[MUSIC PLAYING] NARRATOR: It's the nation's favorite antiques experts-- [TRUMPET BLOWS] NARRATOR: --with 200 pounds each-- I like.

I like.

I like.

NARRATOR: --a classic car-- [CAR HORN HONKS] NARRATOR: --and a goal to scour Britain for antiques.

[HORN BLOWS] NARRATOR: The aim, to make the biggest profit at auction, but it's no mean feat.

There'll be worthy winners and valiant losers.

It's fine.

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

Pull out the ignition.

NARRATOR: This is the "Antiques Road Trip."

Yeah!

It's a second date on this trip for our pair of antiques lovers Mrs. Natasha Raskin Sharp and Charles Hanson.

Does that look the part?

Or does that look the part?

NARRATOR: So far, while one time law student Natasha has been all about the age of reason for detectorist Charles-- A hand bag.

Where's that?

NARRATOR: --it's been more about the Stone Age.

Charles, you are Homo sapiens.

You are the most knowledgeable man in the car because-- Well, the-- yeah.

--you're in front.

NARRATOR: Having begun with 200 pounds, Natasha's hopes were dashed at auction leaving her with 187 pounds and 40 p. Charles started with the same amount.

And his success under the hammer in Carlisle gives him a new budget of 220 pounds and 30 pence.

I feel refreshed.

Yes.

I feel-- with the roof down-- Yes.

--the sun shining, you don't even have a jacket on.

Now, your jacket almost reminds me of Mary Poppins.

Of Mary Poppins?

I almost fell I'm on a jolly holiday with Mary.

Seriously.

NARRATOR: Natasha and Charles started their jolly jaunt in Gervin on the Firth of Clyde, and traveling south meandering through the peaks and the Northwest before crossing the Welsh border to their final auction in Mold.

Our dynamic duo are starting today in Derbyshire veering off to Staffordshire before setting course east for auction in lovely Lincoln.

Welcome to Mecca.

[LAUGHS] What are you giggling at?

Welcome to what people might call home, where the heart is.

You call home.

Home, it's where the-- hello.

Sorry.

NARRATOR: Lordy, easy on our lovely 1969 Morris Minor.

Don't forget our old Scottish ancestry.

You know, we had the bonny Prince Charlie.

NATASHA RASKIN SHARP: Oh, what a prince.

CHARLES HANSON: But you are now that bonny princess.

You came as far as Derbyshire, and you went home.

You went home.

But don't go home.

Stay away with me, OK.

I won't turn back.

NARRATOR: No, there's no turning back.

Maybe the Scottish flag will fly today onwards to the Erewash Canal to drop off the old enemy.

CHARLES HANSON: The loch is beautiful, isn't it?

NATASHA RASKIN SHARP: Beautiful.

I might go over the bridge, over troubled water.

NATASHA RASKIN SHARP: Well, be careful.

They'll take me there.

Bye.

Drive carefully.

NARRATOR: Ready, steady, go.

What is he on?

CHARLES HANSON: Hello.

Upstairs?

Thank you very much.

Hello.

- Hello.

Well, hello.

How are you?

Hi.

I'm fine.

Thank you-- - Charles.

How are you?

Nice to meet you, Charles.

I've been running-- Have you?

--all the way from Erewash Canal from the lock, all the way to here.

Oh, it's lovely down the canal, isn't it?

Trying to keep fit.

NARRATOR: While Charles gets his puff back, what can Christina tempt him with?

CHRISTINA: This, I think, is quite interesting.

This is just come in, actually.

CHARLES HANSON: The dragon horse.

CHRISTINA: What they call a dragon horse or a longma.

Maybe he'll give you some luck for today.

I'm going to breathe in this fire, breathe in the fire I need after a long run.

So I'm looking at him, looking at you.

And I see you're quite similar in color scheme as well.

So maybe you're both bring me good luck today.

CHRISTINA: Hopefully.

CHARLES HANSON: Fine.

May I just look in this cabinet here, 13?

CHRISTINA: Certainly, here.

CHARLES HANSON: It's like a flaming dragon coming over, but for the right reasons.

I mean, it's just amazing what money can buy.

This apparently was found in the River Thames, and it's a genuine 14th-century ring.

And when you wear a ring from the 14th-century and you say, I will, and you will, and you think, which person wore this ring?

And what affection, what love did it hold back in around 1350?

[TRUMPET MUSIC] NARRATOR: It's one of the pair.

CHARLES HANSON: That ring is quite sweet.

And that one does also say 14th century, Thames find, as well.

One is priced at 12 pounds.

One is priced at 10.

Best price could be?

CHRISTINA: I can do the two of them for 20.

20?

Christina, it's almost a match made in heaven.

There's my ring, and there's your ring.

It's almost rude not to-- so I will say I will-- OK.

I will.

NARRATOR: Yours, Charles, to have and hold.

Does anything else here take your fancy?

I kid you not, if I took a picture of this, I bet Natasha would love to wear that.

NARRATOR: Wonder, if she's thinking of you too, Charles.

She's actually off to Castle Donington, a historic village named in the Domesday Book.

