[MUSIC PLAYING] TIM WONNACOTT: It's the nation's favorite antiques experts.

What a job.

TIM WONNACOTT: With 200 pounds each-- With me?

TIM WONNACOTT: --a classic car, -- Buckle up.

TIM WONNACOTT: --and a goal to scour Britain for antiques.

Ooh, sorry.

Haha.

TIM WONNACOTT: The aim, to make the biggest profit at auction.

But it's no mean feat.

There'll be worthy winners.

And valiant losers.

So, will it be the high road to glory?

Or the slow road to disaster?

Have a good trip.

TIM WONNACOTT: This is the antiques road trip.

[MUSIC PLAYING] Yeah.

[MUSIC PLAYING] Say Hello to Sussex.

God's country.

And the further adventures of two auctioneers and an Alfa Romeo.

How's the mothership running today?

She's first rate.

TIM WONNACOTT: Yes, Nelly the Alfa is doing just fine.

As are Charlie Ross and local resident James Braxton.

Sussex is Best in the sunshine.

We get an inordinate amount of sunshine in the south.

Do you?

Yeah.

Nourishes everything.

I'm waiting for a good year for Concords.

TIM WONNACOTT: Aren't we all mate?

I once had a niner.

Charlie from Berkshire is an auctioneer.

Going, going, gone.

TIM WONNACOTT: With a fondness for furniture and items of quality.

S. Mordan and Co. London.

I love that.

Oh, sorry.

TIM WONNACOTT: While bamboo connoisseur, James, is also a gavel-er.

And has the thing about heft.

The Braxton barometer of quality is always weight, and that feels quite heavy.

TIM WONNACOTT: But after just one auction, he's leading the way.

Oh!

I was very impressed with your performance yesterday.

I was very impressed with yours.

TIM WONNACOTT: Really?

I think that's just being kind.

Because James' bronze serpent was definitely the best in show.

You're just going to be sitting on your 300 pounds, gloating?

Now you've got to speculate to accumulate.

TIM WONNACOTT: Very true.

After starting out with 200 pounds, James is currently the proud custodian of 300 pounds and 46 pence.

But Charlie, who also began with a 200 pound stake, has grown it by just four pounds and 66p.

What's your tactic?

Well I'm going to be harder.

Yes I think-- I'm too kind.

--you're too kind.

How much is that?

30 pounds?

You wouldn't take 35 would you?

[LAUGHTER] TIM WONNACOTT: After kicking off from Chart Sutton, in Kent, Charlie and James will be motoring around the Southeast.

Moseying up towards the Midlands, and then heading West.

Before eventually making Dorset their destination, and a D-day in Dorchester.

Today's itinerary includes a visit to a Berkshire showroom in Wokingham.

But begins in the West Sussex town of Petworth.

Antique heaven.

[MUSIC PLAYING] Where James is about to get first dibs.

Pleasure to be your driver, as always.

Pleasure.

Really kind.

Really.

TIM WONNACOTT: Buses permitting.

Make another whopping profit won't you?

TIM WONNACOTT: Petworth's a bit of a magnet for antique.

Hello.

James.

Hi, pleased to meet you.

Catherine.

Hello.

This is lovely isn't it?

Oh, thank you.

TIM WONNACOTT: So, with those profits burning a hole in his pocket, what will James plump for?

I love this.

I've always liked these Paisley shawls.

, So made in Scotland, outside Glasgow.

And weaving at its finest.

Lovely colors.

Looks undamaged, no moth.

But this is real arts and crafts.

This is something William Morris might have had in Kelmscott Manor, in his home.

I would be all over this like a rash if it was 100 to 150.

It's 265.

It's-- it's not a bad price, if I was buying this for the home.

But I would be looking at a loss at auction so I'm going to walk away.

TIM WONNACOTT: But, while James has been pondering the Paisley, what's his friendly rival thinking?

I'm lagging behind Braxton.

The story of my life, really.

But I'm going to be harsher today.

I must try and let my head rule my heart.

TIM WONNACOTT: Well, that'll be a first.

I think he's going to turn over a new leaf when he arrives at the market town of Arundel.

On the River Arun.

Town motto, "Steadfast in ancient virtue," Should suit him down to the ground.

This looks like the sort of shop I want to be in for the rest of the day.

Aha!

Are you the boss, sir?

I am indeed, sir.

- Are you David Bandyshire?

- I am indeed.

Nice to meet you.

Charlie.

Really nice to see you.

My word.

TIM WONNACOTT: I think they both rather fallen on their feet today.

Military might not be his sort of thing, but there's a lot more than that in here.

Some rather nice Chinese hardwood tables.

There's two there.

One would like to see a third.

And they're pretty saleable nowadays.

They've got enough age.

The 20th century.

But, quite collectable and very useful.

And in fact, over there, is the third one.

David, sir, I take it that that, belongs to that and that.

They are a set.

Unfortunately the cost of the restoration has put the price up.

So they are 350 pounds.

Yes.

Fair enough.

I can't do that.

But I like them.

TIM WONNACOTT: So, where's the new improved Charlie, then?

CHARLIE: I'm looking for something to be mean with really.

