NARRATOR: It's the nation's favorite antiques experts.

What a joke.

NARRATOR: --with 200 pounds each-- You with me?

NARRATOR: --a classic car-- Buckle up.

NARRATOR: And a goal to scour Britain for antiques.

Oh, sorry.

Ha ha.

NARRATOR: The aim?

To make the biggest profit at auction.

But it's no mean feat.

They'll be worthy winners-- Yes!

NARRATOR: And valiant losers.

So will it be the high road to glory or the slow road to disaster?

Have a good trip.

NARRATOR: This is the "Antiques Road Trip."

[MUSIC PLAYING] Yeah.

[MUSIC PLAYING] Say hello to a brand new jaunt in the company of seasoned trippers, Anita Manning and Charles Hanson.

Well, Charlie boy.

Welcome to Scotland!

I cannot believe it.

I am literally in your land.

I'm so far north.

I'm so far out of my comfort zone.

Charlie, in the antiques world, everywhere is your comfort zone.

NARRATOR: Yes, these two always have a kind word to say about each other.

You've barely changed.

It must be air up here.

The life up here you lead.

What is the secret?

Plenty of makeup.

[LAUGHTER] NARRATOR: Naturally radiant auctioneer Anita is a big fan of little pieces of jewelry.

It's lovely fun to rummage in there.

Derby lad Charles is also an auctioneer with a fondness for all things porcelain.

He makes friends easily, too.

He's bigger than me.

NARRATOR: Introductions out of the way, let's talk tactics.

Have you got a grand plan or are you keeping your plans close to your chest?

I think my plan, Anita, is just to impress you.

Oh, Charlie.

Charlie, I think you're buttering me up for the kiln.

NARRATOR: Out to a touring in a 1976 Triumph Stag, and with 200 pounds a piece burning a hole in their pockets, they're itching to hit the shops.

But where are they?

CHARLES HANSON: It's like England versus Scotland, isn't it?

It's a big international match.

Oh, are we-- I'm sniffing a wee bit of competitiveness.

Is the buttering up finished now, Charlie?

Get out of here.

[MUSIC PLAYING] NARRATOR: We start this trip in Renfrewshire, heading south across the border into Cumbria before popping back to Scotland.

Our pair's fifth and final auction will be in North Shields Tyne and Wear.

Today, they'll be steering the Stag towards Hamilton for auction.

But our first port of call is in Kilbarchan, whose residents refer to themselves as Habbies after Habbie Simpson, a famed 16th century piper from the village.

CHARLES HANSON: Here we are.

ANITA MANNING: The antiques are spilling out.

Oh, look at the tin signs.

NARRATOR: So can our two whistle up some deals in Gardeners Antiques?

Charlie, if you see any bargains, give me a shout.

Well, I might do.

NARRATOR: You're in this one together, so best behavior, eh?

Wow.

NARRATOR: Ladies first.

This is huge.

There are rooms and more rooms and more rooms.

- Which way you going?

- There.

You go that way.

[INTERPOSING VOICES] See you later.

Good luck, Charlie.

Bye.

NARRATOR: So with Anita taking the high road, Charles has the ground floor all to himself.

And there's a lot to get stuck into here.

It's just beautiful.

It's like a country house.

There's barely any 20th century objects at all.

That's always a good sign.

And of course, I've got Queen Victoria here as well, saying, hello.

Welcome to Scotland.

You're looking gorgeous, mom.

NARRATOR: Meanwhile, something's caught the eye of our very own queen of Scotland.

This is an oil by Ralston Gudgeon.

Ralston Gudgeon was a local artist.

And what he painted were birds.

Now I've seen a lot of these.

But this one is done on linen.

And that's a wee bit unusual.

I'm not quite sure what kind of bird that is.

NARRATOR: Well, it could be a ringed plover.

It's priced up at 190 pounds.

It's certainly worth that retail.

But I don't think I could make a profit buying it and putting it into auction.

A terrific thing by a local artist.

NARRATOR: There seems to be a whole flock of them up there.

Look.

Now, has Charles managed to unearth anything yet?

This is interesting.

A Maison Lerebours and Secretan instrument.

And this Parisian cased instrument must date to around 1880.

It's priced at 140 pounds.

But I'm not sure what the purpose is.

NARRATOR: Perhaps proprietor David can shed some light on it.

I think it's a surveyor's cross-sight for laying out plots.

CHARLES HANSON: I think because I clearly didn't know what it was used for until now-- DAVID: Yes.

I might be guided too much on that.

But it's a wonderful tool.

I'll leave that.

NARRATOR: Oh, yeah.

Bit pricey for your first purchase, eh, Charles?

ANITA MANNING: David.

NARRATOR: Oh, hang on.

David.

Did you hear Anita?

I heard something, yes.

NARRATOR: No rest for the wicked, eh, David?

Yes.

ANITA MANNING: David, I love the pictures up here.

Yes.

My eye has been drawn to something quite different.

Yes.

And it's this old crone here.

Now it's dated 1808.

DAVID: Yep.

She is a terrifying old bird with a fierce expression.

And you know, it's so well done.

Yes.

But the thing about this picture is it has been so badly damaged here.

DAVID: It's been-- ANITA MANNING: It's not been well restored.

DAVID: Yes.

It's not been well-restored at all.

It has been scared by the sun.

And now, in view of the fact that is the damage on it, David, can you let me know what you think?

