NARRATOR: It's the nation's favorite antiques experts-- Yeah!

Super cool.

How about that?

NARRATOR: --behind the wheel of a classic car, and a goal to scour Britain for antiques.

The aim?

To make the biggest profit at auction.

But it's no mean feat.

They'll be worthy winners-- Yes!

--and valiant losers.

Blast it.

Will it be the high road to glory or the slow road to disaster?

[BANGING] - Oh, my god.

There's something wrong with the car!

NARRATOR: This is the "Antiques Road Trip."

Dig that.

[MUSIC PLAYING] Today we're enjoying the convivial company of this couple of charmers.

Philip Serrell, we meet again.

I said that almost as if we're a nemesis.

NARRATOR: Blimey.

It sounds like our experts, Natasha Raskin Sharp and Philip Serrell, are getting straight down to business.

Well, we've done this once, haven't we?

We have, yes.

Do you remember who won?

You won.

I just-- could you say that again?

You won.

Just one more time for me.

A resounding victory.

Yeah!

NARRATOR: Yes, this isn't their first rodeo together.

Oh, hello.

Hi.

I'm Tasha.

NARRATOR: Last time out, auctioneer and fine art expert Natasha was still a bit new to all of this.

I don't have a clue what I'm looking for.

NARRATOR: Whereas auctioneer and old hand Philip-- What was the other thing I wanted to think of?

NARRATOR: Well, I don't think he's ever been wet behind the ears.

I'm here to seek my revenge.

I think you will as well.

Their set of wheels for this jaunt is this 1964 Sunbeam Alpine in Signal Red.

[ENGINE REVS] Yeah, that's what-- there's another one in there somewhere.

Hold on.

There we go.

NARRATOR: They each got a starting budget of 200 pounds, and they kick off this trip amidst the stunning vistas of the Lincolnshire Wolds.

PHILIP: Lincolnshire is lovely, but it's kind of flat, isn't it?

Well, it's very beautiful.

It's flat, isn't it?

We both got the memo to wear some striped linens, so that's a good sign.

You're absolutely right.

Yeah, yeah.

NARRATOR: Our matching pair begin this in and the east.

Take in a bit of Suffolk, head up the middle to Yorkshire, and arrive at a final auction on the west coast at St Anne's on Sea.

For our first jaunt, we'll be mostly lingering in Lincolnshire, ending up at an auction in Little Bytham.

But will start off in the capital of the Wolds.

Where we are specifically, is it "los," or is it "loose?"

Louth.

- "Louth" like mouth.

- "Yeth."

Right.

"Yeth."

"Yeth," it's Louth.

NARRATOR: (LISPING) Silly Serrell.

The Denizens are fiercely proud of their many independent specialist grocers, and it's a good place for setting your watch too, as the town sits on the Greenwich Meridian.

Do I get to drive?

You've been such a good boy-- You're going to let me drive?

Thank the Lord for that.

NARRATOR: The Old Maltings is Natasha's first port of call.

Lots of different dealers in here, all independent of course.

Anything she can make her case for?

Ah.

Exhibit A. I have bought a barrister's gown on the "Antiques Road Trip" before.

Here you have not only gown, but its case as well, its tin enamel case.

By probably-- now, I just want to quickly say that I dropped out of a law degree, so I'm not the best person to ask.

But I think the maker of barristers, and judges gowns, and wigs, and that sort of thing, Ede and Ravenscroft of London.

Says Ede and Son Robe Makers to Her Majesty.

Now, I would be surprised if that were to Her Majesty, Queen Victoria.

So I'm going to say that this is a 20th century.

Now-- am I?

Am I going to say that?

Because that's not going to be Victorian, is it?

NARRATOR: You can almost hear the cogs whirring.

Maybe the gown and the tin were not made at the exact same time, because on the label here we have Ede and Ravenscroft, but here we just have Ede and Son.

OK.

I think I'm deciding that the tin is Victorian, and that the gown is modern.

NARRATOR: Good bit of detective work there, Tasha.

Ede and Sons rope makers merged with Ravenscroft wig makers in 1902, so the tin definitely predates that.

But the company can trace its roots all the way back to 1689, which Phil would say is very, very, very old.

I think that this name, this gown, this tin, put them together, I think they could do quite well at auction.

I think they're quite fun.

A price of 80 pounds.

I think I might have a bash at that.

NARRATOR: Well, while she considers the evidence, let's catch up with our lovely little Sunbeam.

Car's not bad either.

Market Rasen, here I come, here I come.

NARRATOR: Ready or not for a spot of shopping down by the River Rase, where it's warm enough for a rare glimpse of the Serrell leg.

Shorts and scarf together, eh?

Oh.

Hello.

NARRATOR: Well, it's a look.

Hi, I'm Philip.

How are you?

How do you do?

I'm Lynn.

Good to see you.

Nice to see you.

You've got a great shop here.

