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

Yeah.

Typical.

How about that?

Behind the wheel of a classic car.

ANNOUNCER: And the 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!

ANNOUNCER: And valiant losers.

Blast it.

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

There's something wrong with the car.

ANNOUNCER: This is the Antiques Road Trip.

[MUSIC PLAYING] NARRATOR: Yee haw.

This week we've been training our cameras on dealer Stephanie Connell, and auctioneer Charlie Ross.

CHARLIE ROSS: Look at this man on his bicycle.

He's got a GoPro on his hat.

What's all that about?

I think most cyclists do it now, for safety.

Really?

NARRATOR: Well, we do it to educate, inform, and all that.

I'm like David Attenborough, observing antiques experts in their natural habitat, from a drone.

CHARLIE ROSS: Remarkably rural, isn't it?

Well, if you think we're probably only what, 20-25 miles from central London.

CHARLIE ROSS: It's amazing around here.

Oh.

No, no, try third, Darling, not first.

STEPHANIE CONNELL: Yay.

CHARLIE ROSS: That's it.

The road's open up.

STEPHANIE CONNELL: Yay, we got there NARRATOR: Regular viewers will have been keenly following Steph's gear-changing fortunes.

You've got this absolutely nailed, haven't you?

Yeah.

NARRATOR: And just like any natural history documentary, we're very fond of drama.

CHARLIE ROSS: Oh, the tractor coming.

STEPHANIE CONNELL: There's a tractor coming.

Tractor, dive.

This is the narrowest road in the whole of Hertfordshire, and there's a tractor coming the other way.

Personally, my money is on him.

NARRATOR: Smart maneuver, Steph.

Thank you.

NARRATOR: What we zoologists call the self-preservation instinct.

STEPHANIE CONNELL: Whey.

CHARLIE ROSS: That's it.

Phew.

NARRATOR: Now, let's remind ourselves, Steph from Surrey started out collecting stamps, and decided to become an auctioneer at the tender age of 14.

I love things like this.

NARRATOR: She has a passion for TV and movies.

While Oxfordshire's Charlie Ross is an altogether different beast.

Yeah.

NARRATOR: He loves sporting memorabilia and fine furniture.

It's walnut of a beautiful patination.

It's in superb condition.

NARRATOR: Yeah, that just about sums him up really.

And don't forget, the third amigo, one Hillman Minx super.

Do you like the color?

Yes.

That's really girly, but I do like the color.

It is a nice color.

Is it your favorite color, blue.

No, my favorite color is green.

NARRATOR: Also the color of money, of course.

Sore point, that.

Steph, who set out with 200 pounds, is just 158 pounds and 26 p right now.

Come on, Steph.

While Charlie, who began with the same sum, is thoroughly enjoying his 365 pounds and 26 pence.

I'm quite likely to buy something for 200 now.

- Are you?

- Which will sell for 60?

When did that sign change?

Don't you think this competition is all over?

Because I can tell you it isn't.

Trust you, you're an auctioneer.

CHARLIE ROSS: Ha.

NARRATOR: Well, it's a profession actually.

They kicked off in Kent and thoroughly explored that county before venturing both north and west, currently journeying through the middle of England towards the Cotswolds and then Wales.

Eventually they'll swing back east, before finally reaching journey's end in Leicestershire at Market Harborough.

Later, they'll be going to Gloucestershire for an auction at Wotton-under-Edge.

But shopping destination number one is Dunstable.

Well, it will be.

Excuse me.

NARRATOR: Already dropped her buddy off, I see.

Can you help me, I'm trying to find my way to Dunstable.

NARRATOR: Perhaps Charlie took the map.

Go down to the tail, onto the A5, and that will take you all the way to Dunstable town center.

You're amazing!

Thanks so much.

I'm Steph.

- Thank you, dear.

Oh, I'm Tony.

Nice to meet you, Tony.

Loving your tractor.

Thank you very much.

NARRATOR: What a nice man.

Now, this is more like it, market town, old priory, antique shop, with car park.

There she goes, just 158 and 26 p to spend, remember.

STEPHANIE CONNELL: Hello there.

- Oh, hello.

Pleased to meet you, I'm Steph.

Pleased to meet you, Steph.

Nice to meet you.

Your shop is amazing.

Oh, thank you.

NARRATOR: She's not wrong.

Hats, too.

Well, Luton, home of the hatters, is close by.

Good look.

Oh my gosh, it's Tony from earlier.

It's the same make of tractor.

It even looks like Tony.

I wouldn't have made it without you, Tony.

I'll put you back so you can tell other people directions.

Well, I quite fancy the trip to Gloucestershire, actually.

Oh, that's nice.

On first look they look like they're Bakelite.

But I don't actually think they are.

They look, they're silver, they're definitely some kind of stone, possibly jade.

And it says that they're 1911.

But stylistically, that doesn't seem right.

Let's have a little look.

And they're not 1911, they're 1923.

So that makes more sense, because they're more of an Art Deco kind of teaspoon.

NARRATOR: Quite, priced at 65 pounds.

These ones are definitely a maybe.

But there's loads in this shop.

NARRATOR: Spoiled for choice, isn't she?

Definitely maybe.

STEPHANIE CONNELL: Oh, that's very pretty.

