[MUSIC PLAYING] 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.

There will be worthy winners-- Yes.

NARRATOR: --and valiant losers.

Blasted.

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

[BANGING] [CAR ENGINE RATTLING] Oh no, something is wrong with the car.

NARRATOR: This is the "Antiques Road Trip."

[MUSIC PLAYING] Giddy up.

Previously on "Antiques Road Trip"-- How excited are you?

I'm really excited.

NARRATOR: Dealer Stephanie Connell and auctioneer Charlie Ross-- excitable experts in their Hillman Super Minx-- Oh, gosh, we're going backwards matron.

Hold on.

Oh dear.

Look left.

Oh, we're all right.

CHARLIE ROSS: All clear.

NARRATOR: We began in the Garden of England.

Could you make the windscreen wipers go please?

That's my girl.

NARRATOR: Took in London, Oxford, and Wales.

Handbrake on.

Pray.

NARRATOR: And we're approaching a cliff hanger of a final in the fabulous East Midlands.

Welcome to Leicester, one of Britain's oldest cities.

CHARLIE ROSS: Now what can you tell me about Leicester?

Come on-- football is here.

It's very sporty, isn't it?

The National Space Center.

It's probably the most famous city in Britain-- Richard III.

Richard III.

They found him buried here, didn't they?

NARRATOR: Yeah they did.

He suffers from a bad wrap apparently.

Ha, ha.

CHARLIE ROSS: Ugh, gah, blimey.

NARRATOR: A bit like Steph's driving.

Could you just slow down?

Ugh.

Just testing the suspension.

Test your suspension.

What about mine?

NARRATOR: New selection Steph-- They're stylish and they're fun.

NARRATOR: --is a specialist in entertainment memorabilia-- No Star Wars, no Batman.

NARRATOR: --who once caressed the keys of John Lennon's typewriter.

Meanwhile Charlie-- I don't know what he's been caressing.

This is the BBC.

NARRATOR: --sniffs out much more traditional antiques.

Victorian will do.

But Georgian would be better.

NARRATOR: Although he stole a page out of Steph's book, ironically enough.

It was Michael Winners'.

No NARRATOR: And hasn't looked back since.

That will go 110.

All of 110.

110 pounds.

On my left.

Hey, good pounds.

Well done, Charlie.

NARRATOR: Whereas it took his young rival an auction or two-- Bravo.

NARRATOR: --to really get the knack.

Ripple.

NARRATOR: Steph set out with 200 pounds and has thus far managed to turn that into 293 pounds and 24 pence.

While Charlie, who began of course with the same sum, has an even more impressive 497 pounds and 96p.

[MUSIC PLAYING] Steph, behave yourself, just because it's nearly all over.

NARRATOR: Nearly, ha ha.

They kicked off in Kent and thoroughly explored that county before venturing both north and west.

They then journeyed through the middle of England towards the Cotswolds and South Wales.

Finally, they've made for the Midlands-- loving Leicestershire and approaching journey's end up Market Harborough.

Later they'll be headed to that aforementioned auction in the southeast of the county.

But the first stop is Shenton, very close to where Richard III came a cropper.

No Bonnie Prince Charlie though, he's back in Leicester.

I haven't really got any tactics this time.

I think I'm just going to buy things I like.

It's the last leg.

So I'll spend all my money.

And then hopefully I'll win.

NARRATOR: Thanks, Steph.

What could possibly go wrong, love?

Now they describe this place as being within a spear's throw of the Battle of Bosworth Field.

Note to self don't mention loin girding.

- Hello there.

- Hello there.

You look a man hard at work.

Well, I'm always busy.

That's good to hear.

I'm Steph.

I'm Neil.

Pleased to meet you.

NARRATOR: So with almost 300 pounds to spend for the very first time, what might she plump for?

Not that.

Oh, I see.

It's potentially quite interesting.

I like easels.

They're usable.

They're good for displaying paintings on if you want something a bit funkier than a wall.

This one's got good patina.

It's obviously been used a lot-- a lot of paint marks, a little bit of wear and tear.

Then if you turn it this way, see if it stands up on his own, and it seems pretty good.

And it's got a maker's label just there of Windsor NARRATOR: Founded by a chemist and a painter in 1832.

The interesting thing to find out about it will be whose it was.

If it was anybody famous, that will be amazing.

NARRATOR: It's all about the money.

It's 65 pounds.

So I'm going to carry on looking around.

I might come back to it.

NARRATOR: Now how tells-- as they say here abouts.

This is an interesting thing.

But I don't really know what it is.

On first inspection, it looks like some kind of railway lamp.

But I don't think it is a railway lamp.

It's painted red.

It's got red glass.

So it looks like some kind of warning light.

It says PWD on here.

NARRATOR: Means public works department.

It's got a letter H. I don't know what that relates to either.

But I'm going to take it to Neil and see if he's got more information about it.

NARRATOR: Including we hope a price.

Hello again, Neil.

Hi, Steph.

Now, I found a mystery.

It looks like a railway lamp.

But I know it isn't.

No I think I know what this is.

It's a road work lamp.

OK, that makes sense.

