VOICEOVER (VO): It's the nation's favorite antiques experts...

I've got it, I've got it.

VO: ..behind the wheel of a classic car... Ooh!

VO: ..and a goal to scour Britain for antiques.

Argh!

VO: The aim - to make the biggest profit at auction.

But it's no mean feat.

Doubled up there!

VO: There'll be worthy winners... £1,700.

SERHAT: Yeah!

VO: ..and valiant losers.

Oh, no!

VO: Will it be the high road to glory... Loving it, loving it, loving it.

VO: ..or the slow road to disaster?

VO: This is the Antiques Road Trip.

VO: Ha-ha!

What fun!

VO: Hi-de-hi, campers.

It's the second leg of our Road Trip and we're back on the winding country lanes of Kent with dealer from Derby Irita Marriott, and affable antiquer James Braxton.

I'm taking you for a ride.

VO: Better strap in!

Irita's behind the wheel of a four-cylinder 1968 Volvo 1800S.

I've got to tell you this... What?

You might want to remove that... JAMES: That's a good idea... VO: He's always had a good nose for a bargain and can sniff out a money-maker anywhere.

If I could get this for 30 or 40 quid, I can see a profit in it.

VO: But Irita's no slouch either.

And she's not afraid to buy what she likes.

Spare teeth, anyone?

If it has a tenner in it, I will buy it... You're all over it.

I'm all over it like a rash... Like a bad rash.

VO: Well, Irita practically came out in hives last time then.

She made a profit on all her lots at auction and has £301.84 in her pocket.

VO: But it was James who won the day, almost tripling his money.

He has £586.30 in his piggy.

That's the largest profit I've ever made on a single item.

I kind of feel privileged... ..that I got to enjoy that moment with you.

Yeah.

I'm just going to buy bigger things, aren't I?

I've got to.

Yeah.

Heavier!

JAMES: Heavier?

Now you can buy as heavy as you like.

JAMES: I know!

The Braxton weight test is going to come in for some rigorous testing.

James, for the first time ever, you can use Braxton weight test on your pocket.

I know, excellent... Oh, they're dangling to the ground... Yeah.

Yeah.

VO: Ah!

With money burning a hole in their pockets, our curio-chasing couple are on a tour along England's south coast, starting in Kent, then into Hampshire, and a final showdown in Devon.

JAMES: Is this road going to get any narrower?

Erm, I hope not.

JAMES: (LAUGHS) IRITA: Cuz I want to get to that shop in one piece.

You're a lady on a mission, aren't you?

I am lady on a mission, that's for sure.

VO: That mission kicks off today in Appledore.

Lying on the edge of the Romney Marsh, famed for its wide-open plains and breed of eponymous sheep.

Look at the babas... Oh!

Look at that little one, that literally looks...

I know.

..like it was just born.

It can barely stand up.

JAMES: All sort of giddy, aren't they?

VO: And in two shakes of a lamb's tail, we're at our first shop - Station Antiques.

Come on, Irita... Are you ready for this?

IRITA: I was born ready, James.

Come on!

VO: Housed in an original railway goods shed, and minded by the very capable Val today, these guys have antiques galore.

JAMES: Well, what's this very strange, headless fellow up here?

It's stuffed.

Er, cotton.

It's like a mannequin, isn't it?

Like a shop mannequin with the head there.

And these are in the sitting position.

What a very strange item, isn't it?

Beautifully made, beautifully stitched.

But it looks very odd there.

And at £30, it's not a lot of money, but I can't see it making 100.

VO: Now, don't lose your head, James.

What's Irita spotted here?

They are just fantastic.

A collector's cabinet is one of those things that if you collect coins or medals or anything small and flat - even jewellery - one of these would come in so handy.

You've got a little flip on the front with a key, so you can keep it all safe.

Then you got little tiny drawers with sections so you can put all your goodies in.

And at £175, it's not expensive at all.

I like that, I like it.

But not to buy, to sell.

VO: And that is the aim of the game.

Now, how's James getting on?

Here's a good-looking lady.

Now what is this?

It feels - always the Braxton weight test - nice and heavy.

So, if it's nice and heavy, three things it can be.

It can be a resin, it can be marble, or it can be alabaster.

She's had a knock and that's come off there, but it's not really an integral part of the piece.

The head's lovely, the nose is intact.

This is sort of decorative statuary that would have been in a house.

And what sort of period?

This would have been the big housing boom, sort of late 19th century, early 20th century.

I would think country of origin, though, would be France.

The lovely thing about making so much money in the first leg is, instead of looking at costume necklaces for a fiver, I'm now looking at what they're hung from at £120.

