NARRATOR: It's the nation's favorite antiques experts-- I think I found something.

Pretty good, yeah.

NARRATOR: --behind the wheel of a classic car-- Stop it.

Atta girl.

NARRATOR: --scour Britain for antiques.

Ooh.

I think it's brilliant.

NARRATOR: The aim, to make the biggest profit at auction.

But it's no mean feat.

You're some man.

NARRATOR: They'll be worthy winners and valiant losers.

Oh.

NARRATOR: Will it be the high road to glory?

Yeah, baby.

NARRATOR: Or slow road to disaster?

Oh, no.

NARRATOR: This is the Antiques Road Trip.

Yeah.

It's the perfect day for another antiques adventure.

Navigating the sun kissed B roads of Britain are experts, Izzie Balmer and Charlie Ross.

Oh my, Oh my.

Can't see, where are we?

Izzie.

Are you there?

I'm here, Charlie.

Ah, always looking on the brighter side of life, hey, Rosco?

Have you modeled your hair this morning or anything specific?

Why, what are you saying?

Who was in "Breakfast at Tiffany's"?

Audrey Hepburn.

You look just like Audrey Hepburn.

- Do I?

- You do.

Why thank you, Charlie.

That's the nicest thing you've ever said.

I thought I was in the car with Audrey Hepburn.

- You know what, Charlie?

Your hair's getting a bit long on the sides.

Are you're growing it?

It only grows on the sides.

Are you styling it into a top knot?

A top knot?

Do you think I could?

I haven't got enough for a top knot.

Put a stick on top.

My hairstyle is modeled on a boiled egg.

NARRATOR: Gleaming like Charlie's head is this pristine 1968 Triumph 2000 to help us sashay through the Wiltshire countryside.

You work in Wiltshire, don't you?

I do work in Wiltshire.

Oh, local knowledge.

This is your big chance, isn't it?

This is where your expertise will shine forth like a beacon and leave old Roscoe in the gutter.

Feeling rather pressured now, Charlie.

NARRATOR: Nothing wrong with a bit of healthy competition.

In spite of some great finds, Izzie has been somewhat unlucky at auction.

That said, she's grown her 200 pound starting sum by 45 pounds 2p.

Charlie's porker has certainly grown in stature.

No, he hasn't put on weight but he does have close to 328 pounds to play with on this leg.

I'm a bit nervous about today.

I am not as confident as I was.

Oh.

There's a chink in my armor.

Oh.

You like to see a chink in my armor, don't you?

I'd like to see a bloody great big large hole in your armor.

NARRATOR: Cor, that's fighting talk.

Look out Charlie.

This road trip set off from the Cotswolds and wended through South Wales.

The route sent them along the South Coast before a final auction battle in Battle.

Hah.

The road's getting narrower and narrower.

Izzie.

- Yes.

Where are you taking me?

To the next shop.

- I'm not sure you are, Izzie.

- What?

Leave you in the woods?

Because you're being annoying.

Carry on without you.

NARRATOR: The fourth leg of this jostle will end at auction in Sidmouth.

But we start in the stunning city of Salisbury at the aptly named Salisbury Antique Center.

CHARLES ROSS: Well, if that isn't straight to the door, what is?

Door-to-door service.

Door-to-door service.

Come on.

Ladies first.

Oh!

NARRATOR: The cheek.

My word, look at this.

Oh, it's gorgeous.

Charlie, this is your area.

This is arena.

CHARLES ROSS: I could spend all my money.

I shall see you later.

IZZIE BALMER: Bye.

For dinner, sir.

NARRATOR: Old, brown, shiny.

This place is right up Charlie street.

This is the most incredible emporium.

Every single corner is covered with gorgeous Georgian furniture, all my things.

The trouble is, I don't think there's anything in my budget.

NARRATOR: Oh do come on.

There must be something, Charlie.

Try smaller.

Bound to be cheaper.

How about that?