So this looks to be a very sweet Art Nouveau period pewter vase.

I would guess that it would be made between about 1895 and 1905.

Pewter is also a typical Art Nouveau metal.

It has a maker's mark underneath which says Orevit, German or French I would guess.

It's nice.

It's got a little bit of damage, just there.

It took a little bit of a knock.

A little bit misshapen, but it is, you know, over 100 years old.

It's 28 pounds so it is affordable.

I really like this.

NARRATOR: I hesitate to ask, but anything else?

STEPHANIE CONNELL: This is an Art Deco mantel clock with a marble base, chromed, very 1920s, 1930s.

It reminds me of New York, or Chicago.

It looks like America.

It is working.

You'd have to set it to the right time.

Here's a tip, set your clock to the right time.

Go away.

Come back in an hour or so, and then see if it's still keeping the same time.

NARRATOR: And hope it doesn't sell in the meantime.

STEPHANIE CONNELL: It's 68 pounds.

What I might do is I might go and ask Richard what the best price on it is, because I do love it.

NARRATOR: She's headed your way, Richard, look out.

Hi, I've seen this absolutely gorgeous clock.

It's priced at 68 pounds, which is probably going to be a little bit out of my price range.

All right, OK, 68, I can do 58.

How about that?

STEPHANIE CONNELL: If that's your best I'm probably going have to leave it.

What if I said 50 pounds?

It's a potential at 50 actually.

I'm getting distracted, though.

- Yeah, that's the best.

Because I've seen I've seen something else while I'm standing here.

Oh, right, OK. NARRATOR: Crikey, that's a big copper.

Oh, yes.

Some kind of presentation award?

It is, yes.

It's for art, isn't it, I believe.

Yeah, it is.

It's dated as well.

Oh, yeah, there, 1857.

1857.

I like things when they're a bit unusual.

Yeah, it's just different.

And they've maybe got an interesting history.

38.

- 38.

I can do 30 on that for you.

Yeah.

OK, that's a definite potential.

There's so many things in the shop, though.

I've seen at least two other things I want to talk to you about.

All right, OK. NARRATOR: BRB or be right back.

That one is 28.

That one is-- It's got a little bit of damage on it, which is the thing that's putting me off it.

I can do 20 pounds on that for you.

STEPHANIE CONNELL: OK, and then this set of spoons.

I'll do 50 pounds on them for you.

How's that?

OK, with a heavy heart, I think I'm going to have to leave the clock, even though I love it.

Right.

I think I'm going to take the roundel medal and the spoons, if that's OK. - All right.

So the two is 80, yes.

Yeah, all right, deal.

Lovely.

Thank you very much.

Thanks very much.

OK. NARRATOR: Two out of four ain't bad.

80.

There you are.

There you are.

- Ah, that's lovely.

NARRATOR: Still over half of her kitty, mind.

- Thanks very much, Richard.

- Thanks a lot.

Pleasure to do business with you.

- And you too.

- Take care, now.

Good luck.

NARRATOR: Now while Steph loads and points the Minx towards the next destination, we'll catch up with Charlie, down beside the canal, in the Hertfordshire mill village of Apsley, to discover the area's historic role in the manufacture of paper.

Aha, are you Peter?

I am indeed.

Welcome, Charlie, very nice to meet you.

Thank you very much indeed.

Welcome to Frogmore.

This is the world's oldest mechanized paper mill, and the birthplace of paper's industrial revolution 200 years ago.

May we have a look?

Delighted to show you.

Thank you.

NARRATOR: Peter Burford is the Visitor Services Manager at Frogmore, still a working mill, where they've be making paper since 1774.

CHARLIE ROSS: I traditionally think of paper being made out of wood, but can you make paper out of anything?

PETER BURFORD: Indeed, wood, that we use now, is a very recent innovation.

Is it?

PETER BURFORD: Only really came about in the late 1800s.

Paper is only two ingredients.

Yeah.

PETER BURFORD: Plant fiber and water.

Right.

So you could make a piece-- So if it grows-- If it grows, you could make paper out of it.

NARRATOR: Paper-making in Britain, mostly using rags as the raw material, dates from the late 15th century, with nearby Seal mill, which supplied a printing associate of William Caxton amongst the first.

But although they do still make some paper by hand here, it's a very slow process.

This way.

As Charlie is about to discover.

PETER BURFORD: Stir it round.

Good, good action, mate.

It's cold, Peter.

PETER BURFORD: It is cold.

CHARLIE ROSS: Yeah.

PETER BURFORD: And this is basically a flat sieve, the whole action is to dip it in fairly quickly and bring it out in one motion.

You're capturing as many of those fibers as you can.

CHARLIE: Wonderful.

Now shake it side to side.

NARRATOR: No rags here, just wood pulp.

PETER BURFORD: OK, now over onto the vacuum bench here.

That's just sucking some of the water out now.

What we've got to do is transfer it from the mold onto something that we can dry it on.

Hold it upright, and then down.

That's it, right.

And rock that, just side to side.

CHARLIE: Do I lift the mold up?

PETER BURFORD: Bring up one end.

There you go.

Good grief, well done.

You've made your first piece of paper.

Take it over to the press.

Yeah.

Down on top of this one.

It doesn't-- It's very like a book press.