Though it may have long since lost its castle, there may be old treasure in Donington, Natasha's first shop, once removed.

NATASHA RASKIN SHARP: Good morning.

You must be Philip.

- Yes.

Pleased to meet you.

- Hi, I'm Tasha.

Lovely to meet you.

NARRATOR: Oh, looks like she means business.

What did well for Charles yesterday was the macabre.

It was a bloodletting leaf, and that's just not the kind of thing I'm into.

We want something different, something Charles will be envious of.

Oh, but Charles has done it all.

He's seen everything already.

NARRATOR: Nil desperandum!

You can still teach him a thing or two, girl.

NATASHA RASKIN SHARP: One thing I love is this, right here, this child's desk.

Does this not evoke an era?

I think it's probably 1930s or '40s.

I think it's quite early because, actually, it's lovely in its style.

The chair, which flips up, nicely stacked away.

Because, of course, in the '30s and '40s, it was all about discipline and order.

It's got real strict school, the three Rs sort of feel to it.

You've got the little bits of graffiti that have been scraped into the top here.

Someone's written Bamquist, someone's weird nickname, or some sort of terrible Latin joke.

And, what else have we got here.

We've got Gove.

Maybe this was Michael Gove's chair.

NARRATOR: Maybe.

It's a gorgeous thing.

And you know, I think they're actually quite trendy at the moment, so it could be a goer.

But, of course, we've got to see what else is in here.

This is just the start of once removed.

NARRATOR: Yes, miss.

The lesson is to keep looking.

And Charles isn't skiving over at San Diego.

So lovely.

A very nice Indian silver parasol handle.

The market at the moment for silver is, particularly strong for colonial silver, Burmese silver, salon silver, Indian silver of the late 19th century.

And this parasol handle, it's beautifully embossed with scenes of animals, paddy fields, with some lovely little dirt in the crevices.

That's a sure sign this object is a good antique.

NARRATOR: Time to chat once more with Christina.

- I like this parasol handle.

- Mm.

It's rather beautiful, isn't it?

Is it yours?

It's not mine, no.

It's one of my dealers, Steve.

Yeah, it's lovely, isn't it?

NARRATOR: The ticket price is 60 pounds.

Time to call Steve.

CHARLES HANSON: Hello, Steve.

I think, hand-on-heart, I'd want to pay about 40 pounds.

It can stay here.

It's no problem.

There's got to be a margin in it for you.

Thanks, Steve.

All the best to you.

Bye, bye.

NARRATOR: It's a deal at 40 pounds.

I'll take my cane in hand.

I might even put my rings on because it's nice to walk out thinking I'm a 14th-century Bishop.

Don't get them stuck.

I thought one was mine.

Oh, I'm sorry.

Yeah, well.

We're-- we're divorcing now.

Oh, no.

And that-- and that's life.

Take care.

- All right.

Give us a kiss.

Lovely to see you.

Take care.

- Lovey to meet you.

All the best to you.

See you.

Good luck.

Thank you very much, Christina.

Bye.

You're welcome.

NARRATOR: Well, he's pleased with himself.

But, what about Natasha over in Castle Donington?

So here we've got a real bit of old-fashioned taste, don't we?

This is a nice Scottish glen by the looks of things.

We've got some maple, a bit of teak.

We've got some walnut by the looks of things.

NARRATOR: Yes, it's a vintage marquetry tray by McIntosh of Kirkcaldy.

Price?

15 pounds.

It makes me think of ironic trendy bars, who are saying, you know, oh, look our bar is so cool, we hang on purpose kind of ugly stuff.

And it falls into that category of ugly-- ugly but beautiful, as I say in Italian, brutti ma buoni.

I think it is lovely.

NARRATOR: Ugly, but beautiful indeed.

This is much more my speed.

NARRATOR: Now this is bella.

My true passion in life is art, particularly contemporary art.

But it all starts somewhere, doesn't it?

All starts hundreds of years ago with-- thousands of years ago with marks on the wall.

And as we progress in art, we move away from iconography or start it off with religious artwork, didn't it?

And this isn't religious subject matter.

This is social realism.

This is just a lady looking down, gazing, almost looks like she's in morning, but she's not because, of course, she's so colorfully dressed.

This is not an exact representation of how that lady looked.

This is the artist's response to how that lady looked.

And I can see that he or she was very touched by the beauty of this woman, who's just taking a moment to reflect on how chic she looks.

NARRATOR: The portrait is priced at 70 pounds, and the desk at 75 pounds.

NATASHA RASKIN SHARP: What could be your base price for the two?

On both of them?

On both of them.

95 for the both.

NATASHA RASKIN SHARP: What if-- what if, for 100 pounds, you threw in the McIntosh marquetry?

Oh, right.

PHILIP: Yes.

NATASHA RASKIN SHARP: Three things?

- Oh.

- Shall we go for it?

I'm happy with that if you're happy.

Philip.

PHILIP: Thanks very much.

NATASHA RASKIN SHARP: Let's do it.

NARRATOR: So that's 52 pounds for the desk, 43, for the portrait, and 5 pounds for the tray.

Done.