What a splendid telescope.

DAVID: You can be terribly mean with that.

It's 100 quid.

W. Ottway and Company, Limited.

Ealing, London.

1940.

I wonder what that's seen in its time?

TIM WONNACOTT: David's bargain price is still half of Charlie's budget, of course.

I see no ships.

Only hardships.

And enormous Braxton profits on the horizon.

TIM WONNACOTT: Speaking of which, how are things in Petworth?

No snakes, but any number of other zoological renderings.

10, 20 years ago, I would have walk past this picture.

Probably saying something like, ghastly, or vulgar.

TIM WONNACOTT: Well, you don't have to buy it.

This is the sort of thing that is painted around the Sacre-Coeur in Paris by all those artists with the easels.

It was a typical tourist piece, quite quickly done.

And it's a very stylized design.

You think of great stylized British artists.

Like, for instance Lowry, or Piper, or Sutherland.

All these sort of people had a very strong start.

TIM WONNACOTT: I think it might be growing on him.

You've got these great vertical and horizontal lines, that form a very good framework, in which the artist just puts blobs of color, and your brain does the rest.

It's signed.

It's on Canvas.

People quite like these bright ones.

And, my word, this has got a surface.

This is almost three dimensional.

I can feel huge blotches of paint here.

TIM WONNACOTT: And it's dry, too, just.

What have they got?

120 pounds on it?

If I could get this between 50 and 80, I think this is a definite candidate.

TIM WONNACOTT: Time for Catherine to make a call.

Catherine!

I'm ringing up about the lovely-- JAMES: It's a Paris scene by Saad.

Paris scene The thing we would have thrown in the bin 10 years ago.

I've got the charming James Braxton here.

Help me out, please.

What can you do?

CATHERINE: He can go low for you.

80.

- 80.

Which is-- That's tempting, isn't it?

--a nice chunk off.

JAMES: So that gives me thought.

Yes.

Can I make that thought into a decision, by just shaving it down a little bit more for you and saying 75?

75?

Yeah, go on I'll buy it.

Thank you, Catherine.

- Thank you.

- Thank you.

TIM WONNACOTT: I'm not sure he really likes it but he's now the proud owner.

Seems to have left his Panama hat behind, though.

Not, what's around in Arundel?

DAVID: Here we are.

An ancient crib.

CHARLIE: Crib.

It's got some age.

That's 19th century, isn't it?

Nice folk art.

Yeah.

It's in pretty good order.

I think it's just pine, isn't it?

Got its original rockers on, which is quite splendid.

How does it rock?

Look at that.

It's like a good pendulum, isn't it?

TIM WONNACOTT: I think we might be getting somewhere.

How much is this exceptional crib?

50 pounds?

CHARLIE: Is it?

You said that with a question mark at the end.

Ha!

Haha!

It's more in anticipation of a bid.

Know what I think it would be estimated at auction?

DAVID: Tell me.

30 to 50 pounds.

How about 30 pounds?

I'll give you 25, sir.

25?

That's my last offer.

25 it is.

You shook my hand.

You're happy with that?

TIM WONNACOTT: Rocking good deal.

What else has David got?

DAVID: How about an old model boat, at a very good price?

Well An unbelievably good price.

I mean-- 75 quid.

Oh, now steady, steady.

It's too big for the bath.

TIM WONNACOTT: Could be a sale.

CHARLIE: I think it's probably 1950s.

DAVID: I think you're absolutely right.

CHARLIE: Am I?

Just post-war.

So it's got quality.

It's got size.

Got all its rigging.

Have you got all your rigging, David?

Most of it's in place.

Good man.

Mr. Braxton's blow away most of my rigging in the auction.

TIM WONNACOTT: But that was before Charlie Mach Two, eh?

You're going to rue the day I turned up in Arundel.

I'll brace myself.

I want to pay 35 pounds for your boat.

Would that be cash, sir?

It will-- oh, cash, absolutely.

Oh my goodness me.

TIM WONNACOTT: What was that he said about spending the day here?

It's modern isn't it?

It's probably '50s or '60s.

Do you think it's as early-- All right it's modern, then.

Haha ha!

Chinese?

I think so.

TIM WONNACOTT: Rattan storage baskets.

CHARLIE: You can put your linen in there.

Well, I think it was for taking food into the palace.

I think you had soups in the bottom.

CHARLIE: Yeah.

DAVID: And maybe lighter snacks.

Maybe prawn crackers in the top.

CHARLIE: (LAUGHS) It's a prawn cracker container!

It is a prawn cracker container.

TIM WONNACOTT: No ticket price, but apparently, Maisie, David's mom, can do a deal on these.

Mother?

Oh you're there.

I found this upstairs.

It's modern.

It's Chinese.

And it's got a hole in it.

TIM WONNACOTT: So you'd rather not pay much, then?

MAISIE: 25 pounds?

CHARLIE: I want to pay 10 pounds for it, Mum.

15.

Oh mother I want to pay 10 for it.

What do you think, 10?

DAVID: Well if you think you can go, let it go for 10.

Oh that's a good idea.

Mother, may I kiss your hand?