Exactly like a book press.

And you see a lot of water comes out of it.

After it's been pressed out, then it's going to take another two, maybe three days of air drying.

This, of course, is incredibly labor intensive.

NARRATOR: Which is why, in the late 18th century, as the Industrial Revolution heated up, and mass information was required, a mechanical means of producing paper cheaply became essential.

What have we got here?

We have a one-fifth scale model of the very first paper machine, one that was installed here in 1803, designed by Louis-Nicolas Robert.

So do you put pulp on the top there?

Robert's stroke of genius was to create the continuous wire.

And the stock is poured onto the wire, which is a much more reliable method of forming it than trying to pull a mold out of a vat.

Yes.

NARRATOR: Next came the forerunners of the huge machines that are used to manufacture paper today.

Called a Fourdrinier, after the French brothers who financed its development, this one uses a felt blanket and rollers to squeeze out the water before cutting the reel into sheets.

It meant less workers making much more paper.

Good news.

PETER BURFORD: For the first time, a completely finished dry piece of paper comes off the end of the machine.

So the speed is phenomenally greater, and the price is just a quarter of what it was before.

NARRATOR: Thanks to the innovations which began here in Hertfordshire, Britain was producing 650,000 tons of paper per year, by the end of the 19th century.

PETER BURFORD: So Charlie, this is PM Four here at Frogmore mill.

This machine was built in 1902, and this is what we use every day to make paper.

You can see the sheets forming.

CHARLIE: A bit of whitish water.

PETER BURFORD: Yeah.

CHARLIE: Within about four yards, you got a sheet of paper.

PETER BURFORD: It's a little bit temperamental.

It's not so much a science.

It's decidedly an art, running this machine.

NARRATOR: But while Charlie's been on a bit of a roll, young Stephanie has motored on.

Not that her road trip chum is ever far from her thoughts.

STEPHANIE CONNELL: Charlie is one of the funniest people I've ever met.

And he makes me laugh nonstop.

He's a best person you could spend a road trip with.

NARRATOR: Unfortunately, from her point of view, he's also miles ahead.

So better buy wisely in Aylesbury, were, very close to the Grand Union Canal, they have the End of the World, a memorable shop name.

Good idea, eh?

Turned out a bit chilly.

Hello, there.

- Oh, hi, Steph.

- Hi, nice to meet you.

Nice to meet you, you made it again.

i did.

I made it in the end.

Quite a fantastic selection of stuff you've got here.

There's so many items.

- They are.

They're lovely.

I've been collecting them forever.

I'll be honest with you, though, I've got very little money.

So I'm looking for things that are fantastic, but a bargain, as hard as that might be to combine.

Well, you've come to the right place.

NARRATOR: Always nice to hear, although Gary has yet to discover quite how strapped she is, just over 78 pounds to her name.

Ha, I can tell immediately this is an interesting piece of furniture.

So what it is, is an Air Ministry or a War Department desk, designed during the war to be easily transportable.

So how it works is each of its legs is on a screw, which you can unscrew, take off, and then, in the very back, there is slots in which to put the legs, so you can transport them with the legs, and you're ready to go.

Now if, with my handy phone torch, I have a little look, so this one has WD, War Department, then the date that it was manufactured, in this case October '61.

I know I'm not going to be able to afford it, but I'll have a look anyway.

Yeah, it's 175.

I'll carry on looking around, but a great piece of furniture.

NARRATOR: She seems happy enough.

What about Charlie, strolling up Wendover High Street?

Yes, he's about to go shopping in the Chiltons.

Something comfortingly straightforward about that name.

These look promising.

I love a bit of simulated bamboo.

I like garden furniture, too.

And these are very Regency-looking, darling, very Regency.

Now if these were 19th century, they would be worth a fortune.

They would be made of cast iron or possibly bamboo itself.

They are, in fact, sadly, made of aluminum, which is a bit of a shame.

But they look the part.

Of course, they need painting, but we're going to the Cotswolds, they love garden furniture out there.

There's two carvers, two singles, 100 pounds.

If these could be bought for a nifty 50, I think I'd have a go at these.

NARRATOR: Well, let's go and meet the man in charge.

Shop!

Shop, ah, Mike, nice to see you, Charlie.

How are you?

Very good.

Welcome to Antiques at Wendover.

I muddled round in your back garden a bit.

OK.

I think there are four, not Georgian, not Victorian, aluminum.

Aluminum.

Early aluminum.

CHARLIE ROSS: Early aluminum.

They're not mine, but I can negotiate on behalf of the dealer.

CHARLIE ROSS: I think if somebody applied a coat of paint to them, perhaps gilded them up a bit.

OK.

They could, yeah, no, I do think they've got that look.

Make them a bit Rococo.

Oh, darling.

What would you be prepared to offer?

I would certainly pay 50 pounds for them.

But anything above that, gamble.

Realistically, their best possible price would be 75, which is 25% discount.

Yeah.

Yeah.

Yeah.

Yeah.

Yeah, no, it's a good discount.

I can't get any less than that.

No, fine.

They've got a look, which is half the battle, isn't it, in this business.

Age no longer matters, does it?

Just as well.

Yeah.

NARRATOR: So, no chairs for Charlie, then.