In the meanwhile, Charles has made his way to Burton-on-Trent, where they've been turning all that H2O into beer for centuries, just the right place, then, for the National Brewery Center, where our guide is Nikki Harvey.

[HICCUP] So Nikki, tell me, how long is beer being brewed on the site for?

NIKKI HARVEY: In Burton-on-Trent, for over 1,000 years.

It started with the monks-- CHARLES HANSON: It's amazing.

--in Burton Abby.

William Bass established his first brewery in 1777.

CHARLES HANSON: So that's 250 years ago.

He won 500 pounds in a gamble, and he used that money to set up his first brewery.

NARRATOR: William Bass discovered that the water in Burton is full of magnesium and calcium sulfate, which create a distinctive brew.

CHARLES HANSON: Can you tell the difference between normal water and this water?

You can within the beer itself.

You can-- Let me try this now.

It gives a cleaner, a cleaner taste.

CHARLES HANSON: Should anything be coming out and my-- You get that sulfurous smell.

I can-- I can smell that.

Doesn't smell very pleasant.

No, it doesn't.

So this sulfuric water, Nikki, was obviously fundamental to what came next in the history of brewing in Burton.

And we've got a traditional darker brew just here, traditionally a stout, very popular in the 19th century.

But this type of beer didn't travel well.

It didn't keep in the heat.

But this one here, the India pale ale, that was absolutely perfect for sending over to the troops during the empire years to quench their first.

It lasted the journey.

It kept in the hot climates.

And that was due to it being a lighter brew preserving it by adding a high quantity of hops.

Hops are antiseptic.

And that's the beer that put Burton on the map.

NARRATOR: And by the end of the 19th century, Bass was the biggest brewing company in the world producing a million barrels a year and shipping it across the globe.

CHARLES HANSON: So, have any other country or region try to emulate this Burton water?

Yeah, it's known as Burtonization.

It's a globally used term.

So whenever a brewer replicates the quality of Burton's wild water, they're burtonizing.

They burtonize in Japan, and it's-- Which has its origins right here?

Yeah.

Fantastic.

NARRATOR: If brewing put Burton on the map, its geographical location was also key to its success.

The museum has a very special resident, who is a reminder of just how these barrels would have been delivered to all those thirsty customers.

NIKKI HARVEY: Now this is a traditional method of transport.

Horses played a very important role within the brewing industry.

CHARLES HANSON: The reason Bass and Burton were so successful was because of the locality of the place of Burton, and also transport-- NIKKI HARVEY: Burton saw the rise of the railway in 1839, and that provided the brewers with an effective method of delivering this beer, not only locally but nationally to the ports and hold to be distributed overseas.

But before the trains there was the horses.

Do you want climb aboard?

- Are you sure?

- Yes, sure.

Well, thank you very much.

Been-- Go ahead.

CHARLES HANSON: --a delight.

Thanks so much, madam.

NIKKI HARVEY: Thank you.

And off I go.

All the success to William Bass and IPA.

Over to you horseman.

Thank you, Barry.

Good health.

Thank you Nikki so much.

Cheers.

NARRATOR: Cheers.

Good health to you, as well, Barry.

Go down the roundabout.

Then, we'll head out towards Derby.

NARRATOR: Natasha's next destination is Litchfield, Dr. Johnson's city of philosophers.

So, what is she thinking about the day so far?

NATASHA RASKIN SHARP: I've been quite stressed out.

I think the key to this is to be a little bit more qu será, laissez-faire, what will be, don't worry so much.

It's all going to be all right.

NARRATOR: Very zen, hopefully, a fine state of mind for success at the Litchfield Antique Center.

NATASHA RASKIN SHARP: What treasures await me?

Hello.

Hi, there.

Oh, hello.

Good afternoon.

You must be Madeleine.

I am.

You must be Natasha.

Quite right.

NARRATOR: And I'm Tim.

Now, time to shop.

You still got 87 pounds and 40 p to spend.

NATASHA RASKIN SHARP: What do you buy for the person who has everything?

You buy them a solid silver snooker chalk holder.

But at 65 pounds-- I don't know if I need it.

But I'll tell you what?

There's someone out there who's going to walk in here and say, I'm having that because it's my husband's anniversary, and he has everything.

NARRATOR: But, is there anything for you?

Well, this is always a good sign, isn't it?

New stock, just arrived.

What strikes me as the most commercial item there?

The scent bottle.

Let's take a closer look at it.

We've got a hobnail cut design here.

So this flat facet here surrounded by this very sharp-- It's actually quite sharp, these facets and then the top.

Well, that's what it's all about, isn't it?

We have got this silver top here with the hinge, and it's repoussé-- it's been pushed out to create this design here.

It does have Victoria's head on there.

Oh, Victoria!

So we are talking late 19th century.

And what a lovely thing?

I'm hoping, fingers crossed, when I open this scrolling fully at lid, there is a stopper inside.

And there it is.

Hurra!

Little frosted glass stopper there, and that is the original one because look at that.

It fits like a glove.

And it doesn't have a price.

So Madeleine, perhaps you've probably heard me waxing, waxing lyrically about this scent bottle.

New stock just in?

- Yes.

No price on it?

Just come in, literally half an hour before you came in.