(SINGING) Oh, can I kiss your hand, madame?

Oh.

Thank you so much.

I should live off of this experience for months.

Not as much as I will.

(SINGING) Maisie, Maisie, give me your answer, do.

I'm half crazy.

Oh the love of you.

Crazy is the word.

Is it?

TIM WONNACOTT: Something like that.

DAVID: I'm going to be paid now, mother.

Yes.

You'll be eating tonight.

TIM WONNACOTT: 70 pounds spent.

CHARLIE: You want to let me out?

DAVID: Naturally.

TIM WONNACOTT: While Charlie takes his leave, and basket.

[MUSIC PLAYING] James is headed into the nearby South Downs.

Close to the little village of Bignor.

To see some of the finest Roman mosaics ever found in Britain, in the company of museum assistant Elizabeth Harling.

Hello.

James.

Hello, I'm Elizabeth.

I love the mosaics.

Lovely.

Well come on this way.

We've got quite a few nice wants to show you.

TIM WONNACOTT: The remains of the Bignor Roman villa were discovered in 1811, when a local farmer unearthed one of the stones with his plow.

It's a lovely spot.

I can see why a Roman might want to live here.

TIM WONNACOTT: Archaeologists soon started their excavations.

JAMES: I'm amazed how intact they are.

ELIZABETH: We're quite lucky.

It has always been farmland.

There wasn't any building on top.

So when was this Roman villa constructed?

Well, it actually happened over stages.

The first building generally consisted of about five or six rooms, pit in about 190.

So, the Romans were already well established.

Is that AD or BC?

AD.

AD.

ELIZABETH: But then as they made more money they were able to improve their buildings.

We see a more substantial stone structure.

Then when you get to rooms like this, we're looking at about 300 AD.

JAMES: Who would have been in here?

ELIZABETH: Because this was quite late in the Roman occupation of Britain, there was time for Romans to integrate-- JAMES: Yeah.

--and for British people to take on the Roman way of life themselves.

JAMES: Right, right.

So we think that this was one of those families.

[MUSIC PLAYING] JAMES: What was this room used for?

ELIZABETH: The Romans would have known it as a triclinium.

Triclinium.

God, what a name.

ELIZABETH: That is, a dining room.

TIM WONNACOTT: When the Romans first began to settle in Britain, they brought mosaic craftsmen with them.

Later generations, however, produced their own homegrown mosaicists.

Is that a signature, or something?

We believe it is.

JAMES: That's IR, is it?

ELIZABETH: Well, you're close.

It's an R. But, the first letter is actually a T. JAMES: T, OK.

The top is a little bit longer, a little bit wider than the bottom.

But, if you look very carefully at the back of the R, you'll see three little lines just coming off the back.

JAMES: Oh.

So is that the signature of our mosaic artist?

We think it is.

We believe his name was Terentius.

JAMES: Why a dolphin?

ELIZABETH: Oh, well, Romans saw dolphin as a sign of prosperity and good luck.

There was a story of Arion, who having been thrown into the sea by robbers, was saved by climbing on a dolphin's back and swam back to shore.

TIM WONNACOTT: Almost every mosaic at Bignor reflects some aspect of Roman mythology.

From the depiction of Medusa in the bathhouse, to protect the bathers clothes with her head of snakes, to their most revered deity on the floor of the winter dining room.

This is a fabulous mosaic.

But who is this figure here?

Oh, this is Venus.

The goddess of love and beauty.

And, as you can see, surrounding her, we've got this beautiful ornate pattern here with leaves.

She's flanked by some birds-- Yeah --just here.

These are very unusual.

And it gives us a little clue as to the wealth and status of the family here.

Because the material used is glass.

Ah Roman glass.

ELIZABETH: It was probably one of the most expensive materials you could use in your mosaics.

JAMES: It's in remarkable condition.

Really remarkable.

ELIZABETH: Of course, Venus has a little trick up her sleeve.

If you walk around this way, just keep an eye on her as we go.

You'll see she follows you as we move.

JAMES: She's looking for earthly faults.

Isn't that lovely?

[MUSIC PLAYING] TIM WONNACOTT: Now here's a clue as to where our other tripper has got to.

(SINGING) I do like to walk along the prom, prom, prom, where the brass bands go tiddly ump um um.

TIM WONNACOTT: Yep, Charlie is on the front.

In Bognor Regis.

From Bignor to Bognor.

Endorsed by George V. And now, antiques royalty.

Oh.

Too old for sports cars.

TIM WONNACOTT: You're never too old, Charlie.

That's interesting having just bought and sold, at a profit, one bronze bowl with a false bottom.

This appears to have a replacement bottom.

TIM WONNACOTT: It's uncanny how often that happens.

It's considerably larger.

It's probably of the same era.

1900, or thereabouts.

I think the stand is, if I may say so, considerably later than the bronze bowl itself.

It's quite well decorated.

Who knows?

Hasn't got a price on it.

Perhaps it's cheap.

Aha.

Are you the boss?

- I am.

- Hello.

- Pleasure to meet you, Charlie.

Nice to see you.

You are Stefan?

I am Stefan.