CHARLES ROSS: Nice tea caddy.

It's got its bowl as well.

Mixing bowl.

What wood is that?

Oh Charlie, I don't know.

I'm terrible with woods.

No.

You wouldn't be expected to know.

It's a rare wood.

- Stripey one.

It's a zebra wood.

- No, it's-- Giraffe wood.

Tiger wood.

A different animal.

A bird.

A bird?

Partridge wood.

Really?

I was kind of on the right lines.

Yeah, you were.

You weren't far away.

NARRATOR: Tiger, partridge.

No difference at all really.

Oh, well.

You can't afford it.

No.

I can.

NARRATOR: 250 pounds.

It is a stretch for Izzie's limited funds.

What's more within range?

Do love a chair.

I love how honest these are.

But Charlie has managed to get ahead of me by taking risks.

So I feel like it's time for me to do the same and take a risk.

But wouldn't it be brilliant if they did really well?

Because Charlie loves his chairs.

I just don't know.

I don't know.

I'm going to have a thing.

I'll see if I spot anything else.

I'll have a thing.

NARRATOR: You do that.

Charlie's gone a bit quiet.

What's he up to?

No good, I suspect.

Ah.

There's a little room here, staff only.

NARRATOR: Could be the loo.

I hope he's got permission.

[CHUCKLES] We might be able to find something in my budget.

Good Lord.

I don't even know what that is.

Rather ingenious.

Wonder if it's very cheap.

It's certainly old.

Certainly 19th century.

I need to find out what it is.

NARRATOR: While you get to the bottom of that, Izzie's tracked down a dealer.

What's she found?

Chris, I spotted quite a few bits in this cabinet.

However, none of them have a price, which I'm hoping means they can be really, really cheap.

They can be very good price.

Excellent, this is music to my ears, Chris.

Well, if we start with this one, Yes.

I just thought this was beautifully modeled with the cherub and the lion.

I mean, I'm presuming it's probably from something.

You are right.

It's almost certainly the lid from some kind of pot.

It's definitely a Grand Tour Italian bronze.

NARRATOR: Oh, yes.

In the 18th and 19th century, the Grand Tour was a travel experience.

Studying the art and antiquities of continental Europe, well-heeled travelers brought back souvenirs like this little bronze missing its bottom.

IZZIE BALMER: It is so very pretty and decorative, isn't it?

CHRIS: And period.

IZZIE BALMER: And period absolutely.

So, we'll talk money later.

Right.

So I want to show you all my goodies first.

OK. IZZIE BALMER: This little dish, with the coin in the center.

CHRIS: Silver dish with a Marie Teresa in, which is dated 1780.

Because it's not hallmark, the dish is, it?

CHRIS: No, no, it's not.

NARRATOR: The white metal dish is inset with an Austrian coin bearing the correct monarch's head for the Holy Roman empress Maria Teresa.

CHRIS: From what price I need for that, there's going to be a profit in it.

I hope.

So if I was to get these two, are we at 60 or are we less?

We could be a little less.

We could, could we?

What could we be?

We could be 50.

Sort of 30 and 20.

30 and 20.

That's how I see them.

Thank you so much.

That's wonderfully fair.

I'm going to put these back.

I'm definitely going to take them.

So I'll shake on it right now.

NARRATOR: Two lots in the old bag.

But Izzie will browse on.

Charlie's still off limits in the back room.

And hot on his heels is dealer Kate.

I saw the sign that said, staff only.

Well, you're always welcome.

Have a good rummage.

But it's great.

I've had a good look in here.

I mean the things outside are fantastic, but sadly my budget doesn't allow.

But I have spotted a couple of things up here, which I'm quite amused by.

KATE: Oh, yes.

A chestnut rooster.

Well, is it?

KATE: I think it is.

How interesting.

Because it looks like a chestnut rooster, but I've never seen a chestnut rooster with a whirligig.

