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

[OBJECT FALLING] Ah!

NARRATOR: --a classic car-- [CAR HORN BEEPS] - [LAUGHS] NARRATOR: --and a goal, to scan Britain for antiques.

[HORN BEEPS] [BOWL RINGS] NARRATOR: The aim?

To make the biggest profit at auction.

But it's no mean feat.

They'll be worthy winners, and valiant losers.

It's fine.

NARRATOR: So will it be the high road to glory?

[LAUGHS] NARRATOR: Or the slow road to disaster?

Pull out the ignition.

NARRATOR: This is the "Antiques Road Trip."

[MUSIC PLAYING] Yeah.

[MUSIC PLAYING] It's the third leg of this trip, and our delightful duet of auctioneers, Mrs. Natasha Raskin Sharp and Mr. Charles Hanson, have been playing to their respective talents.

Charles has been demonstrating the art of spotting quality antiques to daughter, Matilda.

She likes to be on the trot.

CHARLES: Imagine feasting off that at auction.

MATILDA: No.

No?

NARRATOR: [LAUGHS] Oh dear.

While Natasha has been impressing with her knowledge of fine art and Italian.

NATASHA: Ugly, but beautiful.

As they say in Italian, brutti ma buoni.

NARRATOR: Oh yes.

And at last auction she sprinted into the lead.

I'm 20 pounds ahead.

Good.

I almost felt like a backseat driver.

I almost felt, look at that foot on that pedal.

You know, you're kicking on now.

I'll just sit tight.

It's a long way to go.

NARRATOR: Yeah, you sit back and enjoy your lovely 1969 Morris Minor.

You know, I've always enjoyed the chase in life.

Oh, really-- Oh, no.

I've enjoy chasing a lady.

[LAUGHTER] I've always enjoyed, just-- This lady's not for chasing, Charles.

[LAUGHTER] Well you are, because you're ahead.

And it's very exciting.

[MUSIC PLAYING] NARRATOR: So after making some quite modest profit so far, Charles starts this leg of the trip with 239 pounds and four pence .

[GAVEL] And Natasha, who cut a dash in the sale room, begins today with 253 pounds and 28p.

Can you teach me a few Scottish lines?

Sounds like you're fretting, Charles.

So all I can say to you is one simple Scottish phrase, dinna fash.

Dinna bash, dinna bash.

Dinna bash the car.

[LAUGHS] I don't ever flash.

I would never flash.

NATASHA: Don't em-bash yourself.

Don't worry.

CHARLES: Don't worry.

Dinna flash.

NARRATOR: Dinna fash, indeed.

Natasha and Charles ventured forth from Girvan on the Firth of Clyde, and they're wending their way through the peaks in the West Midlands before veering off to North Wales and a final auction in Flintshire.

Today, they're setting out from Coleshill, and traveling the scenic B-roads to auction in Penkridge, Staffordshire.

It's beautiful day today, Charles, isn't it?

CHARLES: It's going to be a great day, because you and I are going to go out there and just enjoy the pleasures of history.

Well, I can't wait.

NATASHA: You can't wait?

CHARLES: I can't wait, because, actually, you know, when the going gets tough, the tough gets going.

NARRATOR: Yes they do.

Today's route takes us first to that aforementioned Warwickshire market town, 11 miles east of Birmingham.

CHARLES: A man on a mission.

A man on lookout, OK.

I wish you well.

Goodbye.

Going to jump for you, as well.

Ready?

Go on, Charles, go on.

NARRATOR: Oh, dear.

[LAUGHTER] Not so good.

Bye.

What a man.

NARRATOR: Completely and utterly bonkers.

Remember When, here we are.

NARRATOR: He's arrived, all right.

Owner, Kim, sells wool and haberdashery, as well as antiques.

CHARLES: And you trade in coins, not wool, is that right?

You trade in money.

I trade in money.

CHARLES: I'm no wool merchant.

SHOPKEEPER: Not buttons.

CHARLES: Cash.

SHOPKEEPER: Yes.

CHARLES: Hard cash.

SHOPKEEPER: Hard cash.

CHARLES: I shall wander your emporium and can report back to you.

- OK, that's fine.

Thank you.

Thanks, Kim, cheers.

NARRATOR: So what gems might be lurking in this eclectic cornucopia of delights?

There's a Steiff bear here, which is nice, but 146 pounds.

So no matter where you are in these tiny shops, you can still find the headline act NARRATOR: Yeah.

What I quite like is this tea set here.

NARRATOR: Oh, teatime.

CHARLES: What's grabbed me is the wonderful angularity of the serving dish.

Kim has called it a part set.

Is it 18 piece, because it should be.

There should be six cups-- one, two, three, four, five, six-- good.

Saucers-- one, two, three, four, five.

What a shame.

However, it Shelley, it's late 1930s, it's got great style.

Priced at 48 pounds.

I'm going to find Kim.

NARRATOR: Careful, Charles.

CHARLES: Crikey, me.

It's OK, it's OK.

The cup's OK. NARRATOR: What do you mean, it's OK?

You haven't even looked at it.

CHARLES: [INAUDIBLE] NARRATOR: We'll leave our bull in a china shop now and catch up with Natasha.

