Celebrity Antiques Road Trip

[MUSIC PLAYING] NARRATOR: The nation's favorite celebrities-- We are special then, are we?

Oh, that's excellent.

NARRATOR: --paired up with an expert-- We're a very good team, you and me.

NARRATOR: --and a classic car.

Their mission?

To scour Britain for antiques.

I have no idea what it is.

Oh, I love it.

NARRATOR: The aim?

To make the biggest profit at auction.

Yes.

NARRATOR: But it's no easy ride.

There's no accounting for taste.

NARRATOR: Who will find a hidden gem?

Who will take the biggest risks?

Will anybody follow expert advice?

Do you like them?

No.

NARRATOR: There will be worthy winners and valiant losers.

- Are you happy?

- Yes.

Promise?

Ecstatic.

NARRATOR: Time to put your pedal to the metal.

This is "Celebrity Antiques Road Trip."

Yeah.

[MUSIC PLAYING] Today's celebrity road trip brings together two acting titans.

Well done, good change.

There you are, that's a very nice gear change, wasn't it?

Absolutely seamless.

Stop, now.

Oh, this all goes horribly wrong.

NARRATOR: We're in the presence of a Dame.

Legendary actress, Dame Diana Rigg, is back in the country of her birth.

Hello, Yorkshire.

Yorkshire.

NARRATOR: She's joined by fellow actor, Neil Dudgeon, another native Yorkshireman.

God's own country.

Ah.

Oh, not so good.

There we go.

That's it.

DIANA RIGG: You're giving the car stomachache every time that happens.

NARRATOR: Diana Rigg has been a screen icon for almost 50 years.

She's starred in the "Avengers," been a bond girl, received an Emmy nomination for her role in "Game of Thrones," and she's even been a baddie in "Doctor Who."

She's used to playing strong leading roles.

She's also no stranger to antiques.

I imagine you have a lovely few antiques of your own, Diana.

DIANA RIGG: If I happen to be in a place, for example, on tour, I'll-- Yes.

--seek out antique shops.

Yes.

And it's a wonderful way of, you know, spending your afternoon off.

Yes.

Yes.

NARRATOR: Neil is behind the wheel of a 1964 Rover 110.

He's been a familiar face on our screens for nearly 30 years.

A distinguished character actor, he's known for his leading roles in successful comedy series and gritty TV police dramas.

But will he be able to use his detective skills to procure some purchases and negotiate some deals?

DIANA RIGG: How are you at bargaining?

I do quite like to haggle.

I'm always surprise-- you see, I think it's one of those things where people offer out a price thing, you know, we'll say, say, I don't know, 200 quid.

And then, you say 20 quid, and everybody snorts and leaves the room.

And then, they come back they're, hundred quid, and you think, when you've already knocked off more than I would have asked for if I'd suggested another price.

Oh, I see.

So I think it's always worth-- it's always worth trying it on, isn't it?

NARRATOR: It certainly is.

Diana and Neil are no strangers to each other in the roles they're playing today.

They were co-stars in a BBC Drama Series that had Neil play Diana's driver.

Although chauffeuring Dame Diana is not coming as easily to Neil, today.

I'm not sure that anything I'm doing with my feet or hands is having any effect on this car.

It's like Chitty Chitty Bang Bang.

NARRATOR: Our celebs aren't alone in their quest, heading to meet up with our acting royalty are antiques experts and auctioneers Paul Laidlaw and Catherine Southon.

I know we are on a mission.

NARRATOR: And anticipation is mounting in the 1992 Alfa Romeo Spider.

Diana Rigg, now, she's sensational.

I mean, she's just an icon.

Beautiful-- Ah, I'm-- Avengers, leaping over the car.

She was even Bond's wife.

And she could just vault.

I'm not expecting a cat suit, though, that would be wrong, wouldn't it?

Well.

NARRATOR: I'd say a step too far, yes.

Our experts are also intrigued about screen super sleuth Neal's antique buying capabilities.

He's good at murders and you know, investigating.

I think he will be great at hunting down the antiques.

NARRATOR: The teams have 400 pounds to spend on their trip, which over the next couple of days takes them through the heart of Yorkshire ending up at an auction in Stansted, Essex.

Wow.

Our experts and celebrities are meeting at Brodsworth Hall, a country house just outside the town of Doncaster.

Do either of you come with experience of our world, antiques?

First of all, you've got to base it on instinct, haven't you?

You have, absolutely.

Don't you think?

Guts take you a long way.

Isn't that nice to hear?

I'm not sure.

My-- my-- my strongest instinct is never to trust my instinct.

Oh, darling.

What?

Is that wrong?

No, no.

All these years.

So-- so you can't be spontaneous?

Hang on.

Yes, I can.

NARRATOR: So two contrasting approaches from our celebrities.

Diana trusting her well-honed instincts, and Neil, well, not trusting himself at all.

For this little adventure Diana is teaming up with Paul and Neil with Catherine.

If you're going to be in that you need a beret.

That would be lovely.

My hair has been going-- Guess what I've got?

Fantastic.

A spangly beret.

I do love a bit of sparkle.

Do you think I could sell this, actually-- - No.

- --at the auction?

Do you want to part with this?

- No, I love it.

PAUL LAIDLAW: Steady Catherine.

DIANA RIGG: There we are.

Oh, god, no, honest to god-- I don't want to look like Frank Spencer.

No, you don't.

You look [NON-ENGLISH].

Do I?

Oh, yes.

Come on.

Oh, look it's really going-- Bonjour, excusez-moi.

Au revoir.

NARRATOR: Oh, la, la, hey.

Neil and Diana were both born in nearby Doncaster, so this is a bit of a local derby.

DIANA RIGG: We just love antiques.

Yeah.

What's your taste?

Well, you'll find out.

Oh, I'm sure I will.

But you're not going to be shy, are you?

It's-- - No.

Follow your instinct and your taste, we're in there.

NARRATOR: Dame Diana, shy?

Somehow, I don't think so.

Their first shop takes them to the town of Rotherham to Harrisons Antiques.

PAUL LAIDLAW: So here we go, Diana.

Looks really exciting.

It's huge, by the looks of things.

Huge.

Huge.

Right then, your destiny awaits.

NARRATOR: I think it's Christine who actually awaits.

And her vast array of stock will surely satisfy Diana's thirst for antiques.

I'm Paul.

Are you the queen of all we survey?

I'd like to be.

NARRATOR: A dame and a queen, hey?

You're a lucky boy, Paul.

OK, can we have a quick look around?

CHRISTINE: You certainly can, yes.

Thanks a lot.

CHRISTINE: Browse at your leisure.

And holler when we find something, yeah?

I hope-- I'm sure there's plenty to go out for, yeah.

Looks lovely.

PAUL LAIDLAW: Tremendous.

DIANA RIGG: Okey kokey-- OK. DIANA RIGG: Let's go key.

NARRATOR: With so much to choose from, where to start?

Standby.

Diana's gone straight for the kill.

Oh, look, can I see the lady playing on the violin?

CHRISTINE: I am [INAUDIBLE].

DIANA RIGG: A clown.

Does he work?

CHRISTINE: I believe it does.