You don't want them to burn at the bottom, so you have to keep moving them around.

IZZIE BALMER: Chestnuts would go in there.

And here's there's some little holes.

What a great thing.

Maybe some old chestnuts still.

CHARLES ROSS: Do you like chestnuts?

I do.

CHARLES ROSS: So do I. I love a chestnut.

NARRATOR: And some other unusual items of kitchen area have also caught Charlie's eye.

CHARLES ROSS: Now, what is that?

KATE: I think it's probably for weighing eggs.

NARRATOR: Get away.

I don't believe that.

KATE: Well, you have to have even weights certainly for eggs and flour and butter.

You do.

Just like in my traditional Victoria sponge recipe.

It's very good, but not on that gadget.

Oh, hang on.

It's got a maker's name on it.

Do you know who it's made by?

KATE: No, I don't.

CHARLES ROSS: Egg weigher.

NARRATOR: Well, I'm wrong, aren't I?

CHARLES ROSS: Off a egg weigher.

Well, that gives it away, doesn't it?

CHARLES ROSS: I hadn't spotted that.

NARRATOR: Both the chestnut roaster and the egg weigher are unpriced.

And Charlie spied another curiosity.

You've got one other item which alongside it.

KATE: Yeah.

Which is a guillotine.

And I think I know what this is.

Because I think I bought one before.

And I think that is for chopping your baguette.

KATE: It is a baguette cutter.

Baguette cutter.

It's French.

No doubt, yes.

NARRATOR: But what, [FUNNY FRENCH LAUGHTER] could Kate do on the price?

If I said, could I have a price for all three, would there be a sort of never to be forgotten price which I've got in the back of my head?

150.

Oh, blimey.

I was hoping to buy them all for 100 quid.

I don't think I'm going to make a fortune on them.

I think they'll make-- I don't know what they'll make.

I don't know whether the egg maker.

Have them for 100 and then you'll know if you see any in the future.

Put it there.

NARRATOR: Let's call it 20 pounds for the baguette chopper, 30 for the chestnut roaster, and 50 for the egg weigher.

Mr. Ross is off the mark.

[FUNNY FRENCH LAUGHTER] I'm going to have a baguette for lunch.

NARRATOR: You do that.

Chop it into bits.

Upstairs, meanwhile, Izzie is having a second look at those chairs.

Chris, I do like a good chair.

And I'm presuming they're made out of oak.

No.

No?

I think they're beech.

Almost certain.

Let me put my glasses on so I can see what I'm doing.

Charlie's trying to teach me about woods.

And as you can see, he's got a long way to go.

Yeah, they're beech.

Probably early 19th century.

NARRATOR: The pair of nursing chairs are priced at 50.

But could Chris do a bit better?

CHRIS: I'd do them for 40.

That would be my best.

I'm going to take a risk.

I've been playing it safe.

And Charlie has not only snuck ahead, he has properly leaped over me into the lead.

And I don't really want him to stay there.

No, we've got to try and get one over on him.

I certainly do.

So I'm going to take a chance on these.

Yes, please.

Thank you very much.

I hope you do well on them.

Thank you.

NARRATOR: Yeah, what a great start to this trip, hey?

Both experts have already found three lots to take to auction.

Bravo.

And with that, Charlie is taking a break from shopping just a few miles west in wonderful Wilton.

Famous people have been born there.

He's come to learn the intriguing story woven into the history of this town, one of industrial espionage and religious persecution a little known tale that will pull the rug from under his feet.

And who better to tell it than carpet maker Rob Load?

- Hello, Rob.

- Hi, Charlie.

Pleased to meet you.

Welcome to Wilton.

Thank you.

My first ever visit to Wilton.

Lovely.

Follow me.

NARRATOR: You've not lived.

For over 300 years, Wilton has been the center of British carpet weaving.

And the factories here have created luxury flooring for the great and good for generations.

But the origins of modern carpet making lie far away from Wiltshire.

