NARRATOR: It's the nation's favorite antiques experts, with 200 pounds each-- I want something shiny.

NARRATOR: A classic car-- [HONKING] NARRATOR: And a goal: to scour Britain for antiques.

I like a rummage.

I can't resist.

NARRATOR: The aim?

To make the biggest profit at auction, but it's no mean feat.

Why do I always do this to myself?

NARRATOR: They'll be worthy winners-- Give us a kiss.

NARRATOR: And valiant losers.

Come on, stick them up.

NARRATOR: So will it be the high road to glory-- Onwards and upwards.

NARRATOR: Or the slow road to disaster?

Take me home.

NARRATOR: This is Antiques Road Trip.

Yeah.

Crikey O'Reilly!

It's the very last outing with our adventuring auctioneers, Charles Hanson and Catherine Southon.

And after a week of trekking about, we're up North.

This is Yorkshire, lad.

You brought me to Yorkshire?

You might even call me a Yorkshire lad, actually.

You're from Nottingham, you're from Derby, now you're from Yorkshire.

Where else are you from?

You actually, sort of, maybe annotate the word Northern.

You do took some rubbish, Charles.

NARRATOR: True.

Harsh words, though.

Northern lad and dapper chap, Charles, has been scouring for treasure this week, with some top antiquing.

Well, thank you very much.

NARRATOR: But his old foe Catherine isn't knocking about, and she's on a run of form she doesn't want to stop.

Love it, love it, love it.

NARRATOR: Seems the mood is friendlier than ever.

Yes, we are closer as friends, but certainly, on a financial footing, you know, you've taken two or three big steps in recent days.

I have.

Does that upset you, Charles?

No, because I, I want to be with you.

Oh, Charles you're so romantic.

You very much.

Talk to me, dear.

NARRATOR: Crikey Moses.

Well, things have been hotting up this week.

Starting out with 200 pounds, Catherine has a highly respectable 431 pounds, 60p tucked away in her back pocket.

But way out in front, Charles has built his original stake to a stonking 735 pounds.

Well done, that man, he's learned everything from me.

Modest.

With lots to play for, our pair are winging around the country in their sporty MG BGT.

I used to have one of those.

I suppose in some respects Yorkshire is almost the capital of the North, isn't it?

Yeah.

Yes, it is.

I feel there will be lots of tea drinking today, and-- Tea-drinking, absolutely right.

NARRATOR: This week, our biscuit dunkers have been ambling their way North, blasting around the Midlands.

And now they're heading towards Congleton, in Cheshire, where the trip concludes after more than 700 miles.

They kick off this deciding leg in Elsecar, in Yorkshire, before darting across to that ultimate Cheshire auction.

But the big thrill today is the chance to start their shopping together.

Now, no fighting, you two!

This is all supposed to be lovey-dovey and fun.

It's quite small.

Does it matter?

Look, I can see a sign, and it says, Catherine, Elsecar Antique Center here.

Is there enough for both of us?

Yes.

Are you sure?

Looks quite small.

Lovely.

Oh I see it comes-- Look at the enamel signs.

Show me the way, show me the way.

NARRATOR: Charles looks keen, and Catherine looks intense.

There's plenty of cabinets full of collectibles, enough to go around.

Now, who's first to find something?

Oh look at these, aren't they the most gorgeous things you have ever, ever seen?

Oh, look, a pair of hand stitched gloves for-- must be a doll.

They can only be for a little doll.

Aren't they gorgeous?

In the Victorian era, they wanted their children to have their dolls, and they wanted their little dolls to be wearing the same things that the little girls were wearing.

These beautiful little handmade leather gloves.

78 pounds seems a huge amount of money, but I might buy these because they're so adorable.

Oh, lovely, lovely, lovely.

NARRATOR: Hang about, there's more.

Again, this is going to be for a doll.

And this is ivory and silk.

Isn't that super?

For a Dolly.

How funny is that?

It's brilliant.

NARRATOR: Whilst ivory may not have many fans, this Victorian piece was made long before the 1947 CITES agreement, making it legal to sell in the UK.

Right, what else?

That looks interesting.

"Short account of the anatomical arrangement and functions of the various organs of the human body."

NARRATOR: Lovely.

So you've got the chest organs, the abdominal organs, or the muscles, or the ligaments, the bones.

What's on that?

38 pounds.

It's rare if it's complete.

NARRATOR: There's no stopping here this morning one.

Cabinet down, and three things to think about.

What we have got is really good, rare antiques.

And he's just gone off and he's just buying an everyday, run-of-the-mill item, and I'm here with the classy finds.