Lovely to see you.

As I was coming in, I saw a bronze pot with a replacement bottom.

Is it cheap, or did you have to pay blood for it?

Well I did get it slightly cheaper than I would have done if it didn't have replacement bottom.

Yes.

Yes.

The price for you, Charlie, would be 65.

You're tempting me, Stefan.

You are tempting me.

TIM WONNACOTT: Something else with an Oriental flavor, Charlie?

There's a bit of Braxton bamboo.

Decorated with Mother of Pearl?

Yeah, and Shibuya armor work.

TIM WONNACOTT: Named after the town in Japan where it originated.

Look at that.

You tell it's bamboo, can't you?

Shibuya armor work is applied or inlaid into wood, usually Mother of Pearl, sometimes gold, sometimes silver, for the luxury items.

Usually, half the bits are missing.

This looks remarkably complete, Stefan.

I think there's one small flower missing.

Is there?

Yeah, and you'd have to look hard to-- I'll take your word for it, Stefan.

Do you know what is rather lovely?

Is, the quality of her hand.

How much is that, sir.

That for you-- For me, he says.

--that for you, that can be-- let me see-- it could be 65.

That's today's price, isn't it?

TIM WONNACOTT: Seems to be.

Anything that's not 65 pounds, we wonder?

Wow.

Black Forest.

A Bavarian delight.

TIM WONNACOTT: A novelty nutcracker.

CHARLIE: Splendid.

Walnut?

STEFAN: Walnut, and hand-carved.

Circa 1900, 1910.

What looks like original glass eyes.

Stefan, what's the price on your nutcracker?

STEFAN: 75.

I would be happy to pay 50 pounds for it.

TIM WONNACOTT: Remember, this is the new and improved Charlie.

Is there any leeway on the bronze bowl, with the new bottom?

If you buy the two, we can do the two for 100 pounds, cash.

TIM WONNACOTT: Cogs whirring.

Uh, Charlie.

You're an auctioneer, it's sold.

Haha haha!

TIM WONNACOTT: Crikey.

Time for a dither.

Life is never easy.

Life is jolly complicated.

I'm in a real quandary, here.

I love that nutcracker.

I want to pay 50 pounds for it.

I don't think Stefan wants to sell it to me for 50 pounds.

Unless he can shift something else on.

Vis, this Chinese bronze bowl.

What did Braxton say?

You've got to be hard.

Charlie, drive a deal.

Yes, Mr. Braxton.

TIM WONNACOTT: Good you know him.

CHARLIE: I'll be blunt.

If I offered you 80 pounds for the two of them, would it show you a profit?

Uh, 90 pounds sees me a profit.

It's 90 pounds?

90 pounds.

That's very kind of you.

Thank you very much.

TIM WONNACOTT: So, 45 pounds for the Giardina.

And the same for the nutcrackers.

(GIBBERISH) [MUSIC - "NUTCRACKER SUITE"] I love it.

I love it.

I love it.

I don't love it, but it's cheap.

TIM WONNACOTT: Someone needs a lie down.

Nighty night.

[MUSIC PLAYING] TIM WONNACOTT: Another day.

Another very nice county.

JAMES: We tend to associate Surrey now with the M25, which is a shame.

And a lot of Surrey, which people don't realize, is incredibly rural.

TIM WONNACOTT: He's right.

CHARLIE: Look at that, an otter.

TIM WONNACOTT: Well done.

Well missed.

TIM WONNACOTT: Yesterday, Charlie was as quick as that otter in getting off the mark.

Acquiring a crib, a model galleon, a nutcracker, bronze bowl, and some rattan baskets, as you do.

It's modern.

It's Chinese.

And it's got a hole in it.

TIM WONNACOTT: Leaving him with just under 45 pounds in his wallet.

James bought just a painting.

The thing we would have thrown in the bin 10 years ago.

TIM WONNACOTT: Which means he still has over 225 pounds to spend.

On this fine day.

JAMES: We should be in Lycra, eh Charlie?

James, the thought of you in Lycra, with great respect, put me off my buying.

JAMES: Yeah.

The great thing about Lycra, it's very supportive.

TIM WONNACOTT: So they say.

Later, they'll be burning rubber, towards Berkshire, at an auction in Wokingham.

But before that, we're heading straight into Compton.

That's the one in Surrey.

Nestled in the North Downs.

And just outside the village-- CHARLIE: You're just leaving me here?

Well, a walk is always good for your waistline.

You ought to try one one day.

TIM WONNACOTT: Ooh.

Cheeky bugger.

So, while James goes in search in the A3, Charlie has come to Compton.

To seek out an arts and crafts masterpiece in the company of assistant curator, Cecily Robinson.

What's all this about?

- Good morning.

- Good morning.

What a lovely place to meet.

Hello.

What are we looking at?

CECILY: This is the Watts Chapel, which was designed and built by Mary Watts.

Mary was the wife of George Frederick Watts, the famous Victorian artist.

CHARLIE: Wonderful.

May we have a closer look?

TIM WONNACOTT: Mary Watts moved to the village with her husband, George, in the early 1890s.