OK, so-- So that's why it-- --does it owe you much?

It could be a reasonable price.

OK.

So, how reasonable are we talking?

48.

48 pounds?

Given that there are some chips on the hobnail cut?

Is that the very best?

I don't want to push you too hard.

How about 42?

42?

Oh, OK, OK, OK. Would 32 help?

NARRATOR: Even better.

Yes?

I think, let's stop beating around the bush.

Shall we just shake on it?

I think that's a very good idea.

Madeleine, you are stellar.

Congratulations.

NARRATOR: Aah, the sweet smell of success.

Now, what do our twosome make of the trip so far?

CHARLES HANSON: It is a difficult day because you're only as good as what comes into eyeline.

But sometimes one must dig for victory.

NARRATOR: And you can get digging again tomorrow.

For now, nighty-night.

Good morning, Derbyshire.

And, how are our local lad and his Scots lassie today?

Home is six miles that way.

My school is two miles that way.

NATASHA RASKIN SHARP: No.

CHARLES HANSON: A very big welcome block of Derbyshire.

Good morning, Natasha Raskin Sharp.

Thank you for having me.

Thank you so much-- - It's pleasure.

--having me.

NARRATOR: Cheeky.

Yesterday Charles said-- CHARLES HANSON: I will, I will.

NARRATOR: --to two medieval rings, and a silver parasol handle, leaving him with 160 pounds and 30 p, while Natasha was beguiled by a portrait of a lady.

NATASHA RASKIN SHARP: Is she not just beautiful?

NARRATOR: A McIntosh marquetry tray, a child's desk, and a late Victorian scent bottle leaving her with 55 pounds and 40 pence for the road.

I think I'm in danger of getting into the swing of this road trip thing.

But you're not too comfortable in thinking you bought some quite serious gear-- I don't know.

--what might blow me away in Lincolnshire.

Am I?

Am I?

I'm a bit slightly nervous.

NARRATOR: Don't worry, Charles.

The day is long.

There's plenty of time to catch up after you drop off Natasha in Belper.

CHARLES HANSON: Take care.

Thank you, Charles.

- Have a great day.

- Tata.

CHARLES HANSON: Look after yourself.

Bye.

NARRATOR: Forged in the crucible of the Industrial Revolution, the dark satanic mills of the Derwent Valley are now largely silent.

But they are a World Heritage site, and Strutt's North Mill in Belper is literally a towering achievement in the history of architecture.

NATASHA RASKIN SHARP: Hey, good morning.

You must be Trevor.

Yes, I'm Trevor.

NARRATOR: Trevor Griffin, a volunteer guide, is going to introduce Natasha to the mill and the one-time owners, the Strutt family.

It all started with Jedediah in the middle of the 18th century.

And he was a local wheelwright, but he was a very clever man, and he invented something called the Derby Rib that revolutionized the way that socks were manufactured at that time.

So, what was the Derby Rib?

It would shape the socks to the leg rather than just being a tube, sort of Nora Batty-type thing.

So that, basically, was a big innovation.

And, of course, then, people realized he was worth investing in.

And he did build lots of mills and things down in Derby.

NATASHA RASKIN SHARP: So tell me about the Strutt's original mill.

And, what would life have been like for the workers there?

It had a timber frame.

So it was crammed full of machines like one we're standing in front of.

They would have been very noisy, very hot.

And there was always a risk of fire.

NATASHA RASKIN SHARP: And then, of course, the timber-framed mill burns down.

Yes.

And so, what happened?

In 1803.

And so William Strutt, who was Jedediah's son, had in his mind ideas to build a new fireproof mill, and that's what he did.

He built this mill, which has got an iron frame.

And it's the oldest iron-frame building that you can still go into in the world.

NARRATOR: Down in the basement, this seemingly unassuming building reveals its innovative construction of two centuries ago.

NATASHA RASKIN SHARP: Where is the iron because all I see is stone all around me?

It's running here.

Look between the tops of the pillars and all the way down the basement.

Ah, so that would have been wooden.

Originally, that would have been wood.

All the older mills, and even some later ones, had wooden beams here.

NATASHA RASKIN SHARP: So this was something that had never been done before?

Was iron in short supply?

The problem was that you couldn't actually cast iron in very long sections until the beginning of the 19th century.

So he was able to use that new technology in order to achieve the fireproof mill.

I mean, this is something that would have been considered quite unusual at the time.

And people who used to come to this area to visit places like Chatsworth would also call in at Strutt's North Mill to see this great technical innovation.

NATASHA RASKIN SHARP: So there would have been tour guides like yourself working, what?

300 years ago?

Yes, there were.

But it would have been the manager in those days.

Oh, I would imagine.

Princess Victoria came around, for example, in 1837.

NATASHA RASKIN SHARP: Really?

TREVOR GRIFFIN: And Mr. Strutt showed her around personally.

Yeah.

NATASHA RASKIN SHARP: That must have been his proudest moment.

TREVOR GRIFFIN: Yes, it would have been.

You can imagine that.

Fantastic.

So this is truly a world first.

I mean, that's not an exaggeration?

TREVOR GRIFFIN: No, it isn't.

