |
a pair of napkin rings, all for a bargain £20. | 0:13:29 | 0:13:33 | |
That's a gift. Oh, and an enamel box, priced at 68. | 0:13:33 | 0:13:37 | |
What's your best price on that? | 0:13:37 | 0:13:38 | |
-40. -40. | 0:13:38 | 0:13:40 | |
I think you'll make a profit on that. | 0:13:40 | 0:13:42 | |
You know what, Michael, I'm trusting you. | 0:13:42 | 0:13:44 | |
HE LAUGHS | 0:13:44 | 0:13:46 | |
Don't let me down, because I'll be back. OK. | 0:13:46 | 0:13:49 | |
So we're going to have that? | 0:13:49 | 0:13:51 | |
I think we should have this. I definitely think we should have... | 0:13:51 | 0:13:54 | |
Those for 20? | 0:13:54 | 0:13:55 | |
-Yes. That's a no-brainer. -Well done. We've bought four lots. | 0:13:55 | 0:13:58 | |
So that's a cool £40 for the enamel box | 0:13:59 | 0:14:02 | |
and £20 for the silver and gold collection. Great! | 0:14:02 | 0:14:06 | |
-Money, James. -There you are. | 0:14:06 | 0:14:09 | |
Thank you, baby. | 0:14:09 | 0:14:10 | |
Talking of infants, | 0:14:10 | 0:14:12 | |
the day's shopping triumphs are feeling a little one-sided. | 0:14:12 | 0:14:15 | |
As a young boy, when did you realise you had... | 0:14:16 | 0:14:20 | |
twinkletoes? | 0:14:20 | 0:14:22 | |
When I looked down and I had princess slippers on! | 0:14:22 | 0:14:24 | |
THEY LAUGH | 0:14:24 | 0:14:26 | |
I started dancing when I was about 13 or 14. | 0:14:26 | 0:14:29 | |
And pretty soon after that, I thought, | 0:14:29 | 0:14:31 | |
"This is something I'd really like to do." | 0:14:31 | 0:14:33 | |
Doubling back from Keighley, | 0:14:33 | 0:14:35 | |
Anton and Charles are heading for an indulgence. | 0:14:35 | 0:14:39 | |
Four miles southwest lies the very pretty village of Haworth, | 0:14:39 | 0:14:43 | |
world-famous birthplace of the literary Bronte sisters | 0:14:43 | 0:14:48 | |
and, interestingly, twinned with | 0:14:48 | 0:14:49 | |
the ancient Inca city of Machu Picchu in Peru. | 0:14:49 | 0:14:52 | |
That's bonkers. | 0:14:52 | 0:14:55 | |
But I feel as though | 0:14:55 | 0:14:57 | |
we are making chemistry together, aren't we? | 0:14:57 | 0:15:01 | |
The dancing and the antiques are coming together. | 0:15:01 | 0:15:04 | |
-I can take that lady... -..who's a powerhouse... | 0:15:04 | 0:15:07 | |
I would use other words than powerhouse. | 0:15:07 | 0:15:11 | |
-Perhaps I'll give you the terminology. -Yes, please. | 0:15:11 | 0:15:14 | |
Beautiful, words like that. They appreciate that, words like that. | 0:15:14 | 0:15:17 | |
-Magnificent, they love that word. -All the dancers? | 0:15:17 | 0:15:21 | |
Heavyweight, not so keen. | 0:15:21 | 0:15:23 | |
Charles may have a lot to learn about ballroom etiquette, | 0:15:23 | 0:15:27 | |
but he does know how to show a celebrity a good time. | 0:15:27 | 0:15:31 | |
Local artisan Robin is waiting to meet our boys and show them | 0:15:31 | 0:15:35 | |
his rather unique business, run from his back garden workshop. | 0:15:35 | 0:15:39 | |
-Hello, sir. -Good to meet you. I'm Robin. | 0:15:39 | 0:15:41 | |
-Hi, Robin. -Have you come to do some clog-making? | 0:15:41 | 0:15:43 | |
The exact origin of clogs is obscure, | 0:15:43 | 0:15:47 | |
but they are possibly the oldest form of footwear in the world. | 0:15:47 | 0:15:52 | |
These are not the familiar hollowed-out Dutch clog | 0:15:52 | 0:15:55 | |
but a wooden-soled leather-uppered shoe. | 0:15:55 | 0:15:59 | |
Traditionally associated with Yorkshire and Lancashire, | 0:15:59 | 0:16:03 | |
the Industrial Revolution saw clogs worn all over Britain, | 0:16:03 | 0:16:07 | |
from northern textile mills to London fish docks. | 0:16:07 | 0:16:10 | |
During the Victorian period, | 0:16:10 | 0:16:12 | |
clogs were worn mainly by the working class, | 0:16:12 | 0:16:16 | |
and a pair could've set you back between two and three shillings. | 0:16:16 | 0:16:20 | |
Robin bought Greenwood Clogs in 2005 | 0:16:20 | 0:16:23 | |
to preserve the local craft | 0:16:23 | 0:16:26 | |
and continue supplying local farmers. Oo-arr! | 0:16:26 | 0:16:29 | |
This is the workshop. | 0:16:29 | 0:16:31 | |
Let's see if we can all fit in. | 0:16:31 | 0:16:34 | |
I've seen lots of workshops but never a workshop full of clogs. | 0:16:34 | 0:16:38 | |
This is a farmer's clog. | 0:16:38 | 0:16:39 | |
It's got a leather upper, chrome leather, | 0:16:39 | 0:16:42 | |
which is quite hard-wearing. | 0:16:42 | 0:16:43 | |
It's machine-stitched, this type of upper, on a treadle sewing machine. | 0:16:43 | 0:16:48 | |
-Unbelievable. -Then it's nailed to the sole. | 0:16:48 | 0:16:52 | |
I think that's one advantage for farmers, | 0:16:52 | 0:16:54 | |
because walking in all that manure and fertiliser, | 0:16:54 | 0:16:57 | |
the stitching can rot, | 0:16:57 | 0:16:58 | |
whereas nails are pretty hard-wearing. | 0:16:58 | 0:17:00 | |
When making a pair of clogs, | 0:17:00 | 0:17:01 | |
the first thing you start with is a drawing of the person's foot. | 0:17:01 | 0:17:05 | |
We make some measurements across the foot, just to check the size. | 0:17:05 | 0:17:09 | |
Some people have higher arches than others. | 0:17:09 | 0:17:12 | |
Any sensitive areas, like bunions or bony bits... | 0:17:12 | 0:17:16 | |
-What size feet are you? -I am about eight and a half. What are you? | 0:17:16 | 0:17:19 | |
-Any bunions? -No bunions. No ingrown toenails or anything unpleasant. | 0:17:19 | 0:17:24 | |
-Any bony bits? -No, only the bits which should be bony. | 0:17:24 | 0:17:26 | |
I suppose being a dancer... I have flat arches. Are yours quite high? | 0:17:26 | 0:17:30 | |
Have you got dropped arches? | 0:17:30 | 0:17:31 | |
-I'm afraid I have. -You will never make a dancer. | 0:17:31 | 0:17:33 | |
You can slip that in | 0:17:33 | 0:17:36 | |
and just ease the leather out, like that. | 0:17:36 | 0:17:39 | |
Every street had one at one time. | 0:17:39 | 0:17:41 | |
-So you just push the leather out? -Yes. I love these old tools. | 0:17:41 | 0:17:45 | |
There are so many different tools with different purposes. | 0:17:45 | 0:17:48 | |
That looks a bit alarming at first sight, doesn't it? | 0:17:48 | 0:17:51 | |
It looks like a torture instrument. | 0:17:51 | 0:17:53 | |
How many people today are carrying on this tradition of clog-making? | 0:17:53 | 0:17:56 | |
-Maybe a dozen... -Really? -..I can think of. | 0:17:56 | 0:17:58 | |
In some areas, clog-making is a lost art. | 0:17:58 | 0:18:01 | |
But the small group who carry on the tradition are passionate | 0:18:01 | 0:18:05 | |
about the product and the skills involved in their construction. | 0:18:05 | 0:18:08 | |
Robin uses the soft wood alder to fashion the soles, | 0:18:11 | 0:18:14 | |
as the timber is water-resistant. | 0:18:14 | 0:18:17 | |
So you hold this in your right hand | 0:18:17 | 0:18:18 | |
and wedge the wood in place like that. | 0:18:18 | 0:18:20 | |
-Then you can just shave off little bits like that. -Oh, wow. | 0:18:20 | 0:18:24 | |
So you do a lot of curling? | 0:18:24 | 0:18:25 | |
It is the leverage that makes it easier to carve the wood. | 0:18:25 | 0:18:28 | |
It's like slicing through butter. Would you like to have a go? | 0:18:30 | 0:18:33 | |