Let me have a look and see.

It'd be 38 pounds for you.

Right.

I'm taking a gamble, but I kind of believe in it.

DAVID: And the face hasn't been damaged, I guess, which is the main attractive point in the painting.

Yes.

At the very worst, you could maybe just cut around-- NARRATOR: She's joking, I hope.

David, it's a deal at 38.

Thank you very much.

Yes.

Thank you very much.

That's terrific.

NARRATOR: First blood to Anita, then.

Let's see if we can find Charles.

Charlie.

Sorry.

Charlie, what are you doing skulking down there?

I wasn't spying.

I'm just looking at the undersides of tables and chairs.

And how are you getting on?

ANITA MANNING: Yeah, absolutely terrifically.

I've made a purchase.

You're quick off the mark.

I'm just taking my time.

I'm warming up.

Charlie, get on with it and buy something.

NARRATOR: That you told then.

Time to grab your granny, Anita, and get on the road.

Back inside, Charles has decided to play to his strengths.

Look out.

One of my great loves is blue and white.

And we've got blue and white over there, 1930s.

Blue and white 1950s.

Japanese blue and white 1880s.

But 18th century blue and white, English in this plate here.

Oh, how lovely.

This actually is only 35 pounds.

And you might say, Charles, well, look it's been restored.

It's not very attractive.

But actually it's tin glazed earthenware.

And this will date to around 1720, 1714.

I quite like it.

NARRATOR: Let's go and see if there's a deal to be done.

Cozy up, eh?

- David.

- What's up?

I've enjoyed wandering around-- Good.

--your little wonderful country house antiques shop.

And I found this.

DAVID: Yep.

CHARLES HANSON: Quite humble.

DAVID: It is.

CHARLES HANSON: But sometimes the heart rules the mind.

What's best price, please?

It's 28 pounds.

So I think for that, I will happily, wishfully take it to auction, give a second life, and we'll see what we can do.

I'll take it.

A lot of years for your money.

Thank you very much.

NARRATOR: So Charles is finally off and running.

But is there more?

Just add it in.

Just when I walked in-- they call me Hawkeye, you know.

Hawkeye Hanson.

And when I walked past-- I think it may have been your refreshment room in here.

Is it your refreshment room?

The office.

Yeah.

It's like the office.

There was a coffee pot.

DAVID: That is, yes.

CHARLES HANSON: Was that what you use or could it be for sale?

It could be for sale.

It's literally just been unpacked and not been looked at yet.

NARRATOR: Well, there's no time like the present.

Let's have a butchers.

DAVID: Damaged, unfortunately.

But a nice old bit of English.

What a shame.

It is around 1800, probably made by Newhall-- Yes.

[INAUDIBLE] --who were a factory in Staffordshire.

And I love it.

I really do.

DAVID: It's 80 pounds, yes.

Like that, I'm jangling because I'm not sure what to do.

So 28 plus 80 is-- DAVID: It's 108.

Oh, why not.

NARRATOR: That's a substantial chunk of Charles's budget gone on his first two items.

DAVID: [HUMMING] NARRATOR: But he seems happy enough about it.

Always worries me when he does that skipping.

Now where's the queen?

Ah, there she is.

On the road and trying to get the measure of her competitor.

What a woman.

I think that Charlie's a big passionate man.

He loves antiques.

And he'll tell himself that he's being careful.

But I know that if he falls in love with something, well, he'll go for it.

NARRATOR: It's his Achilles heel, I'll tell you.

Meanwhile, the man in question has made his way north to the River Clyde at Greenock.

He's come to find out about the brave local men who, in the 19th century, risked their lives fighting fires in this part of Scotland.

He's meeting Dave Hatton, chairman of the Scottish fire and rescue service, Heritage Trust, and a former firefighter himself.

Where am I?

You're in the old Victorian Fire Station, which opened in 1887, and it sailed right through until 1960, when the station closed.

NARRATOR: Fire brigades were originally set up by volunteer groups or insurance companies.

But after losing a fortune following the Great Fire of London in 1666, the insurers came up with a way to keep their costs down.

DAVID HATTON: When you're insured with a fire insurance company, you are given a fire mark.

And you put the fire mark on your building.

And if you had a fire, the insurance fire brigade would turn up.

But if it was a rival insurance company, they wouldn't put your fire out.

It's frightening to believe that if you had no fire mark on your door or wall, they would let you just burn to cinders.

More or less, that's the way it was.

NARRATOR: To combat this, the first municipal fire brigade in the world was started in Edinburgh in the early 19th century.

And Greenock's brigade was soon to follow.

DAVID HATTON: All the firemen that worked in the station had lived on site.

There was tenement property and also in the road, and all the firemen lived in there.

Really?

And if there's a fire during the night, the bells went off in houses, and there was someone here to tend out to the fire.

NARRATOR: Life as a Victorian fireman was hard as early firefighting equipment was rudimentary.

He needed courage, determination, and also, impressive facial hair.

Most Victorian firemen had beards and mustaches.

And the reason for that was they'd soak their beards and put them in their mouth as a form of a smoke filter.

So in effect, the beards and mustaches were probably the first formal breathing apparatus.

How effective it was, I really don't know.

But it'd give the Victorian firefighters some form of comfort with them in work the smoky atmosphere.

And the earliest form of a breathing apparatus is the smoke helmet, the Victorian smoke helmet, put over the firefighters head.