PAUL LAIDLAW: Zucco piece, German, I fear.

And there he goes.

Slightly scary, really, don't you think?

It's the stuff that nightmares are made of.

Zucco, mid 20th century, that reasonable?

You are so clever.

I would never have known that.

PAUL LAIDLAW: You got a price tag on that?

All right.

Put the dial on.

The fact it works.

You're looking on-- you're looking at 45 pounds.

Ooh, my instinct tells me if we can get it for less-- What sort of price are you-- I was thinking-- No, steady, steady, can we do this as a double act?

Let me introduce ourselves.

We are hard bitten, hard faced, trade buyers.

He's the hard sell.

I'm the soft sell.

CHRISTINE: Right.

Good cop, bad cop.

OK, I'm happy to be the bad cop.

CHRISTINE: Right.

Can you be as gentle on us as possible?

Good cop, bad cop.

30 pounds?

PAUL LAIDLAW: 30 pounds, that is the number.

You happy with that?

25?

Oh, my word.

Now, you're bad cop.

- 25?

Role reversal.

CHRISTINE: 25.

You look 25.

Oh.

Oh, you've sold me.

DIANA RIGG: Hey.

PAUL LAIDLAW: Look at that.

I am really grateful because I think he's absolutely charming.

Isn't that heaven?

NARRATOR: A bold start for our, Dame.

The first item of the trip for 25 pounds.

Looks like Paul's going to have his hands full, here.

[MUSIC PLAYING] Meanwhile, Neil and Catherine are getting acquainted.

Tell me about you, Neil.

Antiques?

Yes.

What do you know?

I know virtually nothing about antiques.

Well, that's a great start.

I'm here on a-- it's going to be a huge great voyage of discovery, for me.

Well, we're on a mission.

Yes.

We got to find some-- some good, good eye catching objects.

OK. And if all else fails, we'll sell the hat.

Cause we'll-- I don't think Diana is going to be very pleased by that.

NARRATOR: I'm not sure she would either, Neil.

Neil and Catherine's first foray takes them to the town of Barnsley, to Cawthorne Antiques.

CATHERINE SOUTHON: Woo hoo, this is us.

I'm going to leave Diana's hat here.

I hope it doesn't get stolen.

NARRATOR: It had better not, upsetting a Dame is never a good idea.

Ready for this?

I'm ready.

I'm ready.

Let's go.

- OK. Show me the one.

Hello.

Hello.

First tip.

Yes.

Make friends with-- Hello, Karen.

--with the boss.

How are you?

How lovely to see you?

Are you having a nice day?

Can I get you a tea, or anything?

Am I overdoing it?

- Oh, no.

You're doing brilliantly.

OK. And Holly, hello.

Have you-- I'm looking for some antiques.

I don't know whether you've got anything of that sort of-- oh, look.

NARRATOR: He's very quick to catch on.

How long have we got?

About half an hour.

OK, let's buy that clock and go to the pub, come on.

NARRATOR: Perhaps I spoke too soon.

So I'm just looking for something that makes me go, oh, that's rather nice?

Yeah.

And then you say, that's horrible.

NARRATOR: Might this little elephant be to Neil's taste?

It's 75 quid.

Yeah, I know, but that's not bad NARRATOR: It's a Vesta case.

A small, portable box used to keep matches dry.

Named after the Roman goddess of fire and the hearth, they were very popular in the late 19th and early 20th centuries.

It's tiny.

Were matches smaller in those days?

Yeah, I know, but the matches then, in those days, in the olden days-- Because the people were much smaller, and they only smoked little cigarettes.

Exactly, but that's quite unusual, isn't it?

Now, Karen.

I want you to be honest about this.

Originally, would this have had eyes and tusks?

I'm sure it would have done, yes.

The eyes would have been little glasses eyes, probably.

And we would have had little ivory tusks.

But it's unusual.

It's quite nicely modeled though, isn't it?

NARRATOR: I think they're considering it.

Should we-- I don't want to rush into anything.

NARRATOR: Self-doubt creeping in there, Neil.

Go on, trust your instincts for once.

We would be interested, but our problem is that there's tusks missing.

Tusks are missing.

The glass eyes are missing.

Glass eyes are missing.

Can we find out what's the very, very best price?

That would be lovely.

Would-- yeah?

Yeah, well, you can talk about prices, yeah.

I'm quite interested in-- He's just so blase about the whole thing, isn't he?

Well, there's so-- you're used to this, you see.

I don't get out much.

NARRATOR: As Neil takes the more relaxed approach, back in Rotherham, Diana's full steam ahead.

I suspect this isn't going to be a problem, do you?

First store we went to, first cabinet, oh, I love that.

And it's straight in.

Decisive.

Hey, she lived up to her promise, she said, I don't know what I'm going to buy, but I will know it when I see it.

I will run with my instinct.

She's got some instinct thus far, and she delivers.

NARRATOR: Now, what she onto here?

I love glitz.

And nowadays, vintage costume ooh, pretty, does frightfully well.

Still on her jewelry mission.

You're not too keen on this, but you're a fella.

So-- What do I know?

NARRATOR: But Diana has her heart set on some sort of sparkle ball.

And surprisingly, it's not long before she finds a collection of costume jewelry.

Oh, yes, there's something.

There-- oh, look, see that's what-- this is-- is extremely And the volume speaks to me.

Because you're probably a greedy man.

Are you a greedy man?

I think the girth tells us a lot about that.

Well I'll do everything on there, what you see.

DIANA RIGG: Everything here.

Everything on there.

PAUL LAIDLAW: All chips in.

DIANA RIGG: For how much?

PAUL LAIDLAW: All chips in.

All chips in.

PAUL LAIDLAW: Yeah.

No, coming back to me and saying-- DIANA RIGG: Oh, no, we wouldn't do that.

We wouldn't do that.

PAUL LAIDLAW: Much cheapness here.

15 pounds.

DIANA RIGG: Perfect.

It's a deal.

I'm going to shake your hand, this time.

You're something else are you not?

Not just a pretty face.

NARRATOR: As Diana continues at a rate knots, Neil and Catherine continue to deliberate over the elephant Vesta case.

They're really thinking this one through.

Are we thinking a reasonable, reasonable price is in the sort of 30s?

30s.

That the start?

That's a low start.

NEIL DUDGEON: 35, it is a low start, but if we started at say, 30, and then, I said, oh, all right, 35.

Then, that would be, that would be-- CATHERINE SOUTHON: I think that would be tops.

NEIL DUDGEON: Oh.

What about 45?

CATHERINE SOUTHON: Oh.

All right, 40?

39?

KAREN: OK. 40.

I could have got 39, 40.

CATHERINE SOUTHON: 39.

40 pounds.

NEIL DUDGEON: 40 pounds.

All right, go on, we'll have that.

40 pounds of the realm.

NARRATOR: So Neil and Catherine are finally off the mark with the elephant Vesta case for 40 pounds.

But they're not done here, yet.

It's a pig.

It says its report butchers, but it looks to me also like the pig is wearing a bowler-- Bowler hat.

He's holding something and then, we've got the smoke coming out of there, but what is this?