Is it all right if I have a look around?

- Please do.

- You're an angel.

Please do.

I don't suppose you've got any glass, have you?

Just a few pieces.

NARRATOR: Yep.

Wold Antiques isn't short of the old silicon dioxide.

Lots of other stuff too here to tempt our Phil to part with the 200 pounds in his kitty.

These are interesting little-- these are silver backed hair brushes.

And they're monogrammed.

It would be really lovely if you knew who these belonged to.

It's about 40 quids worth of silver though.

That's interesting because unless I'm mistaken, it's the same monogram on the back there.

This is a shaving mirror.

It's designed to be folded up, and it basically just sits like that.

I don't want to break this because that would be seven years bad luck.

I've already got enough of that.

NARRATOR: Well, let's see if Lynn can change your fortunes.

This is interesting, isn't it?

That monogram is the same as that monogram.

Yes.

It's the same person?

Yes, it's all from the same set.

This is like me.

It's had a tough life, Lynn.

I know, but looks good, doesn't it?

Oh, dear me.

She's full of charm, this lady.

I tell you.

So what's the best you can do that lot for?

Rock bottom price would be 100 for the lot.

See, I don't know if I can do that.

Let me think about it.

What if I was to throw these in with it?

NARRATOR: Blimey, this deal just keeps getting better.

These are lovely.

They're French.

Yeah.

Mother of pearl opera glasses.

Yeah.

You got a bit missing there though, honey.

I know.

But they're a must have.

I'm never without mine when I go to the opera.

With the opera glasses, 90 pounds.

Let me have a wander and I think, my love.

NARRATOR: So while he looks that gift horse in the mouth, what's the buzz back in Louth?

I'm all about the shape of these items.

This is so cool.

This is a vintage beekeeper's smoker.

And I've never done beekeeping, and I really fancy it.

So it works like a bellows, basically.

You put in your coals, I guess, into this body section here.

Set it alight, close it over, allow the smoke to form.

And then you just softly puff the smoke into the bee colony.

You don't smoke them out, you just lull them into a nice smoky false sense of security.

35 pounds is the price.

Oh.

No, I definitely, definitely want to have a bash at that.

I think that's super cool.

It's smoking.

NARRATOR: Cool.

She's on fire today.

And she's not done yet.

You'll have seen something like this before, a Celtic design, a Scottish silversmith.

In this instance, you have Robert Allison.

Here you have a sword brooch as it's described on the label, but I would say it's more of a kilt pin.

It's marked up at 35 pounds.

It is just a gorgeous Scottish thing.

The only problem is, is that while I've been talking to you about it, I have clocked just down here another brooch on the shelf.

So that's precious metal, this is not.

It's brass.

But I don't know, there's something about this that maybe stands out a bit more.

Because look at this woman, she's so 1930s.

She is tall and lean, and of course that was very much reflected in the designs of the time.

And what is mimicking her stance?

This Afghan dog at the front.

They are very Art Deco.

They're very stylish.

They're just not precious.

The price on this one is 20 pounds.

So the question is, do you want to go for precious metal, or do you want to go for a bit of brass?

I don't know.

I like them both.

And you know what I was thinking before I came here?

I thought, I'm not going to buy a wee brooch.

Looks like I'm going to buy a brooch.

NARRATOR: Best laid plans and all that.

Let's find someone in charge.

Hello?

- John, is it?

- Yes, it is.

- Tasha.

Hello, Tasha.

Lovely to see you.

I've brought these little brooches out of the cabinet.

But in fact, I have a slightly longer wish list.

There is a barrister's cloak and tin upstairs, and I love the wee bee smoker.

Right.

What about barrister's cloak and tin?

80 pounds is the full price, do you have any idea what the best price could be?

Yes.

65 I'll do on that.

The bee smoker is marked up at 35, is there any maneuvering-- - 30.

- 30.

OK. My big question is, am I going to go with a Robert Allison brooch or am I going to go with an unknown entity?

If I were to go for the brass brooch, 20 pounds?

Yes.

Fine by me.

Let's just keep that 20 pounds.

Am I here to play it safe or am I here to take a risk?

Take a risk.

Take a risk.

I'm going Afghan brooch, I'm going barrister's cloak and tin, and I'm going bee smoker.

Let's call it 115 pounds.

That's fine.

Let's do it.

Oh.

John, thanks very much.

That wasn't scary, was it?

- No, not at all.

- Not at all.

Right, OK.

I'm going to give-- I'm a gibbering wreck now.

NARRATOR: You did sterling work, John.

That's Natasha off the blocks.

- Thank you so much.

- Bye-bye now.

Bye-bye.

NARRATOR: Back in Market Rasen, Phil's racking up an equally impressive shopping list.

And he's still rummaging.

I absolutely love these.

Now, that looks like a little pair of sugar tongs or something.

But what this does, if you can imagine you're a 19th century gentleman, who is perhaps a bit of a slovenly eater.