And when the local counsel decided to set up a new cemetery close to their home, the couple offered to create this chapel.

It must be unique, this building.

It is.

Mary was influenced by a number of things she'd encountered during her lifetime.

For instance, she was brought up in Scotland, so there's quite a strong Celtic influence.

And she also traveled to Egypt with George Watts, for their honeymoon.

So there's an element of Egyptian symbols within it, as well.

Quite a way to go for a honeymoon in those days?

Yes, quite an exotic adventure.

CHARLIE: There's also an Italianate look to the top.

And of course, the shape is unusual isn't it?

CECILY: Absolutely.

It's-- it's formed from a circle, intersected by a cross, which has origins in early Christian and pre-Christian symbology.

TIM WONNACOTT: Although the chapel is unquestionably Mary's masterpiece, almost every Compton resident had a hand in its construction and decoration.

Mary and George both believed in the sort of "art for all" ethos.

Mary would hold clay modeling classes at her home.

And she would teach the local villagers some basic clay modeling skills.

They would then be shown how to model these decorative patterns for the exterior.

CHARLIE: So, you might have one tile done by Mrs. Jones, and one by Mrs. Boggs, and one by-- CECILY: Exactly.

TIM WONNACOTT: Work began in 1895.

Using a seam of local clay.

And the building, which remains a working village parish chapel, was completed almost 10 years later.

[CHANTING MUSIC] Goodness gracious me!

Ahh.

Who could ever have thought from the outside that this is what I was going to find inside?

The colors.

The vibrancy.

It's just spellbinding.

This is a meeting of heaven and Earth.

In the center of the ceiling we have this eternal circle.

With no beginning and no end.

Then the walls and the ceiling are covered in angels.

Closest to God we have these serifs, the highest order of angels, that are dressed in red.

And then we come down to this lower tier of winged messengers.

And then, finally, the earthly realm.

Which is shown by the beautiful little flower details.

Which were actually made by the local village children.

Really?

TIM WONNACOTT: Beneath the altar piece, which was George's sole artistic contribution, is an acknowledgment of the villagers' work.

"The people of Compton," that's nice isn't it?

It's dedicated to the memory of all who rest near its walls.

The overall effect is a wonderful, wonderful quality.

And yet, if one looks at the figures, individually, there's a delightful amateur feel to it.

It does show that it was done by local people, who weren't professional artists.

TIM WONNACOTT: Geoff Watts died in 1904, shortly after the chapel was completed.

Mary passed away in 1938.

But, for over 50 years, the Compton Potters Guild was a successful local business.

Their products sold at London stores, such as Liberty and Co. Mary really believed that anyone, given the opportunity, could create something beautiful.

And that everyone needed a craft, through which they could express themselves creatively.

[MUSIC PLAYING] TIM WONNACOTT: Now, with James at the wheel of the Alfa.

With over 225 pounds left to spend, he's taken our route towards Hampshire, in Alton, where local resident, Jane Austen, wrote Persuasion.

Could have been about the art of buying antiques, of course.

Breathe in.

JAMES: Hello.

- Hello.

James.

I'm Rob.

Good to meet you, Rob.

This is a lovely shop, isn't it?

It is tiny, isn't it?

I've just been sort of trying to measure it, like this.

TIM WONNACOTT: Oh, the Braxton height test.

Anyway.

It's rather sweet.

It's got quite a nice timber here.

This sort of blockiness suggests art deco.

The dog, here.

He looks a very fine sort of hunting, Labrador, quite stylized.

He's sort of art deco in shape.

And it's quite heavy.

TIM WONNACOTT: I think it passes.

You look at that, and you mislead dismiss it as being Spelter, or something, but the weight might suggest something else.

And it's rather nice.

Well look at the price tag.

It's not a bad price tag.

Something to think about.

Take me anywhere and I'll find the petrol money.

TIM WONNACOTT: He's not finished, is he?

When I walked in, I noticed he had this bench.

Everything has merit.

The timber is oak.

But what attracted me to it, was the grain.

You got this rather nice grain, here.

And sometimes people refer to this as, "silvering."

And it comes from quarter sawn timber.

You think of the cross section of a fallen oak tree, like that.

And you put it through a sawmill.

And most people just cut planks, like planks, like that, but quarter sawn, you cut it in quarters.

So segments.

So you chop, chop, chop, chop, chop.

And then chop, chop, chop, chop, chop.

And by doing that, you get this fabulous grain.

TIM WONNACOTT: Looks like 1930s.

No price label.

Solidly made.

But utilitarian.

We got metal things, here.

It looks a bit institutional, doesn't it?

You could put that under a window, and it's really nice little resting place.

Stools are brilliant for your posture, you know.

Me being a Yogic master, loves the stool.

You know, my back can find its natural form.

[SPA MUSIC] TIM WONNACOTT: Uh-oh, I think he's meditating on an offer.

JAMES: Rob, I found two items.

OK. JAMES: Pretty little model of a dog.

ROB: Yes.

And your oak bench outside.

Ah, right.

OK. JAMES: I couldn't find a price tag on the oak bench.

No I'll probably be looking for about 20.

20?

Do you know, exactly the figure I thought.