NEIL DUDGEON: Is it a pipe or a cigar.

I don't think it's a pipe, is it, or anything?

KAREN: Looks like it's got an umbrella in the other hand.

Oh, he's a city gent.

He's a pig with his nose in the trough.

How much do you want for that?

- Don't.

What?

What?

What?

I'll give you 25 quid for it.

What?

What?

Don't get too excited.

Well, I'm not excited.

You're the one jumping up and down telling me not to get excited.

No, but we've got-- we kind of-- we're-- we're-- What?

OK. Yeah, we don't like it.

We don't like-- buy it.

Buy it NARRATOR: Neil's keen, but what about expert Catherine?

I mean, it's quite rough.

We'd like to pay about 10 pounds for it.

Sorry, I'm on your side.

Yeah, 10 pounds.

No, I mean, way over the top.

Because of the state it's in, yeah, I'm not going to argue with that.

10 pounds, done.

Wonderful.

Thank you very much.

Thank you.

NARRATOR: A deal at 10 pounds for the butcher's shop pig sign.

Catherine's managing to keep her celebrity under control.

But what about Paul?

I'm here on my own.

NARRATOR: Obviously not.

She's away buying something, you know.

I'll get there she'll say, I've got the 10 lots.

10 lots.

Heel, Paul.

Yes, boss.

NARRATOR: There she is.

What have you done?

NARRATOR: He's obedient.

Now, this gentleman who is husband of this lovely lady, has something that I-- have a look at it.

OK. Is it the vessel with the compass?

DIANA RIGG: It's the whistle with a compass.

PAUL LAIDLAW: It is rather novel.

It's an original one.

Very interesting.

Give a guide piece.

OK.

I get it.

It's-- it's uncommon.

It's quirky, but it's not substantial in quality.

Frighten me.

Do we know the price?

Have you bought this?

NARRATOR: Not yet, but she likes it, and I guess she normally gets her way, don't you?

- What are we asking?

- This gentleman offered it-- 20 pounds.

I think people would go for that if you could just lower it a tiny bitty bitty, bit, bit.

A tiny little bit more.

Well, what do you think?

DIANA RIGG: I'd say-- I'm a very poor man so-- PAUL LAIDLAW: Half it.

Oh.

10 pounds.

DIANA RIGG: 10, perfect.

Yup.

DIANA RIGG: Thank you.

It's a bargain.

You are really, really kind, both of you.

You're a kind couple.

And you're a good couple.

That's why we're poor.

You look shell-shocked.

Welcome to my world.

NARRATOR: Shell-shocked, but three items purchased for a total of 50 pounds.

25 pounds for the Zucco clown toy.

15 pounds for the generous bunch of costume jewelry.

And 10 pounds for the girl guide whistle and compass.

With Diana and Paul's shop done and dusted in next to no time-- Oops, it takes me a bit of time to get in.

NARRATOR: --Neil and Catherine's more considered approach to antiques purchasing continues.

You could use the chimney pots.

Do you not like those?

The chimney pots?

Yeah, I do.

I like them, and I'm sure somebody else would like them.

I think if you saw two of those together you might think you want to buy those, and have them in your back garden or something.

And you know, they'd be a pair.

You have them priced here 28 pounds each.

But if we were to say, 20 pounds the pair, you might say-- Go on, then, you've twisted my arm.

CATHERINE SOUTHON: Yeah.

NARRATOR: A bit more decisive, there.

Neil's warming up nicely, though.

Thank you very much.

NARRATOR: Anything else out here?

CATHERINE SOUTHON: What do we like about it?

NEIL DUDGEON: The sheer tactility of it.

CATHERINE SOUTHON: How old is this though?

NEIL DUDGEON: Brand new.

CATHERINE SOUTHON: This is what worries me.

It's been made more recently.

NEIL DUDGEON: You'd feel better about buying it and selling it if you thought, oh, and this is you know, from some lovely old moorland farm that we cleared, and it's 200 years old.

But we've got a pretty strong sense that it's not.

NARRATOR: You can't say that Neil's not giving all this proper thought.

Well, if in doubt, leave it out.

Yeah.

Or it seems as though they sell.

NARRATOR: One for later, perhaps?

A successful bit of shopping though.

They bought the brass elephant Vesta case for 40 pounds.

The iron pig butcher's shop sign for 10 pounds.

And the pair of chimney pots for 20 pounds.

And the trough is still under consideration.

That was marvelous.

Pretty nice, nice place, nice place, lots of-- - Nice place.

- Nice stuff.

Three items.

Three.

NARRATOR: Dame Diana is one of Yorkshire's most celebrated former residents and is en route to the town of Wakefield to find out all about another.

[MUSIC PLAYING] Barbara Hepworth was one of the greatest artists and sculptors of the 20th century, born here in 1903, she went from modest beginnings to achieve international acclaim for her work.

And our duo's next stop is the Hepworth Wakefield Gallery to find out more about the artist's extraordinary life.

- Hi there.

- Hello.

Nice to meet you.

- And to meet you.

- Hi, is it Francis?

That's right.

Pleased to meet you.

And to meet you.

Oh, this is some structure, is it not?

Fantastic building, isn't it?

So this is the Hepworth Wakefield.

Welcome to Wakefield and to Hepworth's birthplace.

Terrif, let's go.

OK. NARRATOR: Hepworth is best known for her iconic sculptures becoming one of only a handful of internationally famous female artists.

But she also produced outstanding paintings and sketches, which now form part of the gallery's unique collection.

She went to school in Wakefield.

She went to Wakefield Girls High School, and she was really encouraged to pursue her artistic and her creative side.

And she won a scholarship to go and pursue her studies at Leeds College of Art.

But she went to-- to-- to Leeds.

And she met Henry Moore, there.

Who-- although Henry Moore is five years older, but he was also born in Wakefield, and he was studying at the same time.

And together, they had this real artistic inclination towards sculpture.

And in the end, they ended up going to the Royal College of Art together in London to study sculpture.

NARRATOR: One of the most famous and notable British artists of the 20th century, Henry Moore, and Barbara were friends taking trips to Paris together.

In her 20s Barbara continued to travel and study in Europe, exhibiting work with and later marrying fellow artist John Skeaping.

Her second marriage to artist Ben Nicholson resulted in the birth of triplets.

The family settled in St Ives, in Cornwall, and the events around this time in Barbara's life had a profound effect on her work.

FRANCIS: One of the triplets during the Second World War was very ill. She was treated by a surgeon called Norman Capener.

He extended an invitation to Hepworth to go to the operating theaters and make drawings.

And she found it really stimulating because she saw this real correspondence between her work as a sculptor, and the work of the surgeons.

DIANA RIGG: It's absolutely ravishing.

FRANCIS: Isn't it-- DIANA RIGG: Beautiful drawings, so personal, as well.

FRANCIS: Yes.

NARRATOR: Whilst her prodigious talent was formed in her native Yorkshire, her close connection with Cornwall, where she continued to hone her skills as a world renowned sculptor, continued for the rest of her life.

PAUL LAIDLAW: What was she like as a person?

What was her nature?

Well, I think she was very focused and very ambitious.