Could I have a go? Would you mind terribly? | 0:18:33 | 0:18:35 | |
Yeah. Hold that in your left hand. | 0:18:35 | 0:18:36 | |
-Shall I hold it for you? -No, don't get involved. | 0:18:36 | 0:18:39 | |
Just... The main thing to remember... | 0:18:39 | 0:18:42 | |
-Look at that. How's that? -Great. A natural, I think. | 0:18:44 | 0:18:48 | |
-It's a nice feeling, actually, isn't it? -It is. It is quite therapeutic. | 0:18:48 | 0:18:53 | |
-Oh, it's a little... -Fantastic. -I like that word. Fantastic. | 0:18:53 | 0:18:57 | |
He's bitten off a little more than he can chew there. | 0:19:00 | 0:19:03 | |
-He is fairly hacking at it now. -This is pretty much hacking. | 0:19:03 | 0:19:07 | |
-An old hack. -He's an old hack. | 0:19:07 | 0:19:09 | |
When you see people like us coming in here, or him to be specific, | 0:19:09 | 0:19:13 | |
hacking away at your traditional skill, | 0:19:13 | 0:19:16 | |
does it make your heart sink very slightly? | 0:19:16 | 0:19:18 | |
Does a little bit of your soul die away? | 0:19:18 | 0:19:20 | |
No, it's nice to see people interested and having a go. | 0:19:20 | 0:19:23 | |
Whilst there are many skills and much care involved in constructing | 0:19:23 | 0:19:27 | |
a pair of clogs, it is their simplicity that makes them | 0:19:27 | 0:19:30 | |
so durable and, so some say, very comfortable shoes. | 0:19:30 | 0:19:34 | |
With Charles and Anton wearing a brand-new pair each, | 0:19:34 | 0:19:37 | |
what's the next best thing to do? | 0:19:37 | 0:19:39 | |
Have a dance, I suppose. | 0:19:39 | 0:19:41 | |
-How do they feel? -They feel very comfortable, actually, | 0:19:41 | 0:19:43 | |
in a sort of cloggy kind of way. | 0:19:43 | 0:19:46 | |
This is my friend, Harry. He's going to show you how to dance. | 0:19:46 | 0:19:49 | |
Hello, Harry. | 0:19:49 | 0:19:50 | |
-Good luck with him. -Hi, Harry. | 0:19:50 | 0:19:53 | |
I'm going to show you what we use them for. | 0:19:53 | 0:19:56 | |
Show us a basic move, just the first sort of start off move. | 0:19:56 | 0:19:59 | |
The first step is step, shuffle, step, shuffle. | 0:19:59 | 0:20:02 | |
Step, shuffle, step, shuffle, step, step, step. | 0:20:02 | 0:20:05 | |
Obviously a lot faster than that. | 0:20:05 | 0:20:07 | |
-So have a go. Good luck. -Yes, thank you. | 0:20:07 | 0:20:10 | |
After four. Three, four. Step, shuffle, step, shuffle... | 0:20:10 | 0:20:13 | |
Gosh! Harry is a skilled dancer and musician, | 0:20:13 | 0:20:16 | |
performing with the clog-wearing Lancashire Wallopers. | 0:20:16 | 0:20:20 | |
Harry's outfit is authentic to a 19th-century bargeman. | 0:20:20 | 0:20:24 | |
But the more contemporarily clad Charles | 0:20:24 | 0:20:29 | |
is simply trying his best. | 0:20:29 | 0:20:32 | |
I'm sorry about her at the end there. I do apologise. | 0:20:32 | 0:20:35 | |
The next one is really, really easy. | 0:20:35 | 0:20:37 | |
Step, drop, step, drop, step. | 0:20:37 | 0:20:40 | |
For some reason, they call this the Wurzel step. I've no idea why. | 0:20:40 | 0:20:43 | |
Now, here's a thing. | 0:20:43 | 0:20:45 | |
If you want a pair of dancing clogs, | 0:20:45 | 0:20:47 | |
then the wood ash is used, | 0:20:47 | 0:20:49 | |
as, apparently, it produces a better tone. | 0:20:49 | 0:20:52 | |
ACCORDION MUSIC | 0:20:52 | 0:20:54 | |
-Go! -Now. | 0:21:01 | 0:21:02 | |
All together. | 0:21:05 | 0:21:07 | |
-Look up. -I'm trying! | 0:21:09 | 0:21:11 | |
-Oh, bravo! -Well done. | 0:21:11 | 0:21:13 | |
That was very good. Charles, brilliant! | 0:21:13 | 0:21:16 | |
-Was that quite good? -No. Good effort. | 0:21:16 | 0:21:20 | |
-Thank you very much indeed. Great to see you. -You're welcome. | 0:21:20 | 0:21:23 | |
What a wonderful day. Our fortunate celebrity dancer | 0:21:23 | 0:21:26 | |
has a new pair of dandy clogs and has learned a fantastic new dance. | 0:21:26 | 0:21:30 | |
And our expert did... | 0:21:30 | 0:21:32 | |
well, really very well too. | 0:21:32 | 0:21:35 | |
One, two, three, four. | 0:21:35 | 0:21:37 | |
ACCORDION MUSIC | 0:21:37 | 0:21:39 | |
Time to hang up those dancing clogs and bed down now for the night. | 0:21:42 | 0:21:46 | |
There's a full day's shopping ahead, | 0:21:46 | 0:21:49 | |
and everyone will need to feel fresh and happy. | 0:21:49 | 0:21:52 | |
Night-night! | 0:21:54 | 0:21:56 | |
The sun's up, and West Yorkshire is ready for us. | 0:22:03 | 0:22:07 | |
But is everyone ready for the day? | 0:22:07 | 0:22:10 | |
-This car... -It's a beauty, isn't it? -It's a beauty. | 0:22:10 | 0:22:13 | |
-It's like if you turn the wheel... -It goes eventually. | 0:22:13 | 0:22:16 | |
It has a mind of its own. I like that. | 0:22:16 | 0:22:20 | |
That reminds me of some of the women I've danced with. | 0:22:20 | 0:22:23 | |
Yeah, minds of their own. Trying to lead instead of follow. | 0:22:23 | 0:22:28 | |
-Sorry, Jim. I can't find reverse. Can you give me a push? -Come on. | 0:22:28 | 0:22:31 | |
The Citroen has a mind of its own too. | 0:22:31 | 0:22:34 | |
More buttock work. | 0:22:34 | 0:22:36 | |
Jim, it's good to stretch. You know what they say about dancing. | 0:22:36 | 0:22:40 | |
-Always keep straight hands. -Is it straight hands? | 0:22:40 | 0:22:43 | |
-It's all of this. -Is it? -Yes. | 0:22:43 | 0:22:45 | |
So far, Arlene Phillips and her suave companion | 0:22:45 | 0:22:48 | |
have spent £180 on four auction hopefuls. | 0:22:48 | 0:22:53 | |
The 1895 watercolour, | 0:22:53 | 0:22:56 | |
the 1920s figurine with beachball, | 0:22:56 | 0:22:59 | |
the silver and gold job lot, | 0:22:59 | 0:23:01 | |
and the pretty enamel box. | 0:23:01 | 0:23:03 | |
Arlene and James have £220 left to tango with. | 0:23:03 | 0:23:07 | |
-I don't think you would do very well with that, I'm afraid. -OK, fine. | 0:23:07 | 0:23:12 | |
Well, you know. You're the expert. | 0:23:12 | 0:23:14 | |
Don't keep saying that. The pressure's on. | 0:23:14 | 0:23:16 | |
Meanwhile, Anton Du Beck and his willing accomplice | 0:23:16 | 0:23:21 | |
have spent just £70 on one solitary item. | 0:23:21 | 0:23:23 | |
They've done a lot of dancing about. | 0:23:23 | 0:23:25 | |
The silver and enamel perfume bottle. | 0:23:25 | 0:23:28 | |
With great resolve, new shoes and £330, | 0:23:28 | 0:23:31 | |
Anton and Charles must launch themselves | 0:23:31 | 0:23:34 | |
into a solid day's rummaging. | 0:23:34 | 0:23:36 | |
-They call it... -A bygone? | 0:23:36 | 0:23:38 | |
-No. -A '70s object? | 0:23:38 | 0:23:41 | |
No, shut your face! You're not helping at all. | 0:23:41 | 0:23:43 | |
Shops are open, and the teams are back together | 0:23:45 | 0:23:48 | |
to go their separate ways. | 0:23:48 | 0:23:49 | |
-'80s has now become vintage. -That's my era. -That's your era. | 0:23:49 | 0:23:54 | |
I was doing the early days | 0:23:54 | 0:23:56 | |
of the creation of videos for MTV. | 0:23:56 | 0:23:59 | |
Go on, name some names. | 0:23:59 | 0:24:01 | |
Well, I was in New York with Whitney Houston, | 0:24:01 | 0:24:04 | |
in Detroit with Aretha Franklin, | 0:24:04 | 0:24:07 | |
I worked with Diana Ross, I worked with Elton John, The Bee Gees... | 0:24:07 | 0:24:11 | |