Pressure's on a bit with a 20 pounds lead.

Might be quickly diminished.

NARRATOR: [FRENCH] mon cheri.

We're traveling 11 miles now, southwest to Shirley.

Shirl the Pearl, for her first shop of the day at Yoxall.

Antiques.

What will attract our magpie in here?

NATASHA: Oh wow, well there's certainly no shortage of stock.

[MUSIC PLAYING] This is so cool.

This is Sadler 1920s, 1930s.

Beautiful, befitting of any teapot collection.

But when it comes to teapots, you don't just want beautiful.

You want bold.

And surely, the boldest teapot in any collection would be a teapot of Margaret Thatcher.

It isn't made of iron, no.

She was the Iron Lady, but it's made of ceramic, beautifully glazed here, very, very, very crisp and white.

NARRATOR: 135 pounds for the Iron Lady.

Eyes to the right.

We'll see.

Back in Coleshill, Charles is also swayed by china, the 1930s Shelley tea set-- at least what's left of it.

CHARLES: What could be the very best price?

38?

CHARLES: It owes you a profit.

SHOPKEEPER: It does make a profit.

CHARLES: I was going to say 30.

OK, yeah, I'll be happy with that.

CHARLES: I'll take it Thanks a lot.

You're welcome.

NARRATOR: All done at 30 pounds?

Or are we?

CHARLES: That dress there, that isn't old, is it?

Yes it is, Charles dear.

It's vintage.

It's a crocheted maxi dress, 1970s.

CHARLES: Is it, really?

SHOPKEEPER: Yes.

CHARLES: How do you know that?

Because I've got the original pattern at home.

CHARLES: I just know the market for vintage, for style, is all the rage.

And if you were a sort of '70s girl, how would you-- would you sort of dance in this at all.

Would you-- Yes, I would probably have platform shoes on.

Give me a move, Kim.

[SPEAKING FRENCH] Kim.

Oh, I like it.

Yeah, exactly.

I think it's great.

For this 1970s garment, what would be your best price?

There's a lot of work gone into it.

Let's say, 25 pounds.

CHARLES: If I said to you, 20 pounds.

SHOPKEEPER: Yes, I'd be happy with that.

CHARLES: Are you sure?

SHOPKEEPER: Yes, I would, yeah, Yeah.

CHARLES: Look at me-- peace.

I'm in, I'll take it.

Thanks a lot.

Give me a dance.

There we go.

Oh, yes.

[INAUDIBLE] years.

NARRATOR: Yes, dance away those 50 pounds sterling.

Oh no, Charles.

That outfit.

This is dreadful.

[LAUGHS] Oh, back over at Yoxall Antiques, what's Natasha found?

It's hard to walk past this little guy.

He's very detailed.

I can see all his rolls of fat.

And what have we got at the front here?

I mean, I think we're just missing a couple of bits of drool.

But apart from that, really nicely worked.

NARRATOR: The pooch is tempting.

Time to have a word with its human shop owner, Paul.

NATASHA: Paul, I'm sorry to interrupt your polishing.

SHOPKEEPER: No trouble.

NATASHA: What do you know about the provenance?

SHOPKEEPER: It's an advertisement-- shop advertisement-- for Friskies Dog Food from the 1950s, early '60s, that sort of period.

NARRATOR: The ticket price is rather a large 185 pounds.

So is our four legged friend going to be rehomed?

NATASHA: I love Maggie Thatcher.

She's great.

But I just think that she's a bit too polarizing in an auction house.

I think bulldogs bring people together, so it's sort of all on the dog.

SHOPKEEPER: OK.

But kind of at the very best possible price.

SHOPKEEPER: 140.

NATASHA: I think 140 is too much of a risk for me, Paul.

I'll make another suggestion, then.

NATASHA: What's your other suggestion?

SHOPKEEPER: 120.

NATASHA: I don't know.

I feel like I've been-- The panic's setting in.

Yeah, I feel like I'm panting like a bulldog.

[PANTS] I don't know, I don't know where to go from here.

I've got to take a risk.

SHOPKEEPER: Yeah, you're on a winner.

- Let's do it.

- Thank you.

120 it is.

Thank you.

NARRATOR: Woof woof, eh.

Let's just hope he doesn't bite you on the leg.

Let's go for a ride.

You don't say much, do you?

NARRATOR: Doesn't smell either.

[LAUGHS] She may have made off with that particular bulldog, but Charles is off the leash and out of the frock, along the trail of another English bulldog, now in Tamworth.

CHARLES: Hello, how are you?

NIGEL MORRIS: Very well.

NARRATOR: Hello.

At Middleton Hall, Nigel Morris is waiting to take him into a museum dedicated to Robert Peel, a 19th century Tory prime minister with some ideas that were ahead of his time.

NIGEL MORRIS: His father wanted to study law, but then decided six months later that he should become a politician.

So he bought him a rotten borough in Ireland, and young Bobby Peel became MP for Cashel, because the Dublin government had been abolished in 1800.

And at the age of 24-- CHARLES: 24?

--he was appointed Chief Secretary for Ireland-- CHARLES: Gosh.

--which effectively was prime minister of Ireland.

NARRATOR: Peel founded a police force to control political and religious unrest in Ireland.