But she had a family and she managed to combine both that role as a mother with her ambition.

And obviously, working on commissions that were hugely important.

I think she was a humanist at heart.

She really believed in the kind of ideals of say the United Nations.

So it was all about the commonality of humankind and doing good and the kind of sense of a common purpose.

NARRATOR: This affinity with humanity greatly inspired her work and led to a commission to create her most iconic and famous sculpture, Single Form, which stands proudly outside the United Nations building in New York.

In this photograph, you can clearly see the origins of this enormous sculpture.

And there she is diminutive Barbara Hepworth in her boiler suit and her headscarf.

DIANA RIGG: Lovely to see this womanly figure again something enormous.

FRANCIS: Absolutely, yeah.

It's quite inspirational, isn't it?

Enormous belief in herself, which is great.

NARRATOR: Hepworth continued to work prolifically in Cornwall until her death in 1975.

And she leaves behind a truly amazing legacy.

Wonderful.

I hope she knows her work resonates everywhere.

NARRATOR: Back on the road, Neil and Catherine are heading West to the market town of Penistone to J [MUSIC PLAYING] Ooh, got a bit of class, here.

- John.

- John.

- John.

- John.

- Hello John.

- Neil.

Hello.

John, Ben, Neil.

What are we looking for now, do you think?

Because we've gone three sort of unusual, quirky-- - Yes.

- --bit different.

Do we want to stick on the quirky theme, or do we want to go for something a little bit more-- a bit more of a-- Say, more traditional things?

Something like that or-- Do we want to carry on with the way we're going?

Because we're doing pretty well.

The quirky things, you know, quite interesting, isn't it?

NARRATOR: With an elephant and a pig already in their possession, might there be room for one more bit of wildlife to complete the hat trick?

- I love the badger.

- Ooh, badger.

I think he's amazing.

How much is the badger?

JOHN: 245.

CATHERINE SOUTHON: 245?

JOHN: Yeah.

That was the first thing I saw.

The whole budget go on a Badger, in it?

CATHERINE SOUTHON: How old is it?

NEIL DUDGEON: Well, it's dead.

NARRATOR: Well spotted, Neil.

Preserving animals or taxidermy goes back centuries.

Explorers such as James Kirk and Charles Darwin also used it as a method of preserving newly discovered species.

But it's not everybody's cup of tea, or badger for that matter.

I think he's brilliant.

I don't think I could bring myself to buy one of these, though.

What do you think?

And it's a heck of a lot of money in one go.

NEIL DUDGEON: We haven't-- we haven't got that much left in the budget to-- I can't even touch it, actually.

NARRATOR: So despite the undoubted admiration for the badger, he's left on the shelf.

Neil looks like he's got his eye on a bit of retro.

NEIL DUDGEON: Do people collect tie clips?

CATHERINE SOUTHON: Do you wear a tie clip?

I don't wear a tie-- I don't wear a tie-- I haven't got a tie clip.

It's more of a '70s, '80s thing though, isn't it?

Well, then, it's ripe for coming back, then.

You've got to be ahead of the curve.

NARRATOR: That's one way of putting it, but I'm not sure Catherine's on board, though.

Men Of England, are you with me?

The tie clip is coming back.

I'm not sure they are, but do you want-- do you want it?

Do you want them?

There's two.

CATHERINE SOUTHON: It's just a slightly bygone era, though, isn't it, of people buying-- Well, well, bygone era?

It's antiques.

It's all a bygone era, in it, by definition.

I mean, people wearing-- would somebody go to an auction and think-- and get as excited as you about tie clips.

Well, I was thinking about just buying this myself, to be honest.

So-- so obviously I'd get quite excited.

Look, when we turn up at this thing-- Well, they make very nice hair clips.

--and we've got-- do you think?

Is it me?

CATHERINE SOUTHON: Yes.

If we turn up, and there's a job lot of tie clips going for a fortune, you'll be cursing, then.

I'm going to have this.

Can I take that, please?

My own personal use.

NARRATOR: Come on, Neil.

This isn't a personal shopping trip.

At least he's gone with his expert's advice and will be wearing the tie clips himself rather than selling them at auction.

Ben, thank you very much for showing us your lovely wares.

CATHERINE SOUTHON: Thank you.

Thanks very much.

The tie clips, lovely tie-- watch out for them.

Get more of them, honestly, they're going to be big.

They're next years big thing.

He'll be back for more tie clips.

I'll just have to put a tie on, actually, I might wear both of them at the same time.

That could be it, multiple tie clips.

NARRATOR: With nothing leaping out at them, I'd say our antique acquiring adventurers have earned a well-deserved rest.

So night night.

It's the start of day two, and Neil has taken on the familiar role of chauffeur to Dame Diana.

I feel like [INAUDIBLE] driving the car and going whoop whoop.

Did you have a nice day, yesterday?

I had a lovely day.

I absolutely adore-- it's my idea of heaven.

Really nice having somebody like Paul there-- Yes.

--to explain stuff to you.

Yes.

[GEARS CRUNCHING] Yep.

NARRATOR: Mind how you go there, Neil.

I wonder if Paul agrees with Diana's version of yesterday's events.

How did you get on?

Um.

Um-- I felt like a bit of a passenger, yesterday.

Did you?

Look, Diana-- you're talking about getting in there like a terminator.

NARRATOR: Oh, lordy.

Yesterday, Diana did keep Paul on his toes, picking up the Zucco clown toy for 25 pounds, the costume jewelry for 15 pounds, and the girl guide whistle and compass for 10 pounds.

You look shell-shocked.

NARRATOR: Spending a total of 50, they still have 350 pounds left.

I don't want to rush into anything.

NARRATOR: Catherine and Neil's more equal partnership brought out the antiques enthusiast in Mr. Dudgeon.

I was thinking of actually buying this myself, to be honest.

I was totally amazed at how Neil was.

I mean, he really got into the whole thing.

Ah, excellent.

We are going to find him antique shops and antique markets, forevermore.

NARRATOR: Neil and Catherine bought the brass elephant Vesta case for 40 pounds, the iron pig shop sign for 10 pounds, and the two square stone chimney pots for 20 pounds.

They're also considering a pine salt trough, but that's on the back burner for now.

Overall, they've spent 70 pounds, so far, leaving them with 330 pounds still to play with.

Our refreshed celebrities and experts are reconvening in the town of Ossett, just outside Wakefield.

The meeting place is Spa Farm Antiques, which is also Diana and Paul's first shop.

Good morning, hello.

NARRATOR: And our demanding Dame is keen to get shopping.

[WHISTLE BLARES] Whoops, seems like she's found a practical use for that whistle.

That a dog whistle?

Don't you get one of those.

That's not a bad idea, is it?

NARRATOR: Chop, chop, Paul, best not keep her waiting.

Hello.

Hello, lovely to meet you.

I'm Diana.

Hello, Diana, nice to meet you.

- This is Paul.

- Hi, Judith, I'm Paul.

Hello, Paul, lovely to meet you.

Can we have a look around?

Please do.

Help yourselves.

Thanks.

PAUL LAIDLAW: I like what they've done.

You wish to discuss tactics?