NARRATOR: Let's see, shall we?

"Four pieces of iron canon grape shots, circa 1640.

Found near the Civil War siege town of Newark, in Nottinghamshire in 1972.

From the period when the forces of Charles I fought those of Oliver Cromwell."

And these four were found in Newark, shot when our country was in turmoil.

Cromwell took the country into a Republic, and Charles I lost his head.

And these are only 65 pounds.

And to me, they're full of history.

I'm going to buy these.

NARRATOR: Well, Karl's in charge today.

What's the best price, Karl, on this lot?

The best I can do is 55.

You couldn't do 50?

I'm OK doing 50.

I just cannot turn away from real history.

I'll take them.

Thank you very much.

Thank you very much, Charles.

50 pounds for such real history, and these balls might just roll away at the auction.

NARRATOR: A cracking spot, and Charles is off the mark.

Hold on deja vu, anyone?

Am I seeing things?

There's some more.

These are-- these are more, and these were also found in a field in Newark in 1972.

Four more pieces of iron cannon grape shots from the mid 17th century.

NARRATOR: Yes, we've definitely been here before.

Time for Karl, again.

You did take away the four balls, didn't you?

I did, indeed, yes.

I found four more.

I might double up.

Can I spend a hundred pounds and buy eight balls?

So give you another 50 for these?

- Absolutely.

- I'll take them as well.

- Thank you.

- Thanks, Karl.

NARRATOR: Same deal, twice over.

Well done, Charles.

And Catherine's venturing away from her favorite cabinet.

Have you found something?

I found so much.

Did you really?

So much history.

Good, it's good.

Have you found anything good?

I'm just, I'm just talking through-- not just decades of history, centuries, baby.

Don't talk, don't talk, just do it.

OK, I will.

OK, thank you.

Less talking, more buying.

NARRATOR: Sounds like a plan.

Whoa!

He's off.

Outside.

Uh oh.

Sometimes you see objects at antique centers, and when you get slightly excited by, not so much potential worth, but where it came from, where it began life, and what we've got here is almost a piece of sandstone that's being carved with these figures.

You wonder, is it an embellishment of a cathedral?

Is it English?

Oh, and it's very heavy.

And look at the carving down here.

You've got a seated figure, and it's just a very speculative, quite magical piece of old stone.

It's probably 16th or 17th century.

It could make 50, it could make 1,000 pounds.

That's exciting.

Is it worth a punt?

Yes.

But at the right price.

NARRATOR: It could well be a 17th century cathedral embellishment, but then again it might not.

No ticket price, time for a chat with Karl.

Come on, Karl.

There's a very interesting object outside.

Right.

It's that stone statue.

Where did it come from?

It came from an old mill in Batley.

What could be the best price, just because it's just a sleepy object.

The absolute best, best, best, price for Charles Hanson is 500 pounds.

Oh, god, Karl.

NARRATOR: Blimey.

Well, you mull that over.

What's Catherine up to?

Aye, aye.

I spy with my little eye one of these very nice, early glass-- I think that is glass, yeah-- a glass eye.

If you think about our eyes and the different types of colors.

We've not all got blue eyes or brown eyes.

There's so many different tinges and things.

And look at this here, the glass has all been painted, and you've got a sort of, almost, what would you call a hazelly, yellow color?

I suppose you would.

NARRATOR: I have no eye-dea.

Ha!

Could be third quarter 19th century?

They got 30 pounds on that.

I'm tempted by that as well.

Brilliant.

I hope Charles is not having the same amount of luck.

NARRATOR: Well, negotiations on that stone carving are still ongoing.

If I said 380, would that swing it?

You've got a three in front of it, instead of a four.

I really appreciate the offer.

You want it gone, don't you?

I would like it gone, yes.

It's gone.

Thank you, very much.

NARRATOR: Crikey, Charles, bold move.

One shot down, 3 lots bought, and 480 pounds spent.

[INTERPOSING VOICES] Bye.

Thank you, bye bye.

NARRATOR: While our big spender makes off with the car, Catherine's back at the cabinets.

Oh, that's cute.

Is this yours, sir?

It is.

I like your little piggy cookie cutter.

Yeah.

I know it's only a bit of metal, but isn't that lovely, to be in the shape-- Yeah, yeah, I think it's, like, folk art.

It's handmade, and it's stood test of time.

So it's a really pretty thing.

So it's lovely.

So you press in to you get your bit of biscuit or pastry, and then you push it out with these little holes.

I like that.

28 pounds.

But I feel that needs something to go with it, rather than being on its own.

Maybe you could buy another couple of biscuit molds?

Yeah.

That's a nice one.