And on his return to Britain, he became Home Secretary in 1822, and turned his attention once more to law and order.

You could be hung for 200 different offenses.

And he reduced that to about 12, I think.

He did a brilliant job.

But without having a police force, it wouldn't work.

And he reckoned that he needed something between the militia and the citizen.

And this led to the Great Metropolitan Police Act of 1829, which set up the system in London of policing under parliamentary control.

CHARLES: So all those bobbies on the beat.

So that's why they're called bobbies, of course, after Robert Peel.

CHARLES: Yeah.

NIGEL MORRIS: They were dressed like citizens, in a riding coat and white trousers and a top hat.

CHARLES: But looking at the lapel and the numbers and the actual overall dress, not too indifferent to what we see on the beat today.

No, they're not.

And I don't suppose the white slacks lasted that long.

CHARLES: No, he looks quite gentrified, but there's no weapon.

NIGEL MORRIS: They had a truncheon.

CHARLES: Right, good.

NIGEL MORRIS: They had a lamp, they had to be 5 foot 7.

And they had to be literate.

And they were paid 3 and 6 a day.

NARRATOR: In 1834, while his Tory party was in opposition, Peel was on a grand tour of Europe, which he had to suddenly abandon.

CHARLES: I received from his majesty a summons, wholly unforeseen and unexpected by me, to return to England without delay, for the purpose of assisting his majesty in the formation of a new government.

Wow.

NARRATOR: This is the introduction to what came to be known as the Tamworth Manifesto, in which Peel sets out proposals for his party in government.

It was allegedly read from the window of the town hall to the populace.

CHARLES: In Tamworth.

NIGEL MORRIS: In Tamworth.

And it's the world's first party political manifesto.

And we're very proud that it's called the Tamworth Manifesto.

CHARLES: Amazing.

NARRATOR: Facing down dissent within the ranks, Peel set out a vision for a new Tory party, one which embraced the onward march to democracy in an era of constitutional reform.

NIGEL MORRIS: It became the Conservative Party Manifesto right up until 1841.

And it was very successful.

And when a new prime minister comes in, I always send a copy of it to them, because I think it's important that they read it.

NARRATOR: Peel served two terms as prime minister, and is also remembered for his attempt to alleviate the disastrous famine in Ireland by repealing the Corn Laws in 1846, a measure resisted by his own party.

NIGEL MORRIS: This is the Working Men's Memorial of Gratitude to the late Right Honorable Sir Robert Peel Bart on the repeal of the Corn Laws .

And the repeal of the Corn Laws was quite simply removing the duty-- NIGEL MORRIS: Removing the import duty on food.

CHARLES: And making it a lot cheaper.

NIGEL MORRIS: And making it cheaper, which didn't please the Tories behind him on the benches.

CHARLES: But bread for all.

NIGEL MORRIS: But bread for all.

It was signed by 400,000 people.

CHARLES: Gosh, wow.

He was a man for the people.

NIGEL MORRIS: He was indeed.

[MUSIC PLAYING] NARRATOR: Meanwhile, back in the Morris, Natasha and her canine companion are getting acquainted.

The strong silent type, is it?

Here lover, you look the part, for sure, but I think I miss Charles's extremely varied vocabulary, his vociferous attempts to flummox me with his sentences.

I hope you're not too risky, because I'm selling you at auction.

And I'll trade you in for Charles any day.

NARRATOR: Oh, thanks.

Now on to Moseley, a suburb three miles south of Birmingham city center, and three floors of antiques at Moseley Emporium.

Afternoon.

Oh, this is cool.

And that's really cool.

Something about this, I mean, it looks to be sort of 1930s in it's style.

I guess it's a little letter rack, a stationery holder.

But the materials look to be a little bit later.

I think there's a term for this.

Isn't there a term?

What was that?

NARRATOR: Shed work.

[LAUGHS] That's it, shed work.

Your term, Tim, our illustrious narrator.

Shed work.

SHOPKEEPER: It's upcycling, we you call it.

Shed work, you call it.

It's a part of another piece of furniture, an old bureau, which has been taken out and turned into that nice little piece.

When and by whom?

It's not by who.

It was me.

NATASHA: Now hold on a minute.

You must be Maurice.

SHOPKEEPER: I'm Maurice, sorry.

- I'm Tasha, lovely to meet you.

- OK. And you did this?

Do you know, this is really stylish.

SHOPKEEPER: It is, yeah.

I love it.

Well, you're obviously a man who knows what he's doing with furniture.

Is that what I'm mainly going to find around here?

Mainly.

There's bits of everything.

If you want to have a wander, you do.

OK, I will, Maurice, I will.

SHOPKEEPER: You're welcome.

I think I'm going up.

I'm going up.

I'm going up.

[MUSIC PLAYING] Left or right?

Left.

OK, well, Maurice did say we'd find furniture, and this is a room of furniture.

NARRATOR: Nothing up top.

I wonder what's down below.

But here, what am I going to find down here?

Oh, these are cool.

One blowtorch from Birmingham.

We're in Birmingham.

Another blowtorch.

Can't see the label.

And another, a Misto Number Six Pneumatic, not a blowtorch.

This is a spray-- I don't know for what-- bug spray or something.