Really lovely.

Well, I tell you what, money gives you opportunities.

VO: That's one for the mix.

IRITA: Look at that!

I just love the look of it.

It is so stylish.

I'm trying to see whether there's any marks, but I can't spot any.

But it's definitely German, the Jugendstil kind of style, in the manner of the art nouveau, 1900.

With all these flowing flowers and lilies.

And it is just so of its era.

I mean, what is there not to love?

Well, it just depends on the price.

£95?

Yeah, well that's not to love really, is it?

Hmmm, if that has some movement, that's got to come home with me.

VO: That's one each.

Has James found any other contenders?

These are quite nice, we've got a pair of tables.

What I like about these is it's metal, but it's not bare metal.

You've got this open trellis decoration, which is rather nice.

Just simple wire, but it's got a very attractive pattern.

Em, to say it was art deco, I think, would be pushing it.

But it has a real '30s, '50s glamorous feel about it.

It...

These look as though they should be beside a Hollywood pool, or a Miami pool, with sun lounger and long, long-wired telephone resting there.

VO: Yeah, take me there now.

I need a holiday.

JAMES: £24 each, I think they're rather nice.

VO: Time to start spending that wad of cash, James, eh?

Val?

Hello, James.

Hello.

Now I've had great fun and I've found two items... VAL: Yeah?

JAMES: ..I'd like to buy.

Well in fact, three, in fact.

But one's a pair of tables.

VAL: Yes.

JAMES: They're £24 each, I'm happy to give you £48 for the two... VAL: Great, yeah, they're worth that.

But there's a rather nice bust.

Would...would 80 buy it?

I don't think I can on that, but I would take 90 if that's OK. JAMES: Sold, sold... VAL: Yes.

JAMES: ..definitely take that.

Thank you, James.

I'll buy it at 90.

Here you are, Val... Lovely.

Thank you very much.

Just peeling it off now.

One, two, three.

There we are, Val.

Thank you very much indeed.

Thank you so much.

VO: That's a combined total of £138, leaving James with £448.30.

Bye.

See you.

Bye bye now.

VO: Meanwhile, has Irita managed to find anything else?

It is a little...tin water color box.

For whatever reason, somebody has written on it, "Tea, tea, tea, tea."

Nothing to do with the tea at all, because it has little water colors inside.

And it even still has color and the little tiny, tiny porcelain dividers for the colors.

This would date from early 1900s, 1910.

It would have had a little mixing pot in there, that would have also been porcelain.

And then a little tray.

And this is where you would put your brushes.

You would be surprised how collectable paint boxes are.

I just really like it.

I know it's battered and I know it's got parts missing, but it's got so much charm.

This is so worth £5.50.

It's a bargain.

I'll go and see Val.

Val, I'm coming bearing goodies.

Fantastic, that's what we like to hear.

I bet you do!

Well, I... VAL: That's so sweet, isn't it?

It is adorable and for £5.50.

VAL: Yeah, it's very cute, but you can have the odd 50p off to tidy the number up.

Oh, thank you, I didn't expect that.

VAL: That's OK.

So that's a round fiver?

VAL: Yeah.

And this has a ticket of 95.

OK, I would think they'd probably be happy with 75 for that, if that... IRITA: OK. ..helps you?

Yeah, definitely helps me.

VAL: Yeah.

Right, so I owe you a round 80.

VAL: Wonderful, thank you very much... IRITA: Right.

VAL: ..indeed.

Let me put that there.

Best part.

Getting paid.

VAL: We like money.

Who doesn't?

Let's hope I can make some money.

VAL: Good.

IRITA: I'll pop the money there.

VAL: Thank you.

And thank you very much... VAL: Thanks a lot, bye bye... IRITA: See you later.

VAL: Bye.

VO: That leaves Irita with £221.84 in her war chest.

Lead on, driver.

Let's get out of here.

VO: Meanwhile, James is down the coastline in Greatstone.

He's here to find out how these mysterious concrete monoliths once defended our shores from attack.

He's meeting local historian Peter Osborne to learn more.

Hello, Peter.

Hello, James... JAMES: What... What an incredible sight.

It looks like some sort of mad art installation.

PETER: It does indeed.

They're sound mirrors and they were designed nearly 100 years ago to track incoming aircraft.

Was this something to do with the Blitz, or something, in the Second World War?

No, much earlier than the Blitz.

It was a reaction to the bombing that had taken place in the First World War.

VO: During the Great War, the Germans developed a new weapon which brought terror from the skies - the Zeppelin.