Oh, that's lovely!

With a strawberry, there.

Yeah.

Biscuit or butter?

NARRATOR: Butter stamps we used to decorate freshly made butter, But this could just as easily be a biscuit stamp.

Worth a shot, or a pat?

What price have you got on that?

I have got 48.

Would you accept 40, for the two?

Go on.

- Yeah.

- Would you?

- Yeah.

Come on, you didn't hesitate on that one.

Is that all right?

Are you happy with that?

40 pounds on that?

Yeah, fine.

I'm going to shake your hand.

Thank you very much.

Thank you.

NARRATOR: And she's up and running.

But with a stack of other things under consideration, Karl's been on the phone to the vendors.

What's on offer?

The eye and the book, we can do 45 pounds.

I'm happy with that.

We'll go for that.

I'm happy with the book and the eye.

Yeah.

NARRATOR: Aye, aye.

That leaves the doll's fan and gloves.

Absolute best, best we can get to on those is 110.

I do really love those gloves.

I'm very tempted.

I'll take it on my own back.

I'll do an extra 10 pound discount.

So the gloves and the fan at 100.

I can't say-- I can't say no to that, can I?

Having a deal?

I'm going to do a deal with you.

NARRATOR: Hey, it's all happening this morning.

Katherine parts with 185 pounds, and bags and armful of items.

Now, how's life on the road?

There was a man called Hanson, who once took a chance.

In Yorkshire he did find a piece of Chippendale to dine on, and the Chippendale made a million pounds.

You never know.

NARRATOR: If you say so, Karloff.

Our wandering wordsmith is heading for Doncaster.

The town's rich link to the railway industry is remembered in one of the most fascinating, and rarely seen, connections in the country.

Trustee David Rogerson is meeting Charles at the unlikely venue of a local school.

- Hello.

- Hello.

You must be David.

I am.

Welcome to Doncaster, Grammar School Railway Collection.

- Charles Hanson.

- Good to meet you.

I can't wait to see it.

Come on in.

NARRATOR: As lines opened and expanded during the mid-19th century, Doncaster became a crucial stop between London and the industrial Northeast.

Did it really transform Doncaster?

Oh, absolutely and completely.

Particularly when the plant works came a few years later, and they started building carriages and wagons, and later on locomotives, in Doncaster, right in the center.

The whole area of Doncaster was built just for the railwaymen.

It was a game changer for local people, but also for the children.

NARRATOR: 2,500 locomotives were produced in Doncaster, including the most famous of all-- the Flying Scotsman.

Railway fever engulfed the town.

The children who attended Doncaster Grammar were particularly caught in the excitement.

Hidden on the roof of their school is a secret entrance, hidden behind which-- well?

So here we are, there's a black door, David.

Have a look what's inside.

It's incredible.

I cannot believe the quantity of everything you can imagine.

It is just quite overwhelming, isn't it?

How, within a 1930s school, did this collection begin?

Because the boys were interested in railways, they formed a railway society.

How long ago was that?

1936, I think.

NARRATOR: Over the years, the enthusiastic society members saw their collection take over the school's cramped attic space.

After the Second World War, it really took off as a, as a club.

And that's the Railway Society members in 1949.

It's amazing.

One pupil, a lad named Tony Peart, became largely responsible for filling this incredible space.

He was 16 at the time, and he was writing to all the chief mechanical engineers around Britain.

Because then they were just beginning to scrap things, but nobody realized that they had any value.

So he wrote to the chief mechanical engineers, and said, have you got anything interesting to send me?

And they did.

NARRATOR: They certainly did.

Around 2000 items, from locomotive nameplates to more unusual railway armor, are crammed into the school's attic.

What's this peculiar thing?

This was an eyesight tester, to make sure that the driver could see where he was going, basically.

Isn't that wonderful?

And that piece of turned wood.

Yes.

This must, I suppose, date back to the late Victorian times, and of course, I suppose-- yes you're quite right.

If you're get an on an opticians, put by the railway test, you'll be looking to make sure you pick up the signals.

Absolutely right.

That's just what it was for.

And just looking around.

I mean, I almost dare not touch anything, it gets the whole lot falls down.

Please do.

Believed to be the largest private collection of railway memorabilia in the country, it's certainly a tight squeeze.

A load more stuff in here.

There we go.

Goodness me.

It's just-- it's not so much the collection, it's how somebody can actually put it up.

NARRATOR: In 1936, the distinguished railway engineer Nigel Gresley sent the society something that became one of the earliest and most cherished items in their fledgling collection.

He sent the society a picture of his latest locomotive, the Silver Link, which is signed Nigel Gresley.