It wasn't like working with a Michael Jackson or a Madonna. | 0:24:11 | 0:24:14 | |
Well, just be glad you not working with Charles. | 0:24:14 | 0:24:18 | |
Anton, one of my great hobbies is metal-detecting. | 0:24:18 | 0:24:21 | |
Have you heard of it? | 0:24:21 | 0:24:23 | |
And your wife, how does she feel about you doing that? | 0:24:23 | 0:24:26 | |
Well, she understands my needs. | 0:24:26 | 0:24:28 | |
Well, I'm glad somebody does, Charles. | 0:24:28 | 0:24:30 | |
Our treasure hunters are off now | 0:24:30 | 0:24:33 | |
to pastures new. | 0:24:33 | 0:24:34 | |
Leaving Haworth behind, | 0:24:34 | 0:24:36 | |
the Road Trip heads 10 miles south | 0:24:36 | 0:24:38 | |
to the handsome village of Mytholmroyd. | 0:24:38 | 0:24:41 | |
-Ready to go? -Ready to go. | 0:24:41 | 0:24:43 | |
Are you in that antique-focused mood today? | 0:24:43 | 0:24:46 | |
-I feel very focused on antiques today. -What are you after? | 0:24:46 | 0:24:49 | |
I'm after a bargain that we can sell on for a profit. | 0:24:49 | 0:24:52 | |
Come on. | 0:24:52 | 0:24:55 | |
I know exactly what I'm doing! | 0:24:55 | 0:24:57 | |
Mytholmroyd is more famous as the birthplace | 0:25:00 | 0:25:03 | |
of Sylvia Plath's husband, the poet laureate Ted Hughes. | 0:25:03 | 0:25:07 | |
But today, it is the Caldene Antiques Centre | 0:25:07 | 0:25:11 | |
which brings our shoppers to town. | 0:25:11 | 0:25:14 | |
Owner Paul is on hand for kindly advice. | 0:25:14 | 0:25:17 | |
Aren't you feeling at home here? Look above you. A glitterball. | 0:25:17 | 0:25:22 | |
-Glitterball! -I could feel something. | 0:25:22 | 0:25:25 | |
I wasn't quite sure what it was. I thought it was the damp in my knees. | 0:25:25 | 0:25:29 | |
-But it's a glitterball, it's calling. -Exactly. | 0:25:29 | 0:25:31 | |
Do you think they sell the glitterball? | 0:25:31 | 0:25:34 | |
Yes. Everything is for sale. | 0:25:34 | 0:25:36 | |
-Tell me how much it is. -A mere £38, Anton. | 0:25:36 | 0:25:40 | |
We as sellers, and with your pedigree, | 0:25:40 | 0:25:42 | |
maybe that would be associated with you in the auction room. | 0:25:42 | 0:25:46 | |
-Do you think? -It might generate a public interest in it. | 0:25:46 | 0:25:48 | |
Have you got a plinth I could put it on? | 0:25:48 | 0:25:51 | |
I could turn it into a trophy and present it to myself. | 0:25:51 | 0:25:54 | |
-Did you not win it three years ago? -No, let's not talk about it. | 0:25:54 | 0:25:57 | |
-Four years ago? -It was no years ago. I don't want to talk about it. | 0:25:57 | 0:26:00 | |
Just leave it, Charles! | 0:26:00 | 0:26:04 | |
Whilst Anton licks his wounds, | 0:26:04 | 0:26:06 | |
Arlene and James are hot-footing it to Hebden Bridge | 0:26:06 | 0:26:09 | |
for more antiques. Hebden Bridge is a small market town. | 0:26:09 | 0:26:13 | |
It was an ideal location for water-powered weaving mills. | 0:26:13 | 0:26:15 | |
During the 19th and 20th centuries, | 0:26:15 | 0:26:18 | |
it became a centre for the clothing industry. | 0:26:18 | 0:26:21 | |
So much so that it became known as Trouser Town. | 0:26:21 | 0:26:25 | |
Let's hope James has got his on | 0:26:25 | 0:26:27 | |
as they head for Hebden Bridge Antiques. | 0:26:27 | 0:26:30 | |
After all, we don't want him being debagged. | 0:26:30 | 0:26:32 | |
-What's our strategy here? -Market fresh. | 0:26:32 | 0:26:37 | |
Market fresh? | 0:26:37 | 0:26:39 | |
Oh, I like the sound of that. | 0:26:39 | 0:26:42 | |
Our experts and celebrities want those special items, | 0:26:42 | 0:26:44 | |
literally just in the door. | 0:26:44 | 0:26:48 | |
Here at Hebden Bridge Antiques, | 0:26:48 | 0:26:51 | |
could Jude be the girl to help? Hey, Jude! | 0:26:51 | 0:26:53 | |
I'm looking round here, | 0:26:53 | 0:26:55 | |
and you've got masses of the most glorious stuff. | 0:26:55 | 0:27:00 | |
But what we need is something we can make money on, and I wonder | 0:27:00 | 0:27:03 | |
if you have anything hidden away in that back room that's market fresh. | 0:27:03 | 0:27:06 | |
Something special. | 0:27:06 | 0:27:07 | |
Here's something we only put out yesterday, | 0:27:07 | 0:27:10 | |
which I particularly like. | 0:27:10 | 0:27:11 | |
-It's that pink vase. -That pink Vasart? | 0:27:11 | 0:27:14 | |
-Yes, the Scotland glass. -Oh, it's beautiful. | 0:27:14 | 0:27:16 | |
I don't really know a lot about this Vasart vase, | 0:27:16 | 0:27:20 | |
but I know it was only new in on Sunday. | 0:27:20 | 0:27:23 | |
Sunday, eh? Well, that sounds market fresh to me. Yum-yum! | 0:27:23 | 0:27:27 | |
The nutty problem, the price. | 0:27:27 | 0:27:30 | |
It's a very reasonable price of £40. | 0:27:30 | 0:27:33 | |
What would that be to us? | 0:27:33 | 0:27:36 | |
Don't say 50! | 0:27:36 | 0:27:39 | |
You're challenging me. | 0:27:39 | 0:27:41 | |
-Think low, think low. -Your lowest price so we don't have to keep bidding. | 0:27:41 | 0:27:46 | |
-OK, 30, I think is quite... -Have we got 30? | 0:27:46 | 0:27:50 | |
-We're quite close to the edge now, aren't we? -We are close to the edge. | 0:27:50 | 0:27:53 | |
-You want to pay 25, don't you? -Yeah. | 0:27:53 | 0:27:56 | |
Of course, Arlene and James have plenty of money. | 0:27:56 | 0:27:59 | |
But it's a good tactic, although the acting was a bit wooden. | 0:27:59 | 0:28:03 | |
-Hello! -Look at this. Do you like it? | 0:28:03 | 0:28:07 | |
It's an antique Black Forest desk tidy inkwell. | 0:28:07 | 0:28:11 | |
And inkwell? | 0:28:11 | 0:28:12 | |
It was made in the Black Forest in around 1890. | 0:28:12 | 0:28:16 | |
It's got this purpose of being a practical object on a desk | 0:28:16 | 0:28:21 | |
and is also very decorative. | 0:28:21 | 0:28:23 | |
It has a certain Hungarian feel, because it's German. | 0:28:23 | 0:28:27 | |
-Is Hungary near Germany? -I think it probably might be. | 0:28:27 | 0:28:31 | |
-It's missing the ink bottle. -It is. -That could be a bit of a blow. | 0:28:31 | 0:28:36 | |
What's the best price, out of interest? | 0:28:38 | 0:28:41 | |
-That would be £40. -But no less? | 0:28:41 | 0:28:44 | |
-I think...we'd have to stick at that, yeah. -OK. | 0:28:44 | 0:28:47 | |
-Food for thought, mental note. -Mental note. | 0:28:47 | 0:28:50 | |
In fact, Charles is playing the long game here. | 0:28:50 | 0:28:53 | |
And Anton, well, he doesn't seem to be playing any sort of game. | 0:28:53 | 0:28:57 | |
I mean, who's making the decisions here? | 0:28:57 | 0:28:59 | |
He's very funny, Charles. He makes me laugh. He's very enthusiastic. | 0:28:59 | 0:29:02 | |
I don't think we have the same tastes, but when we do | 0:29:02 | 0:29:06 | |
come together on something, it's obviously going to be a winner. | 0:29:06 | 0:29:10 | |
It's just coming together on something, | 0:29:10 | 0:29:12 | |
that's the problem at the moment. | 0:29:12 | 0:29:13 | |
Have you ever flown Concorde? | 0:29:13 | 0:29:17 | |
No, I have not. Have you? | 0:29:17 | 0:29:19 | |
-Look at that, a silver Concorde frame. Isn't that wonderful? -Lovely. | 0:29:19 | 0:29:23 | |
Solid silver and only £55. | 0:29:23 | 0:29:25 | |