And in 1915, they unleashed it on Great Yarmouth and Lowestoft in the first ever air raid on the British mainland.

This put civilians in the firing line for the very first time and meant Britain could no longer rely on the Channel to keep the enemy at bay.

As tensions across Europe escalated in the '20s and '30s, the British government needed to develop a new line of defense to protect the country from attack.

JAMES: So they get bigger as you get closer, don't they, Peter?

PETER: Yes, indeed.

They're quite impressive structures.

JAMES: What is the diameter of this?

PETER: This one's 30 feet, that one's 20 feet.

And the wall you can see over there is 200 feet.

JAMES: Wow!

And how do these structures work?

Like that.

JAMES: They are... Just like cupping your ears.

PETER: Exactly the point.

And the mirror itself collects the noise.

There was a listening device on the end, a collector on the end of that arm.

JAMES: OK. PETER: And as the arm is moved around from inside the control room, they would move it around to find the loudest signal and that would give them a direction and an altitude.

VO: The brainchild of physicist Percy Rothwell, who designed and built the sound mirrors, they were the cutting edge of military hardware.

However, many at the time were unconvinced, calling the mirrors Rothwell's folly.

Despite the ridicule, a series of these acoustic structures were built around the country and they were incredibly effective - able to give a 15 minute warning of approaching aircraft.

JAMES: So, it's quite an impressive structure, Peter... PETER: It is, indeed.

JAMES: So how does this one work then?

Well, this is essentially the same as one of the standard sound mirrors, except this is a slice down the middle.

If you imagine a series of 20-foot mirrors, they're all lined up side by side and they all reflect to a point on the forecourt.

And then add a series of Tucker microphones all the way down the curve of the mirror, so that you could tell, if the sound was concentrating there, you knew that it was coming from over there.

If it's concentrating on that microphone over there, then it's coming from over there... JAMES: Going over there.

PETER: And picking up low frequency sound was good because it travels further.

So this is where they were getting the 25... JAMES: Yeah.

..30-mile pick-up of aircraft over the Channel.

So this is early detection.

And then...then you sort of put down your cup of tea and you think, alright, boys... JAMES: ..we're on call here.

VO: Amazingly, the technology still functions as it was intended, today.

PETER: So if you take your position at that end of the wall... JAMES: Right.

PETER I'll walk off to the other end of the wall.

JAMES: OK. PETER: ..and you see if you can hear me.

JAMES: Right, will do.

PETER: Hello, James, can you hear me?

Clear as a bell, isn't it?

JAMES: It does work, really clearly.

Really clever.

JAMES: Always think of objects absorbing sound... PETER: It does sound as though the voice is coming out of the wall.

JAMES: It does, doesn't it?

PETER: Yeah.

VO: It was the advent of radar in 1935 which led to the sound mirror technology becoming obsolete, and the project was shut down.

However, the hard work of Percy Rothwell was not in vain.

He went on to gain prominence for his work on missile-guiding systems.

Despite the mirrors themselves never seeing action, the techniques developed by the sound mirror operators for linking stations and plotting aircraft movements was passed on to the early radar team, contributing to their success in World War II.

Peter, thank you.

It's been really interesting and I'll look at concrete structures with renewed interest.

Certainly watch my Ps and Qs when I'm near them.

JAMES: Thank you very much indeed, Peter.

Thanks, a pleasure.

VO: Huh.

Is that the rumbling of a zeppelin or the purr of a Volvo 1800S?

This car is just so classy.

I'm loving it.

Lovin' it, lovin' it, lovin' it.

VO: She's crossed the border into East Sussex on her way to Hastings.

Her next stop is the Hastings Antiques Warehouse, where dealer, Clive, has amassed a treasure trove of delights.

£221.84 left, remember?

I like the look of these.

You can see wine labels in every antique shop going.

What you usually see, though, is you see whisky, gin... One label that I have never seen before is this.

I'm really sorry if I'm pronouncing this wrong.

"Butellas".

It's a Portuguese wine and it comes with two others.

It comes with Madeira...and sherry.

They are only silver-plated.

They're not solid silver or anything.

No precious metal.

But...aren't they cute?

Originally, wine labels were made to go on the neck of the decanter, because decanter does not have any labels on it.

So you wouldn't know by looking at it what was inside.

For £45 for three.

It's just no money.

I've got to have these.

VO: That's one.

Anything else caught your eye?

Gold?

Tick.

French?

Tick.

Got a whole pile of French brass door plates.

So these, if you have a nice big manor house and you do not want to get your doors dirty by pushing them with your fingers, you put these above the handle...and you push against them.