It's art deco.

It's all about speed, high living, and that wonderful loco represents that, because this man Sir Nigel Gresley was pretty important.

Oh, extremely important.

Not only did he build the Flying Scotsman, he also built, in this class of locos, Mallard.

And Mallard, of course, has the world speed record for a steam loco.

Built in Doncaster.

NARRATOR: The engineering excellence of the town was proven when the Mallard broke that speed record in 1938, but today the schoolboy's affectionate collection of items from the Age of Steam is a humble celebration of Doncaster's lasting contribution to the rail industry.

Although I'm in a car, I better get steaming.

Afraid so.

Thanks a lot.

I've really enjoyed.

And I'll be steaming later.

I'll see you.

[MUSIC - "CHOO CHOO CH'BOOGIE"] LOUIS JORDAN (singing): Take me right back to the track, Jack.

NARRATOR: Elsewhere, Catherine's down the road in the village of Thurnscoe, where she's gone for a gander around a great big barn of a place.

Hi, I'm Catherine.

Hello, Catherine, I'm Christine.

Hi Christine.

Welcome to Harrison's Antiques.

Right.

I feel I should buy something big.

- Big?

- Yes.

Right.

NARRATOR: So, the word for today is big.

There's a lot of big furniture down here.

Yeah.

Big, big, big.

OK.

I probably won't buy any big, sort of, pieces of furniture, because it's just not, it's not me, to be honest with you.

NARRATOR: Big, but not furniture.

Any thoughts?

I'm tempted to have a look at your smalls.

Right.

Well, so to speak.

The smalls are all in the cabinets.

Right.

There's some silver, what you're looking for.

I'm interested in that.

Your card case.

NARRATOR: It's not big, but it's a lovely bit of silver.

Tell us more, Catherine.

It's actually a really nice quality card case.

And when you open it up inside, this little piece is actually a piece of ivory.

And that's actually a little aide memoire, so you could write down, with your pencil, who you'd, perhaps, seen that evening, or perhaps just a little place to make a note.

NARRATOR: Like the doll's fan earlier, this ivory is pre-1947, meaning it's legal to trade.

NARRATOR: But isn't that lovely, there, as well?

You've got a propelling pencil.

Sadly, it hasn't got a pencil in it, but we can't have everything.

NARRATOR: Where would the fun be in that?

No ticket price.

Thoughts, Christine?

NARRATOR: I would say the best price I could do on that would be 35 pounds.

35.

Would you take 30?

Oh, uh, I'm not going to argue over 5 pounds.

I'll take 30.

That's lovely, thank you.

I like that.

NARRATOR: Cor, you snapped that one up.

Catherine wraps up shopping for the day with a less-than-giant silver card case.

Time for a bit of shuteye.

Nighty-night, you two.

NARRATOR: It's a new day, and the final shopping expedition of this trip.

How's the mood this morning in the MG BGT?

We're quite peaceful in our association, the South against the North.

You are quite a well-educated, well-mannered, and sophisticated, extravagant lady, and you might sound the opposite.

What do you want to borrow?

No, nothing.

But I'm just saying-- It's not money, because I haven't got all that.

NARRATOR: Well, quite.

Our pair flew out of the traps yesterday.

Catherine picked up a doll's fan and gloves, an anatomy book and glass eye, a biscuit cutter and stamp, and a silver card case, leaving her just over 216 pounds to spend today.

Charles made some big purchases, splashing out on two lots of 17th-century cannon grape shot, and a 17th-century stone carving, leaving him 255 pounds to shop with.

Look at these birds, look.

They are little hen pheasants.

Hello!

Oh no, Charles!

They look a bit like you.

Why?

Because they're sort of tall and thin.

Thank you.

The youngsters-- Come to daddy!

--um, hardly.

Hoping to ruffle some feathers in the antiques emporiums of Lincolnshire, Charles's shopping in Grantham this morning, and just look at him go.

Like Zebedee.

Oh, right.

It's always good to, just, be on all fours and go for a crawl in an antiques.

And to keep you young as well.

NARRATOR: If you say so, Charles, and wear out your knees.

The shame.

On first impressions, he looked like a bronze Japanese fisherman, but just by closing your eyes and handling him, he's too warm.

He's just slightly too moderate in temperature to be bronze, so we know he's a base metal.

And furthermore to that, we can just tell by the tap, tell by the weight, he is spelter.

He is only worth 36, more than being bronze and worth more like 360.

NARRATOR: Moving on.

This is what we call an oval basket, and this pierced basket, I suppose was more made for decorative purpose only, but you'll see it's quite tired.