He would clip that on there like that, and then he'd hook it into his collar.

And it's a napkin holder.

How cool is that?

It'd be really lovely if it was silver, but I'll tell you what, let me have a look.

This is really sad because I've got old man's eyes.

And you wouldn't think that, but they're the same age as the rest of me.

NARRATOR: Happens to us all, Phil.

I think the time has come for me to go and have a deal with Lynn.

So I don't quite know what I'm going to end up with yet, but we'll see.

NARRATOR: He's already got a few things earmarked for the generous price of 90 pounds.

Good luck, everyone.

Lynn, Lynn, Lynn, Lynn, Lynn, Lynn.

Yes, Phil?

I like that.

I don't know what your price tag on it is, and I don't want to know.

Right.

I want to give you 100 quid for that parcel and that, that's what I'd like to do.

You can't give me 110?

I'll give you 105 quid, there you are.

And that's a deal, done.

You're an angel.

Thank you very much indeed.

No problem.

NARRATOR: So that heavenly deal breaks down to 75 pounds for the brushes and mirror and 15 pounds each for the opera glasses and the napkin holder.

So while he heads off as fast as his naked little legs can carry him, where's Natasha got to?

She's heading southeast to the hamlet of Ailby.

And into the woods where, in a clearing, she's here to find a strange little house and a woodcutter.

I do hope she's left a trail of breadcrumbs and likes gingerbread.

Good afternoon.

Hello, Robert.

Natasha, pleased to meet you.

So nice to meet you.

Thank you very much for having me along.

Tell me, what are you doing right now?

I'm hewing a log into a beam with an ax.

As simple as that.

NARRATOR: Carpenter and mud mason Robert Lee creates and maintains buildings like this one, constructed using a traditional technique that is peculiar to Lincolnshire.

I have to say, it looks like something from a children's book, an illustration.

What exactly am I looking at?

Well, it's a Lincolnshire mud and stud cottage.

Timber frame, covered in mud.

And all the timber frame was made like this.

So how long has mud and stud as a technique been used?

Well, the oldest mud and stud structure I've worked on is early 15th century.

So it's been going a long time.

There are about 500 left in the county.

Something like that.

Really?

And they must have lost thousands.

It looks to me like quite an environmentally friendly way of building houses.

I've not used any cement on that.

I don't go to the builders' merchants, everything's from here.

It's a truly vernacular structure.

NARRATOR: Whilst this building style is very local, the technique has traveled.

In 1607, Captain John Smith, who was born in nearby Willoughby, voyaged to America and helped set up the first permanent English colony at Jamestown.

Amongst his fellow settlers was another Lincolnshire man carpenter, William Lacson.

ROBERT: He was conversant with all this type of building, and they were the first buildings in Jamestown in America.

So if you go to Jamestown, Virginia today, will you see some of those original settlement buildings?

No.

They're all gone.

But they have made replicas.

NARRATOR: Robert's been working on his own pied-a-terre on and off for the past 10 years.

The main timber structure is completed, but there's still work to do.

Let's go get your hands dirty, Natasha.

What's this building going to be?

These are going to be toilets.

Oh, fantastic.

Well, everyone needs one.

That's right.

OK.

So this is obviously the mud.

Yes.

So this is subsoil.

We soak it and then mix it with barley straw.

Right.

That's what's poking out of it.

Yes.

Barley straw is strong and pliable.

NARRATOR: It's a similar technique to the more widely known wattle and daub, which uses screens of woven wooden strips as a base for the walls.

Here, the mud is packed around vertical lats, completely covering the wooden beams on the outside.

Get a nice piece of mud, a decent size.

Here we go.

It that a bit right?

Yeah.

So push it in like that, so it goes through the lats.

It's going to build up around the lats.

Yeah, that's right.

OK, here we go.

Yeah.

That's it.

And when we're doing a whole structure, generally we start at one spot and go right around the building at about this level.

And then just keep going round and round until we've built up.

NARRATOR: These traditional techniques fell out of favor when cheap, mass produced bricks became the construction material of choice.

But Robert's carrying on a tradition of building in mud that goes back millennia and spans the globe, and the result is something rather special.

I cannot wait to hopefully come back in one, two years time and see the finished loo and see the finished walls.

You can use it.

Yeah, absolutely.

NARRATOR: Elsewhere, Phil's out on the road again, fully embracing that convertible lifestyle.

Just got to watch I don't lose me hat.

NARRATOR: Yeah, you don't want to ruin the ensemble.

He's heading to Horncastle, a lovely little market town which apparently floods whenever a new vicar is installed at the local church.

Now let's see if Phil can make it rain at Drill Hall Antique Centre with some of his remaining 95 pounds.

Oh, look at that.

This is such a good thing.

The suffragette movement, Votes for Women, really, was established in 1903, and there's a real resurgence in buying today anything that is suffragette related.

And I think this is really cool.