And it's nice to see that there's a whole set, so somebody could literally kit out their whole entire house with these.

Now, what is the price on these?

£100 for all 13?

Do you think 13's going to be a lucky number for me this time, or not?

I think I'm just going to ask Clive about these and see what he can do.

Clive?

Yes?

VO: Brace yourself, Clive.

Can we talk about these, please?

Of course we can.

A set of 13, £100.

Where could they possibly be?

If I said...£75.

Well, if you say £75, then I ask the next question.

You got three labels in the cabinet... CLIVE: Yeah.

IRITA: ..and they're priced at £45.

Best is 30 quid.

That's now £105.

Yes.

Round it down to 100?

CLIVE: Go on then, go on then.

Can't say no.

Thank you very much.

CLIVE: Alright?

I'll have that, that's a deal.

CLIVE: Excellent... Let me give you some dosh.

VO: That leaves her with £121.84 in the kitty.

VO: Time to collect James and call it a day.

These two are dog-tired.

I don't know what dog I'd be.

Whether it's... JAMES: ..small or large, IRITA: I don't...

I don't really know the breeds, but for whatever reason, erm...

I think some sort of a spaniel comes in mind.

Spaniels are lovely, aren't they?

JAMES: If I had to choose a dog for you, what you'd be... Go on.

JAMES: You'd be obviously tall, elegant.

It'd either be a red setter or an Afghan hound.

IRITA: Ooh.

JAMES: Oh... Ooh, very posh.

VO: And on that note, nighty night.

VO: It's day two of our road trip.

We're on James Braxton's home turf in East Sussex this morning.

That's one of these chalk horses.

That is Alfriston church, the cathedral of the Downs.

So this is where my friend Richard lives.

IRITA: So pretty!

JAMES: Isn't that pretty... You take me to the best places, James.

VO: That's why we call it a road trip.

Yesterday, Irita went on a shopping spree and bought four items - an art nouveau brass dish, a 19th century tin paint box, a set of three silver-plated decanter labels and 13 gilded brass French door finger plates.

Gold?

Tick.

French?

Tick.

VO: Meanwhile, moneybags Braxton purchased a 19th century marble bust and a pair of 1950s Florida tables.

These look as though they should be beside a Hollywood pool.

VO: But his wallet is still bulging with £448.30.

It's lovely having money, Irita.

IRITA: I bet it is.

JAMES: Just peeling it off... IRITA: I bet it is.

JAMES: Peeling it off.

VO: Our antique-hunting pair are on their way down to Eastbourne today, officially one of the sunniest towns in the UK.

The sun's got his hat on today too.

After dropping Irita off, James has driven on to the Eastbourne Antiques Centre.

Whoops, overshot it there.

That's a bit better.

He has an appointment with Paul and his trusty pug.

Hello.

Hello.

VO: Hello.

Introductions over, down to business.

He's not hanging about - straight to it.

Yeah.

So we've got a big print here.

And this is of a very well-known artist, William Russell Flint.

And it looks like lots of activity, lots of people.

Where could that possibly be?

I'd say Egypt.

It looks like the Nile, really.

And it's quite nicely framed, framed as the period.

That's a very typical 1960s frame.

I think that's the original print in its original frame.

It's rather nice.

Paul?

PAUL: Yes?

JAMES: What price could this be?

Er, the Russell Flint, that can be £50, James.

I like that.

Em, I'll certainly give you £50 for it.

But I've still got money burning in my pockets, you'll be pleased to know.

Have you got...have you got anything in the back?

PAUL: Any in the back?

Yeah.

Have you got a storeroom?

Yes, I have.

Follow me.

JAMES: Thank you.

VO: Oi, oi.

JAMES: Thank you.

VO: What's he up to now?

PAUL: Well, as you can see, there's not a huge amount of stuff in here, but there are a few bits and pieces.

JAMES: I like the chair, Paul.

PAUL: The chair is interesting.

I haven't made my mind up where that chair comes from.

We've got a bentwood seat there, haven't we?

The great bentwood maker was Thonet, wasn't it?

PAUL: Yes.

They were Austrian, and they did all those incredible cafe chairs, didn't they?

PAUL: Oh, they designed loads... That went all over Europe.

PAUL: Even rocking chairs... And rocking chairs.

PAUL: ..yes, lovely stuff... Bentwood was one of those incredible inventions, rather like rattan.

Rattan's a natural thing, but bentwood was incredible, you could make these incredible shapes.

I think this is probably beech, by the look of it.

Yes...

So... And it's just a really nice shape.