You've got a rivet almost lacking here, in the lattice work of the board of this basket.

That handle has been off, and it's been restored, and it's described as a pretty 19th century basket with a wonderfully painted bloom of flowers, but sadly you've got that chip, you've got a restored handle, you've got a piece lacking, but it's still here.

Food for thought.

NARRATOR: We'll leave Charles to ponder, then.

I wonder if city girl Catherine's yet got to grips with the MG BGT.

I'm not used to driving in the countryside.

I'm used to much bigger, wider roads.

But it's quite nice and peaceful.

Meg seems to be squeaking a lot.

Meh, what's wrong with you?

Are you missing Charles?

NARRATOR: Who wouldn't be?

Back in Grantham, it's decision time.

Is the broken porcelain basket a goer?

It's described as 19th century.

I'm fairly happy it's 18th century, and probably came from the Thuringian works in Germany.

Although it's been restored, it's quite a rare item, so I think what I might do is go to the counter and ask them about the basket, and see if they can do me a deal on the 19 pounds.

NARRATOR: Well, dealer Sharon is on hand to help.

Time for the Hanson charm.

What's the best price on that piece, Madam?

Beautiful painting.

Yeah.

Um.

To an old friend, from Derby.

12.

12.

12 pounds for a nice porcelain basket, thank you ever so much.

NARRATOR: That's one more purchase made.

Charles, do be careful.

Zebedee.

In the meantime, Catherine has meandered to Leicestershire's Belvoir Castle, residence to the Rutland family for ages.

It's also home to the grounds that would inspire the last great project for the country's most revered gardener, Capability Brown.

However, his plans were lost for nearly 200 years, and only a chance discovery has led to the Duchess of Rutland fulfilling Capability Brown's vision.

Good Morning-- Hi, there.

--your Grace.

Catherine.

Emma.

Lovely to meet you.

Very nice to meet you.

This looks wonderful, what a wonderful-- NARRATOR: Born Lancelot Brown, his tendency to see the "capability" of each garden earned him his nickname.

He transformed the 18th century English landscape, moving away from formal gardens to capture a more natural, English style.

Why was he so important?

What he did, which really hadn't been done before, is he looked at a landscape in a very different way, completely out of the box from anything we've ever had before.

Today's notion of a beautiful English landscape is largely of Capability Brown's making.

Some 270 gardens and parks are attributed to him, including those at Blenheim, Burley, and Chatsworth.

It took so long, with all these people digging, and no diggers, to put these landscapes in place, that I feel very lucky that we here have one of his very last.

NARRATOR: Brown died with his design for Belvoir unrealized.

It was then thought that his plans were lost in a fire in 1816, so when they were discovered in 2003, and the 200-year wait for his visionary landscape could finally be brought to an end.

Well, this was his last great landscape.

NARRATOR: To prevent copying, Brown rarely gave his plans to his clients.

So this discovery offers a rare insight into Brown's vision.

I call it the World of Belvoir.

And actually, what he's doing, he's framing the outside, but there's an entire world within the middle.

So there's the river running down the middle of our valley, that we've just extended and done the last bit over there.

If you look from this spot, here, you'll see the river looks as if it's running and disappearing down the valley, which is, I think, what he intended.

NARRATOR: To fulfill the designs, the Duchess and her team had to dig out huge lakes, and plant around 100,000 trees.

There was one wood to the top of [INAUDIBLE] do you see?

Right.

And that is where I put a nine acre wood in, to do the final bit of this landscape.

So I followed this map.

It's gold dust to me, too.

NARRATOR: Finally, the last Capability Brown design has been laid out.

Where he imagined the entrance to the estate offers a spectacular spot to enjoy his landscape.

Oh gosh, there it is.

Oh, this is stunning.

So this is how, once upon a time, you should have seen the castle.

That is the most beautiful view.

Yeah.

That is such a wonderful entrance.

And why Mr Brown was so key in his designs was because your eye was always being drawn into vistas, and you're tempted by the leading of a plantation to go look, do you see?

NARRATOR: Brown created views to delight and entice, and thanks to this incredible discovery we can all now enjoy another landscaped masterpiece by Capability Brown.

Oh, I could stay up here forever.

It is absolutely beautiful.

NARRATOR: Back on the road, Charles has made his way to Navenby, which boasts the aptly named Navenby Antiques.

- Hello.

- Hello, Charles.

How are you?

Very well.

Nice to see you.

Amazing.

I-- it's amazing.

We say this country is very small.

And I've been here before, haven't I?

You have.

You've been three times now.

We're always pleased to see you.

NARRATOR: It's nice to be wanted, eh?