And it was connected up to a hose pipe going outside to the bellows here.

CHARLES HANSON: Can we make it work?

DAVID HATTON: Yes, yes, connect the hosepipe here.

CHARLES HANSON: And then by pumping on the pedal, it would-- DAVID HATTON: Pump fresh air into the firemen-- It's quite hard work, isn't it?

- It's hard-- it is hard work.

- Am I just being a bit slow?

DAVID HATTON: No, no.

It's-- How would the firemen communicate with this peddler?

DAVID HATTON: They did have a cord they'd use to pulls.

If he needs more air, he tugs once on the line.

If he needs less air, he tugs twice.

If he tugs three times, it's get me out immediately.

So it might be, drop all of this, get in, and pull him out.

Yes.

Frightening, isn't it?

NARRATOR: But the men of the brigade were not the only ones to show bravery.

The museum has an exhibit to honor one of Scotland's more famous firefighters.

DAVID HATTON: So this is Wallace, the famous fire dog from Glasgow.

There was a lifeboat fundraising parade in the city of Glasgow in 1894.

And on the parade, the fire engine from Glasgow fire brigade were there.

During the parade, this stray dog attached itself to the firemen, run alongside them.

The dog followed them back to the fire station, and it stayed there.

And the firemen adopted him as a pet, a mascot.

CHARLES HANSON: Like a lucky mascot.

Yeah.

The city of Glasgow paid for his dog license.

And the fireman had an allowance for feeding him.

He wasn't just a mascot for the fire, but you actually went to fires.

When the fire engine was called out, the bells went down.

The horses ran out, pulled the fire engine.

Wallace ran in front of them, reputedly leading the horses to the fire.

But in reality, what we think was happening was when the footman put his foot to the left or to the right, Wallace knew which way the fire engine was turning.

And he went that way.

And he was very much a celebrity dog in his day.

DAVID HATTON: He was actually probably more famous at the time than Greyfriars Bobby was.

CHARLES HANSON: Wow.

And when he died in 1902, his obituary was in the Glasgow Herald and the Scotsman newspapers.

NARRATOR: And they had him stuffed.

Ha!

Now Charles has got the courage to go out and tackle a blaze for himself.

He needs something to get into the action quickly.

Well, this is a 1960s Austin Gipsy fire engine.

It is a 1960s fire engine.

Quite small.

It was actually used on the island of Ireland.

What I love about this is it's fully kitted out.

I've got my hosepipe, so I'm all set.

Right, fire!

We're off.

Fire!

[SIREN WAILING] [MUSIC PLAYING] (SINGING) Fire brigade, get the fire brigade.

See the buildings start to really burn.

We're in an old vehicle.

There's no seat belts on this one.

Yeah, exactly.

DAVID HATTON: I haven't experienced your driving.

I wish I had gotten a tin hat as well.

Wish there weren't an emergency here.

NARRATOR: Ha ha!

So while Charles heads off to a certain peril-- Is that a scene mist or a smoke over there?

NARRATOR: Oh, dear.

Let's catch up with Anita out and about in the Stag, feeling the wind in her hair or a bonnet.

It's been a day of changes, sunshine and showers.

When the sun comes out, it's lovely.

And then it starts to rain, and we get a wee bit wet.

NARRATOR: Might be an idea to put the roof back up, though.

Crikey.

She's heading down the coast to the town of Prestwick, where Robert the Bruce once cured leprosy, allegedly.

I think the name of her next shop roughly translates to "Old Things."

That's what we want.

Hi.

Hi, Anita.

How are you?

Welcome.

Oh, it's lovely to see you.

You, too.

And this is a veritable Aladdin's cave.

Yeah.

NARRATOR: Plenty of stuff to get your hands on, certainly.

I can never resist cabinets which are full of bits and pieces.

NARRATOR: She does love a rummage.

Loves a bit of glass, too.

This is a body cranberry decanter.

This is a very sweet thing.

Now when we look underneath, we see what's called a star cut.

On cheaper pieces of glass, you do not find that.

The other thing that you have to think about is has that decanter lid been replaced?

Is it the original one?

Now look how sweetly it fits.

NARRATOR: That's a relief, then.

Gets its pink color from gold oxide.

Not a lot of people know that.

I like this.

But I like the price even better.

6 pounds.

I'm gonna have a go that.

NARRATOR: And why not?

Oh, look.

More cranberry glass.

There's no price on these.

This is damaged, and I don't really want to take that.

But if I can get a joint price on both the decanter and glasses, I think I've got a nice, sweet group.

NARRATOR: It's a good start, but she's already got her eye on something else.

She's a mover.

Gary.

I would like to look at this cabinet down here.

GARY: All right.

ANITA MANNING: With the Carlton Ware in it.

It's beautiful.

NARRATOR: Carlton Ware was made in Stoke-on-Trent, and it often features rather garish designs.

The price of it five years ago was sky high.

The fall in popularity has shown me that you've got to be a wee bit, a wee bit careful.

Could we bring these up?

GARY: Mm-hmm.

And I'll bring the other-- the red glass up alike.

GARY: No bother.

ANITA MANNING: And we can maybe have a wee-- We'll see if we can sort it.

ANITA MANNING: A little deal.

Yeah.

NARRATOR: The combined ticket price on those vases and dish is 48 pounds.