You've got a circular seat and you've got a nice curved back.

You look very comfortable in that one, actually.

JAMES: I'm feeling very comfortable in it.

But it's nice, it's got a lot going.

How much... What have you got on that?

I can do that for you, James, for £30.

Paul, I like the chair, I'll give you 30.

Thank you.

And the picture.

That's 30 for that, 50 for that.

What's that - a round 80?

PAUL: It is indeed, yes.

JAMES: There you go, thank you very much indeed.

I'll leave it on the side there, and I'll take the chair with me.

Thank you very much indeed.

It's been great fun.

PAUL: Pleasure.

VO: That leaves him with £368.30.

And on he motors.

VO: Further west, Irita has traveled five miles away to Beachy Head.

Towering 162m above sea level, for hundreds of years, the chalk headland has been a prominent landmark for sailors.

However, all too often, the cliffs and the rocky seas below were a danger to vessels, leading to wrecked ships and lost lives.

Irita has come to talk to writer and speaker Rob Wassell.

Rob, what a location!

Isn't it stunning?

It is absolutely breathtaking!

It is indeed.

This is the Belle Tout Lighthouse.

They started building in 1832 and they completed construction in 1834.

And it helped warn ships and mariners of the dangers of these shores.

Believe it or not, there's thousands and thousands of shipwrecks that litter the coast.

And the reason being is because there are very dangerous reefs around here with saw-like projections that can rip through a ship's hull.

When did they figure out that there was actually a need for the lighthouse?

When did they take the action to build one?

Over generations and hundreds of years, more and more ships were getting wrecked as the shipping lane got busier in the Channel.

And that's when people began to get increasingly more concerned of the loss of life and also the loss of the ships and the cargo, which were obviously really expensive.

VO: It was the wreck of the East Indiaman The Thames, which garnered national attention when it ran aground in 1828, and that spurred local MP John Fuller into funding the Belle Tout's construction.

So on this spot in 1828, they constructed the first lighthouse, made out of wood.

And it was so successful they decided to build a permanent lighthouse on this spot.

VO: Operational for 70 years, the lighthouse helped to save countless sailors' lives.

However, it wasn't perfect.

Sea fog gathering at the top of the cliff would regularly obscure the light, making ships vulnerable once more.

So in 1900, work began on building another lighthouse at the base of the cliffs, the Beachy Head Lighthouse.

And the Belle Tout was decommissioned, flashing its light for the final time in September 1902.

And in 1903, Belle Tout was sold into private ownership.

The lighthouse changed ownership quite a few times, and after that the Roberts family moved in.

As soon as they moved in, they knew they would need to do something because of its close proximity to the cliff edge.

The average rate of erosion is around 60cm a year.

Originally, when they built the lighthouse, there was a sufficient amount of land in front of it, but over time that area was diminished.

And as the lighthouse got closer to the edge, that's when they knew it was going to be really dangerous.

One fateful night, they were in bed and they heard this rumble like thunder and they knew exactly what had happened.

And so in the dead of night, they collected their clothes and bits and pieces together and they went to stay with family in Eastbourne.

And it wasn't until the next day that they came back that they saw that 15m of cliff had just gone in one go.

What, right in front of it?

ROB: Yeah, a massive, massive cliff fall.

VO: In 1998, the lighthouse was just four meters from the cliff edge, and a 61m fall to the rocks below.

The only way to save the Grade II building from tumbling into the sea was to move it - a major engineering challenge.

Over the course of three days, engineers moved the structure 17m inland to its new location.

So when they lifted the lighthouse up and moved it back into position, it was 850 tones of lighthouse they moved.

And amazingly, it was so successful that even the plates in the cupboards didn't move and were unbroken.

No way!

They moved 850 tones without smashing a single plate?

Indeed.

And that just shows how precise the whole operation was.

VO: Nowadays, the lighthouse is a luxury B&B, and it certainly gives a whole new meaning to a room with a view.

Ha!

IRITA: What a view!

Isn't this amazing?

VO: Ah, there's nothing like the fresh sea air.

But James has left it behind, turning inland and making his way to Polegate for his last stop of the day... ..Summers Antiques, managed by Richard.

Oh, hello, Richard.

RICHARD: Hello, James.

How are you?

Yeah, very good, very good.

Good to see you again.

RICHARD: Thank you.

Where should I be looking?

RICHARD: You can look anywhere you like, James.

Everything's for sale and... JAMES: Good.

RICHARD: ..there's no price on anything.

So if you like it, just make me an offer.

Perfect.

Music... RICHARD: Alright?

..music to me ears, Richard... RICHARD: Yeah, definitely...