Whither Steph, at the End of the World, as we know it.

This is interesting.

This looks to be an Art Deco table.

The top looks like it's Bakelite, but the rest of it is tin.

I like it a lot.

I think it's usable, chic, probably '30s.

NARRATOR: Almost certainly, perhaps it was a prototype by a 1930s designer.

It's 90 pounds, but I might have a word with Gary to see what his best price on it is.

NARRATOR: She's only got 78, remember.

STEPHANIE CONNELL: I found this Art Deco table.

It's over here.

NARRATOR: Stand by, Gary.

STEPHANIE CONNELL: I think it's absolutely gorgeous.

I love it.

I've had this for a long, long time now.

Maybe a drinks trolley, I don't know.

STEPHANIE CONNELL: Yeah, yeah.

OK, what are you prepared to offer me?

I can't really go more than 40 pounds.

But if you don't want to take 40, that's fine.

I appreciate what it's worth.

What about 50?

I can't afford 50.

I wish I could.

If I could, I would.

Can you see the tears?

NARRATOR: Dear, oh, dear.

If you don't want to sell it to me for 40, I appreciate that.

You can have it for 40 pounds.

But give me a ring when you sell it and tell me what you get for it.

Will do, OK. - I would appreciate that.

- Deal.

- Deal done.

- Thanks, Gary.

Thank you.

- Thank you very much.

NARRATOR: So while they complete the formalities.

Thank you very much indeed.

STEPHANIE CONNELL: There you are.

NARRATOR: Let's go over to Wendover.

What's he seen in there?

CHARLIE ROSS: Do you know what this is?

This is an old garden privy.

Sort of thing that people had at the bottom of their gardens in my day, before you had proper flushing loos inside.

You used to walk down to the bottom of the garden with a good book and go into the privy.

And this is a Vesta case for putting your matches in.

You see, put your matches in there, and strike the bottom.

And people collect Vesta cases.

And I don't think I've ever seen one in the form of a privy.

Silver Vesta cases can be worth thousands.

This is brass, but charming, nevertheless.

And it's beautifully modeled.

I bet you can't guess what you find when you open a privy door.

NARRATOR: No, tell us.

Have you guessed?

NARRATOR: No.

Reveal all.

Ha ha.

CHARLIE ROSS: It's wonderful.

What I particularly like about this is he's still got his top hat on.

So he is a serious gentleman.

NARRATOR: Might be a Lord.

CHARLIE ROSS: It's 125 pounds.

But it's a talking point.

I'll have a word.

NARRATOR: Well, at least it's one of Mike's.

I've been quite modest on the retail at 125, because I've never seen another one.

CHARLIE ROSS: Modest.

But I would take an offer on it, obviously, because I'd like you to do-- Not my offer.

Ha ha ha.

What are you suggesting?

Well, I would like to offer you 50 pounds.

In fact, I'd be overjoyed to offer you 50 pounds.

And you haven't fainted.

How about 65?

I think it would be cheese-paring of me to go any lower.

It would be rude.

Thank you very much.

NARRATOR: Looks like they've Lord privy sealed the deal.

Wait for it.

Oh, yes, there he goes.

Meanwhile Steph, having bought that Art Deco drinks table for 40 pounds, has somehow persuaded Gary to sell her something from his reclamation collection for a tenner.

Gosh.

You'd have two terracotta tiles, your paving blocks.

- OK. - We've got all different types.

Let's have a little look what else we've got.

NARRATOR: Yeah, let's.

I'm going to give you this old pump.

Oh my gosh, really?

Which when you put in the auction must make between 30-35, for 10 pounds.

Oh Gary, I'll shake your hand.

That's a really good deal.

I love these old water pumps.

NARRATOR: Well, that's a good job, then.

There you are.

I'm getting rich today.

NARRATOR: Any old irony?

Now, not a word to Charlie, mind, keep it neutral.

Haven't we been lucky with the weather.

Yeah, we really have.

One good thing to say about this car is it's always very warm.

NARRATOR: Super cozy, these super Minxes.

Nighty-night.

Our two trippers do seem to be in a very giggly mood today.

I got a present for you.

A present.

A Hillman Minx.

No.

Yes.

It's beautiful.

Nice, isn't it?

Oh.

You have to keep him forever and remember the trip.

Oh, I really like that.

You should buy that with your shopping money.

Well, no.

Because would have the best thing you bought.

NARRATOR: Cheeky monkey, success must be going to his head.

Yesterday, Steph acquired an Art Deco table, an old water pump, a set of teaspoons, and a Victorian copper medal.

All right, deal.

NARRATOR: Leaving her with just over 28 pounds for whatever might tempt her today, whilst Charlie bought only a brass Vesta case privy.

For he is a serious gentleman.

NARRATOR: So he's still sitting on over 300 pounds.

I wonder if he'll spend much of it.

CHARLIE ROSS: Oh no, something's wrong with the car, what's happening?

STEPHANIE CONNELL: Oh my God.

Oh, dear, I think I have a bit of a clutch slip.

You all right, dear?

NARRATOR: Calm yourselves.

Later, they'll be off to a Gloucestershire auction at Wotton-under-Edge.

But the first stop today is in Wallingford, down beside the Thames, at an antiques arcade in a former coaching inn, the Lamb.