So we've got this little-- it's a pepper caster.

We've got "votes for women" on the front, and then on the back we've got "we can make things hot for you."

And that's clearly a relation to voting for women and also the fact that you're putting pepper on your food to spice it up a bit.

Dated Chester, 1908.

And that means it's in period.

That is rare, rare, rare.

And let me tell you, if that's in my budget, I'm just going to buy that.

OK, 2,125 pounds.

Perhaps I'm not.

I'll put it back.

NARRATOR: Yeah, that's more like notes for women.

You've already got a lot of silver anyway.

So what else?

Oh, I do love this nice box.

That's quite cool, isn't it?

This was sat in your pocket on your table, you took a pinch of snuff out, and there you go.

Oh, that's even better still.

Look.

Well, that is probably Scottish.

And they called them miser snuff boxes because you put your hand in there, and you can only take a very, very small pinch of snuff out there because of this shape here.

So it'd only just take your thumb and your forefinger.

Priced up at 38 pounds.

Might be a bit of a look at that.

NARRATOR: Let's see what shop owner John makes of it.

Hello, how are you doing?

Hello there.

I quite like this little snuff box.

Can you do that for 25?

I can do it for 30.

Are you a gambling man?

Yes.

Right, OK. Get a coin out.

All right.

I'll call.

OK.

If I win, it's 25 quid.

If you win, it's 30 quid.

NARRATOR: Oh, that old chestnut.

Drum roll.

Go.

Tails.

Heads.

Damn it.

Blast it.

NARRATOR: That'll teach you.

Give the man his 30 pounds.

I'm pleased you got something.

I am as well, but I wish it'd been 25 quid.

NARRATOR: Time to leave before you make any more questionable decisions.

[ENGINE REVVING] NARRATOR: Huh.

Let's go ahead and pick up your fellow traveler.

Instantly I can tell that you're much more comfortable being behind the wheel than being driven.

I think second gear and I both feel the same about this.

NARRATOR: Night, night.

It's a new day, to quote Nina Simone.

And our shoppers in the Sunbeam are feeling good.

I'm going to ask you a very serious question, and I want you to keep a straight face when you give me the answer.

Have you ever had a Lincoln sausage?

No.

No, I've never had one.

And I'd have to say, with them I'm not familiar.

Because you lot have those big square sausages, don't you?

You-- you lot?

You lot.

You lot?

Do you mean the Scots?

NARRATOR: Lordy.

Yesterday, old foot-in-the-mouth Phil went on a buying binge, picking up a snuff box, a napkin clip, a silver dressing table set, and a pair of opera glasses.

I'm never without mine when I go to the opera.

NARRATOR: Leaving him with 65 pounds in his pocket.

Natasha was no slouch either, bagging a brooch, a barrister's gown with tin, and a bee smoker.

As you do.

That's super cool.

It's smoking.

NARRATOR: So she's still got 85 pounds to hit the shops with, if they ever get there.

Oh, hold on.

Should I go to first gear?

Oh.

Yeah, go on.

If you can't find it, grind it.

NARRATOR: How's that for a motto?

Later, we'll be heading to an auction at Little Bytham.

But first, Natasha has struck out alone towards the village of Navenby and the suitably named Navenby Antique Centre.

They've got 30 or so dealers here spread over 2 floors, so there'll be lots of variety on offer.

Bound to be something in here to help her part with that remaining 85 pounds of hers.

I believe I fall under the category millennial because I was born in the mid '80s, and therefore I am a millennial.

I'll say it loud and proud.

And therefore I love houseplants.

That's what happens-- avocados and houseplants.

But this is the thing, this terrarium is Victorian.

Just by looking at it, we can see it's Victorian, because it's very much in the style of what's known as a Wardian case.

NARRATOR: Named after Nathaniel Bagshaw Ward, an English doctor with a passion for botany who popularized their use for transporting and protecting exotic plants from foreign climes.

This is super elegant, and this would look perfect in any millennial household.

NARRATOR: And you could grow avocados in it.

The problem that I have with it is I have to actually take off the lid, almost like a jar for ginger or something, and put my hand all the way in from the top.

So as a person wanting to use it for houseplant purposes, it's not immensely practical.

NARRATOR: Typical millennial, never happy.

But better keep on looking, then It's so hard to walk past something as really decorative as this.

The title, "Souvenir of Edmonton."

So that's Canada.

And this little number here, 11 stroke 100, means that 100 of these woodcuts were produced by the artist, and this was the 11th effort.

Now, woodblock printing is such an amazing process.

Think about the artist gouging out using a knife that kind of looks like this, a fork almost.

Gouging out the design ever so delicately.

The colors were placed on the block to create this lovely scene of shadows being cast on an Edmonton hill.

It's definitely 1930s, but I don't recognize the name, LP Jones.

But the handy label does say that he was Canadian.

Llewellyn Petley Jones, to be precise.