I'll have a rootle, thanks.

RICHARD: You're welcome.

VO: That's right - get stuck in.

I've always liked these.

These are known as harvest jugs.

We've got a graduated set of three here.

They could come in fives, and you always think with jugs that they are smaller than they actually are.

That one is not a half pint, that's a pint measure.

That's the quart, and that's the two quart measure.

And they were known as harvest jugs because when people were harvesting, we have to think back to a different age, there was no combine harvesters.

People were doing it with scythes and they were taking their wheat and their barley with scythes.

And you couldn't...you couldn't do that all day, so everybody would stop for lunch.

The farmer would have brought something out on the cart, and it was generally cider or beer, because give people a bit of energy, a bit of sugar.

They're very nice, but I don't think they're for me.

I'll have to keep looking.

VO: Yeah.

Sorting the wheat from the chaff, eh, James?

Elsewhere, Irita has arrived in Hailsham and her final shop, Antiques and All Sorts, owned by - now, turn off your devices at home - Alexa.

£121.84 to spend, remember.

IRITA: I like the look of this.

Now, you see snuffboxes all over the place.

They come in silver, silver-plate, novelty.

This is what I would refer to as trench art and it is just handcrafted.

Simply made, possibly by a man sat in trenches.

I love the little mechanism that it has.

It has a little button-like thing on the bottom and a compass in the middle.

So once you press that down and turn the compass the other way, it locks itself.

So only the person who made it would have known which way the arrow needs to point to know how to unlock it.

And I think that's quite cute.

It's charming, it's...it's a bit different from the norm.

And to be fair, priced at £50, it isn't a lot of money for what it is.

Maybe that compass will guide me to the profits!

Oh, that's even better!

Alexa?

Mm-hm?

Hello.

IRITA: I've seen this little treasure.

Is there magic that could be done to that?

Because you love it, you can have it for 25.

IRITA: What?!

£25?

ALEXA: Yep.

This is going to be 25...?

I'm putting that down, I'm giving you cash, I'm getting in my pockets!

Thank you!

ALEXA: Thank you.

I love it!

I'm getting that, I'm putting it in my pocket before you change your mind and I'm going to carry on browsing.

VO: That's a generous discount.

I wonder if James is having any luck over in Polegate.

Ah, this is Richard's garden department.

We've got lots of reconstituted stone, we've got statuary, we've got urns.

But what draws my eye is the material.

And this humble black-painted urn here, this is rather nice.

We've got a rather nice molding round the edge, egg-and-dart molding.

And I suspect it's metal, and the metal it would be would be most likely to be cast iron.

So, I'll just get in and feel it.

I can see some nice brown iron oxides - as we...as we call it, rust.

We've got a bit of compost in here, some rare plants.

What's the actual body looking like?

I don't want to damage anything.

Yeah, it's a nice body.

All seems very sound.

That's nice.

Richard, you've got a black-painted urn in the front here.

RICHARD: Yes.

Would you come and have a look at it?

Yeah, the compost was very...was very expensive.

JAMES: I'll bet it is, but... ..don't worry, I'll leave you with the compost, OK?

What could that be?

RICHARD: Erm, 125?

JAMES: 125?

Yeah.

JAMES: How about 80?

90?

90, you've got yourself a deal.

VO: And with that, he's done.

£308 spent overall, leaving himself £278.30 in the bank.

He'll have to pop back for that urn later.

Meanwhile, Irita's still shopping.

Oh, look at you!

Oh, I like you!

Isn't he adorable?

A little brass paper holder.

This is what I would refer to as a gentleman's antique, and it would have sat on a desk and you open your letters and you put your paper in there and pop that down.

So it keeps it all nice and neat and tidy, and they can't blow away.

So basically, it is a giant paperclip.

It is missing its glass eyes.

And it is £45.

Alexa, I quite like your little froggy.

He's lovely.

IRITA: You haven't got his eyes, by any chance, have you?

We haven't, unfortunately.

Oh, what a shame!

Erm, he's priced at 45.

What could you possibly do on the little froggy?

The eyeless froggy.

The eyeless froggy.

Erm...37?

Round it up?

35.

I'll buy him.

Let me give you some cash.

Here we go, that's £35 for you right there.

Wish me good luck.

ALEXA: Good luck.

IRITA: See you later.

ALEXA: Bye bye.

VO: Those final two purchases cost a combined £60.

Time to link up with Mr Braxton and the Volvo.

I just kind of feel like a passenger in all this.

I'm... JAMES: Why?

I'm just here for the journey, for the laugh!