Good morning.

Good morning.

You must be Paula.

Hi.

love to see you.

NARRATOR: Charlie, having dropped Steph off earlier, gets all this to himself.

Still got hundreds in his wallet, remember.

CHARLIE ROSS: I have found these, which are of no quality, but they are so wacky.

They're candle holders, and I'm sure they're French.

They're spelter, so they're not bronze.

But it doesn't really matter, when you've got a face like that, who cares?

Carrying water cauldrons, and, of course, they form the candle holders.

I think in terms of age, they're about 1900, and I think they are just huge fun.

Now they are priced up at over 90 pounds, the sort of thing that might have come in a clearance, or come worth the money, as they say.

And they would be a talking point in a sale room, because they are different.

NARRATOR: He's back already, Paula.

CHARLIE ROSS: There we go.

What about those?

They're spelter, they're French, they're late 19th century.

Would 40 buy them?

OK, let's say, 40 pounds.

Are you sure?

Yes, 40 pounds.

Fab.

Thank you.

NARRATOR: Helter spelter.

It's not a race, you know, Charlie.

You can take your time.

[JAZZ MUSIC] I'm going to do something I've never done before.

I'm going to buy a bit of nonsense.

It's not nonsense, but it's Japanese Satsuma.

It's 20th century.

NARRATOR: And designed to appeal to Western tastes, and so strictly for export.

CHARLIE ROSS: It is an incense burner.

It's got a gilded dogger fell on the top.

Most of the gilding's off, but at 10 pounds, it will make a profit.

No negotiating, I'll have it.

NARRATOR: Apparently, it is a race.

CHARLIE ROSS: Look what I've found in a cabinet.

Brilliant.

A Satsuma incense burner, no great age, no great quality, but 10 pounds, and I'll have it please.

Oh, that's brilliant then, thank you.

Thank you very much, so I owe you 50 pounds.

NARRATOR: Not exactly a difficult customer, is he?

Your lucky day.

My lucky day.

NARRATOR: Make haste, Paula, although I'm not sure why.

OK, thank you.

CHARLIE ROSS: Thank you very much.

NARRATOR: So let's get back to the Super Minx, stow away those treasures.

He may have spotted that shop earlier.

CHARLIE ROSS: There are linen presses, dresses, super things.

But these are the sort of-- I'm going to say these are the cheap items.

That is absurd.

What doesn't sell today?

Corner cupboards.

But it's small, it's in tremendous condition, it is not Georgian, but it's got some age here, you can see here.

I think this is Edwardian.

It's got lovely astragal glazing, the 13 panes of glass, wall mounted, and it's 20 pounds.

Hello.

There's a corner cupboard here, and it's 20 pounds.

And, do you know, I can't resist it.

May I buy it?

Are you a man I can give money to?

Most certainly.

Splendid.

NARRATOR: He didn't even make it inside this time.

Do you always sell things on the pavement here?

Anywhere.

Anywhere.

[JAZZ MUSIC] NARRATOR: Cash, then carry.

May I pick it up and take it?

You certainly can.

Thank you, sir.

Cheers.

Bye-bye.

NARRATOR: Now, is he really off on this occasion?

Yes, I think he is.

Meanwhile Steph's taking a shopping timeout back in the Chilton hills, at Princes Risborough, where she's come to discover how a humble piece of traditional English furniture acquired some very Italian style.

STEPHANIE CONNELL: Thank you.

NARRATOR: Prego.

This is the Windsor chair, based on a design that stretches back several centuries and is still hugely popular today.

The chair, with its distinctive bent wood frame, and arched back, has long been associated with the craftsmen of nearby High Wickham.

But as Henry Tadros of Ercol can attest, the Windsor became the best selling British export, thanks to the company's founder-tori, senior Ercolani.

Henry, tell me, who was Lucian Ercolani?

Lucian Ercolani was my great-grandfather.

He was actually Luciano Ercolani.

Because he was Italian, he moved over to England and changed his name to Lucian Ercolani, before setting up for furniture.

And this is him with his two sons.

Lucian and Murray.

NARRATOR: Nowadays, Ercol is a household name.

But the fortunes of the company were transformed during World War II, by the Utility Furniture Advisory Committee, when the need to supply Britain's population with low-cost furniture gave Henry's great grandfather an opportunity to reinvent an old classic.

The citizenry furniture scheme was a kind of government rebuilding effort after the Second World War.

We were part of it, with our kitchen chair.

We won a tender to make 100,000 chairs, to be sold at 50 pence each.

And we had worked out how to mass produce the Windsor chair.

NARRATOR: Thanks in part to their pioneering use of steam.

We are bending an arm for a chair here.

It's been in the steam retort for an hour.

And then it will be bent round this mold, and then put in the oven overnight to dry out.

STEPHANIE CONNELL: How long will it take them to bend it?

It will be seconds, as you'll just about see.

Really?

And the whole thing is about a minute from start to end.

And that's how you were able to manufacture so many chairs.

NARRATOR: But as well as machine bending, they also had to do hand-bending.

Thomas is taking the timber out the retort.

It's been in there about 45 minutes.

Solid beech, strong but flexible.

They're then going to put it in the ice.