-Do you like it? -Well, I like it. | 0:29:25 | 0:29:27 | |
It just says silver frame. | 0:29:27 | 0:29:29 | |
Well, it IS a silver frame | 0:29:29 | 0:29:31 | |
but one that you would have bought onboard Concorde as a souvenir. | 0:29:31 | 0:29:35 | |
So it is a bit special. | 0:29:35 | 0:29:36 | |
It's a modern collectable. | 0:29:36 | 0:29:38 | |
A collectable is all about the theme. | 0:29:38 | 0:29:41 | |
And this Concorde theme is like the Titanic. | 0:29:41 | 0:29:45 | |
It's something we will remember with great nostalgia, | 0:29:45 | 0:29:49 | |
because it was such a queen of the sky, wasn't it? | 0:29:49 | 0:29:52 | |
It really was the ultimate in that flying machine. | 0:29:52 | 0:29:55 | |
So it's the ultimate in-flight souvenir, | 0:29:55 | 0:29:59 | |
the ultimate disco accessory, | 0:29:59 | 0:30:01 | |
and the ultimate meeting of German and Hungarian culture...possibly. | 0:30:01 | 0:30:07 | |
But does Anton really like any of them? | 0:30:07 | 0:30:09 | |
-Sometimes you buy tactically with your mate in mind. -OK. | 0:30:09 | 0:30:14 | |
-I'm thinking of you. -You take full responsibility for that disaster? | 0:30:14 | 0:30:18 | |
-I will take full responsibility. Would you take 90 for all three? -We will. | 0:30:18 | 0:30:23 | |
You've bought... | 0:30:23 | 0:30:25 | |
..a - no disrespect, lads - rotten glitterball. | 0:30:27 | 0:30:31 | |
You've bought a broken table thing and a silver frame. | 0:30:31 | 0:30:36 | |
Yes. | 0:30:36 | 0:30:38 | |
-Because I'm determined... to make us money. -All right. | 0:30:38 | 0:30:43 | |
And with that, we're going to say, "Going..." - look at me - | 0:30:43 | 0:30:47 | |
"Going, going... | 0:30:47 | 0:30:50 | |
"Gone." We'll take them, sir. Thank you very, very much. | 0:30:50 | 0:30:53 | |
Charles has done it and dragged poor Anton kicking and screaming towards a rather uncertain fate. | 0:30:53 | 0:30:58 | |
20, 40, 60, 80, 90. | 0:30:59 | 0:31:01 | |
-Keep the faith in me, OK? -I've got the faith. | 0:31:01 | 0:31:03 | |
-I need coffee. -Let's have coffee. -And a lie down! | 0:31:03 | 0:31:06 | |
And whilst Anton loses control, | 0:31:09 | 0:31:11 | |
Arlene has fallen under the spell of three Scottish witches. | 0:31:11 | 0:31:15 | |
Sorry, vases. | 0:31:15 | 0:31:17 | |
Two made by Vasart and one by Strathearn, | 0:31:17 | 0:31:19 | |
but all 20th-century Scottish studio glass. | 0:31:19 | 0:31:22 | |
This is the other Vasart one. | 0:31:23 | 0:31:25 | |
This has got a price tag of 45. | 0:31:25 | 0:31:28 | |
I'm tempted to bulk up if we go and get the right price. | 0:31:28 | 0:31:33 | |
Could be get that at a similar price to that one - 25? | 0:31:33 | 0:31:36 | |
Hmm, go on, then. | 0:31:38 | 0:31:40 | |
-What about the Strathearn? -50? | 0:31:40 | 0:31:43 | |
100 for the three. | 0:31:43 | 0:31:45 | |
If you're asking me, James, I'm going, "Let's do it." | 0:31:45 | 0:31:48 | |
Well, let's do it. Come on. | 0:31:48 | 0:31:50 | |
-Thank you very much. -Thank you very much. | 0:31:50 | 0:31:52 | |
-I'll take two, you take one. -OK. -We're off. -Let go! | 0:31:52 | 0:31:55 | |
And with that, our happy shoppers depart Hebden Bridge, | 0:31:55 | 0:32:00 | |
heading for pastures new | 0:32:00 | 0:32:01 | |
-just as the competition are arriving in town. -Right on down. | 0:32:01 | 0:32:06 | |
No harm done. | 0:32:06 | 0:32:07 | |
With Hebden Bridge Antiques still recovering from its last celebrity encounter, | 0:32:07 | 0:32:11 | |
the wonderfully "market fresh" Peter clocks in for his shift. | 0:32:11 | 0:32:14 | |
Let's hope he's ready for action. | 0:32:14 | 0:32:16 | |
Look, Anton, look at this down here. | 0:32:17 | 0:32:20 | |
Languishing away. Do you like her? | 0:32:20 | 0:32:23 | |
She is quite sweet. Yes. Less than she was when she started, I fear. | 0:32:23 | 0:32:28 | |
-I quite like her. -Really? | 0:32:28 | 0:32:31 | |
-Yes, I do. -She's got a hand missing. | 0:32:31 | 0:32:34 | |
You know what, she's got a hand missing here | 0:32:34 | 0:32:38 | |
and a hand missing on the back here. | 0:32:38 | 0:32:41 | |
-So she has got both hands missing? -Absolutely. | 0:32:41 | 0:32:43 | |
-You've made it sound like there were more to come. -Exactly. | 0:32:43 | 0:32:46 | |
(But I quite like her.) | 0:32:46 | 0:32:48 | |
-Really? It's broken. -It's broken, I know. | 0:32:51 | 0:32:54 | |
It's broken, it's tired, it's worn out. | 0:32:54 | 0:32:57 | |
-On the floor down here. -Kicked about. -Kicked about. | 0:32:57 | 0:33:00 | |
Because she's after a Romanian sculptor who was called Dimitri Chiparus. | 0:33:00 | 0:33:05 | |
I sold an original by him of almost this exact pose, | 0:33:05 | 0:33:10 | |
which was bronze and ivory, which made about £17,000. | 0:33:10 | 0:33:15 | |
-Did she have both hands? -She had one hand missing. | 0:33:15 | 0:33:19 | |
But this one isn't ivory, it's actually resin. | 0:33:19 | 0:33:24 | |
(But it's period.) | 0:33:24 | 0:33:25 | |
Pick it up. Let's take it. | 0:33:25 | 0:33:27 | |
Well, maybe not "take", but some negotiation with market fresh Peter would be | 0:33:27 | 0:33:32 | |
the best course of action right now. | 0:33:32 | 0:33:34 | |
-What's the best price we could have her for? -Let me have a look. | 0:33:34 | 0:33:37 | |
It's broken, by the way. | 0:33:37 | 0:33:38 | |
Got a lovely, you know, Anton feeling about her. | 0:33:38 | 0:33:43 | |
-How does £50 sound? -Would you take £30 for her? | 0:33:43 | 0:33:47 | |
-Go on, then, let's make it 30. -Anton, what do you think, £30? -Yes. | 0:33:47 | 0:33:50 | |
Really? Yes, we'll take her. | 0:33:50 | 0:33:52 | |
-Yes, we will take her. -Yes, we'll take her. | 0:33:52 | 0:33:55 | |
Anton is finally getting the hang of this. Could he be about to take the antiques shopping bull by the horns? | 0:33:55 | 0:34:02 | |
I quite like this. What do you think of this? | 0:34:02 | 0:34:05 | |
You'll be pleased with this - it's got a stamp. | 0:34:05 | 0:34:10 | |
-It's got a stamp! It's got a lion. -Yes. | 0:34:10 | 0:34:12 | |
-It's got a lion. -Which means it's...? | 0:34:12 | 0:34:15 | |
-Real. -Silver, yes. -Genuine silver. K - 1920s? | 0:34:15 | 0:34:20 | |
And the good thing is there's no monogram or crest, | 0:34:20 | 0:34:23 | |
it hasn't been personalised, so it's really fresh to the market. | 0:34:23 | 0:34:27 | |
Well, how about getting fresh with some haggling? | 0:34:27 | 0:34:30 | |
-We'd like to offer you £100. -Cash. -In cash. In cash. | 0:34:30 | 0:34:34 | |
-We don't have to worry about receipts. -Cash in hand, cash in hand. | 0:34:34 | 0:34:37 | |
In your hands. Cold cash. | 0:34:37 | 0:34:39 | |
-Why don't we say... -Why don't we say yes? -..130? | 0:34:39 | 0:34:42 | |
Honestly, we're putting all our eggs into this silver basket. | 0:34:42 | 0:34:46 | |
-I like it. No, we are. -The margin will be very tight. | 0:34:46 | 0:34:50 | |
But as a special one-off, just for you, let's call it 100. | 0:34:50 | 0:34:54 | |
-Thank you very much. -That completes our famous five objects. I'm really confident. | 0:34:54 | 0:34:59 | |
-Good. -Thank you, Peter. -Thank you. | 0:34:59 | 0:35:00 | |