Irita, you've got to start playing the game.

Are you... Whoa, whoa, whoa!

JAMES: Playing the game... James, you never told me you're playing the game.

You said you were here just for the ride!

VO: Time, I think, for some shut-eye.

VO: It's auction day.

After taking in the sea air on a jaunt down the Kentish and East Sussex coastline, James and Irita have come to Stonewall Park in Chiddingstone Hoath, Kent.

Isn't it lovely?

It's just amazing!

Yeah.

I'm expecting Jane Austen to come out any moment now.

You look like the lord of the manor.

Look at you... Yeah.

..you suit the environment very well.

VO: Ha!

Meanwhile, their precious cargo has made its way north to Lincoln, where auctioneer Colin Young of Golding, Young and Mawer will wield the gavel with keen bidders online and on the phone.

Last call, then, hammer's up, and I sell at £30.

VO: Irita spent £240 on her six lots.

I wonder if Colin fancies anything in particular.

The fingerplates are a nice little group there, and all in good condition, and that's a real positive.

I suppose it's the thing that, does anybody really want to be polishing them, particularly with all those nooks and crannies?

I think that may be where it's limited.

VO: James splurged £308 on five lots.

Does Colin see a hidden sleeper here?

The bust is a lovely item, but the key to this type of thing for decoration is the purity, and the damage that's on it is a great impurity.

And I think that's going to cause a problem.

What do you think's your winning item JAMES: - one item?

IRITA: None!

Oh, rubbish!

What about you?

Well, em, I'm hoping a print.

I've put a lovely print - William Russell Flint.

IRITA: Mm.

Let's hope it did well.

Shall we see?

Go on, then.

VO: First under the hammer, Irita's toad paperclip.

£20.

22.

25.

28.

Go, Colin!

30 now, 30 bid... JAMES: Come on!

32.

35 now, do I see?

Oh, I've broken even!

JAMES: Well done.

COLIN: 38, 40.

IRITA: I'll...I'll take that.... JAMES: 40, you're away... COLIN: Two now, do I see?

COLIN: £40...

It's a profit!

At 42.

Five, do I see now?

At 45.

48.

48 bid.

50.

50 now bid... IRITA: What?

Oh, if...

It broke 50!

..then, selling at £50.

VO: Not a bad start to proceedings.

Toad did well!

It did do very well, didn't it?

A good profit.

VO: Can James' Austrian chair make the bidders sit up?

15 bid.

18 bid.

20 bid.

IRITA: Oh, here we go!

25.

28.

IRITA: Keep on going.

You're nearly there, James.

28.

I...I thought it might... COLIN: 30.

IRITA: Yes!

Oh, 30!

32.

I thought it'd make around that.

35 now, then.

35.

38.

40 now.

42.

45.

At £45.

All done then?

Going then, at £45.

VO: Even-stevens so far.

Ooh, well done!

Goer.

VO: Irita's brass snuffbox next.

£20, anybody?

£20 is bid.

At 20, looking for... IRITA: 20's in.

..two now, then.

At £20 I'm bid.

20, looking for two now, then.

22.

Surely a bit more?

25 now, then.

28 there on my right.

28, bid me 30.

30.

32.

35.

38 now.

38.

£40 bid.

Two now, do I see?

42.

42.

Hammer's up then.

Once, twice, third and final time, then.

VO: Making a good margin of profit so far.

Moving on.

IRITA: Well done... Well, that...that was worth buying.

VO: Hoping some poolside bidders are watching from Miami, next.

At 20 bid.

22.

25.

28.

28 bid... IRITA: Oh, a good start!

32.

35.

38.

Bid 40, and two.

45.

48.

Bid 50.

Five now, 55.

60...

There must be somebody with a pool!

Somebody has a pool, two people have a pool... COLIN: 60 now, do I see?

Two people... 55 I'm bid, surely 60 now... IRITA: 55!

55, the bid's on the right then.

At £55 I'm bid.

Are we all done then?

Hammer's up then.

Done, finished for the pair of tables, going at £55?

VO: In profit, but only just.

We've just recycled them, haven't we?

We're recycling everything that could be going in the skip... JAMES: Yeah, yeah.

IRITA: ..to a new home to be loved again.

Yeah.

VO: Yeah.

13, unlucky for some, Irita's brass fingerplates are up.

40.

£40 I'm bid.

At 42.

42.

45.

48.

48.

55... Oh, we've got some ground to cover here... JAMES: Yeah... 65.

75.

85... IRITA: I'm in!

Yes... 90 now.

85, 95... That sounds like the internet, big leap, doesn't it?