I'm not entirely sure.

They've got to be 1940, 1950, something like that.

So we are falling into antique territory.

They've certainly got cobwebs on them.

And they don't have any prices.

I'm going to go ask Maurice about them.

I just have a feeling he wants rid of these.

Come on, they're in the basement, for goodness sake.

Maurice?

Yes.

I'm looking for these.

They don't have a price on them.

Two blowtorches and a sprayer.

OK. What do you say?

You tell me.

NATASHA: If I make you an offer, it's going to be cheeky.

12 pounds.

Yes, that's OK. Are you sure.

Yeah, I'm having a clearout down there anyway, soon.

Fantastic, I should have stayed down longer.

You should have, you should have, you would have got a better bargain.

Maurice, thank you very much.

NARRATOR: A 12 pound purchase, very frugal.

But then how much was that doggy in the window again?

And will she stay on the lead?

I mean, in the lead.

Buy what you like.

If you start worrying about, maybe, where you are in the pecking order, you're going to open yourself up to some carnage.

So basically, what you're seeing is, que sera, sera.

Whatever will be, will be.

NARRATOR: And so it will.

Nighty night.

[MUSIC PLAYING] Back on the road, bright and early.

And it's a perfect morning for enjoying those country airs.

CHARLES: We're in the rich, fertile land.

It smells like it, Charles.

It seriously smells like it.

CHARLES: We're on the cusp of Shakespearean land of Stratford.

Oh, we are, we are.

Do you have a favorite Shakespeare play?

I like Romeo and Juliet.

Oh, you're so romantic.

CHARLES: Well you know, it's like, oh Juliet.

I'm right here, Charles.

- Oh, Juliet.

- I'm here.

Oh, there you are.

You don't need to look over there.

CHARLES: Let down your hair, let down your hair.

That's Rapunzel.

Oh, that's Rapunzel, sorry.

[MUSIC PLAYING] NARRATOR: Yesterday our Romeo fancied a '70s crochet dress.

Look at me.

Peace.

Peace.

NARRATOR: Man.

And a Shelley teaset, leaving him with 189 pounds and four pence, and a warrant out for his arrest.

While our Juliet swooned over a 1950s model bulldog.

It's hard to walk past this little guy.

NARRATOR: A vintage brass sprayer and two blowtorches.

[LAUGHS] Leaving her with 121 pounds and 28p.

NATASHA: Charles, yesterday-- Go on.

--in this very seat-- CHARLES: Oh, yeah.

NATASHA: --I had as the front passenger, and in canine form.

You had a canine in the car?

NATASHA: I'm not telling you any more.

I'm not giving anything away.

But I had a strong, silent canine.

A dog?

I guess, yeah, that's what a canine is.

Why?

I can't tell you any more.

All will be revealed.

[MUSIC PLAYING] NARRATOR: Oh, boy.

But our star-crossed lovers must separate now, and Charles is bound for Wootton Wawen, south of Birmingham, where he has a shopping date at Sims Vintage Antique Centre.

Hello there.

SHOPKEEPER: Hi.

CHARLES: How are you?

SHOPKEEPER: Not too bad, thank you.

CHARLES: Phil?

It is, Phil.

CHARLES: Good to see you.

Thank you.

CHARLES: How's life?

Not too bad, thank you.

CHARLES: And you're Terri, isn't it, as well?

Yes.

CHARLES: Good to see you.

I like your shirt as well.

SHOPKEEPER: Thank you, Charles.

CHARLES: Is it for sale?

SHOPKEEPER: Everything's for sale, as you know I like your style.

Thank you.

Bit a flower power.

Yeah, that's it.

Peace.

NARRATOR: Yeah, peace, man.

And woman.

CHARLES: Sometimes, the really good items can be hidden on the ground.

Here, almost within a group of 1950s rabbits, is a very interesting coin, silver crown, pretty well worn, but in nice condition.

And it's dated 1696.

Which is almost, literally, 30 years after the Great Fire of London.

If I rub the coin, there, look at the dirt that comes off in the hands.

And there's the wonderful head of William III.

It's only priced at 60 pounds.

It is worn.

If it was in good condition, it'll be worth 200 or 300 pounds.

I will be asking the dealer if he can give me something off.

NARRATOR: Do you know you might be on the money there.

Anything else?

It's just wonderful what you find in antiques.

And now this, I think it is ox bone, it might be a bone off a local farm animal.

Looking at the age of it, and the patination, and because the label says so, it's a Napoleonic prisoner of war marrow scoop.

NARRATOR: The thing is, don't believe everything that you read.

Much more likely to be used for coring apples.

Cor.

And of course, during the great Napoleonic War of Trafalgar, of Waterloo, many French soldiers were imprisoned in various sites across the UK, one being Uttoxeter, which isn't too far from Stafford.

Now also in this cabinet are these prisoner of war Georgian instruments.

And it says, play the bones.

[BONES TAPPING] In the Georgian way.

25 pounds.

25 pounds for a Georgian pair of bones, and 28 pounds for a Georgian Napoleonic marrow scoop.

One, two, three, I might buy all three and sell them together.

NARRATOR: He is a man with a plan.

CHARLES: Bones, the coin, and the corer, OK. What could be the best price, Phil?