Probably in the early '70s and warned the public that there was a hazard.

NARRATOR: I'll bet they never thought it would end up in an antique shop either.

Let's call the dealer Yeah, hi Graham.

It's Neil from Whitemoors.

I'm just wondering what your very best price would be on the road lamp.

Right.

And that's the absolute best?

OK, bye.

Good news, 20 pounds.

I'll take it at 20.

That's great.

Deal done.

NARRATOR: That's not made much of a dent, has it?

Go on.

Get yourself a treat.

Now these I like.

They are a pair of bowls.

And they are designed by an artist called Eric Ravilious, the famous print maker and illustrator working in the 1920s, '30s, and '40s.

NARRATOR: And did you know his parents ran an antique shop in Eastbourne?

But this design is a design called travel, which he did for Wedgwood.

They have the Wedgwood label on the back.

You've got two bowls.

I know Ravilious is collectible.

I recently purchased a coronation mug designed by Ravilious for over 100 pounds.

This one is 70 pounds and this one is 80 pounds.

And I don't really know why.

They seem to be in identical condition.

So I'm going to take them over to Neil and see what can be done on the price.

NARRATOR: He'll never get his work done at this rate.

Hello again, Neil.

I'm bothering you again.

That's all right Steph, no problem at all.

So I found this pair of plates.

- OK. - I really like them.

They're priced at two completely different prices and not as a pair, which seems quite strange.

Right.

I think that's a mistake, actually.

I think they should both be priced at 80.

NARRATOR: Whoops.

Do you think the owner would take a deal on them?

The very best we could do on that is 110.

The other thing that I've seen is an easel.

NEIL: Right.

Yes I know it.

So the easel is priced at 65.

What would be the best price on it?

I think I'll be able to do 45 on that for you.

45.

With that in mind then, would you take 150 for the two plates and the easel?

Yes.

I think we could do that for you.

Great.

That's perfect.

Thank you very much.

Thank you very much.

NARRATOR: Nicely done.

So plates, easel, and lamp for a total of-- 170.

Thank you very much.

There you go.

NARRATOR: And while Steph motors towards her next retail outlet, we'll catch up with Charlie, back in the city of Leicester-- where very close to the foxes ground is the old gasworks.

Is it Russell?

Yes, welcome Charlie.

Nice to see you.

Welcome to the National Gas Museum.

Thank you.

NARRATOR: Professor Russell Thomas is an authority on gas-- the fuel that once supplied the nation's energy needs.

CHARLIE ROSS: Now that is amazing.

NARRATOR: Driving a great variety of appliances, everything from magic lanterns to a combined washing machine and dishwasher.

Coal gas-- as opposed to the natural gas we use today-- enjoyed a dominant share of the market well, well into the 20th century.

So this is a kitchen of the 1920s.

Yeah It's got the various domestic appliances that you could use and have.

A gas fire, a gas cooker, gas fridge, and gas iron, and here the main one-- the gas light.

Can you make it work?

I can do.

[MUSIC PLAYING] CHARLIE ROSS: Oh, magic.

Instant lights.

And until electric lighting became available, this was the principal form of lighting in your home.

When I lived with my parents as a child, we had gas lighting.

We had no electricity.

NARRATOR: The possibility that coal could be used to make gas has been proven as far back as the early 18th century.

But it was William Murdoch, the Scottish engineer and inventor, who foresaw its application for use in lighting.

Oh that's the man, isn't it?

It is.

The father of gas lighting and the gas industry itself.

So was Murdoch the first person to extract gas from coal?

No, he wasn't the first.

But he was the first person to develop a commercial process which you could base an industry on.

CHARLIE ROSS: Right.

His idea was to heat coal in an oven called a retort.

And by heating that coal, the gas was released.

NARRATOR: Murdoch, also the inventor of the oscillating steam engine and much more, came up with the idea when he was working for the engineering firm of Boulton He actually experimented with his own inventions.

And one of those was coal gas.

And he built a small retort in his back garden.

And from there he piped the gas from the retorting to his house and office.

NARRATOR: Time for the professor to give Charlie a bit of a chemistry lesson.

We're going back in history, aren't we?

We certainly are, yes.

This is very similar to the experiments that Murdoch would have carried out.

The coal is held in the tube there.

And you put the heat to the retort and it released the gas, water, and other molecules in there.

Can we get it underway?

Yes.

I'll just put the burner in the test tube.

CHARLIE ROSS: Excellent.

And what temperature we're getting up to?

RUSSELL THOMAS: Around 600 degrees.

CHARLIE ROSS: 600 degrees?

RUSSELL THOMAS: Yes.

CHARLIE ROSS: But the glass is safe at that temperature?

RUSSELL THOMAS: It is, yes.

It's-- it's heat resistant glass.

CHARLIE ROSS: It's working a treat, isn't it?

NARRATOR: I think it is, Charlie.

Bit of a Road Trip first, this.

Right, Russell.

Are we ready to go?

RUSSELL THOMAS: Yeah.

I think it should be producing gas now.

I'll just disconnect it.

CHARLIE ROSS: Yeah.

RUSSELL THOMAS: We'll turn the lights off.