COLIN: 40 now... IRITA: What?!

..50 over here to the right.

IRITA: 150?!

JAMES: So exciting!

COLIN: ..160 bid.

170 now... JAMES: Double money.

180.

IRITA: This is so good!

COLIN: 200.

220 now... IRITA: Yes!

James... At 200, 220 now, do I see?

220 bid, 240... IRITA: Oh, my goodness!

240!

IRITA: You...no!

240, do I see?

240 bid, looking for 50 now, then.

240 bid.

50 and on now, then.

At 250.

Any more now, then?

Hammer's up then.

Selling at 240.

VO: Excellent stuff!

A tidy profit there.

Those must be the most expensive fingerplates I've ever seen!

They're good, aren't they?

IRITA: I can't believe it!

Well done.

Well done.

Well done.

VO: The Sir William Russell Flint next.

£30.

30, five.

40.

£40 I'm bid.

Looking for two now...

Fly away!

£40 I'm bid, looking for two now, then.

£40 I'm bid.

Two, do I see now, then?

At £40 I'm bid.

Two for anybody else then?

£40 I'm bid.

Selling at 40.

VO: And it's our first loss of the day.

JAMES: Oh, dear... No!

Normally, they would make quite a lot of money, but there we are.

VO: Irita's decanter labels.

What can these do, I wonder.

£10.

12 bid.

15, do I see...

There's some work to be done... Online, 12.

15 over here, do I see?

15 at the saleroom, do I see?

But you were beaten to it.

18 bid.

At 20 bid.

Two now, do I see?

At £20 I'm bid, really good-looking lot.

I think that's the end of that one.

We're done, we're finished, we're selling this time at £20.

VO: Oh, dear.

Another loss.

Hey-ho, you win some, you lose some.

You do.

VO: Will James' next item go bust too?

At 80.

85.

90... 80's in!

You got it!

Yeah.

10.

20.

30.

40.

150, 160.

Come on!

COLIN: 170.

At 170... Come on!

A bit more...

..I will sell it then.

Hammer's up at 170.

VO: A return to form for James.

Good, I'm pleased with that...

I'm really pleased, especially after the print not doing so great.

Yeah.

OK, don't bring it up, Irita.

IRITA: Oh, sorry!

Sorry, sorry!

VO: Hoping her painter's tin isn't tinpot, it's under the hammer next.

We're already in.

12.

15... ..18.

18, we're now... IRITA: Yay... JAMES: Well done.

20 over here on the right, 20 bid.

Looking for two now, then.

At 22.

At 22.

Last call then.

Hammer's up, we're done, we're finished, and selling at £22.

VO: Not bad for a £5 punt.

That's a good profit, isn't it... Oh, yeah!

VO: The cast-iron urn is up.

50 bid, five.

55... COLIN: 65.

Ooh, James... 70.

Five now, then.

70 bid.

75, do I see?

£75 I'm bid.

75.

80 now, then.

Halfway where we should be.

£75 I'm bid, £80 I'm bid... High expectations on this.

80, looking for five now, then.

85.

90.

90 bid.

So I'm on my...I'm on the money.

IRITA: You're on your money!

95 bid, any more now?

100, do I see?

£100 I'm bid, surely.

Last call then.

Hammer's up at £100.

Are you sure?

Sells, then, at 100.

VO: £10 is nothing to sniff at today.

Well, a profit's a profit, James.

It is... IRITA: Don't grumble.

VO: Will Irita's final lot dish up a profit?

50 bid.

Five now, do I see... IRITA: 50!

Well done, well done... Five now, then.

At £50 I'm bid.

Five again now, do I see?

£50 I'm bid.

Five for anybody else then?

£50.

Maiden bid has it at £50.

Surely five now?

Oh, no!

COLIN: ..another close look at it.

At £50... IRITA: Maiden bid!

COLIN: Five for anybody else then?

Hammer's up, we're done, we're finished, Maiden bid has it, we're done and going at 50.

VO: Ha!

A happy bidder there.

And we're all done for the day.

I tell you what, Irita, stick to the fingerplates, OK?

That's the fella!

That's what made the most money today.

It did really well.

Best profit of the day...

Very good.

Well done.

Ptchh!

Congratulations.

VO: Not quite as successful as his last outing, after saleroom fees, James made a total of £336.20, filling his piggy to £614.50.

VO: While Irita has made up substantial ground on James, after costs making over £100 profit and swelling her piggy to £409.52.

Just about searching, isn't it?

Finding that treasure.

VO: Which is not as easy as it sounds.

Let's hit the road!

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