SHOPKEEPER: 30 for the coin, and 20 pounds.

20 pounds.

I'll say, yes for the coin.

Job done.

30 pounds, sold.

That's a firm handshake.

SHOPKEEPER: Yeah.

CHARLES: This lot is where I'm just a bit weak in the bone.

You're saying 40.

SHOPKEEPER: Yes.

I was thinking more like 30.

Could we say 35?

CHARLES: 35.

I'll take them.

NARRATOR: So two lots for 65 pounds could be the bare bones of a potential profit.

Meanwhile, Natasha's off north now to Birmingham City University for the story of Dr. John Hall-Edwards, who, at the turn of the 20th century, was trailblazing in the emerging world of X-rays.

Dr. Arpan Banerjee is himself a consultant radiologist and keen historian of this science.

John Hall-Edwards is born in 1858 in Birmingham, and once he'd qualified in medicine, he went into general practice in the early part of his career.

He was also an accomplished photographer and won over 25 medals in photographic competitions.

NARRATOR: With this medical and photographic background, Doctor John Hall-Edwards was the right man, in the right place, at the right time when X-rays were discovered in 1895.

And he began his own experiments just two months later.

He X-rayed a patient who had got a sewing needle stuck in their hand, and helped the surgeon remove the needle without doing damage to the soft tissues.

So this is one of the first applications of X-rays in Birmingham.

And in addition to that, he was a great champion of this new technique and started giving demonstrations of X-rays.

NARRATOR: He was something of an evangelist, and as early as 1897, he had X-rayed this tire for an advertising campaign, and signed and copyrighted it.

Hall-Edwards's enthusiasm for furthering the uses of radiology soon took him much further afield than Birmingham, to South Africa.

DR. ARPAN BANERJEE: In 1899 and 1900, when the Boer War was raging in South Africa, he went out there.

And he took with him X-ray equipment so he could help the surgeons find the bullets, and the shrapnel, and also fractures which the patients were incurring.

And he built up a very extensive experience of military radiography at that time, and published his findings in the major medical journals.

NARRATOR: X-ray technology was in its infancy, but the harmful effects of over exposure to radiation were soon revealed.

DR. ARPAN BANERJEE: Hall-Edwards eventually developed dermatitis and eventually damaged his bones.

And in fact, he wrote up his problems in the medical journals to warn people about it.

But unfortunately, he had to have his left hand amputated in 1908, and four fingers in his right hand were also amputated.

However, he lived almost 20 years after that.

It didn't stop him from carrying on.

And in fact, he managed to take up painting, would you believe, with his right hand holding the brush between the two artificial fingers and painting to a reasonably good standard.

NARRATOR: We can only wonder what John Hall-Edwards would have made of the progress in X-ray technology since those leaps forward more than a century ago.

Diagnostic radiographer, Louise McKnight, wants to show Natasha what a long way we have come since those early days.

LOUISE MCKNIGHT: We're going to X-ray this hand.

NATASHA: OK, those aren't real bones, are they?

LOUISE MCKNIGHT: No.

NATASHA: No.

[LAUGHTER] LOUISE MCKNIGHT: So we're going to move this into position.

Do you want to have a go?

Yeah please, actually.

What do I do?

If you squeeze this button here, we'll move it together.

NATASHA: OK, and squeezing.

LOUISE MCKNIGHT: Into position.

We're just lining up, so that we've got our X-rays going over the hand.

We could move the lights a little bit, if you want to have a go.

Lovely.

NATASHA: OK, bang on.

LOUISE MCKNIGHT: Excellent.

NATASHA: So what happens next?

Well, we're going to make the exposure next.

Do you want to change it to hand?

NATASHA: Yes, please.

OK. And we're ready to go.

NATASHA: Ready to go.

So can I press the button?

We'll do it together.

NATASHA: We can do it together, OK, after three-- one, two, three.

Oh.

So here's the image that we've made.

NATASHA: And look, it's a digital image, so no need to wait for those long exposures anymore.

LOUISE MCKNIGHT: No.

NATASHA: If only Dr. John Hall-Edwards could see this.

LOUISE MCKNIGHT: He'd be amazed, I think, yes.

[MUSIC PLAYING] NARRATOR: Meanwhile, Charles has driven ahead of Natasha, to Henley-in-Arden, and their last pit stop today, the Vintage Barn.

CHARLES: Right, first come, first serve.

NARRATOR: Charles still has a budget of 124 pounds and four pence.

CHARLES: Hello.

SHOPKEEPER: Hello.

- How are you?

- I'm all right, thank you.

- This is the barn?

- It is.

- And your name is?

- Sarah.

Sarah, Charles Hanson.

And-- - Steve.

- Steve, are you together, or-- [BELL RINGS] - Yeah.

CHARLES: Fantastic, That's your phone ringing.

Do you deal in all sorts, here or-- We do, yeah, yeah.

NARRATOR: Crockery, check.

Skulls, check.

Golf clubs, copper kettles, check, check.

These are quite nice.

I love Edwardian elegance and sophistication.

Of course, if you were a lady back in the late Victorian or Edwardian times, you'd wear your kid gloves .

And of course, a lady wouldn't be able to fiddle her finger through into a glove, she'll take out her glove stretcher.