And then I like the end.

CHARLIE ROSS: Splendid.

[MUSIC PLAYING] Oh, yes, look.

I could do this at home.

NARRATOR: I wouldn't recommend it, Charlie.

CHARLIE ROSS: Wonderful.

An experiment that works.

That's fantastic.

And then from there, it developed into an industrial process.

Yeah, Murdoch would have lit these little lights in his house.

He would light his office in his house.

Extraordinary.

Doesn't quite give us enough light though, does it?

If you want to turn off that, we'll go and revert to some newfangled electric lighting, shall we?

RUSSELL THOMAS: OK, will do.

NARRATOR: Crikey.

That was exciting.

But while Charlie's been experimenting, Steph's been seeing more of less turshire-- get it?

Next up, the village of Breedon on the Hill.

That's it.

Carboniferous limestone, with a church on top and an antique shop, of course.

Well, actually numerous individual traders under one roof with just shy of 125 pounds left to spend in this establishment.

Go girl.

Something that you see in practically every single antiques and vintage shop you ever go to these days are Sylvac onion jars, beetroot jars, or anything that was a bit random that was made for condiments in the early '60s and late '50s.

I think they're hilarious.

My grandparents had one.

They put it on the table every Christmas, despite the fact it's the kitschest thing you've ever seen in your life.

They were often made by the manufacturer Sylvac.

You get the onion like this, who's crying boo hoo hoo.

Then you get the chutney jar.

And he's got a little face as well.

So if you want something that's really, really kitschy, but very, very funny-- who doesn't want to put their pickled onions in an onion that's crying?

Nobody.

NARRATOR: Can I think about that, Steph?

STEPHANIE CONNELL: [LAUGHS] NARRATOR: Meanwhile, Charlie's arrived, putting his budding popular science TV career on hold-- Ya.

NARRATOR: Bonjourno.

--to offload some of his squillions-- almost 500 smackers actually, in the market hall.

[HARMONICA MUSIC] Didn't know I was a professional harmonica player, did you?

NARRATOR: Got the lips for it.

Is this yours, my dear?

It is, yes.

What a magnificent piece of kit it is.

[HARMONICA MUSIC] Do you like my top note, darling?

NARRATOR: Really?

There we are.

That's an A.

So if you knew more about music than me, which wouldn't be difficult, you would be able to choose the chords and then play it accordingly.

Ha, ha.

NARRATOR: Very droll.

He means keys.

It's known as a great fender harmonica-- great meaning star.

What's your name?

Silvana.

Oh Silvana.

If only I could think of a tune called Silvana, I could play to you, couldn't I?

NARRATOR (SINGING): What about-- oh, Silvana, don't you cry for me.

What would be your very best price on that to an old man like me?

I'd do for 150.

Would you?

I just don't know.

I'm going to continue looking around if I may.

You carry on.

NARRATOR: That would have made things interesting.

[CHUCKLES] Ah, a brass letterbox and a knocker.

That's got no price on it.

This is marvelous.

This is presumably free?

I'll do for 15 pounds.

15 quid.

The great thing about this is the art nouveau shape.

Look, that is pure art nouveau.

So we can date that to either side of 1900.

The only thing about that is-- the postman has put so many letters into Silvana's post box that it's rubbed the two T's.

And it looks a bit like le-ers rather than letters.

It's a Cockney one.

So it is.

Le-er box.

Ha.

Loving your work.

NARRATOR: Silvana is good at this, oh yeah.

I'll tell you what, if you say it once more for me, I'll buy it.

Le-er box.

NARRATOR: Deal.

15 pounds.

SILVANA: 15.

Marvelous.

NARRATOR: Warming to his task.

Silvana, the more I look at your stand, the more I keep finding things of interest.

You've got some really interesting things here.

That's a bit of history, isn't it?

It certainly is.

A lot of people might look at this and think this is converted from a shire.

But no, this is actually made for the Red Cross as a money box-- aluminum and brass.

And it's totally original from the period.

And you've got the bottom that unscrews here for you to collect the money after it's been put in.

And it's just the most poignant object.

It's not well-made.

It's not high quality.

But it speaks volumes.

NARRATOR: Made just after World War I, we assume, priced at 65 pounds.

I don't suppose you'd take 30 quid for that-- would you or would you?

I think it's a wonderful thing.

It would have to be 40 pounds-- CHARLIE ROSS: Would it?

- for me.

Yeah.

And frankly, our chaps from the 1418 war deserve 40 pounds.

So I'm going to say, I'll have it.

[MUSIC PLAYING] NARRATOR: He likes it here.

Put it there, partner.

Thank you.

Thank you.

NARRATOR: So 55 pounds spent.

What about Steph?

This is nice.

I can tell immediately by the colors that it's a Poole Pottery dish-- Poole Pottery in Dorset-- very famous, this cream base with the purple, the pink, the yellow, and the green, and blue.

They were originally set up-- they were called Carter, Stabler, Adams.

But eventually they changed their name to Poole.

NARRATOR: Actually before that, they were called Carter's Industrial Tile Manufactory.

So this dish I think is from the '60s.

Always check on the back for the marks.