Yeah, I do because we've got-- tidgy good, tidgy things, and we need one zonking great thing, which is going to make a zonking great profit.

OK. OK. And I kind of-- I'm good at the tidgys and you're good at the zonking.

Tidgys and zonking.

Yeah, yeah.

Between us we've got the tidgys and zonking covered.

Perfect.

NARRATOR: So that settled.

Diana's looking after the tidgys and Paul's in charge of the zonking.

It's only 6 quid.

What have you got there?

NARRATOR: That'll be a tidgy, then.

Our little golfer's-- DIANA RIGG: It's absolutely perfect.

--hip flask and scorer.

I don't think it's an actionable lot because if it's youth.

Give it another 60 years, it's a collector's item.

Right now, it's-- it's-- I don't know, it's not me.

It's not you-- But you like-- But it's me.

Golfers abound-- Yeah, exactly.

--and they've generally got a budget.

Well, they've generally got-- need-- something along the line when they've just-- you know, lobbed it into the water.

They might need a gulp of something.

NARRATOR: Paul's not keen on the hip flask, but Diana's tactics are consistent, ignore your expert and carry on regardless.

But is there a deal to be done?

DIANA RIGG: What can you do?

OK.

I'll just speak to the lady who that belongs to.

DIANA RIGG: OK. - I'll be back in a second.

DIANA RIGG: Thanks so much.

NARRATOR: Well it doesn't take Judith long to come back with an answer.

DIANA RIGG: And the good news is-- 4 pounds.

--perfect.

OK.

Wonderful woman, thank you.

Was that a purchase?

Yep.

That was a purchase.

One down.

Just let me get it wrapped for you.

NARRATOR: Ah, ah, yes, that was a purchase, Paul.

Despite your reluctance, at least it was only 4 pounds.

[MUSIC PLAYING] Neil and Catherine are on their way to the Yorkshire market town of Otley, and they're in a bullish mood.

I think we got it in the bag.

We've already won.

Well, I wouldn't go that far.

Dame Diana Rigg knows a thing or two.

I get the impression that Diana was leading it totally, and Paul was-- Paul was the chauffeur.

I've been there.

Yeah.

It's a good role, but you need to know your place.

Yeah.

And I think he knew his place, yesterday.

Yeah.

Where as I think we were partners in crime.

Oh, I think so.

NARRATOR: They're heading to Rummage, owned by husband and wife team, John and Jane.

Well, Rummage.

Are you ready for a rummage?

- I'm ready for it.

I like a rummage.

Come on, then, let's go and have a rummage.

Good morning, Catherine.

Hello.

Hi.

Hi there.

NARRATOR: And it's not long before Neil's making a beeline for an old favorite.

Are these tie clips?

It is.

It's a tie clip and it's-- Oh, don't get him started on tie-- Hello, there's a theme developing.

NARRATOR: I think Neil needs to move on from his tie clip obsession and concentrate on the competition.

You see, what I've got here is a-- NARRATOR: Oh, yeah, any thoughts?

I have no idea what it is.

It's some sort of-- it's for-- it's for displaying or it could be for-- is it some sort of-- no, would it originally have been some sort of printer's thing?

Do printers use these to keep their letters in them?

NARRATOR: I'd say you might possibly be right.

Catherine, my expert friend, are you busy?

CATHERINE SOUTHON: Oh, I saw that outside.

What do you do with these?

Isn't this a printer's-- isn't this-- Well, that's what I-- Used by printers, you put your letters in here.

You get all your letters and-- JANE: Could be.

This is for really big letters, obviously.

Have you got any thimbles?

- I have.

OK. We buy some thimbles.

We put them in here.

We say it's a bespoke thimble collection.

JANE: I've got quite a few thimbles here.

Your tie clips will go in here.

Yeah, but nobody wants thimbles, now.

So what could you use it for now?

Think about what we could use it for now?

Tiny little shot glasses?

Buttons?

JANE: Don't mind doing a deal, you know, we can't pay the bills with stock.

No.

Well.

But would you mind a very low offer?

Well.

CATHERINE SOUTHON: Very low.

Ooh, what are we thinking of?

We're not here to insult you.

To be perfectly honest with you, I'd offer 5 pounds.

I need to make a profit.

CATHERINE SOUTHON: Yes.

And you're offering me what I've paid.

Not 5?

No, I would have started at 10.

Way, done.

Hello, she's quick, isn't she?

Good northern-- I think she like-- I think she likes that.

I seem to have-- She says she's doubled.

I seem to have made an offer.

I've bought it.

- She's happy.

She's doubled her money.

- I'm sorry.

I'm sorry.

I thought you was-- You did that without blinking.

NARRATOR: Looks like Neil's just getting started in here.

All top people have one of these.

NARRATOR: Very professional looking, Neil.

There's an antiques expert hiding in there, somewhere.

I'd make you an offer for that little-- whatever it is-- boat.

It's too small to be a gravy boat, don't you think?

Oh.

It's like a mint sauce boat.

Yeah, it could be a mint sauce boat, yeah.

I think it's quite a nice little thing.

It's quite a nice weight, and a nice-- JANE: It's got a lovely shape.

- --nice poorer.

It's got a lovely shape.

JANE: Yeah.

Quality, it does say quality, doesn't it?

It says quality to me and for that reason, I'd like to slip you a fiver for it.

For me, 5 pounds would be a very good deal.

There you are.

Thank you very much.

You're very welcome.

That's a very lovely piece.

There's your-- And your-- shall I get you some change?

Thank you.

NARRATOR: Bold move, Neil.

He's bought the sauce boat for 5 pounds to add to his vintage printer's drawer for 10 pounds.

While Neil's been flying solo, his expert is getting on the phone and is trying to negotiate a deal on the salt trough they saw, yesterday.

Now, remind me again on the price, 35, right, OK. Do you think you'd do it for a cheeky 30?

That would be really, really kind.

Thank you very much.

35 pounds.

- OK. - 30.

30.

You got it for 30?

30 pounds.

You rang Karen and knocked her down.

Well, no, she was more than happy.

She was delighted.

We've got a lot of really good stuff.

How many objects have we got?

6.

3, 4, 5, 6.

Six lovely things for 115 pounds.

I can't wait to see what they've got.

Come to Yorkshire where your money goes further.

NEIL DUDGEON: Thank you.

CATHERINE SOUTHON: It's been great fun.

Thank you.

Bye bye.

NARRATOR: With Neil and Catherine's shopping now complete-- Well, I love that.

NARRATOR: Back in Ossett, Paul is still trying to keep up with his Dame.

This is what I'm looking for.

It's that Anglo-Indian thing, isn't it?

DIANA RIGG: I tell you what, to put me jewels in.

PAUL LAIDLAW: Indeed.

They'll fall out, but that's the way they-- - It's a tea chest, we need.

- Yes.

Not a trinket box.

No, no, but they'll fall out, but that's the way it should happen.

Yeah.

Do you see what I mean?

PAUL LAIDLAW: I hear what you're saying.

I think it's looking pretty.

I think another decision has been made, hasn't it, Diana?

Yeah, it has.

Diana, I trust you.

Goody good.

I defer to you.