And very daintily just flex out the finger.

They're quite charming.

And they're only priced at-- that's a fiver, and that one's three pounds.

I'm almost thinking I might buy a rustic lot.

That's a pretty little gaming counter box.

I would say it's applewood, it could be pearwood, but it would date to around 1820.

For a couple of pounds, it's not bad.

And there's also these, what appear to be scissors.

But in fact, you'll see, they are called goffering tongs for crimping frills.

If you are a Victorian lady, they'll be heated up-- so very, very red hot-- and you'll then just crimp your textile and give it that finish.

They are made of cast iron.

And they're very crude.

I think these were date to around 1880, very archaic, and a good talking point.

NARRATOR: Cogitate a while, Charles.

But what's keeping Natasha?

NATASHA: All right, OK, well, that's good, isn't it?

Car's sitting here, not even being used.

Thanks, Charles.

NARRATOR: Just about to rain.

Natasha has already dented her budget with that bulldog, but she still has 121 pounds and 28p in her pocket.

NATASHA: These are fab.

These are a pair of drawers.

And not only are they period, they're from 1930s, or so, real trendy office furniture from that period.

But they're tambour fronted.

NARRATOR: These rolling wooden slats are more usually found on roll top desks.

They're stacked on top of one another.

And I wonder if this little brass nodule that's screwed into the front, here, means that these two are stackable.

I don't know.

But what I do know is that a pair is good.

And also, the fact that they don't have a price on them, or appear not to have a price on them, is good, because maybe these have been here for ages.

They are part of the furniture.

But they can afford to let them go.

I don't know.

That worries me.

Oh, sorry.

Nice guy.

Who does that?

Sorry, I just-- I like them.

Don't look, because they won't even sell them to me.

No, I-- really?

NATASHA: Well come on, they don't even have a price on them.

They're part of the furniture.

Yeah, but everything's for sale.

Everything's for sale, you reckon?

I like your style.

How much are they?

I don't know, there's no price.

There's no price.

I'm going to wander on.

Do you mind?

Oh, that's fine.

Thank you, very much, OK. OK, sure you don't want to stick around?

No, no, I've heard enough.

All right, OK.

Very nice.

Well at least he likes them.

NARRATOR: Something to consider while Charles summons Steve.

The crimping tongs are priced at five pounds.

SHOPKEEPER: Yep.

CHARLES: The gaming dice counter box is two pounds.

They're a fiver, they're three.

What's your best?

SHOPKEEPER: Should we say a tenner?

For 10 pounds, sold.

NARRATOR: Hey, big spender.

What about Natasha?

NATASHA: This is really cool.

Sometimes, the label just tells you exactly what it is, in one, two, three, four words-- coppered stair carpet clips.

Lovely shape, look at the shape.

It's almost like a spoon.

And it's cast with a nice design on top.

And there are, in this cabinet, 22 of them.

They just take you back to a certain era, and a moneyed era, but not for everyone.

If you saw coppered clips, you know that person is making good money.

I think this could be late Victorian.

I've never seen anything like that.

I'll ask about those.

And then, whoa-- first of all, I have to ask myself, what does it say here-- Ellams Bantam Duplicator, number two model.

Well, I ask you, what on Earth is that?

I have absolutely no idea, but-- Oh, it's like a carbon copier.

That's exactly what it is.

1930s, 1940s, that sort of period.

I think for something that's got its roller, its frame, it's got the instructions, it's got original ink.

For something of this age to have all of its constituent parts, I think that's pretty good.

12 pounds.

OK, there's stuff to talk about with Sarah.

I'm going to go find her.

NARRATOR: First of all the tambour fronted drawers with no ticket.

Best price, please.

75.

75.

What would you say?

I know I've got dirty hands, but if I say it's 60 pounds, would you shake one of them and call it a deal.

- I'd be all right with that.

- 60 pounds.

Yeah.

OK, let's do that.

I don't mind dirty hands.

I hope that I've not singed you.

SHOPKEEPER: No, you're fine.

NARRATOR: Now what about the carpet clips priced at 28, and the duplicator ticketed at 12 pounds.

20 pounds, is that too cheeky?

It's 40 pounds for the two together.

25.

25, and it's a deal.

Yeah.

I'll tell you what, shake.

I'm chuffed with that.

NARRATOR: Done.

She's the big spender today.

Careful, Charles.

Oh no, watch out.

I quite like that.

NARRATOR: Dear, oh dear.

CHARLES: It's what you call a baguette box.

You put your baguette into that container.

And of course, it's quite well aerated with this opening here, which is pierced with these nice spindles.

Heavy as well, good quality oak, not overly old.

I would say that baguette box, it's probably more like 1950s, but that's a definite food for thought.

The day's been a long day.

I'm thinking baguettes.

I'm thinking it might be worth a nibble.

Hi, Steve.

Hi, Charles.

That time of the day, I found a baguette.

What have you found?

CHARLES: I found a baguette.

I feel a bit hungry for this.

It's priced 18 pounds.

SHOPKEEPER: Yeah.

Your very best price?

14.

CHARLES: 14.

Pounds I'm a happy man.

NARRATOR: A deal at 14 pounds.