I've never seen one in this shape.

Obviously for snacks, very '60s.

Unfortunately though, it's chipped-- which means although it is only 18 pounds, chipped ceramics are really difficult to sell.

So I think I'll have to leave it.

NARRATOR: Well she's already bought three things today.

Hey look up.

Silvana's on the way back.

This is interesting, vintage.

It looks to be 1930s.

Masonic, apron, this sash, and the original bag that it came in.

The back of the sash has a name label on it, which matches the bag.

So it tells you exactly where he was a member of the masons, and his number, and his name.

It's really nice.

It's very good quality.

Price is on the satchel.

And it is 38 pounds.

What would be your best, best, best, on that?

Would do for 25.

25.

It's a deal.

Thank you very much.

That's great.

I'll take it.

NARRATOR: [CHUCKLES] It's been a busy day all right.

Thank you very much, sir.

NARRATOR: With only one left to go.

Don't drive off without me.

There's a good girl.

NARRATOR: Why not?

No, shopping wise, that is.

[LAUGHS] Night, night.

CHARLIE ROSS: Pull up on-- oh go on, just go for it.

Ugh!

NARRATOR: New day, new county.

They're getting very close now.

I can't believe it's all over-- well nearly all over.

Are you going to miss me?

Yeah, of course.

Correct answer.

[LAUGHTER] NARRATOR: Yesterday, Charlie bought a great war money box and some art nouveau door furniture.

Letters.

NARRATOR: Leaving him with just over 440 in his bulging wallet, while Steph picked up plates, a roadmap, some Masonic equipment, and an easel, as you do.

So if it was anybody famous, that will be amazing.

NARRATOR: So she has just under 100 still available to spend today.

CHARLIE ROSS: Look at that.

STEPHANIE CONNELL: That is amazing.

Wow.

That is extraordinary.

NARRATOR: The 82 launches of the mighty Welland Viaduct in Rutlandshire.

STEPHANIE CONNELL: People often say it's the smallest county in England.

Yeah, well it always used to be.

I think the smallest county is the city of London.

Oh.

I'm probably wrong.

Fact check that.

NARRATOR: As always, she's right.

The city is the smallest by size, although Rutland is the least populated county.

You've gone mastermind.

Doo, doo, doo, doo.

NARRATOR: Later, they'll be off to auction in Market Harborough.

But the first stop today is in the village of Glaston-- nothing like its Somerset sound alike where Steph gets a barn all to herself.

[MUSIC PLAYING] Good luck, darling.

Have a lovely shop.

NARRATOR: There's an awful lot of very nice furniture in here, hardly her sort of thing though, really.

Hello Peter.

Hello.

Nice to see you.

Nice to meet you.

How you doing?

Not too bad, thanks.

You?

NARRATOR: Oh, yes.

Just a question of what to buy now, just under 100 left, remember?

I like these.

They are a collection of unusual weights.

They're called weights or tethers.

So they are extremely heavy.

I can't even lift this one.

And this one is a little bit smaller.

So can I lift it?

Just.

I'm not sure what they're for.

This one had some kind of carving on it, which may have been a number.

They could be 100 years old.

They could be 200 years old.

But they're all solid granite.

And I think they're really interesting.

But if I can't lift something-- NARRATOR: I think they're Leicestershire cheese weights, you know?

Now, what about Charlie and the Minx?

It's a bit lonely being in the car without Steph.

Hello, Steph.

I can always pretend to talk to her.

Time to focus.

Two shops to go and still 440 odd pounds in the bank.

I really want to knock a big hole in that.

NARRATOR: Like an eccentric millionaire, eh?

Our Charlie is making his way towards the Northamptonshire town of Kettering-- where as movie fan Steph is no doubt aware-- Captain Clark Gable spent some time between missions in World War II.

Good morning.

- Hi, Charlie.

- How are you?

Yeah I'm great, mate.

I'm great.

How are you?

- And you are?

- I'm Daz.

- Daz.

Daz, yep.

NARRATOR: And I'm Wazzer, ha, ha.

"Waz" it going to be, Charlie?

[MUSIC PLAYING] Now what we've got here are some-- I think Victorian sovereign scales.

And this is to test the weight of your sovereigns because the sovereign value is in the amount of gold that it contains, so if it balances at half a sovereign or a whole sovereign.

It's a simple thing to carry around in your pocket.

And if someone's trying to palm you off with a sovereign, you just need to check it.

NARRATOR: The very first English gold sovereign was authorized by Henry VII in 1489.

Not a lot of people know that.

It's a very simple object.

It's made of brass.

Um, I'm concerned about the age of this.

You can actually-- the label does say vintage-- and I think Daz has got this spot on here.

I think this is not a modern reproduction.

But it is something that might have been made after the general use of sovereigns.

So I'm going to steer clear of that one.

NARRATOR: Nothing doing there just yet.

And 16 miles away, what's going down?

Now this I like.

I like a bit of rustic social history.

It is a wool winder, made in England I would assume.

Well it may be Welsh.

It's some kind of soft wood.

It is quite a lot of wood worm.

So it may be pine, something like that, handmade nails.

Many of my ancestors were nailers.