I've got the-- Can I do the caddying?

NARRATOR: Best idea yet.

The ticket price is 8 pounds, but Judith is off to see if a better deal can be agreed.

Would 4 pound be all right for that?

That would be perfect.

Thank you so much.

Let's shake on it.

You're very welcome.

Wonderful.

NARRATOR: Diana's charm has done the trick.

Another great discount to get the trinket box for 4 pounds.

[WHISTLE BLARES] Oh, that blasted whistle's back, poor old, Paul.

Heel.

Woof, Diana, I feel like Pavlov's dog.

Every time you blow the whistle I sweat rather than salivate.

Show me.

Show me your-- your-- your-- First reaction?

I saw that.

I saw that.

Yes and you liked.

Yes, I did.

Tell me why you like it.

Come on, you sell this to me.

I like it because of the wood.

I like it because the hinges are of the period.

I like it because it's capacious.

That is 18th century timber.

It's been loved, waxed once a year, dusted thereafter.

It's got a lovely honest untouched patina and elegantly simple object.

But it's a proper antique.

Remember the price.

Is it 120?

I'm going to leave you to bargain, now.

I've done most of the bargaining.

- OK. - Your turn.

However, I'll tell you what, I've got a bigger task ahead of me than you.

What's that?

Because I've got to get that down by 50%.

Well, this is a big deal.

Go.

Go.

Go.

NARRATOR: The pressure's on to prove yourself Paul.

The clerk's desk has a ticket price of 120 pounds, but Paul's hoping to negotiate a deal for 60.

Judith's back on that phone to see if the owner will do business.

Response?

[INAUDIBLE] You could do that?

Valerie has just said that, which is really kind of her.

DIANA RIGG: It's really kind of her.

We work here to succeed.

Oh, how nice.

I have got to shake your hand.

And it's a pleasure to shake yours.

Wonderful.

Thank you very much.

We have got to be happy now, Diana.

I'm thrilled.

NARRATOR: That is a relief and a very generous discount.

The clerk's desk for 60 pounds, which along with the trinket box and golfer's hip flask for 4 pounds each, is a grand total of 68 pounds, leaving them with 282 pounds still to play with.

Back in the Spider Neil and Catherine are en route to one of Yorkshire's most architecturally stunning landmarks.

Situated between Harrogate and Leeds, Harewood House is a stately home, which was the location for the grand départ of the 2014 Tour de France.

The house was built by the Lascelles family in the 18th century.

They were local landowners who made their fortune in West Indian plantations.

Keen to demonstrate the status of the family, the house was built, furnished, and landscaped by the very best craftsmen of the day.

The family have long been patrons of the arts and over the generations have amassed a stunning collection of treasures.

The Lascelles bought Harewood in 173-- GUIDE: 38.

38.

They bought the-- the-- the land.

GUIDE: They bought the land.

There wasn't a house here at all then.

No, no, no there wasn't.

They built this house.

They wanted the very best.

I mean, they bought up a series of estates.

And this was the one that they put all their focus in.

You know, new house, new interiors, the very best of everything of the day.

And I think that tradition just continued.

You know, Harewood's known for having the very best collections.

NARRATOR: The house was built under the supervision of Edwin Lascelles.

Work started in 1759 taking 12 years to build, with expansions and additions continuing well into the 19th century.

Only the best was good enough for Harewood House, and Edwin made sure that from inside to out, it was created to the highest standards.

He was also a great lover of art.

And he started the outstanding collection of masterpieces that adorn the walls of the house.

So into the gallery.

Oh, wow.

She's a pretty impressive room.

The house is very much as it originally was.

So this is the original scheme for this room.

What was this room used for originally?

GUIDE: It was always a gallery.

NEIL DUDGEON: To sit and admire your pictures?

GUIDE: Well, yes, and so the ladies could promenade, you know, or they could be entertained in here, you know.

So it was used as social gatherings.

Don't say I don't take you to the best places.

You do.

You put on a good spread.

NARRATOR: When Edwin died in 1795, the house passed down to his cousin, Edward, who continued the tradition of filling the place with the finest artwork of the day.

GUIDE: So he was buying and acquiring an awful lot of very fine pieces, but he's also got a bank balance to support it.

So he's a really fashionable, young, regency dandy in a very fashionable set.

You know, that's been led by the Prince Regent, later George IV.

NARRATOR: Edward was moving in the highest of circles and started to model himself on the Prince Regent, even adopting his look.

However, this copycat behavior did not sit well with the future King.

A contemporary society diary entry notes that the Prince viewed him as a pretender.

Hah.

And there's a lovely bit, where it actually says on January the 25th, 1796, where the young Mr. Lascelles of Harewood House is reckoned very much like the Prince of Wales.

The Prince is not pleased at all.

He calls Lascelles the pretender, making a remark on a portrait painting of him by Hoppner, he desires an alteration.

So-- and there's these references, you know, he went later on in the diary, it goes on to say that there was a party at Brighton pavilion, which of course was this wonderful extravagant home of the Prince Regent, and about how he was actually struck on the shoulder.

The Prince of Wales was mistaken for Lascelles.

And he wasn't very impressed at all, because obviously he was the future-- He was very cross, yeah.

--King of England, so he didn't want to be mistaken for this-- this young chap.

NARRATOR: Edward's patronage of artists was a great help to some notable painters of the age, and in particular, water colorist, Turner, who was a frequent visitor to Harewood to paint pictures of the house and surrounding countryside.

So there's a few small pieces, here.

These are his checkbooks, and they're really lovely because they say-- this is in his hand, April the 8th, 63 pounds to Mr. Turner.

So this is one of the paintings he was paid for.

So you know, we know that they came to Harewood in the late 1790s and continued to come, you know, right the way through.

So they continued this friendship.

And he was buying and acquiring pieces from a number of artists.

And here, in his account books, as well, you see here all these people he's paying.

So he's paying Wedgwood.

CATHERINE SOUTHON: What a super record.

Absolutely.

And it's lovely to have-- it just-- And to have so many pieces from his original-- or from their original visit and their friendship, as well.

I think that's really wonderful.

That's great, yeah.

Really fantastic.

Thank you very much.

Thank you very, very much for having us here.

Do come back, again.

Thank you.

Fascinating.

Thank you very much.

[MUSIC PLAYING] NARRATOR: Out on the open road with Diana and Paul-- Your gear changes are considerably smooth, I may say, than the adorable Mr. Dudgeon.

Don't think you do.

You'll jinx me.

NARRATOR: They're traveling to the village of Gomersal.

They have a healthy 282 pounds to spend.

But will anything catch their eye in the Old Silk Mill?

DIANA RIGG: I love dogs.

PAUL LAIDLAW: You love dogs.

Do you love this dog?

You know what it's-- it's a-- Knee jerk reaction?

I'd say it's a setter, wouldn't you?

Because of that fluffy tail.

Yeah.

Yeah.

Now, you know the name of what this is.

Tunbridge ware.

Why, because they made a lot of it in Tunbridge?

Indeed.

The body is actually rosewood.

They were sold as novelty objects.

And it's a wee souvenir trinket box.

And circa 1860, it's 150-year-old.