So you've got 20 on the bench.

You got 20 on the hound.

Could you do 30?

I'll do 30.

30.

I'm gonna to peel it off now, chief.

OK. TIM WONNACOTT: Something Ms. Austen almost certainly never said.

Rob, thank you very much, indeed.

TIM WONNACOTT: But she might be on a 10 pounds note.

So, 15 pounds for the dog, and 15 for the bench.

Time for our pair to team up again.

This is just the spot for the car to break down.

I know.

We break open the picnic, wouldn't we?

I don't think we've got one.

TIM WONNACOTT: Well, fingers crossed, then.

As we head back over the Surrey border, without so much as a Scotch egg, into Haselmere.

They'll be shopping two by two.

[MUSIC PLAYING] Look at me when I'm talking to you.

Anything of note, Charlie?

Ooh, I say.

Wicker furniture.

Or bamboo.

Very Braxton.

More or less bamboo.

Braxton doesn't buy that, I'd eat my hat.

TIM WONNACOTT: Ah, the man himself.

CHARLIE: James, what are you doing?

I'm in union with my machine.

CHARLIE: Have you ever been spinning?

JAMES: I've never done any spinning.

No, I'm more a potter's wheel man.

CHARLIE: Same action.

TIM WONNACOTT: Lordy.

Bring it up, get in there.

TIM WONNACOTT: I think buying something might be a better idea, James.

Ah, the proprietor.

Hello.

James.

Hello, James.

Nick.

It's really lovely.

I love all your rugs.

Ha ha ha.

Thank you.

Now, Nick.

I've come here for furniture.

TIM WONNACOTT: Well, you've come to the right place.

But there's naught like a novelty.

JAMES: I just noticed a thing, on the top, there.

You'll be noticing the graffiti on the top.

JAMES: Oh, yes.

NICK: It's just it's a printer's cabinet, and they've used the typeset to decorate the top.

How interesting.

Oh, and some on the door as well.

What does it say on the front?

NICK: Sprint.

JAMES: Says any sprint, doesn't it?

TIM WONNACOTT: That'll be newsprint, James.

BOTH: Fleet Street.

There we go.

TIM WONNACOTT: The ticket price is 320 pounds, though.

JAMES: That's a fabulous item.

Really interesting to see, but I'm not going to buy it.

TIM WONNACOTT: On we go.

JAMES: What have you got, sort of south of 100?

TIM WONNACOTT: Good idea.

Now, is it just me, or does he look like Charlie?

That's intriguing.

A vintage Eastern, hand hewn, hot stone griddle.

Originally used in cooking.

Fascinating relic of kitchen-alia.

Well, it is.

I use mine for storing eggs and ripening tomatoes.

It's rather a charming thing.

(SIGHS) It's just impossible to tell how old it is.

It's only 45 pounds.

But I think it's going to go with either a boat or a nutcracker.

TIM WONNACOTT: Back to the furniture.

Part two.

A mid-Victorian, four-legged stool.

Slightly dished atop.

And there's another similar one over there.

OK. And in terms of your budget, they could both be within budget.

JAMES: It's got a nice elm seat on it.

Granted, it's got a very Victorian turned leg though.

And the stretchers are right, are they?

Yes.

JAMES: If I saw that in the shop, I'd expect to see around 50 quid on it.

What's that priced at?

It's priced at 110.

In fact, they're both 110.

JAMES: And your reasoning for 110?

Both of these stools belong to my colleague, Stuart, so, I don't know how much they paid for them.

But-- So something like that, could that go as low as 60 or not?

TIM WONNACOTT: The Braxton wait and see test.

Shh.

I don't know.

(QUIETLY) Yes.

I think we could probably do that.

OK I'll buy that for 60, Nick.

TIM WONNACOTT: One wee stool, for a much reduced price.

Charlie?

What is this?

It's a glove.

Of course it's a glove.

What sort of glove?

It's incredibly thick gauge.

I thought possibly it's a fives glove.

Used to play fives at school, an extraordinary game.

Here we go.

It's a 19th century hedgers glove.

Well of course.

If you were layering hedges, you would need something that would be thick enough to fend off the barbs of all sorts of bushes.

Particularly hawthorn.

I mean, can you imagine layering a hawthorn bush?

You would need a glove like this.

I think it's fascinating.

It's old.

It's gnarled.

And it's a real statement of history.

70 pounds.

Well I couldn't tell you whether that was expensive, or whether it was cheap.

Should I buy it?

Probably not.

TIM WONNACOTT: I think he's happy enough with what he's bagged already.

But what about his prediction?

Well it's rather fun.

It's sort of-- it's-- it's bamboo in nature, but I think this is more wicker.

TIM WONNACOTT: Sounds like he's hooked, Charlie.

It has this sort of Japan look about it.

This is simulating a lacquered top, here.

I think that's probably miniature furniture.

Possibly doll's house furniture.

It's got a very organic look to it, which would suggest latter part of the 19th century.

That Japanese aesthetic.

It's rather fun, it's got some age, hasn't it?

What's the price on it?

40 pounds.

Yeah, that's sort of affordable.