NARRATOR: He was quite renowned in his native country, and was even commissioned by the Alberta government to paint portraits of the Queen and Duke of Edinburgh to hang in their parliamentary chamber.

I think this is absolutely gorgeous.

Worth a punt.

It's called "Souvenir of Edmonton," perhaps it will be my souvenir of Navenby.

Who knows.

Let's have a chat.

NARRATOR: Owner Laura is the person you need to sweet talk.

Laura, I'm sorry to interrupt you as you're busy in the cabinet.

Oh, you found something.

Really my cup of tea, this woodblock print.

I have to ask, is it yours?

It's not mine, but it's my husband's.

Oh, oh, oh.

You own it?

I mean, is it your cup of tea?

Well, it's definitely my husband's cup of tea.

He wanted to keep this one at home.

But I have to say, I said we could sell it.

Oh, really?

Wait, OK.

So wait, hold on a minute.

You've got the final decision, it would appear.

Oh, of course.

OK, good work.

You've got 58 pounds on it.

What's the best price?

Well, given that it's my husband's, and given that he is toeing the line at the moment with it-- Oh, is he?

I'll be bold and I'll say you can have it for 40.

I was going to be bolder.

Oh, OK. How bold were you going to be?

I was going to try 30.

So I wonder, could we meet half way at 35?

I'll go and I'll take the risk.

I'll take the risk on it and say 35.

All right.

OK.

Thank you so much.

NARRATOR: That's quite a discount, Laura.

I hope [INAUDIBLE] doesn't mind.

Right, Natasha.

Sling it in the boot, love, and let's take a powder.

[MUSIC PLAYING] NARRATOR: Philip, meanwhile, is out for a bit of a stroll.

He's winded his way to the town of Grantham, and the parish church of St. Wulfram.

There's been a church on this site since before Norman times, and the current building is really rather grand.

But Phil's not here to marvel at the architecture because tucked away in a room above the south porch is a very special collection which he's yet to twig.

Oh, the Trigge Library.

NARRATOR: But you'll have to tackle the stairs first.

Lord above.

Brian, how are you?

I'm well.

Welcome.

Welcome indeed.

Do you come up those stairs every day?

Not now.

I used to do when I was verger here.

NARRATOR: Brian Buttery carried out that role for over 22 years, and part of his duties were to look after this amazing library containing some of the very earliest printed books.

It's considered to be England's first public reference library, and it's all thanks to one man.

Francis Trigge was rector of Welborn, a village south of Lincoln.

Must have had some connection with Grantham because he wanted the people of Grantham to be able to come and read books in a library, and he supplied the monies for the books to be bought.

But it was a job lot, I believe.

They went to Cambridge and bought all these books of all sorts, and sizes, and all different subjects, and made the library.

NARRATOR: Trigge's 100 pound donation in 1598-- over 20,000 in today's money-- bought a selection of around 240 printed volumes.

Many of the books are ecclesiastical in nature and mostly are written in Latin.

A few are now very rare indeed.

I've heard this word, "incunable?"

Incunable.

Books before 1501.

Right.

Believe it or not, it comes from the Latin for cradle.

Cradle.

Well, I suppose that's the cradle of learning almost or something.

Well, the first beginnings of printing.

PHILIP: And have you got any here?

BRIAN: Two, yes.

We have a book of sermons and a book of law.

Interesting sermon.

3 and 1/2 hours on how to love, choose, and cherish a wife.

NARRATOR: There are non-religious works as well.

Books on chemistry, bestuaries, and one in particular that should appeal to former geography teacher Phil.

This is a copy of the book that Christopher Columbus read in Seville to decide that he could sail West and find the East Indies.

And of course he sailed West and found America.

That's fantastic.

Well, I think it's interesting because if you look at all these books, the first thing that occurs to me is they're all back to front, and the title is written in script across the pages.

Yes.

Well, originally, they were all attached to chains and attached to the wall so that you couldn't take them away.

But if you put them that way around, the chains would come between the books and damage them even further.

So is this a 16th century chain?

Yes.

They were forged in Grantham at the time.

That's pretty cool in its own right, isn't it?

Mm-hmm.

NARRATOR: You can still study in the library today, over 400 years after it was created.

But back in the 17th century, there was one particularly famous Grantham resident who was taught just next door, and may well have had his own library card.

So it's really interesting, Brian.

Isaac Newton was taught here?

Yes.

He came when he was 11 years old to be taught here at the King's School.

The headmaster would have the key to the library, so there was a good chance that Isaac Newton would come and read the books in our library.

I'm feeling a bit nervous under this tree because an apple might drop on our head.

Let's just go walk this way, Brian.

Well, we don't want to be involved with gravity at this stage.

No, not at our time of life.

NARRATOR: Now, it's the law of antiques attraction that's pulling our Natasha to her next destination.

She's popped over the county line into Nottinghamshire and Newark-on-Trent.