Right, Charles your last shop of the trip, and 243 pounds weighing you down.

This delightful urn, with these really rich enamel flowers, full of neoclassical influence from the time of King George III, Robber Adam, and this has made perhaps 10 years before the French Revolution.

NARRATOR: A lot of history for 25 pounds.

I'm scatting, I'm just pulling things out left, right, and center.

NARRATOR: While Charles has been browsing Catherine's made her way to Melton Mowbray.

Home to pork pies and Melton Antiques and Collectibles.

This is her last chance to shop.

Hello there, I'm Catherine.

I'm John, nice to meet you.

Hello, John!

This is Margaret.

Hello, Margaret, you look lovely, wonderful dress.

So, what have we got here lots of cabinets.

NARRATOR: Your favorite.

Lots to scour, and just over 216 pounds to spend.

[HUMMING] Ooh, that looks nice.

What's that, can I have a look?

A little elephant.

Bronze elephant, that's heavy.

An elephant, with a castle on top.

Elephant and castle.

And it's on this, sort of, quite a heavy base, and I would say that that is maybe a paperweight, or something like that.

That's just really nicely cast.

What's the price on it?

65 pounds.

NARRATOR: Certainly unusual.

Right, John?

I have found this.

Do you know anything about it?

It's from the Law Society, at the Elephant and Castle in London, and it would have been produced, probably, to sit on the lawyer or solicitor's desk at.

Some point I think it's charming.

NARRATOR: It's a match holder.

She seems keen.

Time for John to call the vendor, but Catherine's not done yet.

Found something else.

I quite like that.

Now, so what have we got here?

We've got an ashtray, like a rocking, and that I think is rather cute?

NARRATOR: Yes.

I think it's a cigar rest.

It's a bit different.

NARRATOR: 18 pounds for silver plate.

Real novelty ashtray, I think that's a bit of fun.

While you were making the call, there was something else.

I was, sort of, strangely interested in this.

What would you do on that?

I don't know if I want it or not.

We could do that for 10.

NARRATOR: 8 pounds discount, there.

And the vendor of the elephant is willing to accept 55 pounds.

What to do, then?

Should we do a nice, round 60 for the two?

How's that?

NARRATOR: That'll be fine.

Yeah?

OK, fantastic.

NARRATOR: That's 10 pounds for the cigar rest, and 50 for the bronze elephant.

So Catherine's all finished up.

How about Charles?

Look at this table.

Just look, look at the, the frieze here, you've got this gorgeous shell inlay, which is also down here.

This chamfered leg, which actually is cut in on the right angle, confirms to me that this D-end, although it's been repolished, would date to around 1785.

If you sat around this table in 1785, you may have been talking about King George III's mental health.

You could have been talking about the Seven Years' War, that happened 10 years ago.

And I just feel I've got to go out with a bit of a send-off in my week.

It's priced at 595.

If you don't ask, you never get.

NARRATOR: Talk about sticking your neck out.

It's gorgeous, but brown furniture, as we know, can be a gamble.

This looks serious.

There's that lovely, D-ended dining table.

I like it a lot.

It's priced at 595.

What's your absolute best price on it?

I've had it a while.

I acquired it well.

I would let you have it for 300 pounds.

I've got, left over, 243 pounds.

I tell you what, Charles.

I'll have the 240.

You can keep the three pounds.

And my biology quite well, thank you, So you're saying to me, I can put that three pounds back in my pocket.

You can, yeah.

And you will take 240, and if you look at me truthfully, and say there's a margin, and there's still money in it for you.

There's a very good margin for me, Charles, thank you.

I'll take it.

You're a good man.

And that leaves me three pounds left over, and all to play for in my grand finale.

NARRATOR: What a way to finish, eh?

How exciting!

Charles takes a chance with his George III dining table, which he adds to his 17th-century grape shop, which he keeps separate from another lot of grape shot.

A 17th-century stone carving, and the porcelain basket completes his lot.

All of which cost him a total of 732 pounds.

Catherine spent 275 pounds on a doll's fan and gloves, the anatomy book and glass eye, the biscuit cutter and stamp, the silver card case, the bronze elephant match holder, and the silver plated cigar rest.

But what do they make of each other's lots?

I can't believe Catherine bought a silver card case aide memoire for 30 pounds.

If it doesn't treble up, and make near 100 pounds, I'll be very surprised.

I'm in trouble.

Charles's carving.

He calls it 17th century.

There's something about it, I'm not sure what, but it looks a bit odd to me.

I admire him for spending that amount of money, and only time will tell.