The dirty dancer has done it. | 0:35:00 | 0:35:03 | |
Finally, Anton takes the responsibility for his own shot at Road Trip glory. | 0:35:03 | 0:35:08 | |
Not before time, as the hour of auction showdown draws near. | 0:35:08 | 0:35:13 | |
Oblivious to recent purchases, Arlene and James are taking | 0:35:14 | 0:35:18 | |
themselves off for a nostalgic seaside treat. | 0:35:18 | 0:35:22 | |
Road Trip is taking Arlene back to her adolescence. | 0:35:23 | 0:35:27 | |
56 miles east from Hebden Bridge, | 0:35:29 | 0:35:32 | |
way out on the Lancashire coast, sits a very special place. | 0:35:32 | 0:35:35 | |
Look, there's the North Pier! Blackpool North was posh. | 0:35:37 | 0:35:42 | |
My auntie lived in Blackpool South which wasn't posh. | 0:35:42 | 0:35:45 | |
But I thought of this as very grand. | 0:35:45 | 0:35:48 | |
Women that would sit on deck chairs and have their jewellery on and their best frocks. | 0:35:48 | 0:35:52 | |
And as a teenager, my sister and I, we used to come here, | 0:35:52 | 0:35:57 | |
and I would wear my stilettos | 0:35:57 | 0:35:59 | |
and dress up to go walking down the North Pier. | 0:35:59 | 0:36:03 | |
What a stunner! | 0:36:05 | 0:36:07 | |
Blackpool began putting itself on the map in the late 1870s, | 0:36:07 | 0:36:10 | |
becoming the first town in the world to get electric street lighting. | 0:36:10 | 0:36:15 | |
In 1889, Blackpool's mayor, John Bickerstaffe, | 0:36:15 | 0:36:19 | |
attended the Great Exhibition in Paris and fell in love with a big iron tower. | 0:36:19 | 0:36:24 | |
British seaside history would never be the same again. | 0:36:25 | 0:36:29 | |
-Does this bring back memories? -Yeah, memories of the circus. | 0:36:29 | 0:36:33 | |
-Really? -Yes. -Did you start in this circus? -No! | 0:36:33 | 0:36:36 | |
JAMES LAUGHS | 0:36:36 | 0:36:39 | |
I used to come to Blackpool when I was small, cos we lived in Manchester. | 0:36:39 | 0:36:43 | |
-And we came to visit the circus. -Oh, fabulous. | 0:36:43 | 0:36:47 | |
Amazingly, the entire Tower and ballroom took just three years to complete, | 0:36:47 | 0:36:53 | |
using 2,500 tonnes of steel and 5 million Accrington bricks. | 0:36:53 | 0:36:59 | |
On opening day, 14th of May, 1894, | 0:36:59 | 0:37:03 | |
thousands of people took the inaugural tour. | 0:37:03 | 0:37:05 | |
-Hello. -Hello. | 0:37:07 | 0:37:09 | |
Current general manager Kate Shane is here to give Arlene and James their turn. | 0:37:09 | 0:37:13 | |
-Nice to meet you. -Nice to meet you. | 0:37:13 | 0:37:15 | |
-Welcome to Blackpool Tower. -Thank you. | 0:37:15 | 0:37:17 | |
So, our beautiful ballroom. | 0:37:18 | 0:37:21 | |
-It is absolutely exquisite. -It is stunning, isn't it? | 0:37:21 | 0:37:26 | |
It's rather like walking into a German or Austrian church. | 0:37:26 | 0:37:30 | |
-It's sort of baroque, isn't it? -Yes, it is. -It's amazing. | 0:37:30 | 0:37:33 | |
-It must be Grade I listed? -The whole building is Grade I listed, yes. | 0:37:33 | 0:37:37 | |
So, yes, we're very proud, very proud of Blackpool Tower, | 0:37:37 | 0:37:41 | |
but this is the icing on the cake for us, the beautiful ballroom. | 0:37:41 | 0:37:44 | |
This spring in this floor is incredible. | 0:37:44 | 0:37:50 | |
To dancers, this is the piece de resistance in terms of dancing, | 0:37:50 | 0:37:53 | |
the springing in the floor, yeah, they love it. | 0:37:53 | 0:37:55 | |
-A quick step on this floor means that you really can fly. -Really? | 0:37:55 | 0:37:59 | |
Arlene, is this the mecca of dancing, Blackpool? | 0:37:59 | 0:38:02 | |
Blackpool Tower ballroom is where every ballroom and Latin dancer wants to dance. | 0:38:02 | 0:38:08 | |
-It's the most desirable ballroom possibly on earth. -Really? | 0:38:08 | 0:38:13 | |
Most definitely. I would say that. | 0:38:13 | 0:38:15 | |
Nowhere else in the world do you ever see the words | 0:38:15 | 0:38:19 | |
"Bid me discourse, I will enchant thine ear." | 0:38:19 | 0:38:22 | |
Yes, a Shakespearean quote from Venus And Adonis, | 0:38:22 | 0:38:25 | |
and yes, it is the only place that you can dance under that. | 0:38:25 | 0:38:28 | |
People use the phrase, "if walls could talk," but if a floor could talk... | 0:38:28 | 0:38:34 | |
-Oh, yeah. -Can you imagine how many people met the love of their life here and married? | 0:38:34 | 0:38:41 | |
Blackpool, the resort, was formed as somewhere for the working classes | 0:38:41 | 0:38:45 | |
to go and enjoy themselves. | 0:38:45 | 0:38:47 | |
And there is a quote that when they created this beautiful opulent ballroom, | 0:38:47 | 0:38:51 | |
that a factory girl could be a duchess for a day. | 0:38:51 | 0:38:54 | |
And that just makes you feel warm inside that something like that happened. | 0:38:54 | 0:38:57 | |
You're quite right. The ballroom was created by designer Frank Matcham, | 0:38:59 | 0:39:03 | |
one of the most successful of his time. | 0:39:03 | 0:39:07 | |
Blackpool was the first place to offer such opulence to ordinary working people. | 0:39:07 | 0:39:12 | |
Our dancing legend, Arlene Phillips, spent formative summers here | 0:39:12 | 0:39:17 | |
and finds another bright emblem of her past. | 0:39:17 | 0:39:20 | |
-So our beautiful Wurlitzer organ. -Aww. It's fantastic! | 0:39:20 | 0:39:25 | |
Can I be Reginald Dixon? | 0:39:25 | 0:39:28 | |
The beloved, world-famous Reginald Dixon, the man who popularised | 0:39:28 | 0:39:34 | |
I Do Like To Be Beside The Seaside, had this amazing organ | 0:39:34 | 0:39:38 | |
built for himself, and the Tower ballroom, way back in 1935. | 0:39:38 | 0:39:44 | |
He drew enormous daily crowds here for 40 years | 0:39:44 | 0:39:47 | |
and was knighted for his services to music in 1968. | 0:39:47 | 0:39:51 | |
Very, very, very complicated to play, | 0:39:53 | 0:39:55 | |
but the most exciting thing was standing waiting. | 0:39:55 | 0:39:59 | |
And I'm going to show you what happens. | 0:39:59 | 0:40:03 | |
ORGAN PLAYS | 0:40:03 | 0:40:05 | |
-It's great, isn't it? -It is. | 0:40:10 | 0:40:13 | |
-I think it deserves a round of applause, do you not think? -Yeah. | 0:40:19 | 0:40:23 | |
Absolutely. Yeah! | 0:40:23 | 0:40:26 | |
Blackpool Tower is a triumph of ambition and design, | 0:40:27 | 0:40:31 | |
conceived with good heart, and built with a love of ordinary people. | 0:40:31 | 0:40:36 | |
Now, if you didn't think THAT was enough to get you on your feet, | 0:40:38 | 0:40:42 | |
how about this? | 0:40:42 | 0:40:44 | |
Beneath the Tower, Frank Matcham created another stunning arena | 0:40:44 | 0:40:48 | |
also dear to Arlene's heart. | 0:40:48 | 0:40:51 | |
It feels so tiny, but it felt so enormous, | 0:40:51 | 0:40:53 | |
-and there were elephants in here! -Yeah. | 0:40:53 | 0:40:56 | |
And one feature that is worth pointing out... you can see the archways? | 0:40:56 | 0:40:59 | |
Those are the archways of the Tower and the four corners of the legs. | 0:40:59 | 0:41:03 | |
So the embellished plasterwork is actually on the steel structure. | 0:41:03 | 0:41:06 | |
So when you're in the middle of the ring, | 0:41:06 | 0:41:08 | |