First dibs on the Albert Street Antiques Centre and 50 pounds left to spend.

But it won't be long before you know who turns up.

So what catches her eye?

Here you've got a lovely cigar box.

Now this is just classic Art Nouveau.

So let's get rid of the saying that says cigars entirely, and we just have these lovely copper mounts at the top.

Super organic.

You've got stylized, I guess, flowers.

They're very Macintosh meets French Art Nouveau.

And then you reveal this lovely mount in the center that says cigars.

The thing that's so nice about it is not just that it gives this a purpose, it's the font.

If you think of those posters, of turn of the century Belle Epoque France, it's that font.

And you see it above the Fontainebleau Paris metro sign.

It's got the look, turn of the century tick.

I love it.

A nice bit of oak tick.

I love it.

NARRATOR: Sounds like a contender, then.

77 pounds on the ticket, though.

Ah, Worcester's best dressed man has arrived.

Don't want to hear a squeak out of you.

NARRATOR: He's in a slightly better financial position with 65 pounds still in his wallet.

So what's the plan, Phil?

I think it's time to get back to the Serrell heartland.

So far on this trip, I have bought little bits of silver and other quaint, sweet, nice things, and I think it's time I bought big old lumps again.

This is a roadside market that's from down the square.

And a lot of these type of things were repro, but I think this one-- blimey, that's heavy.

I think that's absolutely fine.

But it's also 395 pounds, which is just a touch out of my pocket.

NARRATOR: Ever so slightly.

But don't give up on the big lumps just yet.

Look at that, will you.

Dear, dear, dear.

Philip Serrell, you look super English right now, in a pink stripy scarf with a boater hat and some sort of agricultural tool.

Let me tell you, my old man, who was a marquee gardener, had me using one of these when I was a kid.

So there's a little sort of ridger at the back, and you push this-- I'll tell you what.

It just got hard to work.

I'm just going to leave it there.

I don't want to know it.

Have we just trudged up a memory?

Oh, Phil.

Hold on.

Are you OK?

NARRATOR: Oh dear.

Perhaps we need something to recall happier childhood moments.

I quite like that.

It says here shed art.

So this is something that some dad has knocked up in his shed for his son.

And I would think it was probably made '50s.

And it looks to me like it's almost a model of a first World War battleship.

And it's made of-- oh, just a lump of all wood, really.

But all this plaster work here that someone is painted is quite good.

It's 68 pounds, which is way, way, way too much money.

Am I going to be up the creek without a paddle, or is this going to sail me through choppy waters to victory?

I can't think of any more Naval puns, actually, so I'm just going to have to call Simon over.

Simon?

NARRATOR: All hands on deck, here comes the captain of the ship.

Uh, the shop.

PHILIP: Are you open to spirited offers?

I'm open to offers, yeah.

I can give you 30 quid for it.

You don't want to look at the price, it will just upset you.

And I don't-- I can't stand rows at this time of day.

No, I can't quite get to 30.

I can do 40.

Meet me halfway and I'll have it with you.

Ka-ching.

Get in there.

NARRATOR: Well, that was all shipshape and Bristol fashion.

I think that's a bit of fun.

Thank you very, very much for that.

Shed art.

I've learned a new term.

NARRATOR: Every day's a school day, Phil.

Natasha, meanwhile, has been drawn back to that box.

Time to see if Simon will be kind to you.

Wait a minute, let's just back up.

OK, so, I missed one of these before.

When I first started working at the auction house in Glasgow, I was entrusted to man the counter with people coming in for valuations, and I took in something very similar.

And I put it into the mixed general sale in a mixed lot of glass, and it turned out to be a Christopher Dresser Clutha vase and worth 1,500, 2,000 pounds.

But I'm thinking, can I walk past something similar again?

I missed it once, it would be egg on my face if I missed it twice.

It's not Clutha glass, but it's certainly inspired by it.

Yeah, it's coming with me.

Come on.

And it doesn't have a price.

Yes, it's definitely coming with me.

NARRATOR: Ha ha!

All right.

Now we'll have a chat with Simon.

I've scoured the place, and these are my top picks.

I love this cigar box.

I think it's absolutely gorgeous.

But this slightly more unusual studio glass vase I love for a different reason altogether.

What was on it?

77 on this.

Nothing on this.

It's not free.

It's not free?

Oh.

50 is the best on that.

Five zero, OK. That is the best.

10 is the best on that.

It's a no-brainer.

I'll shake your hand for 10 pounds for the vase.

NARRATOR: It's like it was meant to be.

Close, but no cigar for the box.

Now there's only one place left to go.

Take me to Stamford, Natasha.

OK, that'll be 20 pounds.

Just watch this gate first, though.

Yeah.

Yeah, yeah, yeah.

NARRATOR: But before that, let's get some shut eye, eh?

Auction day dawns on this charming little village, not a million miles away from Stamford.