Let's see what Gary can do, eh?

Now Gary, I'm hoping that this is a red letter day at the auction and not a deal that will put me in the red.

What I'd like to do is to pay around a bit 30 for them.

GARY: Mm-hmm.

Would that work?

Yeah.

ANITA MANNING: These wee glasses aren't priced.

GARY: Right.

ANITA MANNING: And one of them is cracked and chipped.

It's only 6 pounds, isn't that?

Yeah.

So I'm not going to cut down any more than that, you know?

I'll offer 35 with the two glasses.

ANITA MANNING: 35 for that lot?

GARY: Yeah.

- It's a deal.

- Thank you very much.

- So thank you very, very much.

- I hope they do well for you-- - Yes.

- --as always.

Well, I like these things, Gary, so.

Well, if you like them, then somebody else is going to like them.

- Of course.

And I've got great taste.

NARRATOR: Indeed you have, Anita, and modesty.

With those purchases in hand, it's time to catch up with Charles.

It's a pity there's a wee smear of rain here, Charlie.

Because in Scotland, it's a sort of Mediterranean climate.

NARRATOR: Well, you would say that, wouldn't you?

Nighty night.

[MUSIC PLAYING] A new day, a new car.

You look like the coolest dude in Glasgow.

All my friends out there will be going, Anita's got a new boyfriend.

And he must be worth a couple of bub.

NARRATOR: Their Stag from yesterday is a bit under the weather, so they're cruising the drag Dragon, this '66 Ford Mustang.

Groovy, baby.

This American car was made at a time when any lap belts were mandatory.

We're like Bonnie and Clyde, aren't we?

- Bonnie and Clyde.

- Exactly.

Yes!

Call me Bonnie.

I'll call you Clyde.

NARRATOR: Yeah, except you're not going to go and rob a bank.

Anyway, yesterday, Charles shelled out for a Delft plate and a coffee pot.

Are you a tea man?

I'm a tea man, I'm afraid.

Yes.

I hope so.

Well, the coffee's going.

NARRATOR: And he's left with 92 pounds in his pocket.

While Anita bought some cranberry glass, some Carlton Ware pots, and a portrait of somebody else's granny.

She is a terrifying old bird.

NARRATOR: Well, you said it.

Meanwhile, she has 127 pounds for whatever takes her fancy today.

[MUSIC PLAYING] After setting off from Kilbarchan, they made their way to Glasgow.

I lived just along the road.

NARRATOR: Yes, we're in Anita's neck of the woods.

Good to have a local guide, though.

On the right here-- Yes.

--is Kelvingrove Art Gallery and Museum, which is one of them was fabulous museums in the world.

Maybe we could see if Kelvingrove's got anything they want to sell us.

[LAUGHTER] NARRATOR: Well, you can dream on.

Somewhat off the tourist trail is Anita's first shop of the day.

ANITA MANNING: Have a lovely time, Charlie.

I love you.

And remember, be a little canny.

NARRATOR: Sage advice, Anita.

Now Charles, mirror, signal, maneuver.

Oh, dear.

This shop is chockablock with fine British furniture.

But Anita is making a beeline for something particularly local.

This is a beautiful piece of arts and crafts furniture.

Late 19th, early 20th century.

And at that time, there was a great flowering of art and design in Glasgow.

And we can see it in this stained glass.

And this one here is a stylized depiction of the Glasgow rose.

I think it might be a wee bit dear for my budget.

And it is.

NARRATOR: Yes, slightly beyond your means.

Meanwhile, scale it down a touch.

The arts and crafts movement in Scotland was influenced by Celtic items from the past.

It's what we call the Celtic revival.

And this little tray is showing us a very simple Celtic knot.

What makes this little tray really interesting for me is the fact that it has a monogram for Mary Henderson Reid.

And she was one of the Glasgow girls.

Wonderful lady artist working late 19th, early 20th century, mostly having been taught at Glasgow School of Art.

I really like this.

NARRATOR: It's got 40 pounds on the ticket.

One to consider, methinks.

Meanwhile, Charles has left the city, and he seems to have made a new friend.

You are a wonderful car.

You are spacious.

I can fill antiques in here.

We're like Crazy Horse, aren't we?

You're the emblem.

I'm the man.

[MUSIC PLAYING] (SINGING) Crazy horses.

I do talk some rubbish, don't I?

NARRATOR: I couldn't possibly comment, Charles.

He's galloping north to the edge at the Trossachs, up Ward Toll for his first retail experience of the day.

And he's got 92 pounds left to play with.

Good morning.

Good morning, Charles.

How are you on this gorgeous day?

It's lovely, isn't it?

- And your name is?

- Allie.

CHARLES HANSON: I love your shop.

Are you a vintage, retro, shabby chic-y, or antique lady?

Antique lady.

I like your style.

I can stay here then.

NARRATOR: Best get on with it.

Now with Anita enjoying a home turf advantage, maybe Charles would do well to go for local appeal.

Oh, dear.

I'm not sure where the mouthpiece is, actually.

NARRATOR: Well, that's a relief.

Please, Charlie.

Oops!

I'll put it away.

NARRATOR: Yeah, I'd put it away, Charles.

Thanks.

CHARLES HANSON: That's a sweet painting.

You've almost got me with my bow and arrow, Anita Manning watching my talent as I'm about to take the apple off that little dog.

Allison.

This gorgeous painting here is by William Hunt.