So they may have even made these nails.

NARRATOR: I wonder if they had a nail bar.

So you'd put your wool in there.

And you'd be able to wind it from your bobbin.

Now it's got no price on it at all.

Peter can I ask you about this wool winder?

Yeah of course.

It's probably late 18th, very early 19th.

It's a great piece, isn't it?

I really like it.

Can you tell me what price it is and then what you're very, very, very best price on it is?

I think we perhaps put it in at 90 quid or thereabouts initially.

Would you be willing to take nearer the sort of 60 pounds mark for it?

Call it 70.

Lovely.

Thanks, Peter.

PETER: OK. NARRATOR: Thanks Peter.

60, 70 pounds.

Thanks very much.

- Take care.

- Bye - Bye-bye.

NARRATOR: So one happy customer in Rutland.

And in North Hants, window shopping, by the looks of it.

Oh, the Protector Lamp and Lighting Company Limited, Eccles of Manchester.

This is a miner's lamp.

NARRATOR: Known as a safety lamp with the flame enclosed to reduce the explosive risk of gases, like methane.

It probably was used down the mine.

It's priced at 40 pounds.

And it says original.

And I think the age of that is about-- about 1900.

NARRATOR: Hang on.

It looks like there's two.

Here you are, Charlie.

Ah.

You got another one.

- That's another one.

Are you making them out the back?

Well that's just come in.

That's a lot earlier than that other one.

Oh, isn't that wonderful?

But that one hasn't been priced yet.

Made in Aberdare.

And this is Thomas I like the other lamp.

But it's got a bit of damage in the top of it.

It's been bashed.

This is I think earlier.

And I love this plaque on it.

NARRATOR: Time to choose, Charlie.

Is it ever so cheap?

Slightly higher than the one in the window.

The other one was priced at 40.

So you would have taken 30, wouldn't you?

For the one in the window?

CHARLIE ROSS: Yeah.

I think I would have done that.

CHARLIE ROSS: Yeah.

So-- Yeah, I think I would have done that for you, Charlie.

So you'd take 30 for this one?

I'd take 40 for that one.

Let's do 35.

30?

35.

That's my best.

Put your hand out.

35 quid.

Marvelous.

I like it.

NARRATOR: Not made much of a dent in his funds, either, has it?

CHARLIE ROSS: 35 of the finest, sir.

PETER: Thanks, sir.

Nice doing business with you.

CHARLIE ROSS: Thank you very much indeed.

NARRATOR: Now, while Charlie lights his way back to the motor, Steph's going to take a ride on a much gentler form of transport-- the Grand Union Canal near Foxton-- where she's about to descend the largest flight of staircase locks in the English canal system in the company of Penny Ascot.

- Hello.

- Hello there.

Woop.

Hi Penny, I'm Steph.

Nice to meet you.

How are you doing?

That was a good entrance.

So we're about to go towards the Locks?

PENNY ASCOT: Yes we are.

STEPHANIE CONNELL: And how many locks are there here at Foxton Locks?

PENNY ASCOT: There's 10.

It's such a beautiful boat.

PENNY ASCOT: Oh, it's gorgeous.

The correct name is a narrow boat.

Yes.

And not a barge?

No.

What's the difference between a narrow boat and a barge?

A narrow boat is seven feet wide, whereas a barge is 12 to 14 feet wide.

NARRATOR: Britain's canal system began with improvements upon already navigable rivers.

But during the late 18th century, as industrial development grew and freight was required to move between areas not served by rivers, a network of so-called narrow canals developed.

STEPHANIE CONNELL: What's the best way to open a lock?

Well you put your back against it.

Yep.

PENNY ASCOT: And then push-- you make sure your feet-- yeah, that's it.

- In these?

PENNY ASCOT: Yeah, that's it.

And now push.

STEPHANIE CONNELL: It's not as hard as I thought it was going to be.

PENNY ASCOT: Just be careful you don't fall in.

NARRATOR: The construction of Foxton Locks, which began in 1810, was part of the scheme to connect London with the Midlands in the north to create a sort of M1 waterway that would ensure the movement of goods and resources throughout the country.

So this is where we are-- Leicester.

And they came down and met up with the Grand Union Canal, which then takes you down to London.

How long would it take to get from here to London?

It would take you nearly six days to get to London from here.

NARRATOR: Away from the rivers, the creators of the canal network faced huge geographical problems and none more so than at Foxton-- where confronted with steep hill, engineer Benjamin Bevan designed 10 staircase locks and storage reservoirs called side ponds to maintain water levels.

PENNY ASCOT: They are the longest and steepest staircase locks in the country.

It would have cost more to actually build the canal around the contour of the hill because you would have to buy the land.

Plus it would take a lot longer to build.

NARRATOR: These made channels were often called navigations.

And the men responsible for the backbreaking toil of digging them came to be known as navvies-- a new breed of roving worker.

PENNY ASCOT: A lot of them were farm laborers.

It was a better paid job than actually being a farm laborer.

But it was very, very hard work.

There was over 2000 miles of canals.

And they were dug out by hand, basically.

They just had spades and a pick axe.

And that was it.