Will it make him some dough at auction, though?

And will he rise to the top again?

CHARLES: In eight years, I never actually have been behind on the glorious "Antiques Road Trip."

NATASHA: Eight years.

CHARLES: Eight years of hurt, not yet.

Whatever happens next, whatever happens next, I'm going to take that as a victory.

NARRATOR: Good for you.

Anyway, winning or losing is for the auction-- after some shut eye.

[MUSIC PLAYING] Sleepy Hollow.

Nope, this is Penkridge, Staffordshire on market day and the joint is jumping.

It's great.

Oh this is such a bustling little village.

Yeah look at that.

Apples, as well, you want to see?

- Ah.

- It's great.

I love it, I love it.

Sorry.

Come on.

NARRATOR: You get your fruit and veg later.

We've got an auction to get to.

Today the end of the journey that started in Coleshill and mapped the back roads of Warwickshire and Staffordshire before finally setting course for Penkridge.

NATASHA: Oh, it's all happening, Charles.

CHARLES: Ladies first, come on.

NATASHA: Thank you.

NARRATOR: Our auction today is at Cuttlestones, and the sale room is packed to the gunnels with a myriad of treasures.

[MUSIC PLAYING] Natasha blew a big hole in her budget, spending 217 pounds on five lots.

Charles delved into his war chest and coughed up 139 pounds, also on six lots.

So what do they think of each other buys?

So here's Charles's dress, his favorite garment.

The color is a little bit outre, but the style is really cool.

These bell sleeves are really fashionable.

The thing is, have the auction buyers come here today to buy a crochet '70s dress?

And if they do, is it going to be for more than 20 pounds?

I fear not.

NARRATOR: Well, the crochet didn't snag her.

Will the china canine grab him?

I'm pleased Tash has gone to the British spirit.

He's a handsome dog, but the problem is, he carries a very high handsome price.

And at 120, he could just be a bulldog who's slightly expensive.

NARRATOR: Well, let's hope those dog lovers have deep pockets.

So does our auctioneer today, Ben Gamble, have any high hopes for our pair's purchases?

The bone lot, it's a little bit macabre, if I'm honest with you.

So I'm not-- ah-- we will see.

It wouldn't be something I would be taking home, put it that way.

But we've got a lot of bidders, so fingers crossed, somebody does.

The tambour fronted cabinets, we do quite well with that sort of vintage office style furniture, so we're hopeful that they're going to do quite well.

I've got or two buyers already expressed an interest.

So fingers crossed, they'll do pretty well.

NARRATOR: Thanks, Ben.

Let the sale begin.

Time for our hopefuls to take a seat.

[GAVEL] Comfy isn't it?

Oh.

NARRATOR: They make a nice couple.

First up, Charles's 1970s crocheted dress.

At 25, I'm bid.

My commission at 25, 8, 30, 32, 35.

Do we know what size?

One size fits all?

Come on.

It's gorgeous.

It does fit, I've tried it on myself.

All done now at 35 pounds.

[GAVEL] Oh.

NARRATOR: Well done, Charles.

You were a vision in it.

I'm very happy.

I'm at peace.

Peace.

Peace, man.

NARRATOR: Natasha's vintage office furniture, now.

The tambour fronted drawers.

Bids are in, now.

Starting at 22.

CHARLES: Good.

NATASHA: You feel good.

BEN GAMBLE: At 25, 8.

Good for you, maybe.

30s, on the net at 30, I'm out at 30.

Oh, for goodness sake, no.

At 32, fresh interest at 32.

NATASHA: Come on.

BEN GAMBLE: 38 pounds, 40.

No, he says, it's 40, on the net at 40.

We're going to sell them at 40 pounds.

[GAVEL] NARRATOR: I cannot believe it, a 20 pound loss, oh.

Long way to go.

Hold tight, OK.

But at the moment, I've got that sinking feeling.

NARRATOR: Such a child.

Next up, Charles's Shelley tea set.

We are bid 15 pounds, 18 20, 2, and I'm out.

It's 22 in the room.

CHARLES: Keep coming.

At 25 on the net, 28, 30, and 2.

Come to daddy.

BEN GAMBLE: At 32 bid.

I can't hear you?

BEN GAMBLE: Are we all done?

It's thinking-- NATASHA: Sell it.

BEN GAMBLE: --quickly.

Sell it.

BEN GAMBLE: At 32 pounds.

NATASHA: Put the hammer down [GAVEL] Oh no.

Oh.

NARRATOR: Well, a tiny profit at least.

That was a dead certain.

Shelley did not sing its art deco praise in Penkridge.

NARRATOR: Time for Natasha's duplicator.

Copy that.

At 10 pounds, 12 in the room, 15.

There goes our profit.

At 15, one more you'll beat me.

At 15 pounds, 18, he says.

At 18, I'm out at 18.

[INAUDIBLE] BEN GAMBLE: At 18, a bid 20.

Are we all done?

We're selling, left side there.

Going at 18 pounds.

[GAVEL] 8 pound profit, that's good.

It's not good.

NARRATOR: Better up than down.

And 8 pounds is 8 pounds.

You are on the road.

You have made a profit.

That's good.

NARRATOR: Time for dem bones, now.

Dem bone, dem bones, dem dry bones.