And they're going to put pressure all the way around it, to make sure that there's nowhere for the grain to escape, when you start bending it.

NARRATOR: OK, Steph, seen enough?

Time to get bending, girl.

It's going to need a little bit of oily, a little bit.

I'll try my best.

I don't know if I'm going to be strong enough.

I think you're going to want to put your hand on the outer end, like that.

Here, like that?

And then bring it round.

And we're going to-- then you push it down.

Like that?

Yeah.

I'm good?

Hold it there when we clamp it in, because it will just spring straight back out and up.

NARRATOR: Good effort.

In 1946, the Ercol utility chairs were unveiled at London's Britain Can Make It exhibition.

And a year later, the company's first production line furniture went on sale to the public.

And these are the completed chairs.

Yeah, so these are the finished chairs.

So it's amazing that, 80 years later, we can still sell the same design my great-grandfather made then.

And they're still relevant, fresh, and people sometimes don't know that they were made in the '50s.

They think they're modern pieces today.

NARRATOR: Que bella story, eh?

[JAZZ HORN] Now, time to catch up with our speedy shopper.

We'll try to.

Do do do do do do do do do do do.

[HONK] Do do do do do do do do do do do do.

[HONK] Do do do do do do do do do do do.

[HONK] Do do do do do do do do.

Oh, and here is the Thames.

Oh, isn't it beautiful?

NARRATOR: Not bad, Charlie, punts, cycles, and all that.

Yep, you guessed it.

He's just coming into the center of Oxford.

He even found somewhere to park.

That's a miracle, and within walking distance of his final shop.

[JAZZ MUSIC] Good afternoon.

Hello.

Is it Vincent?

Yes, nice to meet you, Charlie.

How are you?

Very well indeed, thank you.

NARRATOR: No wonder.

He's still got over 230 pounds left.

Not going to buy just anything, though.

Oh, no.

Look at this for quality.

Oak cabinet, do you know what this Is?

It's an oak dentist's cabinet.

Any time between 1890 and 1910, it's just the most wonderful quality.

I wonder where it was made?

It might have maker's name on it.

Good grief, Ransom and Randolph Company.

I'd never have guessed that, made in America.

How rare is that.

And these, instead of pull-out drawers, are on the turn.

Look at that.

Look at the quality of their hinges.

NARRATOR: Oh, yes, ticket price 3,600 pounds.

Let's talk to Vincent anyway.

This is magnificent.

Yes, it's a handy little piece.

I think it's the only one of its kind in the country.

I've sold quite a few dental cabinets in my time, but never one like this.

Yeah.

They've always had traditional pull-out drawers.

Yeah.

And do you know why it's of interest to me?

No, go on.

My uncle was a dentist.

My cousin was a dentist.

Had I passed any exams at school, I would have been a dentist.

NARRATOR: Here's Ms. Connell for her appointment.

She's not got quite so much in her pocket, remember, just 28 pounds and 26 pence.

[DRUMMING] A sports unit like that is really cool.

It is an original vintage dinky Captain Scarlet spectrum pursuit vehicle toy.

I like anything to do with TV memorabilia, toys, collectibles, and Captain Scarlet, anything Gerry Anderson, in particular, I'm a big fan.

And I'm not the only one.

There are huge amounts of collectors for memorabilia like this.

So you've got the dinky collectors and the TV memorabilia collectors.

It's in good condition, got its original box, got its original packaging, which is what collectors want.

165 pounds, so I will put it back for the right person to find it.

NARRATOR: It's all been window-shopping so far with her.

Oh.

I'm sorry.

What are you doing.

I'm looking in your cabinet.

Do carry on.

I'm going round the corner.

NARRATOR: Quite right, too.

Now look at the history in this cabinet.

There are amazing Roman coins, Egyptian beads, Bronze Age axes, and what's more, a cannonball.

HMS Crocodile, cast iron cannon shot recovered from the wreck site of a 24 gun Royal Navy warship, which sank at Prawle Point, Devon, on the 9th of May, 1784, returning from Bombay, 75 pounds.

Well, at auction it would make either a tenner or 100 pounds, I think.

Amazing.

I've got Roger Brooks on the phone for you.

It's Roger the owner of the cannonball?

Yes, indeed.

Yep.

Hello.

NARRATOR: Crikey, that was efficient.

Hello, Roger, well, it's Charlie Ross here, looking at your amazing cabinet.

And I'm just loving your cannonball.

And the man you bought it off is the man that dived down to the ship.

No, no, that is a cast, may I say, cast iron providence, as it's cast iron.

NARRATOR: Yeah, I think we got that, Charlie.

Yeah, brilliant, are you open to any negotiation on this splendid object?

You're not.

There's absolutely no point in me offering you 50 quid, is there.

You're a man of principle, and so am I. I shall pay you your 75 pounds.

NARRATOR: Sounds like Charlie's just splashed out on a cannonball.

Thanks, bye bye.

What a wonderful man.

He bought it off the chap that is the only man to have gone into the wreck of the Crocodile.

He would not move on the price, because he said they're not making any more of these.

The last one they made was 200 years ago.

NARRATOR: So whilst he does the heavy lifting, let's see what Steph's come up with.

It's in this cabinet here.

Yep.

And it's this little-- OK. STEPHANIE CONNELL: Combine desk set item.