So dangerous, hard work, long hours.

Yeah, very long hours.

And they got paid by how much they dug out.

But they got tuppence ha'penny per cubic yard.

And if they worked hard through the week, they actually owned up to 30 shillings.

But they also played hard.

They got themselves a bit of a reputation of uh-- going out and getting very drunk.

NARRATOR: As industrial development continued and railways began to supersede canals, the navvys too moved on-- a vast construction army of around a quarter of a million men.

But Foxton Locks, opened in August 1814, remains a testament to both ingenuity and hard work.

So this is the last lock then?

Yes it is the last lock.

We have made it down.

So that took us 45 minutes.

How long did it take them to build it?

It took four years to build the locks.

I think four years is very quick.

NARRATOR: I think she's right.

[MUSIC PLAYING] Now back to life in the fast- er lane.

I've still got over 400 pounds for my last shop.

Come on Roscoe, spend it.

Love the name of the shop-- Albert's Archives-- because it's not run by Albert.

It's run by Val.

NARRATOR: But more of that anon.

The final, final shopping destination of this trip is North Kilworth, where tidy parking is always appreciated.

And as for reckless spending-- come on Charlie-- you can do this.

Hello.

Are you Val?

I am.

- I'm Charlie.

- Pleased to meet you.

Are you in charge?

I am.

I was expecting to find an Albert.

Albert is here.

But he's sits upon the top shelf.

CHARLIE ROSS: He's a rocking horse.

He's a rocking horse.

CHARLIE ROSS: Is he the boss?

Sometimes, yeah.

CHARLIE ROSS: Ha, ha.

NARRATOR: So aside from a slightly complicated organizational structure, it all looks promising, even got free sweeties, ooh, ha.

That looks familiar.

Look, we've had one of them.

Ho, ho, ho.

What have we got here?

Another salamander-- I mean samovar.

This is the big brother of the one I bought for the last auction.

But it's not as ornate.

And it's not as good quality, in my opinion.

It is of course, copper and brass.

It's got-- there's glass handles-- both of which are chipped, which is a serious problem.

Oh dear.

It's got a price on it.

It's 84 pounds.

That needs to be bought for 40.

Ah.

We could always try them out, couldn't we?

Val?

NARRATOR: Or Albert.

Come over here, my dear.

I'm here.

You've got a samovar-- I have.

--a Russian tea urn.

And I took the top off and saw the price.

Where did you dream up the price from?

- I didn't dream that.

- Did you not?

No.

Have you ever sold one before?

PENNY ASCOT: I've never sold a samovar.

No, you probably won't sell that one if it's 84-- Well I've had it quite a while.

Have you?

The thing that really concerns me about this one is they are badly damaged.

So I don't know whether you've got much leeway in it.

Did it cost you lots of money or did it-- or did it come reasonable?

It came quite reasonable, actually.

Did it?

NARRATOR: OK, Charlie.

Make your move.

It's-- it's a pathetic offer compared with the asking price.

But I suspect this is going to be the best offer you've ever had on your samovar-- if not the only-- It's the only offer I've had on my samovar.

I would pay 40 pounds for it.

I think that's quite reasonable.

It's not bad, is it?

Does it show you a profit?

That's the key.

- Yes, it will.

- That would be marvelous.

So can I just bank that in case I find something I like even more?

You can.

Yeah.

But if I don't find anything I like more, I will definitely give you my word I will have it.

- OK. - OK. - Yep.

- Now come with me.

I've seen something else.

- Where are we going now?

Quietly, we're going over here.

NARRATOR: Not a rocking horse, is it?

Oh I see.

It was this, Val, which I think she's an elegant lady, isn't she?

Gorgeous.

Edwardian lady and it's a pastel.

I wondered whether it was a print.

But it's definitely a pastel.

NARRATOR: Pastel had a bit of a revival with the Pre-Raphaelites.

And you might say this work reflects their influence.

A. Hitchens.

I don't know who Hitchens is.

And there isn't a price on it.

Um, this was clearance of an old lady that lived in the village.

CHARLIE ROSS: Yeah.

VAL: Her daughter brought it in.

Does it have a price?

I think you would have to throw a price at me.

Although it's the original frame, it would be better re-framed I think.

- Yeah.

- Don't you?

- Yeah.

I think it would-- would come out of itself.

So what offer would you make on it?

I'd pay 50 quid for it.

And hopefully it would make money.

I'd definitely have to have a little think on that.

It's not mine.

No, I appreciate that.

I would pay you 100 pounds for that and the samovar.

NARRATOR: Well, Albert's not saying much.

So I think this is down to you, though Val.

I love your lady.

But if you will take 100 pounds for the two-- if it makes a fortune I'll take you out and buy a cup of tea.

NARRATOR: Charlie!

Tea?

No, no.

It might be something stronger.

What's the verdict?

- Yes.

I'm going to say yes.

- Are you sure?

Yes I am.

NARRATOR: Not spent the lot by a long chalk, has he?

A naughty 40 for the samovar.

For the samovar.

A sexy 60 for that lovely lady.

NARRATOR: Can't wait to get his hands on her, can he?