Of course, from here, you go on to skyscrapers eventually, modern building techniques.

Now, come on.

Is that a bit of a stretch?

That without the Strutt's Mill, we wouldn't have the Manhattan skyline.

TREVOR GRIFFIN: No, because this form of construction led on to modern building construction, steel frame buildings, and so on.

So yes, Manhattan is started here.

NATASHA RASKIN SHARP: No Strutt, no Manhattan.

No Strutt, no Manhattan.

NARRATOR: And, what does every skyscraper need?

An elevator.

Strutt thought of that, too.

TREVOR GRIFFIN: So it's obviously powered by electricity today, but originally it was powered by water.

And although it's a modern lift, it's still in the original shaft.

So this is the oldest working lift shaft in a building anywhere in the world.

And it's right here in Derbyshire.

NATASHA RASKIN SHARP: So this is the oldest lift shaft in the world?

TREVOR GRIFFIN: Yes, it is.

And all I have to do is press this button?

TREVOR GRIFFIN: Press the button.

And call the elevator?

And you're going to let me go in there on my own?

TREVOR GRIFFIN: Yes, I am.

- You sure?

Yes.

OK, well, what can I say?

It's been a pleasure meeting you.

OK.

Thank you for such a great tour.

TREVOR GRIFFIN: Yeah, thank you.

Oh, oldest lift shaft in the world.

Wish me luck.

TREVOR GRIFFIN: Good bye.

NARRATOR: Bye bye, Natasha.

Meanwhile, Charles has headed north to Matlock to see what's on offer at Quirky Antiques, and he's accompanied by youthful assistant.

CHARLES HANSON: Hello, is it Kelvin?

Hi, Charles.

Nice to see you.

Matilda Hanson.

KELVIN: Oh, hello, Matilda.

She's my daughter, Kelvin.

I thought, being on home territory, it was quite right that she and I came out together.

NARRATOR: Yes, indeed.

Let's see if young Matilda shares her daddy's fabulously cultured taste in antiques, like this potty.

CHARLES HANSON: That's a lovely chamber pot, which is an awful example.

This will date to the 1920s, '30s.

A young girl would have had this-- and that young girl now would be about 95 years old.

But for Matilda, it's something which, again, she can carry around with her, and in some respects, almost ditch the nappies.

NARRATOR: I doubt she'll thank you for that.

What an interesting cabinet plate.

When you look very closely, you'll see the crest within this plate, two very peculiar bare hands holding aloft what appear to be clovers.

And I'd love to find out is who owns that coronet or motif in their family because this plate is unmarked.

But my hunch is it was made by the Minton factory in Staffordshire.

The plate would date to around 1860, 1870.

And at 20 pounds, it could really reveal a lot more once it's been paid for.

Could be an option.

NARRATOR: If your assistant agrees?

Time's ticking.

Time is ticking.

That's nice.

This is a late 19th-century export made box.

And I suspect this box probably is Chinese.

This [NON-ENGLISH] landscaper figures have been damaged here.

It's in 140 years of wear.

Lid comes off like so-- voila is the interior.

That's how it ought to look.

The segmented boxes are all beautifully gilt with pagoda scenes with bridges and-- basically all complete.

And it's great.

48 pounds, it's priced at, may be an option.

NARRATOR: But, what does madam say?

CHARLES HANSON: Yes!

Matilda, how does this look?

It's Goebel Hummel.

It's German.

It's quite collectable.

It's in good condition.

Yes or no?

Yes, no.

CHARLES HANSON: You know, you like quality.

Like daddy, you like quality.

Now, imagine feasting off at an auction.

No!

No?

NARRATOR: Oh, dear.

CHARLES HANSON: You know, how you always tell me you don't like wearing nappies?

Look at that.

No.

NARRATOR: Quite right.

CHARLES HANSON: Now, darling.

I know you love dogs.

And these are the quintessential antiques you will ever find.

Doggie?

- No!

No?

NARRATOR: What does every toddler like?

MATILDA: Yea!

NARRATOR: I think he hid that there.

Matilda, like a father, can spot a good treasure.

It's a yes from me.

And a yes from you?

Yes.

Yes.

Thumbs up, thumbs up.

NARRATOR: Great!

The Hanson's sophisticated taste wins the day.

Kelvin, we'll take the box.

It's priced at 48 pounds.

What could be, Kelvin, your very best price?

KELVIN: 30 pounds.

CHARLES HANSON: Is it not for me, or thumbs up?

That says it all.

Two thumbs up.

And I think actually for 30 pounds, we'll take it.

NARRATOR: Well done, Matilda.

And if it wasn't just a chocolate talking.

I think you have got a good eye, just needs a bit more, perhaps, dedication, a bit more grit, bit more-- NARRATOR: Hey, dad.

Don't be too critical.

Meanwhile, our spinning Jenny is still in the cradle of the Industrial Revolution at Richard Arkwright's water-powered Chromford Mills and en route for her last shop with 55 pounds and 40 p in her pocket.

NATASHA RASKIN SHARP: Good afternoon.

- Hello.

- Hi.

You must be David.

- I am.

You must be Natasha.