It's really interesting.

It's a ruler, letter-opening knife, magnifying glass.

All in one.

All in one.

Very curious.

I really like it.

It's got a little bit of damage on it.

Yeah, well, it goes with the age, I believe it is.

Goes with the age.

Oh.

Yeah, don't do that.

How old would you think it would be?

I don't know.

I think it's probably mid-20th century.

Yeah, I would think it's that.

Don't think it's that-- it's not old.

It's not, no, it's not.

But it's just an unusual piece.

It is unusual, and it's not, and with the centimeters on one side, the inches on the other, usable thing.

- Yeah, absolutely.

- A bit of fun?

- Yeah.

- Yeah.

Of course.

Yeah.

Really nice.

I really like it.

And it is 15 pounds.

A mere 15 pounds.

A mere 15 pounds.

So deal at 15?

Yeah, absolutely.

Not quite spent a lot this time, then.

That was invigorating.

Did you have a successful shop?

- I think so.

Did you?

Very successful.

Well, where did you drop the car?

A long, long way away.

Well, we better get walking then.

I'll take you to it.

NARRATOR: And after that, it'll be shut-eye, I guess.

Auction day is upon us.

Down there is Wotton, and that's the Edge.

After starting out back in Bedfordshire, or Dunstable, our two trippers have headed to Hillman West, towards an auction in deepest Gloucestershire, and the eponymous auction rooms, with internet bidding.

The sun is out, the sky is blue.

I'll make a profit, will you?

I don't know about that.

I'm praying for one.

NARRATOR: Well, you've come to the right place, a former church.

Steph parted with 145 pounds for her five auction lots.

CHARLIE ROSS: This is a bit of a mystery, this lot.

I like the quality.

For success in the national art competition.

There's lots of allegorical figures embossed into it.

And it's a very, very impressive plaque, beautifully made.

NARRATOR: Plus Steph has discovered it's the work of noted French metalworker Antoine Vechte.

Charlie's spent a wee bit more, 210 pounds, for his five lots.

STEPHANIE CONNELL: They're fairly unusual items, and as such, I think there might be a profit in these.

I could see these making a hundred, to the right person.

Yeah, I think a collectible item.

NARRATOR: Which just leaves one other very important person we need to hear from, auctioneer John Rolfe.

And we've got the cannonball, and, of course, the certificate that goes with it.

I hope we get a price that will do justice to the chap who dived down to get it.

The letter opener, what a novelty piece.

That's everything you could ever need on it, and a lovely gift.

I think it will do quite well.

So the brass Vesta case is personally my favorite piece in this sale today, and what our clients are looking for.

I think that's got the best chance of all the items we've seen.

NARRATOR: Oh, yes.

Did you hear that, Charlie?

Charlie.

Charlie, come one.

Have we started?

NARRATOR: Oh, yes.

First up, Charlie's Satsuma incense burner, 20, 20, 20, 20 straight in online.

Is that 25, sir, 25 you bid me, 30, do I see 35?

I do, 35 comes back in online again, price of 40 moving in the lot.

It's an interval of 35, do I see 40 coming in.

All done at 35, oh, sure.

Yes.

Cost a tenner.

I told you it might move at 30.

NARRATOR: Great result, Charlie, and sage prophecy, Steph.

You're a world expert in Satsuma.

Want to see my dance?

NARRATOR: I'm not sure anyone could predict how her giant medallion will do, though.

JOHN ROLFE: And where do we see it?

50 to be off, should we say?

50, 50, you bid me 30, but who gives me 5?

What cost that?

JOHN ROLFE: Five.

Cost 30.

JOHN ROLFE: I've got 40, 45, I've got 50, 55.

I've got 60, do I see 65 elsewhere?

Selling with me at 60, all done at 65, with me, against you all.

Oh, great, that's what I hoped to make.

Top girl.

NARRATOR: Yes, please accept an award for profit-making.

There's one in the VNA.

So there's one in the video tour now.

You always have things that are very nice.

Oh, no, I tried to.

NARRATOR: Do the P Charlie's corner cupboard is next.

30 pounds, 30, 30, 30, still serves a purpose, isn't it.

20 pounds, shall we say, 25, 20, is it 20, going to 25, selling then at 20, all done at 20, at 25.

25.

JOHN ROLFE: 30, 35, with you, sir, at 35, don't put your hand down.

Now you've got it at 35.

Do I see 40?

Selling at 35, all done at 35, with you.

5 pounds, a profit again.

Some profit.

NARRATOR: Charlie experiences little else these days.

Not a massive one.

No, but a profit nonetheless.

So Charlies exclude profit, but It's for a bit.

NARRATOR: Steph's silver spoons are next under the hammer.

20 pounds to be off, then, shall we say.

Just want to make them glass.

20 for 6 seconds, least we have 20, I have it, do I see five, the bid's at 20, do I see 25, 25, 30, five, out at 35, it's your bid, sir.

Selling at 35, all done at 35, with the gentleman.

Oh, what a shame NARRATOR: It is, after such a promising start, too.

That's the second time I've lost on a set of teaspoons, and both times I lost about 15 quid.

So I'm not-- Steph, no more spoons.

No more spoons.

NARRATOR: Well, up next is an altogether rarer item, Charlie's brass privy Vesta case.