At 30 pounds, 2.

Very interesting.

BEN GAMBLE: At 35 Leave it.

BEN GAMBLE: 40, 5, 50.

CHARLES: Very interesting.

BEN GAMBLE: At 50 bid.

CHARLES: Come on, shake those bones.

BEN GAMBLE: Do we sell?

All done at 50 pounds.

[GAVEL] Oh, bones.

That's good, isn't it?

NARRATOR: Yes indeed, the bare bones turned out to have some meat on them.

Put it there.

You [INAUDIBLE] Rattle my bones.

NARRATOR: Now, it's Natasha's vintage DIY trio, the brass sprayer and blowtorches.

10 pound, I'm only bid.

Are we 12?

On the net, bid 12.

15.

You could even profit.

BEN GAMBLE: In the room at 15.

You're out on the net.

We can't just have one.

18.

CHARLES: Well done.

BEN GAMBLE: Are you sure, sir?

At 18 pounds.

Encourage him, he's behind at 18.

At 18, it's on the net at 18.

It'll be 20, quickly.

I shall sell.

All there at 18.

It's just not my day.

BEN GAMBLE: 18 pounds.

[GAVEL] NARRATOR: Well it's not over yet.

Though you did make 6 pounds there.

I thought that was 50 pounds.

Really?

I did.

That was cool, that was quirk.

NARRATOR: Will Charles be in the money, next, with his William III silver crown?

At 28 pounds, I'm bid at 28.

My commission, 28, bid 30, 32.

Come on.

BEN GAMBLE: 35, 38.

Come on.

BEN GAMBLE: 40.

Bid 5 on my right.

- Come on.

- Oh, oh,oh.

BEN GAMBLE: In the back at 45.

Are we all done at 45 pounds?

[GAVEL] NARRATOR: Charles is coining it in with a 50% profit.

I'm quite surprised.

The comeback kid.

NARRATOR: Is he on a winning streak, though?

Next up, his regency crimping tongs, and dice box, and the Edwardian glove stretchers.

And we will start at 20 pounds.

I've doubled up.

Come on.

BEN GAMBLE: Who's 2?

22, 5.

Come on.

BEN GAMBLE: Are we all done and going there at 25 pounds.

[GAVEL] Sold.

Every time it's about 15, 20 profit.

A small step-- Small but steady.

--for handsome mankind.

NARRATOR: A goodly profit, but hardly astronomical, Charles.

You're comparing yourself to Buzz Aldrin?

[LAUGHS] NARRATOR: Catch him if you can, Natasha.

Time for her shiny stair carpet clips.

At 10 pound, only bid 12, 15.

You watch.

BEN GAMBLE: On the net at 15.

CHARLES: No running.

At 15 pounds.

CHARLES: Keep running up those stairs.

BEN GAMBLE: Who's 18, quickly?

Sold.

BEN GAMBLE: Your last chance.

NATASHA: Breaking even.

BEN GAMBLE: Going and sold at 15 pounds.

[GAVEL] It's a sad day.

NARRATOR: Certainly is.

At least you've broken even.

I'll tell you a little surprise What have you got?

Ready?

I've got a baguette.

[LAUGHS] NARRATOR: Cue the next lot, Charles's baguette box.

Mm.

Cheers.

Cheers.

NARRATOR: All they want is a bottle of water and they'll be away.

Can't take him anywhere.

At 15 pounds.

I'm only been at 15. Who would like 18, quickly?

It's here to sell.

18 I'm bid.

It's solid oak, it's a really handsome baguette box.

Look at the size of it.

Come on, sold.

BEN GAMBLE: At 18 pounds.

CHARLES: Ready-- [GAVEL] --sold.

[LAUGHTER] NARRATOR: Well, he sure used his loaf and made a four pound profit.

High spirit, and high hopes, now, because it's Natasha's 1950s model bulldog.

45 pounds, bid 50 5, 60, 5, 70.

At 70, in the room and no mistake.

5, 80, 85, 90.

[INAUDIBLE] he's good.

Well done.

95 100.

Come on, come on, 110.

BEN GAMBLE: In the room at 100.

You're out on the net, and no mistake, at 100 in the room, are we 10 now?

110.

Are we all done?

At 100.

[GAVEL] He's 100 pounds.

He's made a oner.

He's made a oner.

NARRATOR: Yeah, but that's a 20 pound loss.

[GROWLS] So how do you feel?

Broken, bruised, battered, like a broken baguette.

Yeah, but look at me.

It's a funny old game.

Yes, watch this space.

Come on, off to Shropshire.

[INAUDIBLE] Come on, lets go.

NARRATOR: Game on, eh.

Natasha started out in front with 253 pounds and 28p, but after auction costs she made a loss, for 60 pounds and 38p, leaving her 192 pounds and 90 pence to carry forward.

Charles started on the back foot, with 239 pounds and four pence, but limped ahead with a profit of 29 pounds and 10p after auction costs.

So he's first past the post and now has 268 pounds and 14 pence to spend next time.

Who paid for the bread roll, though?

Come on.

And the day is done.

- Good.

Where are you going?

[LAUGHTER] NARRATOR: Onwards and upwards, eh.

[MUSIC PLAYING]