Yes, pleased to meet you.

Very pleased to meet you.

Yeah.

NATASHA RASKIN SHARP: So this looks like a cool place, compact but loads of stuff.

DAVID: It's a bargain in every cabinet, honest.

I'm going to hold you to that deal.

- [LAUGHS] - Right.

I'll get looking.

I'll be with you in a moment.

OK, lovely.

Thank you.

NARRATOR: Yes, indeed.

Plenty to look at here.

Uh-huh, something's caught her eye.

DAVID: That's so cool, isn't it, the telephone?

I found it in Spain.

- Really?

- I did.

And you just had to have it?

You know, I buy 18th-century pottery.

But I saw that, and I just had to buy it.

NATASHA RASKIN SHARP: Art Deco, all that design.

DAVID: It's so unusual though, isn't it?

NATASHA RASKIN SHARP: Well, I can't afford your 275 pounds.

So can we call that a tenner?

Oh, good try.

Good try?

OK. Well, I'm going to keep trying over here.

I'm going to keep trying over here.

You know, I've got to try.

Of course you have.

[LAUGHTER] NARRATOR: Meanwhile, Matilda has returned home for a nap.

And Charles is just waking up.

I feel like I'm a big great white shark hunting down the ultimate find.

I'm hungry.

I'm hungry.

Come on, Hanson.

NARRATOR: Watch out, Natasha.

He sounds dangerous.

Well, what about this?

These six cups and saucers.

Clarice Cliff, really stylish.

I know they're not decorated, but I think that adds to it somehow.

NATASHA RASKIN SHARP: The design is on the shape-- - Exactly.

- --and on the pattern here.

Exactly.

NATASHA RASKIN SHARP: So your Ritz design-- DAVID: And that mark is bang on for about 1933.

And, do they owe you a lot?

Well, they're my wife's.

So I might be able to do a bit for, you know.

I mean, I might be able to go with it.

You might be in trouble.

I might be in trouble.

I probably will be.

Yeah.

NARRATOR: Oh, no.

Trouble at mill.

Let's take a closer look.

How stylish are they?

Just feel them.

Don't they feel good?

They are stylish, actually.

DAVID: They almost like early creamware, aren't they?

They do border on plain a little bit.

Do they?

But is it the saucer that brings-- brings the edge, brings the jazz?

Quality, isn't it?

DAVID: Oh, absolutely.

NATASHA RASKIN SHARP: I mean, look at this sort of double dip here in the design.

It's smart.

DAVID: It is.

It's Deco.

Is it for me?

Is it for you?

It's totally dependent upon price.

What's the best price you think you can do?

How about 45?

NATASHA RASKIN SHARP: 45 is the lowest that you can go?

DAVID: How about 40?

NATASHA RASKIN SHARP: What do you think?

40 pounds, 40 pounds.

35?

[BLOWS RASPBERRIES] Just said it.

Just saying.

Probably won't get any tea tonight, but go on.

- 35?

- Go on.

OK. [LAUGHTER] NARRATOR: Nice work.

Shame about David's tea.

North to Chesterfield for Charles now, and his last shop is the highly individual Olympia House, where Sophie presides today over a large and eclectic emporium.

CHARLES HANSON: All right, I'm heading upstairs.

NARRATOR: And he's got 130 pounds and 30 pence in his pocket.

Two at a time.

CHARLES HANSON: Antiques value.

One thing I do quite like is trains.

And it is one market that really, really buoyant, It's a market for toys, Hornby Meccano.

And actually, it's not a bad lot, but it is very, very tired and play-worn.

You've got enamel losses to the paint work, a later key, beaten and quite bruised.

Knocks here, as well.

But this Flying Scotsman and the box would date to the late '30s, early '40s.

25 pounds, the whole box of tin plate Hornby is a definite mental note.

NARRATOR: The choo-choos do look good, but what's in this cabinet?

Militaria?

Could be interesting.

It's quite moving, quite emotive seeing these objects.

Because you just wonder who, what, and where, and did those people survive who owned them.

There is this war medal, which is here.

And that is a 1914-18 standard issue British war medal.

There is the regiment number.

It was awarded to Private H Pointon of the Royal Fuseliers.

Then, you've got the pocket watch which to me is certainly World War I issue.

Then, we've also got what appears to be a cap badge, which is St. John Ambulance Brigade.

So here we are looking after our injureds.

And then finally, on the other side, in both world wars-- but this is World War II, that appears, as per description, to be a German Bush officers' marching compass.

What I might be tempted to do is to go to auction with some sentiment, go to auction, perhaps, with a victory, and very much remember these fallen heroes.

NARRATOR: Total ticket price for the is 75 pounds.

[NON-ENGLISH] What could be the best price?

Whisper to me.

(QUIETLY) 60.

- 50.

- 60.

- 40.

- 60.

OK, 60 pounds.

60 Pounds, OK, I'll do it.

That's done it.

The Hornby is priced at 25 pounds.

What could be the best price on that box?

Not too much because Hornby-- you know, it's worth 25 pounds.

OK.

So the lowest on that would be 20.

CHARLES HANSON: OK, fine.

NARRATOR: Time for some strategic thinking.