No, you don't see these every day, do you?

No.

JOHN ROLFE: 66A.

And what do we say, should we start at 20 pounds, surely 20, 20 bid, 40 bid on these in straight, thank you, for 45, straight, no thanks, I'm taking it at 40.

Up to 45, do I see 50 now.

50, nice novelty piece there at 50 pounds.

I see 55, gentleman's 55 in the room, 60 online, 65, thank you, sir, for your interest.

Internet still holding at 60, do I see 5 elsewhere.

- Oh.

- 65.

65 means-- JOHN ROLFE: 70, I do.

75, just in time.

80 just in time.

Do I see 85?

No.

80 quid.

JOHN ROLFE: 85?

Selling at 80, on a 80.

80 pounds.

All done.

CHARLIE ROSS: Talk about spending a penny.

That was a bit of a bargain for someone.

Well, it's better than my whole profit for the last time.

So you're doing well.

NARRATOR: Steph's rusty old pump is next.

Can she squeeze a profit out of it?

30, 30, 30, the pump, 20 the pump, come on.

He's estimated it at 40 pounds.

Take a little bid of 20, 25. Who will give me five?

At the front, holding at 20, do I see 5, 25, 30, 40.

This isn't a relative of yours here is it?

JOHN ROLFE: 45, 45, No, but I might pretend to do.

50, 55.

No way.

This is fake.

JOHN ROLFE: Faked attempt.

Holding at the front at 50, do I see 55 elsewhere?

Selling at 50 to you, sir.

Oh, that's amazing.

We both sold things-- NARRATOR: That went down awfully well.

Come on.

I'm twitching up in the paddock here.

I've still got my cannonball to come.

NARRATOR: Well, after Steph's heavy metal heroics, I'd have thought the old thing had every chance.

JOHN ROLFE: 40, 40, 40, all that problem was there, 45, I'll go 20 to be off then if I must, 20, 20, bid 25, bid 30, bid 35, bid do I see 40 now.

Ends up at 35, bid 40 online, do I see 45 elsewhere.

Ends in a bid at 40, do I see 45 coming in.

Oh, Charlie.

JOHN ROLFE: 40 bid, do I see 45.

45 on my book, do I see 50.

Oh.

JOHN ROLFE: 50 bid on the-- 50 bid on the inset, 55 on my book.

Do I see 60?

I'm out at 60 pounds.

You're getting there.

I'm out at 60 pounds, and seeing some day, do I see 65.

Was that a bid, sir?

No, son.

That would be illegal.

JOHN ROLFE: Selling then, the interpret of 60 pounds, all done.

Oh, what a shame.

JOHN ROLFE: Final at 40, thank you.

It's quite cheap for weight.

NARRATOR: That's one way of looking at it.

60 pounds is not too bad, is it?

No, it's not too bad.

NARRATOR: Now how will Steph's Bakelite and tin table fare?

20 pounds received for it, and that's big in advance.

There's your man again.

The bid there at 20, I've got 25, 30, 35, 40, OK, do I see 45 coming in?

Selling at fortune at 40.

Oh, what a shame.

That man has impeccable taste.

Thank you very much.

NARRATOR: They're all like that round here.

But what will Wotton make of Charlie's be stilted candlestick holders?

Are they 50 the pair?

50 the pair?

20 the pair, you bid me, now you bid me five, 25, how about 30, 35, got 40, 45, in the room at 45, there was 50, elsewhere.

Holding on my left at 45, there's a 50 coming in, 50 on the balcony, 55, 60, 65, 70, 75, 80, 85, 90, 95, 100.

100 pounds.

110, 120, 110, on my left, do I see 120 elsewhere?

Selling at 110, all done at 110, on my left.

100 pounds, well done, Charlie.

Lovely auctioneer.

NARRATOR: In conjunction with your canny purchase, Charlie.

Not for me to say, but I thought they were rather expensive.

NARRATOR: It's a profit.

The auctioneer was very taken with Steph's novelty office gadget.

JOHN ROLFE: 20, 20, 20.

10 pounds you bid me, surely.

10, 10, 10, gentlemen, give me 10, who gives me 15.

There's a lovely gentlemen down there bidding on everything you've got.

- There is.

It might be it, though.

Might be it.

JOHN ROLFE: 15, come in 10, 30 minute, 20, 25, 25, sir, 25, 30, I've got 30 on the internet, 35, 35, thank you, sir, considered bid, do I see 40 now.

Selling to the gentleman standing in at 35.

Please all done at 35.

This in relative terms is one of the finest sales I've ever seen.

NARRATOR: Yes, it was a bit of a triumph.

That's a brilliant result.

Yeah.

Let's go.

NARRATOR: So while they depart to collect their rewards, here are the glad tidings.

Steph started out with 158 pounds and 26 p. And after auction costs, she made a proper profit of over 30 pounds, while Charlie, who began with 365 pounds and 26 pence, produced yet more profit after costs.

So he's now more than doubled his money.

I take my hat off to you.

You have now got the road trip.

I actually made some money, it's amazing.

You did make some money.

Competition is on, Charlie.

Well, I wouldn't say that.

NARRATOR: Come on, Steph, you can do this.

[MUSIC PLAYING]