How much is it?

4,000 pounds.

4,000 pounds.

NARRATOR: Ha!

Bit over your budget, old bean.

Now these are more affordable.

Quite like these little gilt bronzed effect dogs.

I'm not sure what dogs they are.

They could be Labradors, I think.

But they're carrying a little basket around their necks.

And I love these rouge marble plinth bases.

And they're just quite nicely patinated, which suggests to me they've got some age.

And they could be bookends, which I think they probably are.

They're quite weighty.

And they are a nice pair.

Allison, I'm admiring your dogs.

Saint Bernards, I think.

Oh, I'm sorry.

I'm not a dog man, but yes, you're right.

They could be Saint Bernards.

They're priced at 26 pounds.

What could be the best on them?

20.

I think they're really nice.

And I think at 20 pounds-- are you coming to Hamilton?

- Woof.

- Yes.

They said, yes.

They are.

I'll give you those to take away.

I'm going to carry on browsing, OK?

- Lovely.

- Thanks a lot.

NARRATOR: So that's two old dogs in the bag.

Ha.

Back in Glasgow, Anita's got her paws onto another wee thing.

This is a rather pretty little box in the [INAUDIBLE] style.

We see the border here has been made of these curvilinear lines.

And we see reference to nature in the flower and leaf pattern.

Quite a simple box.

It's not a fine item.

But I think it's rather pretty.

NARRATOR: No price on that.

Let's have a word with dealer John.

John?

John, I've found two items that I think are absolutely lovely.

What I was kind of looking to pay for both of them was in the region of 30 pounds.

And he said I'd be happy to accept 35.

Let's go for 35 then.

That's great.

Thank you very much, John.

Thank you, Anita.

Give me a kiss.

Two kisses, one for each.

Absolutely.

NARRATOR: Oh, how sweet.

That's the box for 5 pounds and the tray for 30-- huh?

What's that I hear?

Not Charles, I hope.

The pied piper of antiques!

NARRATOR: Thank goodness for that.

If he starts heading for the river, get worried.

Back at Ward Toll, though, Charles has rooted out something else.

[MUSIC PLAYING] That's nice.

This is a really nice wine glass, actually.

It's been called Victorian, but actually, it's Georgian.

And it's not 1860.

It's more like 1760.

We know it's an earlier example by the fact the diameter of the bowl is smaller than the diameter of the foot rim.

And also, by turning the base over, we've got this very rough, ground pontil.

So when the actual glass was blown on the pontil rod like that, it was snapped off.

And obviously there's a rough mark which hasn't been ground down, which is a good sign it's early as well.

It's priced at 80 pounds.

If it is right, it might be worth between 150 and 250.

So I'm quite excited by this.

NARRATOR: Now where's that proprietor lurking?

Charles?

ALLISON: Charles.

NARRATOR: Oh, hello.

- Oh, sorry.

NARRATOR: You should knock first.

Come out.

Out admiring this wine glass, just languishing on the side.

I quite like it because it has a real history.

What's best price on that, please?

ALLISON: 60.

I like it, Allison.

I think it's quite early.

I might just toast hopefully some success and say, cheers.

Cheers, Charles.

- Going, going.

- Gone.

Sold.

NARRATOR: That makes 80 pounds for the glass and the doggy bookends.

All wrapped up, too.

Look at that.

But while Charles has been shopping canny, Anita has made her way to Clydebank on the outskirts of Glasgow to find out about the town's role in creating the world's first mass produced domestic appliance.

Ah, Chris.

- Pleased to meet you.

- Lovely, lovely to meet you.

CHRIS CASSELLS: Come on in.

ANITA MANNING: Thank you.

NARRATOR: This area was world renowned for shipbuilding.

But here at the town's museum, they have some examples of another famous Clydebank export, the Singer sewing machine.

Chris Cassells is the collections officer here.

Chris, the sewing machine was a revolutionary invention.

How did it change the world?

Well, primarily as a labor saving device.

It meant that the women no longer had to spend hours and hours hand darning or mending clothes.

What they could do is they could very quickly mend the ruin in the family's clothes.

But they could also use a sewing machine to make money.

And that gave them a degree of independence from the household.

It actually changed women's lives.

It did.

It had a dramatic effect on the lives of women.

NARRATOR: There had been many attempts to make a machine that could sew.

But it was Isaac Merritt Singer, a flamboyant American inventor and businessman, who took the best parts of previous models, and in 1851, produced the first practical machine for domestic use.

CHRIS CASSELLS: It's quite primitive.

It forms quite a primitive stitch.

But really this is a machine that kind of began Singer's success.

ANITA MANNING: Are there many of those still around?

There are very, very few.

As far as we know, there's only about half a dozen left in existence.

- In the world?

Yes.

NARRATOR: The Singer company started in New York, and demand for their machines soon grew rapidly.

To keep up with orders from this side of the Atlantic, the company decided to open a factory in Scotland, eventually settling on Clydebank.

When it was built in 1884, it was the largest sewing machine factory in the world.

At its peak in the early 20th century, it produced 1.3 million machines a year and employed about 15,000 people.

Gosh.

Chris, tell me about this machine here.

So this is Singer's first domestic model.

Ah.

What I like about it is the decoration here, we have some inlay of mother of pearl and abalone.

And I suppose that would appeal to the ladies.

Well, Singer was very conscious of the aesthetic side of the machines.