And safely stowed in the boot, along with that old samovar, of course.

Now you two, get to Market Harborough.

Well I've had a lovely day.

- Have you?

- Yes, I have.

Have you?

CHARLIE ROSS: All my days are lovely sitting in a Hillman Super Minx with you.

NARRATOR: Yeah.

Don't forget the shut eye.

[MUSIC PLAYING] All good things must come to an end, So why not here?

After setting out from Shenton and seeing a lot of Leicestershire, Rutland, and Northamptonshire, they've made for Market Harborough and gildings.

Come on, Steph.

Let's get cracking.

Well.

After you, madam.

NARRATOR: With internet bidding.

Charlie threatened a splurge, but parted with just 190 pounds for his five auction lots.

Deja Vu'ing, Steph?

Charlie is trying to single handedly bring samovars back into fashion.

He made profit on the one that he bought in the last round.

He's obviously trying again with the same thing.

NARRATOR: She, however, went for broke-- spending 265, also on five lots.

Now these plates, designed by Eric Ravilious, could make money.

I mean his paintings make thousands.

So I think these could be the key to Steph's revival.

They could be with 100 to 200 pounds.

But if the auctioneer gets stuck in, I could be slightly worried with these.

NARRATOR: But what does the man with the gavel, Mark Gilding, make of their lots?

There are a surprisingly large number of buyers that we have from the sonic regalia with collections such as this, nicely named.

Brass door knocker, and combined letterbox-- I think these things are just a bit out of fashion.

My favorite lot is the artist easel.

I think this really fits the right name-- great condition and should do well.

NARRATOR: Hear that, Steph?

It can be done.

Oh.

Steph, is this the end of the beginning or the beginning of the end, to use a Churchillian expression?

NARRATOR: Well, Steph's starting with her big guns all right-- the Ravilious plates.

Bid is on my book here, open 55, 65 pounds.

65 pounds on bid, for 75, 85, 90 bid, now at 90.

90 pounds I bid them for the pair of these at 90.

Come on.

Come on.

Come on.

- I think that might be it.

No.

No, Steph.

I think that might be it.

Steph, Steph.

Do I see anywhere?

Selling at 90 pounds.

Nevermind.

Oh, Steph.

Steph.

NARRATOR: What would Churchill say?

Something about it only being the first skirmish, probably.

Don't cry, Charlie.

It's disappointing that the auctioneers didn't get to their bottom estimate.

No.

NARRATOR: More war, now.

First one this time, Charlie's money box.

Bidding opens here with me at 12 pounds, 15 pounds, 18 pounds.

- It's going.

- Cheap.

MARK GILDING: 20 pounds, one bid in the room at 20.

Yeah.

20 pounds, a bid at 22.

25.

Come on.

25, room bidding at 25.

You're out online.

28.

Come on.

MARK GILDING: You're turn, 30.

Thank you at 30.

30 pounds, room bidder at 30 pounds.

30 pounds.

30 bid online.

Yeah come on.

MARK GILDING: 32 pounds.

32.

- This is cheap.

Selling to the room bidder at 35.

Oh bid.

On the gavel, 38 pounds.

At 38.

- Oh.

MARK GILDING: 40 in the room.

For 40.

It's still incredibly cheap.

Oh.

Hang on.

There's a gentleman whacking me from behind.

Are you bidding on this lot?

Oh good Lord.

MARK GILDING: In the room at 40.

What a very generous gentleman.

Sold at 40.

How much did it make?

40.

It washed its face.

NARRATOR: Charlie is winning by a mile now.

He can take that.

That was all right.

Thanks for this gentleman here.

- 40 pounds.

That's what I paid for it.

Yeah NARRATOR: Steph's easel.

Did it once belong to a great painter?

Um bidding opens here with me at 60 pounds.

Well done, Straight in at 60.

60 pounds on bid.

60 pounds five do I see?

That's profit.

Selling on the book at 60 pounds.

That's good.

NARRATOR: Quite.

Better than actually suffering for your art.

Being that one round that was my entire profit, that's pretty good, right?

Rough calculation.

Rough calculation.

NARRATOR: Charlie's second samovar of the trip is next.

Nice lot there.

So bidding opens here at 22 pounds.

What?

MARK GILDING: 22, 5, 28.

Oh it's going.

MARK GILDING: 35.

35.

I'm out.

38.

Oh.

MARK GILDING: To the room now at 40.

40 pounds, 42, 45, 48, 50, 5 online, Shoot them.

55, 60 pounds in the room at 60.

WOMAN: Bid.

5.

Good effort, sir.

MARK GILDING: Thank you.

After I'm going to have to send him a vote of thanks.

MARK GILDING: At 65 with the internet.

65 pounds.

Well done, Charlie.

Good profit.

You're making a load of money on these samovars.

I know.

I'm becoming the world expert on samovars.

NARRATOR: Well I'm not rushing out to buy one.

I'm going to write a book-- "Samovars and me."

MARK GILDING: 32.

NARRATOR: Steph's not catching up at this rate.

Her wool winder.

Pretty low actually with this on, 18 pounds only.

Oh, my god.

20, 22.

22 pounds I'm bid at 22.