It's amazing, isn't it?

Perfect condition and the work in that.

Ah, it defies belief.

It really does because they're tiny pieces, aren't they?

It brings another field of interest into this lot.

OK. We could get a Tunbridge collector alight on this lot of costume jewelry, and say well, costume jewelry-- costume jewelry, who knows?

But I like the box.

Goody, good.

You're absolutely-- It's a bonus, yeah.

Clever man.

But there's another problem.

Don't know how much that is.

I think if we could get that for 10 or 14 pounds, you know, not a lot of money.

I think it's got legs.

NARRATOR: Time to beckon owner, Tony.

DIANA RIGG: Tony, come hither.

You're all right.

She whistles at me.

You got the polite, Tony, come hither.

No price on box.

Is it-- It's 12 pounds, that.

Sounds all right to me.

However, of course, we're going to ask.

Yeah, ask.

Shave anything off that, Tony?

Tony?

For you, Diana.

Look into the eyes, not around the eyes, into the eyes.

What if I said, well, 8.

8, would that be OK?

Oh, that would be lovely.

Tony, you're fantastic.

Thank you.

Thanks a lot.

We're done.

We're done.

NARRATOR: Done indeed, with no messing about, as usual, Diana and Paul walk away with the Tunbridge trinket box for 8 pounds.

Oh.

- Off we go.

- Off we go.

- Follow.

NARRATOR: With shopping complete, Diana and Paul head to Harewood House to meet up with Neil and Catherine for the big reveal.

[MUSIC PLAYING] PAUL LAIDLAW: Terribly exciting.

Oh.

Oh.

Have a close look.

For any housewife who wants to get rid of her husband for a good 4 hours, a golf scoring pad and-- and if he wants-- you know, when he's lobbed it into the nearest lake he can take a swig of something.

Isn't that divine?

NEIL DUDGEON: A hip flask and score keeper.

Yeah, for a golfer.

Have you ever seen that before?

- I never have.

- No.

DIANA RIGG: Do you play golf?

I've led a very sheltered life.

Do you play golf?

I-- no, I wouldn't say I played, no.

DIANA RIGG: OK, but have you ever seen that before?

No.

And you've got a whistle on the end I can see it.

Yeah now, but you see the glory of the whistle, it's got a compass.

- Yes.

DIANA RIGG: And it's a girl guide whistle.

Oh, that's quite interesting.

Have you seen that before?

That's quite interesting.

Quite?

Sorry, very.

Yeah.

Really, really interesting.

Were you a girl guide, yourself?

No I was a Brownie Sixer.

[MUSIC PLAYING] NARRATOR: Certainly was.

Time to examine Neil and Catherine's wares.

DIANA RIGG: So boat.

NEIL DUDGEON: Silver plate boat, it has the letters PRHA on the side.

Pretty hopeless and risky acquisition.

Oh, very good.

That's the one.

That's the one, but.

Forgive me.

I couldn't help it, gratuitous though it was.

Oh, no, don't take any notice.

NARRATOR: What about the butcher's sign?

NEIL DUDGEON: You've got to see it to believe it, frankly.

We're very pleased with it.

It's a very intriguing piece.

DIANA RIGG: Do you know, I'm gobsmacked.

What is it?

Well, it's clearly, it's a pig.

It's a pork butcher's shop sign.

Showing a pig with an umbrella and a bowler hat smoking a cigar, clearly.

I don't get it at all.

Do you get it?

GCSE metalwork fail.

DIANA RIGG: No.

PAUL LAIDLAW: I'm being cruel.

Whose heart did that one quicken?

We both liked that.

DIANA RIGG: Really?

Yes.

CATHERINE SOUTHON: That's the smoke.

So darlings, where were you at when you got that?

I mean really.

It's a one off.

Yeah, you're right.

Nobody would make two of those, that's for sure.

NARRATOR: What on Earth will they say in private?

Are you content?

Do you think we're contenders?

Well, listen, I think the worst thing that we can do is be complacent.

Do you know what I mean?

OK.

So I think we go hoping and praying.

And let's do our best.

We bought interesting, quirky things, that are a little bit out there.

I really believe in my jewelry.

We stand by our objects, don't we?

Yes.

Yes.

I believe in everything we've done.

Good.

That's the main thing.

We're contenders.

You're the pro, and you believe in it.

Let's go.

NARRATOR: Time to leave god's own country in Yorkshire and head down to Stansted, in Essex, for that local all important auction.

So are our experts feeling confident?

So come on, then, Paul.

It's D-day.

It's Diana day.

That's all it is.

Don't up the ante any more than it already is.

Oh, my god.

When I saw your face when we revealed the items-- Go on.

--your items.

You weren't pleased, come on.

Seriously.

How much can I say?

NARRATOR: Sometimes, it's best to say nothing, Paul.

And auctions are unpredictable, so it's anyone's guess.

[MUSIC PLAYING] Sworders Fine Art Auctioneers were established in 1782.

And we have auctioneer Helen Jonas to give us her verdict on what our team's offerings are like It's quite an interesting mix.

There's some quite fun quirky things, also a few things that might struggle a bit, but we'll see how they do, today.

I quite like the Zucco monkey with the violin.

That's quite a fun lot.

I think that's the best of the bunch, really.

I'm less sure about the silver plated source boat, on its own.

But we'll see how the day progresses.

NARRATOR: Both teams started with 400 pounds each.

Neil and Catherine spent 115 pounds on six items in total, organized into six auction lots.

Diana and Paul have ended up with five lots, after spending 126 pounds on this group of goodies.

Take your seats.

Eyes forward and pay attention.

The auction is about to begin.

Best of luck, everyone.

I think it's looking positive.

No, no.

The moment of truth, do you think?

NARRATOR: First up, it's the silver plated sauce boat that Neil bought when Catherine wasn't supervising.

20 pounds, anywhere?

What did you pay?

10 to start me, anyone tempted?

Come on, come on.

It's beautiful, beautiful.

5 pounds to start me.

A sauce boat there for 5 pounds, anyone interested?

No interest in that one.

So we'll have to carry on.

NARRATOR: Neil liked it, but sadly no one else did.

Not the strongest start.

Oh the shame.

We've got to have it.

I told you.

NARRATOR: Diana purchased her golfer's hip flask against expert advice, but will it defy the doubters?

The hip flask?

I think it's a thing of beauty and wonder.

And I'm sure it'll go for an absolute fortune if the good people have any taste and discernment.

5 pounds to start me.

Yes.

Oh, no, I'm not sure you're meant to be bidding, I'm afraid.

Any interest at 5 pounds?

No, I'm afraid we're going to have to leave that one.

NARRATOR: Another one left on the shelf, but there's still time to pull in a profit.

Nil-nil that evens things up.

NARRATOR: Next it's Neil and Catherine's pair of chimney pots.

I'm bid 10 pounds at the back.

Any interest at 12 pounds?

It's 10 pounds then, opening bid, any further interest?

I'll sell for 10 pounds.

Surely that's 40, 50 pounds?

Surely.

NARRATOR: I'm afraid not Catherine.

It's only 10 pounds and a loss.