CHARLES HANSON: I love the medals.

I love the group.

But I've also got to be sensible in my own financial mind.

So I'll take the Hornby and say, thank you, for 20 pounds.

And I'm going, going, sold.

Thank you very much.

NARRATOR: So regretfully, a last post for those relics of war, but full steam ahead for a rather battered Flying Scotsman.

CHARLES HANSON: Dare I say it's almost been picture-perfect, you and I, caught in time, on the great lanes of Derbyshire.

Charles, your way with words is the best.

NARRATOR: Happy days, then.

And time for some shut-eye.

The sun is shining this morning in Lincoln, where the Minster was once the tallest building in the world.

NATASHA RASKIN SHARP: What lies ahead, Charles?

- Can't wait.

- Are you nervous?

Oh, I'm never nervous.

But ladies first.

Oh, you are a gentleman.

Thank you.

NARRATOR: Today, the end of a quest for quality antiques, which began in Derbyshire and wandered into Staffordshire before turning northeastwards to Lincoln, where unique auctions are our hosts.

Looks like an excellent array.

Let's hope the yellow-bellies, people from Lincolnshire to you and me, are ready to spend.

Natasha spent 167 pounds on five lots, while Charles has four lots, which cost him a total of 110 pounds.

So, what do they make of each other's purchases?

So here are Charles medieval rings, 14th century or so he says.

And without provenance, is anyone actually going to pay over 20 pounds for these?

I don't think so.

NARRATOR: So much for I do.

The desk is almost the antique of yesterday.

Who wants these desks today?

They're archaic.

I quite like it.

It's got a nice color about it.

But I can see, on the lid here, it does read very indistinctly, "I love less."

And for me, less is good today.

NARRATOR: I think that might be, "Lez," Charles, perhaps an old school pal of Michael Gove's.

Before he gets going with his gavel, what does auctioneer Terence Woodcock think of our pair's purchases?

I like the train, very, very sought-after anything to do with trains.

Sadly, it has seen better days, but people will buy it.

I like the portrait, very desirable lady, very, very clean, very good condition.

That is a speculative lot.

Unlike all the lots, I think they're all good.

NARRATOR: Well, that's encouraging.

Come on, guys.

Take your seats.

First up, Natasha's late Victorian cut glass scent bottle.

I had a commission at 30, went right up to 45.

Ooh, made a profit.

You watch.

50, 55, 65, How about the lady at 65?

70.

CHARLES HANSON: 70.

TERENCE WOODCOCK: You're all out now-- I can handle it.

I can handle it.

Watch, you watch.

Go one more.

He'll say it.

L- At 75, the gentleman's back in.

At 75 now.

75 I've got.

At the back, it's yours.

And I sell.

[GAVEL POUNDS] Well done.

Sold.

NARRATOR: She's doubled the money.

Great start.

I'm in trouble.

[LAUGHS] No, you're not.

No, I am.

You came for my manor and you robbed me.

Well done.

NARRATOR: Can Charles's silver parasol handle do as well?

20, I've got straight in.

Oh!

TERENCE WOODCOCK: 20 pounds now.

20 pounds.

Come on.

I've got 25, I should think so.

At 30, the lady I've got still at the back.

32, new bid.

35.

TERENCE WOODCOCK: 34, I should think so everywhere.

36, at 36.

38, at 38 and 40 pounds.

At 42.

At 42.

Come on.

At 42 pounds, have you all gone on?

NATASHA RASKIN SHARP: Get hat hammer down today.

CHARLES HANSON: It's exotic.

NATASHA RASKIN SHARP: Get that hammer down.

I would say Lincolnshire found it.

OK.

It gave me a 2 pounds profit.

After commission, I've lost.

But Lincolnshire came of age.

I'm quite happy.

NARRATOR: Well, as long as you're happy.

You'll be all right.

You always land on your feet.

NARRATOR: Natasha's watercolor portrait of a lady is up now.

20 has come straight up on the internet.

[INTERPOSING VOICES] TERENCE WOODCOCK: --and 4, and 6.

At 26, I've got 28.

Come on.

That's cheap.

That's really inexpensive.

Are you bidding?

No, I'm not.

I'm in despair.

Holding her thoughts.

Get out of here.

Go on.

At 34, 36, 38, and 40 pounds.

Two at 42.

I'll take you, 43.

At 43.

And I'm going to give you a four now.

At 43, have you all done?

NARRATOR: She was beautiful, but she hasn't made you a profit.

She was a rich Victorian lady, and you're a rich, modern girl.

And the two of you mold together.

It was a great marriage, and you broke even.

NARRATOR: Next, will the his and hers medieval rings bring lasting happiness?

Don't start me at a pound.

What are we here for?

[INAUDIBLE] .

[LAUGHTER] Oh!

[INTERPOSING VOICES] Oh, somebody-- everybody CHARLES HANSON: Come on, come on, come on.

Now, I'm looking for 20.

At 15 pounds, I've got 15 pounds.

And I'm looking for 20.

20 is on the internet.

20 online.

TERENCE WOODCOCK: 20 pounds now.

25 now, I should think so.

We need some romance in Lincoln today.