Nick, this is rather charming little group, isn't it?

We presumed it was doll's house furniture.

But when you imagine the scale-- Yeah, I think it's a bit big, isn't it?

Maybe it was to illustrate your new range, or something, I don't know.

TIM WONNACOTT: Sort of traveling salesman stock.

What could you do on something like that?

Well we're asking 40, so you could twist my arm, we could say 30.

30?

I'll buy it at 30, Nick.

Excellent.

Thank you.

TIM WONNACOTT: So, Charlie's hat is safe.

And their buying's now complete.

Time to get ready for that auction.

Two of my objects past the Braxton weight test.

Well you're bound for success.

TIM WONNACOTT: They're also bound for Wokingham.

But first the shuteye.

[MUSIC PLAYING] It's high noon, Berkshire style.

In the time that takes its name from a Saxon chief called Walker.

JAMES: I think it's your turn to shine, isn't it?

I've got to play catch up today.

Rubbish, Charlie.

I have.

Lose honorably.

Way behind.

What do you mean lose honorably?

How dare you?

TIM WONNACOTT: After starting out way back in Petworth, West Sussex, Charlie and James have nudged their way north towards Wokingham.

At Martin and Pole, auctioneering since 1846.

With internet bidding now, too.

James parted with 195 pounds for his five auction lots.

Take Me anywhere and I'll find the petrol money.

TIM WONNACOTT: While Charlie, whoops, spend a bit less.

160 on his five lots.

(GIBBERISH) Hi aye arsh.

Now, I know Charlie has put some store in this.

It looks very alpine, doesn't it?

It's got these lovely horns.

But what's very attractive about it is the green eyes.

Now goats, I think, have these very horizontal-like pupils.

This one's been given a more friendly, human touch.

Probably a profit.

(LOUDLY WHISPERING) James loves a dog.

I think he's done well here.

No age.

But it's got quality.

And of course, it passes the Braxton weight test.

And I think it was described as Spelter.

This isn't Spelter.

It's cold.

It's heavy.

It's bronze.

I like this.

This has a rather friendly touch about it.

Who cannot love an elephant?

It hasn't just got one, it's got two elephants, on this lovely bronze bowl.

The stand is nice it's not, the correct stand, but it's still a stand.

I don't think Charlie paid a lot of money for it, definite profit.

Exhibit number one.

James' oil painting.

The best thing I can say about this oil painting is, that it is Paris.

(IN FRENCH ACCENT) Gay Paris.

I think he was insane buying this picture.

Because I think it's going to lose money.

I think he paid 75 pounds.

Rather him than me.

TIM WONNACOTT: Cocky.

Right.

Let's hear the impartial thoughts of auctioneer Matt Phelps.

When it first came in, we thought it was a nice little bench.

We didn't think it was terribly exciting.

But it had a lot of interest in it.

I think we should have a good sale for that.

The most unusual item, that we wouldn't normally sell, is probably the Chinese baskets.

Of all the items, probably the child's furniture is my favorite.

It's really sweet.

I think that should create quite a bit of interest.

TIM WONNACOTT: Plenty of reasons for those due to be cheerful, then.

You know, James, walking through that crowd with you, felt like my wedding day.

TIM WONNACOTT: Congratulations.

Here's Charlie's first issue.

Brace yourself.

20 then.

At 20 pounds.

An interest at 20 pounds.

Thank you.

At 20 pounds in the room now.

20.

Any more at 20 pounds?

I've got 22 on the internet.

25 in the room.

I've got 30 on the internet, now.

32 in the room.

For me, James, I can tell you this is a hugely exciting moment in my life.

38 now, in the room.

In the room at 38.

40 on the internet.

42 in the room.

At 42 pounds now.

45 now on the internet.

Any more?

At 45 pounds.

Are we all done at 45?

Very good, congratulations.

Now, I say James, the fight back starts here.

TIM WONNACOTT: That's the spirit, Charlie.

Very impressed.

Hmmm, I'm feeling good now.

TIM WONNACOTT: Now, the auctioneer was quietly hopeful about James' bench.

Quick, here it is.

With me at 35 pounds.

38 anywhere?

James!

35 pounds.

I'll be selling at 35 pounds.

38, 40, 42 with you now.

42 pounds in the room.

Any more?

42.

[INAUDIBLE] Are we all done?

At 42 pounds, then.

45 on the internet.

Everything's making 45.

45 on the internet.

Any more?

45 pounds.

Oh, congratulations.

TIM WONNACOTT: Bench makes mark.

That's a brilliant bit of work.

45.

TIM WONNACOTT: Can Charlie's baskets achieve such heights, we wonder?

Have 40 pounds.

Any interest at 40 pounds?

30?

At 30 pounds.

Go on madame, and put your hand up.

At 30.

I got 30 on the internet.

Oh.

30 pounds on the internet, now.

Any more at 30?

Still a profit.

Are we selling at 30 pounds?

32 now on the internet.

32, 35 now.

Any more at 35?

38 now.

40.

At 40 pounds on the internet.

42 now on the internet.

Look at this internet.

I love the internet.

At 45 pounds.

You can all go home, it's all on the internet.