Well, that's a swizz, isn't it?

That's a swizz.

It's an outrage, Neil, it's an outrage.

NARRATOR: Next, we have Diana and Paul's combined lot of the costume jewelry, trinket box, and Tunbridge casket.

Every reason it [INAUDIBLE].

This is our first profit.

OK, this is it.

30 pounds, anywhere?

20 to start me.

20, I'm bid.

22, standing.

22.

25.

28.

30.

32.

35.

38.

35, kneeling on the floor.

Well done.

That's a profit, anyway, at least.

Sells for 35 by the tables, then.

It's a bidding war.

- Well done.

- Thank you.

Thank you.

Thank you.

NARRATOR: Hurrah, a profit, at last.

I have to say, whoever bought that for 35, had got-- there were about 12 pairs of earrings in the Tunbridge box, and all those necklaces in the other box.

It's nothing though, is it?

Really?

It's nothing.

It's a profit.

It's a profit.

NARRATOR: Neil's vintage printers drawer is up next.

Good way to display the collectibles.

10 pounds anywhere?

What did it cost?

10.

If it's 10 pounds in the center, any further interest?

I'll sell for the opening bid to the lady in the center with no number at 10 pounds.

Got it away.

It could have been worse.

That's all right.

I would take that.

I would take that.

NARRATOR: After commission, that will be a small loss.

What do you think?

I'm pleased.

I'm pleased that somebody else likes it.

I think somebody's got a bargain.

And I don't think they're going to do-- well, hopefully they'll do something interesting with it.

NARRATOR: Diana's Zucco clown toy is next.

It was the first thing she saw, and the first thing she bought.

But how will it do?

Our favie.

Favie Davey.

Now I think this is our joint best.

Yeah.

CATHERINE SOUTHON: 40 pounds?

It hangs on this.

22 when you're in the room 22, 25, 28.

28 commissions are out.

Was that 30 there the lady's bid?

Otherwise, it's 28 in front of the room.

[INAUDIBLE] just going to [INAUDIBLE] hope it keeps running.

32, 35, 38, 40?

No, 38 then, still near the rostrum at 38.

Any further interest?

I'll sell, near the rostrum at 38 pounds.

NARRATOR: Another profit and things are looking up.

DIANA RIGG: That person's got a bargain.

Oh, come on now, Diana.

You have done pretty well.

We are doing all right.

You got a profit on your jewelry.

I'm not a greedy person, but I think it's worth more.

Yes.

You know what I mean?

I think we should be happy.

I'm happy.

NARRATOR: A profit is a profit, Dame Diana, and you're in the lead.

Next up, is Neil and Catherine's pig butcher's shop sign.

Your pig is going to save the day.

Yeah, the pig could save your bacon.

Right, here we go.

This is it.

Come on.

The pig sign, there, at 30 pounds the commission.

35 anywhere in the room?

It's 30 pounds, then.

Any further interest?

35 there.

40.

45 sir?

Was that a yes?

The flying pig 45, 50.

55 sir?

No, it's with me then, back for commission at 50.

Any further interest?

I'll sell for commission at 50 pounds.

DIANA RIGG: Well done.

Yes.

PAUL LAIDLAW: Well done.

Who has paid 50 pounds for that pig?

PAUL LAIDLAW: How do you feel about auctions, now?

NARRATOR: With that great profit, Neil and Catherine are back in business.

There's no accounting for taste.

NARRATOR: Next, we have Diana's command tool for Paul.

The girl guide whistle and compass.

I want somebody to whet my whistle.

30 pounds to start me, anywhere?

20 to start me.

The Girl Guides whistle?

Oh, yeah.

HELEN JONAS: 10 pounds.

God, they're not whistly people.

12 pounds?

It's 10 pounds in the center.

Any further interest?

What did we pay?

10.

The opening bid of 10 pounds, and that's 207.

Thank you.

That's better than it could have been.

Well, you got it.

10 quid is cheap, silver and a compass.

NARRATOR: After commission, that will be a small loss, unfortunately.

Next, Neil and Catherine's back up buy, the salt trough.

The opening bid of 10 pounds-- It's the same woman who got my-- 14, 14, 16, 18.

CATHERINE SOUTHON: They're off, good.

20.

CATHERINE SOUTHON: Good.

No, 18 pounds near the rostrum at 18.

Any further interest?

I'll sell for 18-- Oh, 20 there.

22?

22, 25, 28?

28.

20?

No, still on the rostrum at 28 pounds.

Any further interest?

I'll sell for 28 pounds, and that goes to 609.

It's not bad.

CATHERINE SOUTHON: Disappointing.

I think you did well with that.

I think you did well with that.

NARRATOR: A loss of 2 pounds and a bit more when you take commission into account.

But it's all yet to play for.

We've each got one lot to go, and you're 15 pounds ahead of us.

NARRATOR: Diana and Paul's final and most expensive lot is the 18th century oak portable desk.

50 pounds anywhere?

Anyone interested?

Karen's showing it there.

50 I'm bid and need 55 pounds?

It's 50 pounds behind the counter.

55, 60, 65, 70, 75, 80, 85, 90, 95.

Somebody's determined.

100, 110, 120, 130, 140?

No.

It's 130 on my left, seated, any bids at 140?

Selling it for 130.

Any further interest?

I'll sell for 130 pounds.

NARRATOR: That fantastic profit for Diana and Paul means the elephant Vesta case really needs to come up trumps or Neil and Catherine are out of the game.

And it's with me at 20 pounds of commission and 22 pounds in the room.

22, 25, Good.

HELEN JONAS: 28, 28, 30, 32.

Yeah.

35, 38, 38 pounds the lady's bid takes it at 38 pounds.

Any interest at 40 pounds?

It's 38 on my left.

Any further interest?

I'll sell for 38 pounds.

- Well done.

- That's better than we thought.

Well done.

I think that was all right.

NARRATOR: That loss is the final nail in the coffin for Neil and Catherine, but it's been a fantastic .

Contest I want to congratulate you two.

- Yes, congratulations.

- Never mind, never mind.

- Congratulations - I love you.

Never mind.

Congratulations and well done.

Paul, congratulations, well done.

Good spot on the desk.

Yes.

Well done.

NARRATOR: Our celebrities started with 400 pounds each.

Neil and Catherine put up a valiant effort, but unfortunately, after auction fees, they made a small loss.

So they end up with 396 pounds and 52p.

Nice couple, though.

But claiming victory today is Dame Diana and Paul, finishing the trip with 448 pounds 66p with all profits going to children in need.

Well done.

Did we have fun?

That's the main thing, isn't it?

- Yes.

- Absolutely.

It's been fantastic.

It's been a ball.

- It's been marvellous.

- Compadre.

Compadre.

Victor, fellow victor.

Thank you.

It's been a marvellous experience.

Thank you very much.

Well done, Paul.

I'll see you again.

Great.

Thank you.

Jolly books.

You can drive this time.

I've been driving you around for years.

Come on, give it a go.

All right, come on.

OK.

Thanks.

- Come on, then, last time.

- Lovely.

Until next time.

Until the next time.

Madam.

I long to hear you crashing those gears for a laugh.

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