I've got about 30 pounds now.

NATASHA RASKIN SHARP: Crazy.

TERENCE WOODCOCK: I'm looking for 5, 35.

CHARLES HANSON: Well, I have online.

At 35.

Have you all done at 35, and I sell.

[GAVEL POUNDS] NARRATOR: 15 pounds profit.

How lovely?

Those rings could have walked past Henry VIII.

You never know.

OK, Charles.

That's a stretch.

It's a stretch.

Just quit while you're ahead.

NARRATOR: Natasha's wee bit of hill and glen now, the McIntosh marquetry tray.

20 pound.

CHARLES HANSON: Profit.

Hold on.

TERENCE WOODCOCK: I'll take 5 now.

At 20 pound.

25, 25.

I'll take 8.

28, 28.

I'll take 30-- It is for Lincoln.

TERENCE WOODCOCK: At 32.

At 32.

Have you all gone at 32?

[GAVEL POUNDS] NARRATOR: A 27-pound profit.

That's what they call tray tres bon.

Your love for Scotland has now just lifted itself around Lincoln.

Well done.

NARRATOR: Matilda's Chinese box is next, emptied of chocolates, of course.

I've got 10, 12, 14, 16-- For Matilda.

TERENCE WOODCOCK: 18, 20.

Now, with 20 pounds, I've got there.

20 pound, 22, 24, 26, 28, 30 pounds-- CHARLES HANSON: Matilda, big profit.

He's done it.

I'm over the moon.

At 32, I've got 34, 34, 36 in the room.

What?

TERENCE WOODCOCK: I'm 36 now.

At 38, 38, now.

40 pounds.

At 40 pounds-- CHARLES HANSON: 40 pounds?

Fantastic.

It's gone wild.

TERENCE WOODCOCK: Are you all done at 40 pounds?

The lady goes at 40.

I'm over the moon.

I can't believe it.

- Well done.

Come on.

NARRATOR: Well done, Matilda, I'd say.

Definitely a daddy's girl.

I don't have any babies.

Am I at a disadvantage now?

No, maybe a couple of servers bring it to your old-- Note to self-- have baby to make money on antiques.

Yeah.

Good plan.

Or maybe a pet?

NARRATOR: Tea vicar, will there be interest in the Clarice Cliff?

At 20 pound, 22, 24, 26, 28, 30 pounds.

32, 35, 38, 40.

Oh, profit?

TERENCE WOODCOCK: 45.

Back in a 50.

At 50 pounds.

55 still there.

At 55, back still there at 60 pounds.

Well done.

I can't believe it.

Please-- - He's begging.

- Dare I say?

TERENCE WOODCOCK: I do the same for you.

I'll say please.

64, I've got standing at 64.

At 64 pounds, have you all done?

NARRATOR: And Natasha notches up another nice profit.

I can't believe that.

I think that's been the headline of today.

NARRATOR: All aboard now for the Hornby trains.

40 pounds come straight in.

Come on.

[INTERPOSING VOICES] TERENCE WOODCOCK: I'll take five.

At 40 pounds.

Come on.

Those are lovely.

It's got a-- CHARLES HANSON: Choo-choo.

--lot of potential.

At 40 pounds.

At 40 pounds.

I'll take five, but it is amazing bid.

Come on, now.

At 40 pounds.

Have you all finished?

I sell to a maiden bid at 40.

CHARLES HANSON: I'm quite happy.

- 40 it is.

- Sold.

- What's I tell you.

Double your money.

Double your money.

NARRATOR: The Flying Scotsman rides again, eh?

20-pounds profit.

Was that pure nostalgia for someone?

I think so.

Pure nostalgia.

NARRATOR: Lastly, school's out for our pair.

But, what will Natasha's school desk fetch?

50 pounds straight in.

At 50 pounds-- [INTERPOSING VOICES] 55.

Now, you won't get one of this quality.

At 55, I will give for 60 now.

At 60 pounds-- - I can't believe that.

TERENCE WOODCOCK: At 60.

At 60 pounds.

65 is coming.

You came to Derbyshire.

TERENCE WOODCOCK: At 70 pounds.

I'll take five now.

CHARLES HANSON: We let her loose.

That's 70 pounds is in the room.

At 70 pounds, and I'm selling at 70.

Have you all done?

[GAVEL POUNDS] Partner, well played.

I'm in shock.

NARRATOR: Top marks, Natasha.

We're ending on a profit.

Ah, ah, ah, we're closing the gap.

I'm coming after you, Hanson.

Well, come on.

Follow me.

Let's quit while we're both ahead.

believe Let me lead.

NARRATOR: Charles started this leg with 220 pounds and 30 pence.

And after auction costs, he made a profit of 18 pounds and 74 p. He carries forward 239 pounds and four pence.

Natasha started out with 187 pounds and 40 p. And after sale room fees, she made a profit today of 65 pounds and 88 pence, which makes her today's head girl with 253 pounds and 28 p to spend next time.

Well done.

That was good.

Sun is shining.

Lincolnshire has been good to you.

Oh, she always is.

Goodbye.

Thanks, Charles.

[MUSIC PLAYING]