I mean, these things had to sit in people's living rooms, after all.

It's a very pretty decoration, but I love the design on this machine.

ALLISON: This machine is from 1911.

It's a Singer 15K, which is one of the best selling machines.

And the design on it is called the Memphis Sphinx.

Well, of course at that time, there would be interest in all things Egyptian.

ALLISON: Of course.

Well, any woman would be proud to have a machine like that.

It's absolutely lovely.

NARRATOR: However, due to the rise in cheaper manufactured clothes, the demand for sewing machines declined.

And towards the end of the 20th century, the writing was on the wall for the factory.

This machine was the last to roll off the production line at Clydebank in 1980.

ANITA MANNING: A sad day when Singer's closed.

ALLISON: It was the end of an era for Clydebank.

NARRATOR: But the reputation of the machines that transformed the lives of women the world over still lives on.

And our very own domestic goddess is going to try her hand at the spot of sewing.

You think I can look up a wee frock in five minutes?

I'm sure you could, yeah.

All right.

You keep me right.

OK.

So I put this under here.

ANITA MANNING: That's it.

- Am I right?

Yep.

You just pull the wee lever at the back there.

OK. ALLISON: That's it.

ANITA MANNING: There.

And then go for it with that one.

Just go for it?

Yep.

ANITA MANNING: Chris, I'm sewing.

Wow!

Oh.

There you go.

There we are.

Perfect.

It's a wee bit rumpled.

It's not bad for a first attempt.

Not bad for a first attempt?

I could improve.

NARRATOR: Well, I got some trousers that need taking up if you want the practice, Anita.

[MUSIC PLAYING] Meanwhile, Charles has steered the Mustang back into Glasgow for a last bit of shopping in the east end of the city.

Hello.

Hello.

Are you the owner here?

Ye-- well, I'd like to think I am.

- Your name is?

- Rose.

CHARLES HANSON: What an amazing shop.

ROSE: Anything you want, it'll be in this.

- I'll go for one more.

- Go.

Thanks, boss.

NARRATOR: Yes, there's no shortage of things to tempt him here.

Friendly clientele, too.

How are you?

Yeah.

I'm in safe hands.

NARRATOR: But with only 12 pounds left in his pocket, his options are somewhat limited.

CHARLES HANSON: These are quite good.

There's-- what's described here is a Georgian cannonball.

We know the period Georgian runs from 1714 to around 1830.

This cannonball to me looks to be 17th century.

28 pounds.

And there's also, on the bottom shelf here, three more balls as well.

I'll mental note them.

NARRATOR: Worth a shot.

Now what's he found?

It's quite nice.

A lovely Edwardian mahogany elbow chair.

It's very sophisticated, very elegant with these Bellflower inset harewood or satin wood veneers.

It's 32 pounds.

But looking at the dust, it's been here a while.

So you never know.

My 12 pounds might stand a chance.

NARRATOR: Fingers crossed, Charles.

Anything else here catch your eye?

I'm not really a vintage man, but when it comes to 1950s and stylecraft made by Midwinter, this, to me, has a great look.

What I do like is this saucepot as well.

It's almost got this organic Scandinavian feel about it.

It's actually quite complete.

Only four cups but six saucers.

Milk jug, sugar bowl.

Side plates, dinner plates, coffee pots.

All for 15 pounds.

And it's the first thing I've seen actually falls within my budget.

NARRATOR: Better have a word with Rose, then.

I like the balls.

ROSE: Yes.

CHARLES HANSON: The cannonballs.

There's four of them.

ROSE: Yeah.

CHARLES HANSON: I've got 12 pounds.

So I'm thinking whether you could do four balls.

- For 12 pounds?

- Yes.

ROSE: I would have to shoot you down with the one ball because the four are not with the one ball.

- Oh, I'm sorry.

- It's OK.

I thought it was all four.

No.

If you wanted the one ball, the best is 20.

That's fine.

I understand.

I'm so sorry, Charles, but-- That's one shot down.

Yeah.

NARRATOR: Two more to go.

This chair.

Yeah.

I know it's priced at 32 pounds.

I don't know.

I'm making off for 12 pounds.

On the chair?

Yeah.

How-- you know I'll get thrown out of this place.

Really?

NARRATOR: I think that's a no then.

And finally-- Right.

It's this very retro-- ROSE: It's lovely.

CHARLES HANSON: It is a par set.

ROSE: Yeah.

It's priced at 15 pounds.

What's the best on that?

Let's do at 12.

That is my budget.

I'll take it.

Okey dokey.

I owe you 12 pounds.

Yes.

NARRATOR: So with that last deal done, our Charles is completely wiped out.

Better pick up Anita.

So Charlie, the end of another perfect day.

Did you have a good time?

CHARLES HANSON: It's been wonderful.

I mean, I'm a bit peckish now.

Are you hungry?

We're not that far from your home, are we?

Charlie, I could do you a good roast.

NARRATOR: And afterwards, you could have a kip on the couch, Charles.

Welcome to Hamilton, one time home of explorer Dr. David Livingstone.

Ah, manning and handsome, I presume.

I'm nervous.

Are you nervous, Charlie?

You're a local girl done good.

You're not the nervous type, are you?

I am nervous.

I'm always nervous.

Oh, come on, Charlie.