It's (LAUGHTER) It's at 45 pounds.

At 45 pounds, then.

We all done?

That'll do.

Very good.

TIM WONNACOTT: China has been very good to Charlie.

That wasn't in the script No, it wasn't.

It wasn't.

An unscripted profit.

TIM WONNACOTT: Over to James.

That four-legged stool.

Start this with me at 35 pounds.

It's a chunky start.

It's a chunky start.

38, 40, 42, 45, 48, 50, 55, 60, 65, with you now.

65 pounds in the room, now.

Any more at 65?

There's no holding you, is there?

Are we all done then, at 65 pounds?

The policy's get that man a cream bun.

TIM WONNACOTT: A four-legged stool never lets you down.

Well, I've broken the rhythm.

You have.

It's-- it's inexorably upwards.

TIM WONNACOTT: Now, for the second auction on the trot, we present Charlie's brass bowl with replacement bottom.

Don't underestimate an elephant.

Power of the trunk.

100 pounds in a row for the slot?

100 pounds anywhere?

Any interest 100 pounds?

100, I have.

At 100 pounds on the internet, any more?

At 100 pounds?

Are we be selling at 100 pounds?

Are we all done, then?

Move it along.

100 pounds.

All done?

When it's sold at a maiden bid, do you think-- Don't get greedy.

TIM WONNACOTT: Quite.

It's a jumbo profit.

It's almost your standard, isn't it?

TIM WONNACOTT: James' seating for the little people is next.

Start it with me at 25 pounds.

28 anywhere?

25?

28.

32 with you now.

At 32 pounds in the room, now.

Any more at 32 pounds?

Oh come on, they can do better.

Are we selling at 32 pounds?

35, 38, at 38 pounds.

I bought them for 30, didn't I?

Yeah.

All done, then.

38 pounds.

It's sort of not all wash your face, it's a sort of a small wash with cold water.

TIM WONNACOTT: Never mind.

It's still a profit.

All I'm pleased about now, is that you bought them, and I didn't, really.

TIM WONNACOTT: Galliant time.

What can Charlie's cut price vessel do?

I think maximum speed, 3 knots.

With a very good wind.

With a very good wind.

50 pounds anyone for this lot?

50 pounds anyone?

Any interest at 50?

40 I'll take.

40, I should think you will.

Now any more 40?

At 40 pounds.

40.

40 pounds.

Any more?

I've been holed below the water line.

TIM WONNACOTT: Yes.

It won't look so buoyant after costs.

You've lost the price of an open sandwich now.

(LAUGHS) TIM WONNACOTT: James' bronze bonzo next.

30 then.

That's all right.

30 pounds.

20 then?

20, I have.

20 pounds.

22 It's a profit, James.

At 22 against you, now.

25, 28, 30, at 30 pounds.

At 30 pounds.

I'll be selling then, at 30 pounds.

All done, then at 30.

Dear.

Dear oh dear.

That's not what I was hoping for.

TIM WONNACOTT: It did double your money, however.

It's all in the nutcracker, now, isn't it?

And the oil painting.

TIM WONNACOTT: But, first.

Who'll get Charlie's goat, eh?

Ram is a symbol of lust.

Lust?

Well it does crush nuts.

Starting with me at 50 pounds.

55, anywhere?

It's with me at 50 pounds.

Any further offers at 50 pounds?

Are we selling at 50 pounds?

55 on the internet.

60 with me.

At 60 pounds.

Any more at 60?

Yeah, yeah.

Are we selling at 60 pounds?

If we're all done at 60 pounds.

With absentee bid at 60 pounds.

A ram- a-lam a ding dong.

TIM WONNACOTT: Certainly puts the bop in the bop she bop she bop.

You're in profit.

Yes.

And I've got one card yet to play.

You have your big one.

TIM WONNACOTT: Yes it all hangs on James' pricey painting.

There is only one thing wrong with this picture.

It failed the Braxton weight test.

20 pounds anywhere for this one?

20 pounds.

Starting at 20.

At 20 pounds.

Any interest at 20 pounds?

Oh, he's not going-- 10 then.

10 I have.

Thank you.

10 pounds in the room now.

10 pounds.

I think the expression is [INAUDIBLE].. Are we selling at 10 pounds?

10 pounds then.

It's with you at 10 pounds.

That's not good, is it?

TIM WONNACOTT: Looks like the world isn't quite ready yet for James' art.

I don't want to dwell on it.

I guess-- Charlie, I think we should go outside-- Yes.

--do some figures.

I would just say, can I just say one word?

Yeah.

Congratulations.

Thank you.

You know, I think I may have won the second heat.

TIM WONNACOTT: You're not wrong, Charlie.

[MUSIC PLAYING] James started out with 300 pounds and 46 Pence.

And after auction costs, he made a lot, of 40 pounds and 84 p. So, he now has 259 pounds and 62 pence.

While Charlie, who began with 204 pounds and 66 p, made after costs, a profit of 77 pounds and 80 pence.

So, he's our new leader.

With 282 pounds and 46 p. Cheer up.

I've got to hand it to you.

[MUSIC PLAYING]