you're actually stood right underneath the centre of the Tower. | 0:41:08 | 0:41:11 | |
It's a complete circus arena, | 0:41:13 | 0:41:16 | |
with traditional circus big-top features, | 0:41:16 | 0:41:19 | |
and as a part of the routines...there's this. | 0:41:19 | 0:41:22 | |
-Oh, look! Dancing waters. -Yeah, dancing waters. | 0:41:24 | 0:41:28 | |
All the waters are choreographed to the music. | 0:41:28 | 0:41:32 | |
-It is stunning, isn't it? -Stunning. | 0:41:32 | 0:41:34 | |
-Have you done any water acts like this? -No, I haven't. | 0:41:34 | 0:41:38 | |
This must be magical. | 0:41:38 | 0:41:39 | |
It's magical for me, and I'm a stately age, but as a child... | 0:41:39 | 0:41:43 | |
It's magical. | 0:41:43 | 0:41:45 | |
What inspired Arlene's childhood dreams, | 0:41:48 | 0:41:51 | |
and many young people before her, | 0:41:51 | 0:41:53 | |
will inspire future generations for many, many years to come. | 0:41:53 | 0:41:58 | |
Leaving nostalgia behind, it's time to head for the show and tell, | 0:41:58 | 0:42:03 | |
and find out what they really think of each other's items. And look - more water! | 0:42:03 | 0:42:08 | |
-Oh, hello! -Oh...! | 0:42:08 | 0:42:11 | |
This is more you, Anton. | 0:42:11 | 0:42:14 | |
-A man of style, a man of dapper attire. -Oh! | 0:42:14 | 0:42:18 | |
-A little dress stud set. -Darling set! | 0:42:18 | 0:42:20 | |
-14-carat gold. -Are they 14 carat? | 0:42:20 | 0:42:23 | |
They're for an elegant gentleman, | 0:42:23 | 0:42:25 | |
but if you think you're only getting that, you're not. | 0:42:25 | 0:42:30 | |
That's one big lot, Anton, and I'm trembling a bit, because it's a really good lot. | 0:42:30 | 0:42:33 | |
-How much is it worth? -I reckon...about £65. | 0:42:33 | 0:42:38 | |
-I'm going to say more. -Really? -I don't know about those studs. | 0:42:38 | 0:42:42 | |
If they are 14-carat gold, that lot is worth £150-plus. | 0:42:42 | 0:42:46 | |
We paid 20. | 0:42:46 | 0:42:49 | |
What, for each piece? | 0:42:49 | 0:42:50 | |
No - Arlene and James | 0:42:50 | 0:42:52 | |
actually got the whole BUNDLE for just £20. Scary, isn't it? | 0:42:52 | 0:42:57 | |
-These are our piece de resistance. -They are? -Yeah, they are. | 0:42:57 | 0:43:01 | |
Are they Scottish? | 0:43:01 | 0:43:03 | |
-Do you know that they are? -I thought they might be Scottish. | 0:43:03 | 0:43:06 | |
-Look at the colour, Anton. They are alive, aren't they? -They are. | 0:43:06 | 0:43:09 | |
-I can't stand 'em. -All right, Anton! | 0:43:09 | 0:43:13 | |
The Road Trip is a competition, but it's usually a friendly one. | 0:43:13 | 0:43:16 | |
-No, they're revolting. -Why? -Cos we didn't pick 'em. | 0:43:16 | 0:43:19 | |
Well, perhaps we should move on. | 0:43:19 | 0:43:21 | |
Three, two, one... | 0:43:21 | 0:43:23 | |
Oh...! | 0:43:24 | 0:43:26 | |
Disco ball! | 0:43:26 | 0:43:27 | |
Look at this, Arlene. | 0:43:27 | 0:43:30 | |
That... I love this, this is my favourite lot. | 0:43:30 | 0:43:33 | |
-Look at that bear. -Oh, I'm not attracted to this at all. | 0:43:33 | 0:43:38 | |
I didn't like it either. | 0:43:38 | 0:43:40 | |
Don't tell me you paid more than £20 for that? | 0:43:40 | 0:43:44 | |
-It's not attractive. -Anton, sell it. | 0:43:44 | 0:43:45 | |
"How does your bear smell?" "Terrible! It's got no nose." | 0:43:45 | 0:43:49 | |
-I think it's novel and quirky, and it cost...? -£30. -Good. | 0:43:49 | 0:43:53 | |
I think you'll find some man that will come along | 0:43:53 | 0:43:56 | |
and think, "That would be attractive on my desk." I hope you do. | 0:43:56 | 0:43:59 | |
Me too - poor Bavarian/Hungarian snoutless fellow. | 0:43:59 | 0:44:04 | |
We began with a fine sniff of a scent bottle. And it's here. | 0:44:04 | 0:44:07 | |
-JAMES: -I like that. | 0:44:07 | 0:44:09 | |
Art deco, blue enamel... | 0:44:09 | 0:44:10 | |
Blue and silver. Solid silver. | 0:44:10 | 0:44:14 | |
-It has a wonderful whiff... -£128. | 0:44:14 | 0:44:17 | |
-What did you pay for it? -What do you think? | 0:44:17 | 0:44:20 | |
I probably think that you got it down to somewhere like 70? | 0:44:20 | 0:44:24 | |
60? | 0:44:25 | 0:44:27 | |
£27. | 0:44:27 | 0:44:28 | |
-£27. Is this label false? -Plus 43 - it cost us £70. | 0:44:28 | 0:44:33 | |
-And didn't I just say £70? -You were spot-on. | 0:44:33 | 0:44:37 | |
I hate it when you're right. | 0:44:37 | 0:44:39 | |
It's beautiful, and I would not have paid more than £70, | 0:44:39 | 0:44:43 | |
because if you HAD paid more, forget it. | 0:44:43 | 0:44:46 | |
Great. But what do they really think? | 0:44:46 | 0:44:49 | |
I think it's not bad. | 0:44:49 | 0:44:51 | |
I think they paid pretty good prices. | 0:44:51 | 0:44:54 | |
But it just depends on what people like. | 0:44:54 | 0:44:56 | |
I hate the bear, and he could go for a fortune. | 0:44:56 | 0:44:59 | |
-They've got one really good star lot, you know. -The picture? | 0:44:59 | 0:45:01 | |
No, it's those dress studs. And the bits of silver they bought. | 0:45:01 | 0:45:05 | |
-I think our items, they're looking good. -They're looking good! | 0:45:05 | 0:45:09 | |
I had a real burst of confidence about our items, | 0:45:09 | 0:45:14 | |
and I'm so glad we got the three vases. | 0:45:14 | 0:45:17 | |
Because Charles likes the vases. | 0:45:17 | 0:45:19 | |
So it's going to be a real helter-skelter, hurdy-gurdy, | 0:45:19 | 0:45:22 | |
rollercoaster ride for you and me tomorrow, but keep the faith. | 0:45:22 | 0:45:25 | |
I think we've bought well together. | 0:45:25 | 0:45:28 | |
Let's keep the faith! | 0:45:28 | 0:45:29 | |
-And bring on tomorrow, and let them fight! -Come on, let's go. | 0:45:29 | 0:45:34 | |
Yeah. Let's go. Let's get to auction. | 0:45:34 | 0:45:38 | |
It's been a monumental journey - | 0:45:39 | 0:45:41 | |
a three-county race-around of heated shopping | 0:45:41 | 0:45:43 | |
and inspirational encounters. | 0:45:43 | 0:45:46 | |
Hebden Bridge and Blackpool become a memory, | 0:45:48 | 0:45:51 | |
as our two teams head 56 miles to the fab city of Liverpool. | 0:45:51 | 0:45:58 | |
Home to the Albert Docks. | 0:45:58 | 0:46:00 | |
Birthplace of the Beatles - yeah, yeah, yeah. | 0:46:00 | 0:46:04 | |
And shameless purveyor of all things Scouse, including the brow. | 0:46:04 | 0:46:08 | |
Your driving needs no explanation, chief. | 0:46:12 | 0:46:15 | |
-James? -He's terribly keen... | 0:46:18 | 0:46:21 | |
I'm afraid James has gone inside. But good luck. | 0:46:21 | 0:46:23 | |
-And to you. -He's very keen! | 0:46:23 | 0:46:25 | |
Best of luck to you. | 0:46:25 | 0:46:27 | |
James can't wait to see inside Cato Crane Auctioneers, | 0:46:31 | 0:46:35 | |
open to keen bidders and careful browsers since 1985. | 0:46:35 | 0:46:38 | |
28. 30. 32. 34... | 0:46:41 | 0:46:43 | |
Today's gavel-basher, John Crane, | 0:46:43 | 0:46:46 | |
has taken a long, hard look at our celebrities' investments. | 0:46:46 | 0:46:49 | |
The gold stud set is nice. It's in a box, but it's only gold-plated. | 0:46:49 | 0:46:54 | |
It looks gold, does the trick, no problem whatsoever. | 0:46:54 | 0:46:57 | |
Don't think it's 14 carat, though. | 0:46:57 | 0:46:59 | |