NARRATOR: Yes, but time for this road trip is fast running out, as our eager pair make their way to their final auction in Congleton, in Cheshire.

It's been a week to remember.

I really, Catherine, I-- I would say you're a fairly high-class lady.

You like fine things, and you like quality, and that's why I was quite impressed that you like me as well.

I'm not going to say too much, because it'll go to your head.

I shall miss your little fidgety moments.

I shall miss-- Blame it on the boogie and all of that.

I shall miss the shimmies, the dancing, the movements.

Yeah.

I'll miss it all, Charles.

NARRATOR: There's still plenty of drama to enjoy, though.

Congleton has been home to this firm of auctioneers since the 1930s.

And today, they play host to Charles and Catherine's final auction.

Will we conquer?

I don't know.

This is the end.

I know, the end is night.

NARRATOR: Neil Ashley is the man in charge of the gavel.

What does he make of our pair's offerings?

The doll's gloves and fun, quite a quirky and cute little lot.

Should get quite a bit of interest on those.

We put an estimate of 50 to 80 pounds.

The George III D-end mahogany dining table.

As a whole, dining tables are not fashionable anymore.

We think it'll make 200 to 300 pounds, which is a fraction of what it would be worth 15, 20 years ago.

NARRATOR: Oh dear.

Well, let's find out what the audience in the sell room think of it all.

There's only one, two, three, four, maybe 35 people.

And that's daunting.

Petrifying, in some ways.

[AUCTIONEER CHANT] NARRATOR: Let's not dwell on it.

First up is Catherine's bronze elephant.

20?

20 pound bid.

It's bronze!

20 pound bid, pound.

Five.

Hand over there.

30 bid, 30 bid, I think you're wrong.

5.

- 40.

- 40.

5.

- Come on.

- 50.

You've broken even.

50, 50.

And take it on the right.

Come, on.

Come no!

No mistake at 50 pounds.

In defense, he sold it.

That's OK. NARRATOR: Not a flying start, but not a loss.

Nothing to trumpet about.

I'll take that.

[AUCTIONEER CHANT] What's next?

NARRATOR: Glad you asked.

It's Charles's porcelain basket.

10 pound bid.

15.

- Come on!

- Yes!

- 20.

- Yes!

20 pound bid.

Keep going.

- Come on.

- 20 bid.

5.

30.

30 pounds.

30 pounds, don't leave it now.

30 pounds, 30 pounds, how much can I sell one at 30 pounds?

You know, you feel like you're just being hit in the chest.

He's so hard with that gavel, isn't he?

NARRATOR: The nice profit makes a good start for Mr. Henson.

There's a lot more to come.

- Woo.

- How do you feel?

This is only the beginning.

I'm exhausted.

NARRATOR: I'm nervous.

Now, how will the doll's gloves and fan fare for Catherine?

Fingers crossed.

20?

20 pound bid.

20 pound bid, 20 pound bid, 20 pound bid, 20 pound.

Five.

30 on the front row.

35.

- Go on.

40.

40 pound bid.

40 pound, don't leave me now, 40 pound bid.

The hands are too big.

I sell them at 40 pounds.

Their hands are too big here.

Oh, Charles, I love them.

NARRATOR: They were a real find, and someone here has got a real bargain.

The gloves are off, now.

That isn't the best start.

No.

Eh?

But, it's OK. NARRATOR: Yeah, that's it.

Look for the positives.

Next up is the first of Charles's grape shot lots.

Well, I've got a commission bid of 10 pounds bid only.

10 pounds bid 15.

20.

Five.

25.

25, 25, 25.

The bids on the right, and I sell and make no mistake.

I got you 25. and J-O-3 25.

Next lot is-- NARRATOR: It was over in a flash, and that's a tough one to take for Charles.

I feel like I've been hit by a ball in my chest.

NARRATOR: Bad luck.

Let's hope Catherine's anatomy book and glass eye isn't as painful.

Commission bids.

10 pound, 15 pound.

Wow.

Oh, I've got a long way to-- keep going.

Sell it.

Shut up.

35.

You're all up to the loop, 35, and it's with me.

35 and a bid.

35, 35, 35.

25.

All out of the room, you lose.

I sell them at 35.

NARRATOR: The early optimism seems to be waning.

Another loss for Catherine.

Should we hold hands for the next one?

There we go.

NARRATOR: Well, it's worth a try.

What are the chances it's second time lucky for Charles's grape shot?

Commission bid's with me at 10 pound only.

- 10 pounds?

- Five-pound bid.

15.

Come on.

It'll go with the last.

20 pound bid, don't lose it.

22, I'll put you in.

22.

22 bid.

22, bid at 22.