Phil, this is our chance to set the bar.

What do you think?

I think it's either kick it off or kick out, isn't it?

You get out of here.

Come on.

Oh, look at this.

NARRATOR: No fisticuffs, please.

Our pair set forth from Louth and are back in Lincolnshire at Little Bytham, here to do battle at the Stamford auction rooms with internet bidding.

Natasha has spent 160 pounds on her five auction lots.

While Philip got through 170 pounds also on five lots.

It's not unusual to buy a snuff box, is it?

How fitting it is that Philip Serrell should buy what's known as a miser snuff box.

Resting shop?

Oh, there he is, the miser himself.

Look what I found.

- You're a barrister, you must-- - No, no, no, no.

I'm a teacher.

I'm a teacher.

This is the only way I'm ever going to get a degree cloak, this.

Excuse me, sir.

How much did you pay for this?

30 pounds.

And sir, how much is it worth?

Hopefully more than 30 pounds.

I've got a question for you.

How much did you pay for this?

65.

I'm going to give you some lines.

For asking shop, I must not pay so much for gowns.

NARRATOR: Oh, very strict, isn't he?

But what marks will auctioneer Jessica Wall give for their homework?

5.

[GAVEL BANGS] The collar clip is interesting.

I mean, what a thing to actually wear at a dinner party.

I would probably see this going at 20 to 40 pounds.

If we get lucky, maybe a little bit more.

My favorite item is most certainly the Art Deco brooch, and I think that we still have lots of collectors out there for that sort of thing.

And I think that it will do very well on the day.

The first World War battleship is interesting if you like that sort of thing.

I personally wouldn't know what to do with it.

So for me, it's not the greatest of the pieces that we've got to choose from today.

NARRATOR: Must try harder Phil.

Now children, [SPEAKING FRENCH] This is cool.

I have a cushion, would you like it?

No, no no, no, no.

I might need it, but I don't want it.

NARRATOR: Now you're comfy, let's start off with Natasha's doggie brooch.

Top auctioneers recommend it.

We're going to start this lot off on commission.

We're going 5, 10, 15, 20.

At 20 pounds.

I'll give you 25 now.

Had 20, looking for 25.

25 on the nets.

Found me at 30.

Looking at 35 now.

At 30 pounds, looking for 35.

35 on the net.

Looking for 40 now.

It's 35 pounds on the net.

Anything more in the room?

At 35 pounds, are we all done?

I'm going to sell then.

I'm selling it 35.

[GAVEL BANGS] 35.

OK. NARRATOR: Fetched a tidy sum there, Tasha.

What I love about you is you always smile.

Don't you?

I'm going to-- now I'm working with you, I'm going to try that.

I'm going to be smiling Phil.

NARRATOR: But grumpy is your thing, Philip.

His dressing table set is up next.

Excited.

Oh, there's a wee tap of the foot.

It's anxiety.

The foot.

It's anxiety.

50.

50 I have.

I have 50 pounds.

55.

I have 55 pounds.

Give us 60.

60.

65?

At 65 now.

It's 70.

75, sir?

75.

80?

At 80.

90?

At 80 pounds, then.

Selling at 80.

[GAVEL BANGS] No.

No.

NARRATOR: Yes, yes.

I bet he's not Smiley Phil now.

It's just really sad because I genuinely, genuinely love them.

NARRATOR: Well, let's see how her Dresser style vase does.

There's a point of principle at stake here.

20 pounds on the net.

Looking for 25 now.

25.

We'll give it 30 now.

At 25 pounds in the room, looking for 30.

30.

35, sir?

35 now.

Back in the room at 35.

Looking for 40.

40 on the net.

45, sir?

45 now.

At 45, looking for 50.

At 45 pounds in the room.

Anything more on the net?

Selling at 45.

[GAVEL BANGS] Ah, the people of Stamford have great taste.

NARRATOR: Indeed they do.

And what's more, your reputation has been restored, girl.

This is the smiling assassin here.

Oh, look at that.

AUCTIONEER: I can see someone hovering on the internet.

You're going to bid, bid now.

It's a very bad Scottish accent.

NARRATOR: You're not kidding that.

Now, Willie's opera glasses hit a high note.

OK, so who's actually buying these?

Someone who is going to go to the opera and hasn't got a pair of glasses.

NARRATOR: Ask a silly question.

Have 15 pounds.

I'll give you 20 now.

20 at the back of the room.

At 20.

Commission's out.

20 pounds in the room.

At 20 pounds, are we all done?

Are we finished?

That's a profit, isn't it?

At 20 pounds, right at the back.

At 20.

I'm going to sell then at 20 pounds.

Selling at 20.

[GAVEL BANGS] Serrell strikes again.

NARRATOR: Only 5 pounds, though.

Shame it wasn't a tenner.

For yesterday's antique, what more could you ask?

Yesterday's man.

NARRATOR: All rise.

The barrister's gown and tin are up now.