The glitterball... | 0:46:59 | 0:47:01 | |
someone might be opening a dance hall somewhere, who knows? Lovely. | 0:47:01 | 0:47:04 | |
What's it worth? I don't know, whatever it brings. £10, £20, £30... | 0:47:04 | 0:47:08 | |
Would I have it in the kitchen? Yes, maybe. Bit of fun. | 0:47:08 | 0:47:11 | |
Both teams started with £400 each. | 0:47:13 | 0:47:15 | |
Arlene and James spent £280 on five auction lots. | 0:47:15 | 0:47:20 | |
Money, James. Thank you, baby. | 0:47:20 | 0:47:22 | |
It's a vase. | 0:47:22 | 0:47:24 | |
But Anton and Charles went one better... | 0:47:24 | 0:47:28 | |
spending £290 on six auction lots. | 0:47:28 | 0:47:31 | |
Take possession, show it's yours. | 0:47:31 | 0:47:34 | |
-Really? -Puff his chest out. | 0:47:34 | 0:47:36 | |
-Do you want to touch? It's not bad, is it? -It's not bad. It's not perfect. | 0:47:36 | 0:47:41 | |
Chests out and nice big smiles - the auction is about to begin. | 0:47:41 | 0:47:45 | |
First up - Anton's first reluctant purchase, | 0:47:45 | 0:47:49 | |
the silver and enamel scent bottle. | 0:47:49 | 0:47:52 | |
£30 if you like, somebody. | 0:47:52 | 0:47:54 | |
30? £30 is bid. | 0:47:54 | 0:47:55 | |
35 now. 35, 35. | 0:47:55 | 0:47:58 | |
40. 45 at the back, 45. 50. | 0:47:58 | 0:48:01 | |
£45... | 0:48:01 | 0:48:02 | |
One more. Come on... | 0:48:02 | 0:48:04 | |
It's enamel. Did he mention that? | 0:48:04 | 0:48:09 | |
70. 75 now. | 0:48:09 | 0:48:10 | |
75. 80. One more? | 0:48:10 | 0:48:13 | |
£80? I'm selling... | 0:48:13 | 0:48:15 | |
£80, I'm selling at 80 now. | 0:48:15 | 0:48:16 | |
-It's going... -It has a smell. | 0:48:16 | 0:48:18 | |
Quiet, please. £80... | 0:48:18 | 0:48:20 | |
Not a terrible start, by any means, | 0:48:20 | 0:48:22 | |
but auction costs will eat into that hard-won tenner profit. | 0:48:22 | 0:48:26 | |
-You only made £10. -Oh, yeah, but we're up. -It all helps. | 0:48:26 | 0:48:29 | |
Have you seen the room? We're happy with a tenner, let me tell you. | 0:48:29 | 0:48:33 | |
And facing the music next, Arlene's enamel offering. This round box. | 0:48:33 | 0:48:39 | |
£20 is bid. £20 is bid. | 0:48:39 | 0:48:41 | |
Oh...! | 0:48:41 | 0:48:42 | |
All done at £20, best we can do is 20. | 0:48:42 | 0:48:44 | |
No! | 0:48:44 | 0:48:46 | |
25 there. 25, 30. | 0:48:46 | 0:48:48 | |
35. | 0:48:48 | 0:48:49 | |
40. 45 with you? | 0:48:49 | 0:48:51 | |
40 over there, then. | 0:48:51 | 0:48:53 | |
It's going to be sold. It's got to go... | 0:48:53 | 0:48:56 | |
£40. | 0:48:56 | 0:48:58 | |
Ouch! I'm afraid that's a loss in real terms. | 0:48:58 | 0:49:03 | |
James! This is not fun any more. | 0:49:03 | 0:49:06 | |
Well, it's fun for us. | 0:49:06 | 0:49:08 | |
So let's see if Anton and Charles's Concorde silver frame | 0:49:08 | 0:49:12 | |
can take to the skies. | 0:49:12 | 0:49:13 | |
£30 is bid. And 35 with you. | 0:49:13 | 0:49:15 | |
40. 45. | 0:49:16 | 0:49:19 | |
Come on, it's worth every single penny. 50... | 0:49:19 | 0:49:21 | |
55. 60. It's very worth it. | 0:49:21 | 0:49:25 | |
65? | 0:49:25 | 0:49:27 | |
-Sir, you'll be sorry afterwards... -One more. | 0:49:27 | 0:49:30 | |
65. 70, one more from you. | 0:49:30 | 0:49:32 | |
It's worth more, they fly! | 0:49:32 | 0:49:34 | |
70. | 0:49:34 | 0:49:35 | |
£70 is bid. | 0:49:35 | 0:49:37 | |
Any more anywhere? Come on. | 0:49:37 | 0:49:40 | |
One more... Come on. | 0:49:40 | 0:49:42 | |
75 anywhere... | 0:49:42 | 0:49:44 | |
70 is your bid, sir. All done and finished? | 0:49:44 | 0:49:47 | |
Sold. £70. | 0:49:47 | 0:49:49 | |
A supersonic result. Great. | 0:49:49 | 0:49:51 | |
Perhaps Anton should have shown Charles's choice more respect. | 0:49:51 | 0:49:56 | |
-Put it there, Arlene. -You'll make a killing on that. | 0:49:56 | 0:49:59 | |
Well done, Charles! Although no-one really likes a show-off. | 0:49:59 | 0:50:03 | |
£70! | 0:50:03 | 0:50:04 | |
Now...Arlene and James's bargain, the group of silver and gold. | 0:50:06 | 0:50:11 | |
What will happen? | 0:50:11 | 0:50:12 | |
-14-carat...France... -I beg your pardon? | 0:50:12 | 0:50:16 | |
Allegedly! | 0:50:16 | 0:50:17 | |
10. 15 at the back. | 0:50:17 | 0:50:19 | |
20, 25, 30. | 0:50:19 | 0:50:21 | |
35. | 0:50:21 | 0:50:22 | |
40, 45. | 0:50:22 | 0:50:24 | |
£50 is bid. 55? | 0:50:24 | 0:50:25 | |
Where's John at the back? 52? | 0:50:25 | 0:50:27 | |
52. 54. 56. | 0:50:27 | 0:50:29 | |
58. 60, John? | 0:50:29 | 0:50:32 | |
58, the gentleman in blue here. At £58... | 0:50:32 | 0:50:35 | |
60, a new bidder down by the rostrum. | 0:50:35 | 0:50:37 | |
62, sir. 64. | 0:50:37 | 0:50:40 | |
66, 68... | 0:50:40 | 0:50:41 | |
70. 72. | 0:50:41 | 0:50:43 | |
£70 is bid now. OK, all done at 70... | 0:50:43 | 0:50:48 | |
Sold. At 70. Really? | 0:50:48 | 0:50:51 | |
£70. | 0:50:51 | 0:50:53 | |
Hats off to Arlene. | 0:50:53 | 0:50:55 | |
An excellent profit - although your expert kind of steered you there. | 0:50:55 | 0:51:00 | |
We can breathe, we can breathe, we can breathe. | 0:51:00 | 0:51:03 | |
-You've made 50 quid there. -Yeah. And you've made an old bird very happy! | 0:51:03 | 0:51:09 | |
Next up, Charles's broken-nosed Bavarian bear. | 0:51:09 | 0:51:14 | |
Anton failed to love it. But will the saleroom? | 0:51:14 | 0:51:18 | |
25? 25 right behind you. | 0:51:18 | 0:51:20 | |
30. 35, sir. | 0:51:20 | 0:51:22 | |
40. 45. | 0:51:22 | 0:51:24 | |
One more? 50. | 0:51:24 | 0:51:25 | |
Someone like you, £50...? | 0:51:25 | 0:51:26 | |
£50 is bid. 52? | 0:51:26 | 0:51:28 | |
52, sir. 54. | 0:51:28 | 0:51:30 | |
It's a beauty. Hand-carved. | 0:51:30 | 0:51:32 | |
56. 58. | 0:51:32 | 0:51:34 | |
Come on, one more? | 0:51:34 | 0:51:36 | |
58. Round it up to 60. | 0:51:36 | 0:51:37 | |
-Go on! -Yes? | 0:51:37 | 0:51:39 | |
One more. 60. 62. | 0:51:39 | 0:51:42 | |
£60 is bid... | 0:51:42 | 0:51:44 | |
All done at 60. Done and finished. A nice lot... | 0:51:44 | 0:51:48 | |
Stanhope's from Stanhope Street. There we go. | 0:51:48 | 0:51:50 | |
They've done it again! Anton will be sorry he ever doubted Charles. | 0:51:50 | 0:51:55 | |
And Arlene...she'll just be sorry. | 0:51:55 | 0:51:58 | |
-Made £30. -If it's any consolation, I'm shocked and stunned. | 0:51:58 | 0:52:01 | |
Now a shot at auction glory for Arlene and James. | 0:52:02 | 0:52:05 | |
Their hunting watercolour prepares to go ballistic. | 0:52:05 | 0:52:08 | |
30 is bid. 30. | 0:52:08 | 0:52:10 | |
40... 50 the gent. 60. | 0:52:10 | 0:52:13 | |
£60 is bid. | 0:52:13 | 0:52:15 | |
65, OK. | 0:52:15 | 0:52:18 | |
I'm going to sell at £65... | 0:52:18 | 0:52:21 | |
It's going. | 0:52:21 | 0:52:22 | |
£65? Your bid. | 0:52:22 | 0:52:24 | |
Sold! | 0:52:24 | 0:52:25 | |
£20 in the bag, and this auction tango is looking pretty close. | 0:52:25 | 0:52:30 | |
That is amazing, that we are neck and neck. That is amazing. | 0:52:30 | 0:52:35 | |
That is incredible. | 0:52:35 | 0:52:37 | |
I saw your lots, that IS amazing, I couldn't be any more surprised. | 0:52:37 | 0:52:40 | |
You're a fine one to talk about quality, Anton. | 0:52:40 | 0:52:43 | |