And it's still cheap, the commission's out.

- Just cheap.

- 22.

I shall make no mistake at 22.

NARRATOR: Not a lot of money for a piece of history, is it?

But another loss for Charles.

It's gone.

I love you, Charles.

Thank you very much.

NARRATOR: At least you have each other, eh?

Now, time for Catherine's biscuit cutter and stamp.

10 pound bid.

10 pound bid, 10 pound bid, 10 pound bid.

At 15.

20.

Five.

25.

25, the bid's on the right.

25 and a bid, 25 bid.

25 and bid, 25 and a bid, 25 and the bid.

25.

Hammer's up, you lose, I sell and make no mistake at 25.

NARRATOR: Crumbs, it's not cutting it today.

NARRATOR: We're not doing very well, are we?

Just the end of the road.

We've had a wonderful week, and this, obviously, is just how, sometimes, it ends.

It can be a bit of a downer.

But-- Come on-- NARRATOR: We've got the big ones to come.

NARRATOR: Yes, Charles spent big on his stone carving, but will it pay off?

Look at that, my friend.

Thanks for the memories.

I've got 100 pound, the commission bid.

100 pounds.

100 pounds.

120.

150.

200.

220.

Charles.

280.

300.

Charles!

It's worth more than this, Catherine, and a lot more.

10, if you like.

- 310.

- Good lad.

310.

I'm going to cash it.

At 310, out right, left over lose, I sell and make no mistake at 310.

It's ching-ching for him, but it's bust for me.

NARRATOR: That big loss for Charles takes a sizeable chunk from his lead.

I lost 70 pounds.

You can relax now.

I was getting nervous than you.

NARRATOR: Perhaps a chance for Catherine.

Her cigar rest is next.

10 pound bid.

10 pound bid.

10 pound bid 15, if you like.

10 pound bid, 10 pound bid.

10 pound bid, 10 pound bid.

a 10 pound bid.

At 10 pounds, 10 pounds, BOTH: Oh, come on.

CHARLES: Come on, I'm going to cry like a baby, now.

I'm going to cry like a baby.

I'm going to cry for the memories.

NARRATOR: What can you say, eh?

At least it's not another loss.

This is [INAUDIBLE].

This is the end.

Can I say, thank you for a wonderful week.

I've enjoyed every lot we've sold.

Just wait until we get to the end of it!

NARRATOR: Now, the gamble of the road trip.

The George III table, a lovely item Charles bought at a great price, but how will it do?

100 pound bid.

100 pounds.

Don't make a man cry.

Such a good table!

Come on.

Roar us home.

Come on.

Come on.

140.

140, if you like.

140.

I sell and make no mistake.

I cash at 140.

He's cashed it.

NARRATOR: Ouch, that's one gamble that didn't pay off.

That's so cheap.

Does it matter?

Someone will enjoy it, and it will live for another 200 years.

NARRATOR: Now's your chance, Catherine.

A profit is much needed for your silver card case.

20, 20 bid.

20 bid.

5, and a bid.

25.

30.

Five.

Come on, it's worth 80 pounds.

45.

It's heavy!

Go on.

Go on.

Come on.

60!

CATHERINE: It's a heavy thing!

Keep going.

Keep going!

I'll take it on my right.

65, don't lose it now.

Come on.

That's OK. 65, It's a heavy thing, though.

It's a profit.

NARRATOR: More than doubling her money, Catherine ends on a profit.

But is it enough to win?

Time to find out.

Catherine started this final leg with 421 pounds 60p.

After auction costs, she made a loss of 90 pounds 50p, giving her a final total of 341 pounds 10p.

Charles spent almost all of his 735 pounds, and after costs made a painful loss of just less than 300 pounds, leaving him with a final total of 425 pounds, 14 pence.

So, despite losing the day, Charles holds on to take the road trip title this time.

Well done.

All profits, of course, go to children in need.

- Ready?

- Ready.

Let's go.

[SCREAMS] Let's go.

Charles, not that way!

On your marks, get set-- Go.

Go.

Down to London.

NARRATOR: Steady on.

It's been one hell of a week.

You're a bit close for my liking.

Well, thanks a lot.

NARRATOR: There's been some sweeping successes-- Yay!

NARRATOR: --and some minor mishaps.

I've lost my dog now.

NARRATOR: But in the end, there's been a lot of love.

NARRATOR: I think I need a kiss for that.

NARRATOR: Do you, thank you?

NARRATOR: Cheerio, chaps.

You've been great.

You guys just indicate left.

I'm sure the car is on the left somewhere out there.

I'm sorry.

[MUSIC PLAYING]