25 pounds online at 25.

My bids are out now.

And we're bidding with the internet.

- Only 25 pounds.

- Oh, no.

25 pounds with us of out the room.

Steph.

NARRATOR: I think even Churchill will have struggled to come back from that.

That's what we call a C and B.

What's a C and B?

Crash and burn.

Oh, no.

NARRATOR: On this little lap of Charlie's, is it going to shine, shine, shine?

Again bids on my book here.

I'm going to open the bidding at 18,20, 22, 25 pounds.

Oh, you're nearly there.

MARK GILDING: 25 pounds.

You're nearly there.

MARK GILDING: 25.

25.

28 in the room, 30-- - It's the same guy from before.

- Yes, oh.

MARK GILDING: 32 in the room.

- Oh, oh.

MARK GILDING: Online is lost now.

At 32 the bid is in the room.

It's 32 pounds, over to my right.

Don't you want a miner's lamp?

MARK GILDING: [INAUDIBLE] and selling at 35 pounds.

Oh no, you made a profit, didn't you?

No.

NARRATOR: Just holding his own.

Nevermind, sir.

MARK GILDING: Bidding opens here-- It will be the same in 100 years time.

MARK GILDING: 40.

NARRATOR: Steph's lamp is next.

Beats falling into a hole in the ground, I suppose.

Is that 50 pounds, do I see?

What?

No.

18 pounds on bid then.

18 pounds on bid for the hand lamp.

20 in the room.

- It's a loss.

MARK GILDING: 20 Oh, it's the gentleman bidding on it behind you.

MARK GILDING: 20 pounds on bid.

22 do I see?

22, seated at 22.

22.

MARK GILDING: 22 pounds on bid.

- --profit.

MARK GILDING: 22 in the seats.

Selling at 22 pounds.

Made two pounds, so with the commission-- Very nice gentlemen very nice gentlemen sitting behind you bought it.

NARRATOR: What a kind man.

I can't think what he'll do with it.

Pure, pure quality sir.

The rust was extra.

I'm so sorry.

NARRATOR: Equally practical, but a wee bit more decorative-- Charlie's knocker and letter box.

We're bidding only here 12 pounds.

Not so bad.

MARK GILDING: 15 pounds, 15, 18, Come on.

MARK GILDING: 20, 22, 25.

Ooh.

Riches indeed.

Selling in the room then at 25.

Another profit for you.

Well, about tuppence, isn't it?

Another profit.

It's still better than nothing.

- I've got 15.

- Yes.

You made another profit.

NARRATOR: Yes, no complaints please Charlie.

Way over 500 pounds.

- Stick with me, Steph.

- I know.

I need to-- - You'll be fine.

I need to borrow some money off you, I think.

NARRATOR: Steph's last lot-- her Masonic clobber.

Bidding opens here at 20 pounds.

20 pounds on bid then for the-- 20 pounds bid.

What about that?

20 pounds.

Nobody's looking for his 20s bid.

MARK GILDING: 25.

25 pounds in the room at 25.

Oh.

25 bidding in the room.

At 25 pounds then, room bidder at 25.

[GAVEL BANGS] Oh.

Oh.

Is that it?

That's it, break even.

Is that end of your road trip?

NARRATOR: Bit of a whimper, but nevermind.

Have you enjoyed your road trip?

Yeah, I have.

It's the taking part that counts.

It is.

NARRATOR: The final offering-- Charlie's Edwardian lady.

Is she smiling?

This elegant lady.

Elegant lady.

It should be 100 pounds really, shouldn't it?

Oh, yes.

OK 35 pounds on bid.

Oh that's a long-- That's a long drop from 100.

100 down to 35.

35 pounds then for the portrait at 35.

Really, this should be making more than this, ladies and gentlemen, come on at 35 pounds.

But that's the bid that I have at 35 pounds.

Oh no.

Watching you all carefully.

But you're not bidding.

Oh, dear.

MARK GILDING: Selling at-- Oh MARK GILDING: --35 pounds.

Oh.

Like a dagger to the heart.

Oh no.

Nobody liked her.

No.

NARRATOR: He finished with a real hammer horror.

You've ended up with more money than you started with.

Well that's good.

I didn't think I would at one point.

Pretty good.

Shall we go home?

- Let's.

Come on.

NARRATOR: Time to take one last look at the pounds, shillings, and pence.

Steph started out with 293 pounds and 24p today.

And after auction costs, she made a bit of a loss to reach a final total of well-- more than she began with, while Charlie, who had 497 pounds and 96p also made a loss today after costs.

But he's still our winner with 471 pounds and 96p.

All those profits go to children in need.

I can't believe it's all over.

Give me a hug.

Oh I can't either.

What's next in your life?

Gin, I think.

Come on.

Gin?

Yeah, gin.

CHARLIE ROSS: This could be the beginning of a beautiful friendship.

NARRATOR: And they'll always have Market Harborough.

[MUSIC PLAYING] To dive.

Cheap.

Oh.

Just like that.

What is wrong with the car?

What's happening?

Yeah.

Who are you, Colin?

I'm Charlie.

[MUSIC PLAYING]