Let's see if we can D-I-S-C-O | 0:52:43 | 0:52:45 | |
at the A-U-C-T... Oh, well, you get the idea. | 0:52:45 | 0:52:50 | |
10. Can we get 12? | 0:52:50 | 0:52:51 | |
Thank you. 12. | 0:52:51 | 0:52:53 | |
14. 16. 18. We're nearly there. | 0:52:53 | 0:52:56 | |
20. 22. | 0:52:56 | 0:52:57 | |
Come on, DJ. One more. | 0:52:57 | 0:53:00 | |
22, thank you. | 0:53:00 | 0:53:01 | |
You'll be sorry afterwards. | 0:53:01 | 0:53:04 | |
When you're sitting at home tonight. | 0:53:04 | 0:53:06 | |
It's your bid, sir. £22... | 0:53:06 | 0:53:09 | |
Sold. | 0:53:09 | 0:53:11 | |
Slim. But that's the shiniest £2 made here today. | 0:53:11 | 0:53:15 | |
Next up, she's 1920s, she's a beauty, she's Arlene's favourite. | 0:53:15 | 0:53:19 | |
But she's also mass produced. Let's hope she catches the bidders' eyes. | 0:53:19 | 0:53:24 | |
£20 to start me off. Anybody? ..£20 is bid. | 0:53:24 | 0:53:28 | |
I'll take 25 now, somebody. | 0:53:28 | 0:53:30 | |
30. Come on. 30. | 0:53:30 | 0:53:32 | |
35. 40. | 0:53:32 | 0:53:33 | |
45. 50, it's against you. | 0:53:33 | 0:53:36 | |
55, 60. | 0:53:36 | 0:53:39 | |
60 is one bid. | 0:53:39 | 0:53:41 | |
-£60. All done at £60...? -No, no... | 0:53:41 | 0:53:44 | |
At the back... | 0:53:44 | 0:53:46 | |
60. I've got to sell, ladies and gentlemen. It's going... | 0:53:46 | 0:53:50 | |
£60... | 0:53:50 | 0:53:52 | |
-60. -Well, maybe you just can't sell 1920s figurines in Liverpool. | 0:53:52 | 0:53:57 | |
Maybe it's not 1920s. | 0:53:57 | 0:53:59 | |
The 1930s, however... that remains to be seen. | 0:53:59 | 0:54:01 | |
Can Anton triumph where Arlene floundered? | 0:54:01 | 0:54:04 | |
-Quite an oldish one... -Oldish! | 0:54:04 | 0:54:08 | |
Onyx. Mention the onyx. | 0:54:08 | 0:54:10 | |
20 is bid there. 20. | 0:54:10 | 0:54:12 | |
25 over there now. 30, yes. | 0:54:12 | 0:54:14 | |
35, the gent. | 0:54:14 | 0:54:16 | |
40. Don't worry about the hand - you can put a glove on it. | 0:54:16 | 0:54:19 | |
It's a good thing. It's a nice thing. | 0:54:19 | 0:54:22 | |
35. 40 with you. | 0:54:22 | 0:54:24 | |
40 is bid, 42... 42 anywhere? | 0:54:24 | 0:54:28 | |
-I'm going to sell it at 40... -Go on, one more. | 0:54:28 | 0:54:31 | |
£40, last time... | 0:54:31 | 0:54:34 | |
Anton and Charles are carrying the torch for slim victories today. | 0:54:34 | 0:54:38 | |
But are those small profits starting to add up? | 0:54:38 | 0:54:41 | |
Well done. Blimey, you could sell snow to the Eskimos, you. | 0:54:41 | 0:54:46 | |
Arlene fell in love with these delightful glass vases. | 0:54:46 | 0:54:48 | |
Can Liverpool be smitten by their charms too? | 0:54:48 | 0:54:53 | |
30? All done at £30? 35. | 0:54:53 | 0:54:56 | |
40. £40. | 0:54:56 | 0:54:59 | |
45 anywhere? | 0:54:59 | 0:55:01 | |
45, 50. 55. | 0:55:01 | 0:55:04 | |
All done at £55? | 0:55:04 | 0:55:07 | |
I'm going to have to sell at £55... | 0:55:07 | 0:55:11 | |
Is that the best we can do, at £55 now? | 0:55:11 | 0:55:14 | |
It's going... That all right? | 0:55:14 | 0:55:16 | |
£55... | 0:55:16 | 0:55:18 | |
It's your bid over there, £55... | 0:55:18 | 0:55:20 | |
-Sure you don't want to spend more on it? -Disaster. | 0:55:20 | 0:55:22 | |
-Can't get any more on it...? -Go on. | 0:55:22 | 0:55:24 | |
Tough crowd. | 0:55:25 | 0:55:26 | |
Long way from Scotland. | 0:55:26 | 0:55:28 | |
I'm useless! | 0:55:28 | 0:55:30 | |
-Oh, no... -< That's a lovely item. | 0:55:30 | 0:55:32 | |
-Now, they have got to make a loss of about 35... -45. | 0:55:33 | 0:55:39 | |
It's close, but no cigar, for Arlene. | 0:55:39 | 0:55:42 | |
Thank goodness for Anton's sensitivity. | 0:55:42 | 0:55:44 | |
I'm sure there's a casino - we'll try and make your money up somewhere. | 0:55:44 | 0:55:48 | |
(CHUCKLES) Anton and Charles have one last lot to sell. | 0:55:48 | 0:55:52 | |
So let's hold on the celebrating for a moment or two. | 0:55:52 | 0:55:55 | |
35 is bid. 40... | 0:55:55 | 0:55:57 | |
45. 50, 55. | 0:55:57 | 0:56:00 | |
60. | 0:56:00 | 0:56:02 | |
55 is bid. 60... | 0:56:02 | 0:56:04 | |
65. 70, 75. | 0:56:04 | 0:56:06 | |
80... It's worth a lot of money. | 0:56:06 | 0:56:09 | |
-85... -One for the road! | 0:56:09 | 0:56:10 | |
85. 95... | 0:56:10 | 0:56:13 | |
-CHARLES: -Come on. The magical three figures. | 0:56:13 | 0:56:16 | |
£90. All done at 90? | 0:56:16 | 0:56:18 | |
95 anywhere? | 0:56:18 | 0:56:20 | |
95, the gentleman. | 0:56:20 | 0:56:22 | |
100...? | 0:56:22 | 0:56:23 | |
£95 is bid. 100 anywhere? | 0:56:23 | 0:56:26 | |
It's £95... | 0:56:26 | 0:56:28 | |
£95, then, it's going to be sold at 95... | 0:56:28 | 0:56:32 | |
Your bid, right through there. | 0:56:32 | 0:56:36 | |
-£95. -A sad little loss to end on. | 0:56:36 | 0:56:38 | |
But, happily, small enough to keep | 0:56:38 | 0:56:40 | |
our gracious front-runners in the lead. | 0:56:40 | 0:56:43 | |
-She's giving you the shoulder, she's turned her back on you. -I am shocked. | 0:56:43 | 0:56:46 | |
-You've got the real chill, you have. -I'm shocked. | 0:56:46 | 0:56:49 | |
Come on. I'm leaving! | 0:56:49 | 0:56:52 | |
Oh, she's out of the door. | 0:56:52 | 0:56:55 | |
She'll get over it. | 0:56:55 | 0:56:56 | |
Our celebrities began with £400 each. | 0:56:56 | 0:56:59 | |
Despite Arlene's and James's enthusiasm | 0:57:00 | 0:57:04 | |
and gung-ho approach, they made a wounding loss, | 0:57:04 | 0:57:07 | |
after auction costs, of £42.20. | 0:57:07 | 0:57:10 | |
So that means they end their Road Trip with £357.80. | 0:57:11 | 0:57:17 | |
On the other hand, Anton's blase, carefree | 0:57:17 | 0:57:21 | |
and, frankly, at all times doubting attitude | 0:57:21 | 0:57:24 | |
made a small profit of £10.94. | 0:57:24 | 0:57:26 | |
A profit, nevertheless. | 0:57:26 | 0:57:28 | |
Our gracious winners end their Road Trip with £410.94. | 0:57:28 | 0:57:34 | |
All the funds generated by our celebrity teams | 0:57:37 | 0:57:40 | |
will go to Children in Need. | 0:57:40 | 0:57:42 | |
Arlene, are you going to forgive me? | 0:57:44 | 0:57:47 | |
-I shall try, James, I shall try very hard... -ANTON LAUGHS | 0:57:47 | 0:57:51 | |
Stop crowing! | 0:57:51 | 0:57:53 | |
-You didn't make THAT much money. -Oh, listen, the key is we made SOME. | 0:57:53 | 0:57:59 | |
This is it. Sweet sorrow, hey? But we took it. | 0:57:59 | 0:58:01 | |
-Sweet sorrow indeed. -Well done, Arlene. | 0:58:01 | 0:58:05 | |
-That's enough, James. -I forgive you! | 0:58:05 | 0:58:09 | |
Bye... Where's our honk? | 0:58:10 | 0:58:12 | |
HORN HONKS | 0:58:12 | 0:58:14 | |
-My mate...a fellow antique buff. -Yeah. | 0:58:17 | 0:58:20 | |
Rather...being pedantic, because Anton's a great guy, | 0:58:20 | 0:58:24 | |
but in terms of steering him, James, into the antique world... | 0:58:24 | 0:58:28 | |
it's been hard work. | 0:58:28 | 0:58:30 | |
ANTON: I was hoping that Charles would have given me a bit more of a steer, | 0:58:30 | 0:58:34 | |
-but he was very good at getting a bargain. -Is he? | 0:58:34 | 0:58:37 | |
-I think he wanted to learn to dance. I think he's a frustrated dancer. -Oh, he is... | 0:58:37 | 0:58:41 | |
Subtitles by Red Bee Media Ltd | 0:58:54 | 0:58:57 |