NARRATOR: After setting off from Kilbarchan, we've had a spin around the west of Scotland and finished up in the Lanarkshire town of Hamilton, home of Smellie and Sons Auctioneers, wielding the gavel here since 1874.

Charles blew his entire 200 pounds stake on five auction lots.

While Anita was a little more frugal, spending only 108 pounds on her five lots.

So what's the verdict then, chaps?

Mm.

Charlie's only paid 20 pounds for these bookends.

That's a good buy.

I think he's playing a bit canny at this point and going for dead sets.

A bit worried about these ones.

In this business, we love the word "speccy."

And this lady really is speculative.

She's early.

She's really, really well painted.

Worries me.

NARRATOR: Can auctioneer James Henderson calm their nerves?

JAMES HENDERSON: I like the tray, arts and crafts tray.

I reckon you're probably looking at the window at the 30, 35.

Something like that.

The English coffee pot, quite a nice lot.

Anything with that kind of oriental paint design on it, just know it's doing quite well.

Unfortunately, I think there's a hairline crack on it.

NARRATOR: Best take your places at the bar, then.

OK, Charlie.

Wow.

I like this.

I do.

NARRATOR: Me, too.

First up is Anita's fearsome portrait.

JAMES HENDERSON: 100 pounds for the painting.

100 pounds.

100 pounds has gone.

100 pounds.

- No, no.

It hasn't started yet.

JAMES HENDERSON: 50 in.

50 pounds a stack.

50 on bid, sir.

At 55.

And 60, 5.

CHARLES HANSON: He's flying.

And 70.

And 5.

At 75 at the back.

CHARLES HANSON: He's flying.

JAMES HENDERSON: 80 now with interest.

And 5.

90.

And 5.

CHARLES HANSON: You're flying.

JAMES HENDERSON: 100 in the book.

At 100.

Bid at 110 now.

Fresh bidder.

At 110.

110!

JAMES HENDERSON: 120 now in the book.

At 120.

Any advance?

If not, at 120.

NARRATOR: That is a good way to kick things off.

It just shows you that if there's quality there and a bit of damage, you can get away with murder.

NARRATOR: Well, let's see if Charles's cracked plate follows suit.

I can start the bidding here at 25 pounds.

In the book at 25-- One more to go.

Come on, one more to go.

Come on.

Yes!

8 now, at 28.

30 in the book.

And 2.

At 35.

At 35.

In the book at 35.

8 now.

At 38.

At 38 at 8.

At 38 at 8.

At 38 at 8.

All done now at 38 pounds.

NARRATOR: Not quite as impressive, but it's a profit.

It's made you a couple of bob.

A couple of bob.

I can-- I can go away happy.

Happy man.

NARRATOR: Anita's cranberry glass is up next.

In the pink, eh?

20 for the cranberry glass.

You have 20.

10 then, folks.

Surely want that 10 pounds.

But a 5.

6, 8, 10, 12, 14, 16.

At 16 at the back of the sale room.

18.

ANITA MANNING: Yes!

CHARLES HANSON: Hold tight, hold tight, hold tight.

Hold tight.

Oh, no.

JAMES HENDERSON: At 18, 20 now with the lady.

There's some pain all around here.

JAMES HENDERSON: At 22.

At 22, 5 now.

At 25.

25 at 5.

Bid 25 at 5.

All done at 25 pounds.

NARRATOR: I think we can drink to that.

Fantastic.

I'm bubbling over-- You are.

--with enthusiasm.

I'm getting all frothy.

I can't believe it.

NARRATOR: Time for Hawkeye Hanson's coffee pot find.

At 20 a bid.

At 20 on bid.

At 20 a bid, 20.

At 25.

30 now with interest.

Keep going.

JAMES HENDERSON: 30.

5.

40.

CHARLES HANSON: Keep going.

5.

CHARLES HANSON: Keep going.

JAMES HENDERSON: 50.

CHARLES HANSON: Good lad.

JAMES HENDERSON: At 50.

ANITA MANNING: Keep it going.

JAMES HENDERSON: 50 in the book now.

Hold tight.

JAMES HENDERSON: At 50.

5 now.

CHARLES HANSON: Keep going.

- 60 in the book.

- Oh, I don't believe it.

JAMES HENDERSON: At 60.

- Oh, Charlie.

JAMES HENDERSON: At 60 pounds.

- Keep going.

JAMES HENDERSON: At 60.

- Keep going.

Any advance in 60?

At 60.

Bid 60.

Bid 60.

Bid 60.

All done, folks, at 60 pounds.

NARRATOR: Bad luck, Charlies.

A valiant effort.

The heart rules the mind, and clearly, to other buyers, it did the same.

I'm quite happy.

NARRATOR: Next up, Anita's Carlton Ware collection.

10 pounds for this now.

That's good.

That's good.

JAMES HENDERSON: 10, 12.

Sell it.

JAMES HENDERSON: 14, 16, 18, 20.

2.

And 5 at the back of the sale room.

At 25 pounds.

8 now.

Fresh bidder.

28!

JAMES HENDERSON: At the back at 28.

Wait till you leave here, Charlie.

At 28 at 8.

At 28 at 8.

At 28 at 8.

At 8.

All done at 28 pounds.

NARRATOR: Well, that's a pity.

They nearly squeaked a profit.

How do you feel?

Look at me.

[LAUGHTER] Why are we saving to make our losses?

It could have been worse.

NARRATOR: Precisely.