At 15 pounds.

Looking for 20.

20 on the internet.

At 20, looking for 25 now.

Oh, that's criminal.

35.

40 now.

At 40.

Anything in the room?

Are we all done?

Anything in the room?

At 40 pounds on the internet.

Selling then at 40.

[GAVEL BANGS] That is definitely guilty.

I'm still smiling.

Guilty as charged.

NARRATOR: Oh dear.

I think it's been sent down.

Do you know, that's just a chunk, isn't it?

25 is chunk.

And all that profit I made on the vase just gone.

NARRATOR: Right.

This one's for all the messy eaters out there-- the napkin clip.

At 10 pounds.

15 on the net.

At 20 now.

At 20 pounds back in the room.

Looking for 25 now.

At 20 pounds.

Looking for 25?

Are we all done?

Are we sure?

That's not really expensive, that.

Sell at 20 pounds.

[GAVEL BANGS] A profit's a profit.

NARRATOR: Five pounds seems to be his limit though.

But it's all in the right direction.

I think my glass is suddenly becoming half full and not half empty.

Oh really?

Yeah.

That's nice, isn't it?

NARRATOR: As is this.

Natasha's limited edition print of Edmonton.

At 20 pounds.

An advance on 20?

Anything more on the net?

- Great colors.

25 on the net.

Can we make it 30 now?

It's 30 pounds.

So on commission at 30 pounds.

Are we all done?

Selling then at 30.

[GAVEL BANGS] NARRATOR: Aw, that's a shame.

No Canadians in the house today, obviously.

It's done all right.

NARRATOR: Time for Phil's a bit of old shed work.

And cue more navel puns.

You know, this could be like the Bismarck.

I can get scuttled here.

20 Right at the back of the room.

Now at 20 pounds.

Looking for 25 now.

At 20.

These people got better taste than I thought.

At 20 pounds.

In the room at 20.

An advance on 20?

I'm going to sell then to the room bidder at 20 pounds.

Selling at 20.

A cheap piece of sculpture.

There's a reason for that.

NARRATOR: I would have said that this was well and truly sunk if it wasn't such a cliche.

When I bought that, I really thought that it stood me a chance at making a profit.

And as time goes by, you realize that rose-tinted spectacles don't even come anywhere close to describing your view.

NARRATOR: Now what do you buy an apiarist for Christmas?

Natasha's last lot.

10 pounds for it.

10 do I see?

10 pounds at the back of the room.

15 on the net.

20?

NATASHA: Go on.

Back in the room with 20.

Thank you.

20.

Do we have a 25 now?

I think more on the net.

25.

30?

At 25 pounds on the net.

Go on.

Come on.

AUCTIONEER: 25 pounds.

Are we all done?

- One more.

AUCTIONEER: Anything more?

At 25, selling for 25 pounds.

[GAVEL BANGS] You know, I find-- Why are people laughing at me?

Why are they laughing?

NARRATOR: I guess it was just not meant to "bee."

A five pound loss seems miraculous.

You will settle for that kind of dough, wouldn't you?

NARRATOR: Finally, it's Philip's miser's snuff box.

Let's hope the bidders have deep pockets.

This is my favorite lot.

This is my really favorite lot.

I would love to own this.

As a miser.

They don't get much miserly, do they?

And we have got plenty of bids on this.

NARRATOR: Ooh.

I got one at 60.

65, 70.

75, 80.

85 pounds?

That's nice.

Given 90 now.

At 85 looking for 90.

Philip Serrell.

AUCTIONEER: At 85 pounds.

Looking for 90 now.

At 85 pounds.

I can see people hovering.

90 on the net now.

90.

Looking for 100.

Look at how relaxed you are.

We have 90 pounds on the internet.

At 90.

100 now.

At 100 on the net.

I can still see people hovering on the internet.

If you're going to bid, bid now.

On the net.

I'm selling them at 100.

[GAVEL BANGS] Fist bump.

Nice work.

NARRATOR: No penny pinching there.

Well done, old bean.

We better do some sums, haven't we?

Some sums.

PHILIP: Yeah.

NARRATOR: You leave that to me, chaps.

I've done all the workings out.

Thank you.

NARRATOR: Natasha's fortunes took a little dip, with a loss after auction costs of 16 pounds and 50 pence, leaving her with 183.50 pounds to play with next time.

Phil, on the other hand, saw his 200 pound starting budget show a profit.

So he takes the lead after costs with a new total of 226 pounds and 80 pence.

So well done, Phil.

- Well.

- OK, Phil.

Well, well, well.

Well?

Obviously you did better.

You've gone a wee bit up, I've gone a wee bit down.

Yeah, but it's the first leg of our trip, and I got a real horrible feeling that you're out to get me this time.

Do you think so?

I do, yeah.

Oh, don't be so silly.

NARRATOR: Well, we'll soon find out.

[MUSIC PLAYING]