Now what will the doggy bookends do?

50 pounds for them.

50.

Go on.

JAMES HENDERSON: 50 pounds.

- Go on strong.

- Come on!

JAMES HENDERSON: 50 in-- CHARLES HANSON: Go on.

JAMES HENDERSON: --at a nice set of bookends.

30 pounds.

50.

Go away, Charlie.

Go away, Charlie.

Keep going.

JAMES HENDERSON: At 30.

5 now in the book.

40.

ANITA MANNING: 40, Charlie.

And 5.

At 45 in the book.

50 at the door.

50 pounds.

30 pound luck.

Fetch, fetch.

JAMES HENDERSON: At 50.

5 now in the book there.

At 55.

Come on.

Come on!

All done at 55 pounds.

NARRATOR: Who's a good boy then?

That'll put Charles back in the game.

- 55.

- Yes.

I'm over the moon.

Well done, my darling.

Now they can sit, sit.

NARRATOR: Anita's bit of au nouveau now.

At 10.

At 10.

At bid 10.

12 now.

14, 16.

At 16 bid.

On the reel at 16.

At 16 bid.

That's cheap, that's cheap.

JAMES HENDERSON: At 18.

20.

20 bid.

20 bid.

20.

All done at 20 pounds.

NARRATOR: Not bad.

Four times what you paid for it.

I'm happy with that.

NARRATOR: Charles has a bit of retro now.

He spent his last pennies on this.

20.

10 then.

Bid at 10.

Run away, Charlie.

Run away.

Come on!

JAMES HENDERSON: At 10.

Bid 10.

12 now.

At 12.

At 14.

At 14.

CHARLES HANSON: It's cheap.

JAMES HENDERSON: 16.

Bags are stale.

20, just in time.

CHARLES HANSON: In business.

JAMES HENDERSON: At 20 bid.

- Go on sale.

At 20.

Bid 20, 20, 20.

Bid 20.

All done at 20 pounds.

NARRATOR: Not a bad result, Charles.

It's not your usual cup of tea.

Thank you.

Oh, you made a profit there, Charlie.

NARRATOR: Next up, the Glasgow girl's Glasgow tray.

Get it?

40 points for this.

40.

30.

30 on bid.

So thank you.

At 30 bid.

At 30 bid, the tray.

Get a lot more than that.

JAMES HENDERSON: At 30 on bid.

5 now.

At 35, 40.

And 5.

And 50.

At 50 bid.

The back of the sale room at 50 pounds.

55 on your floor now.

[INTERPOSING VOICES] JAMES HENDERSON: At 55.

60 in the room.

At 60 pounds.

5 near the telephone.

That's 65.

70.

End the room at 70 pounds.

ANITA MANNING: Wow.

5 now.

ANITA MANNING: Yeah, yeah.

JAMES HENDERSON: And 80.

At 80 on bid.

- It's been sported.

JAMES HENDERSON: At 80.

Bid's in the room.

[INTERPOSING VOICES] At 90.

ANITA MANNING: --by a recognized artist.

At 90 bid.

At 95.

100 in the room.

At 100.

Out in the floor now.

At 100 in the room.

At 100, 100.

All done at 100 pounds.

NARRATOR: Very impressive, Anita.

That's a super profit.

I'm quite calm because to me it's not a surprise.

I just saw 100 pounds in it, so.

Yeah.

Well done, partner.

NARRATOR: Finally, Charles's possible Georgian glass.

Will his hunch pay off?

If it does, it'll make a lot.

50 pounds.

30 in with-- I don't believe it.

JAMES HENDERSON: --on bid.

At 30 a bid.

I've started to run in it fussy, Charlie.

And 5 now.

In the book at 35.

40.

5 with interest.

At 45.

50.

It's a good thing.

JAMES HENDERSON: And 5.

- It's a good thing, this.

JAMES HENDERSON: At 55.

60 at the back of the room.

At 65.

ANITA MANNING: Yes, yes.

At 65 in the book.

70 and 0.

And 75.

You're in profit, Charlie.

JAMES HENDERSON: At 75.

80.

ANITA MANNING: Yes, yes.

JAMES HENDERSON: At 80 a bid.

5 now.

At 85.

90.

I'm in business.

JAMES HENDERSON: And 5.

Hold tight.

JAMES HENDERSON: In the book at 95.

Have a glass.

JAMES HENDERSON: 100.

Have a glass.

JAMES HENDERSON: At 100 in the sale room.

Calm yourself, man.

Calm yourself.

At 100, 100.

All done at 100 pounds.

NARRATOR: Well done, that man.

Definitely a good find.

I'm good to go now.

Let's good go with a nice wee cup of tea.

Not a wee dram between you and I?

Too early in the day for that, Charlie.

OK, OK, all right.

A nice cup of tea.

Come on then.

NARRATOR: Milk and two sugars for me.

Charles started out with 200 pounds, and after costs, he managed a modest profit of 23 pounds and 86 pence.

So he has 223 pounds and 86p to spare next time.

Well done, boy.

While Anita, who also began with 200, made, after costs, an impressive profit of 132 pounds and 26 pence.

So she wins the day with 332 pounds and 26p to play with next time.

The queen of Scotland beat the King of England.

Oh, you've got me blushing, Charlie.

Next shop aways.

Come on.

NARRATOR: Onward, your majesties.

[MUSIC PLAYING]