Oh, yes.

CHARLES ROSS: So Rob, we're talking about carpets here.

Where did it start?

Well, it started a long, long time ago in the Far East, Persia.

Asia was the first carpet as we would know it.

And over time, through the trade routes, the manufacture or the sale of carpets eventually ended up in France.

CHARLES ROSS: In France?

ROB: It came over from France to the UK and ended up here in Wilton right round about 1700.

NARRATOR: The process as developed at that time gave birth to the Wilton carpet we know today.

ROB: This is where the factory began all those hundreds of years ago.

And the French were brought over in 1741.

Believe it or not, smuggled in, in two wine barrels.

IZZIE BALMER: That's a wonderful way to avoid the customs, isn't it?

And who was it that instigated this move?

The Earl of Pembroke at the time wanted to improve the weaving in Wilton.

And he had this idea to bring these weavers across from France.

NARRATOR: In early 18th century France, skilled Huguenot weavers created quality carpets.

But they face persecution for their Protestant religious beliefs.

And large numbers left France following the revocation of the Edict of Nantes.

But once in Britain, these weavers brought new skills and artistry into the British industry.

CHARLES ROSS: Look at that.

They invented really, the modern system of Wilton weaving that we can see still at Wilton today.

NARRATOR: The continental craftsmen brought their technique of using a single strand of yarn, rather than fixing tufts of yarn in place.

With local coarser wool, it made for a thicker, sturdier carpet.

Rob's taking Charlie to the factory's oldest working looms to see this process in action.

My word.

Oh.

ROB: Thank you, Mike.

IZZIE BALMER: Thank you very much indeed.

I know it's a loom, but what year is it?

This one is a 1937 vintage.

But it still does what it needs to do, which is weave top quality [INAUDIBLE].. How does it work?

ROB: Would you like to just show that, Mike?

[INAUDIBLE] IZZIE BALMER: Yeah.

Held in place, cutting the loops, which is actually making the pile.

Is it possible for me to have a go, Mike?

Of course.

Thank you.

You could stand on this floor.

Yeah.

And it's a matter of pushing the handle.

Yeah.

So just push it out.

I've got this.

Piece of cake Well done.

Can I have a job?

ROB: You can.

You're a bit younger than most.

I'm not sure about that.

That's amazing.

NARRATOR: Could be the start of a whole new career, Charlie.

Oh, do behave.

With the open road ahead and the trusted Triumph on the move, how's Izzie getting on?

I feel proper excited that I've bought three items and I really like each of my Items.

s But I'm still nervous because Charlie is so much further ahead than me and I just don't know that I've done quite enough to catch him up.

NARRATOR: Don't get in a tizzy, Miss Izzie.

There's plenty of time left yet.

She's powering on to the town of Shaftesbury.

Here we are Kingsettle Antiques.

Oh, don't slam it.

It's nearly antique.

There are collectibles to your left?

No, to the right.

No, left again.

Oh, she's a menace.

Oh, there are antiques everywhere.

And with just over 155 pounds left to spend, what to buy?

This is a Victorian boot scraper.

It's cast iron, which you can tell straight away from the weight of it.

It's really heavy.

It's also a giveaway that it's not a reproduction.

You get so many repro boot scrapers.

But invariably, they're much lighter.

They're much more cheaply made.

Apart from the age, what I particularly like about it is I love the design.

So you've got these scrolls here, typically Victorian.

The Victorians loved using their scroll work.

But the bit that appeals to me even more are these fabulous animal figural details at the top here.

I mean I'm not entirely sure what they are.

They could be an elephant.

They could be a wolf or they could be something mythical.

But I really, really like them.

The other thing about a boot scraper, is it's still usable.

I mean, how many times have you been for a muddy walk with your welly boots on and you need to scrape the mud off your boots before you walk into the house.

And they do sell well at auction when they're the genuine artifact.

Now this one is priced at 49 pounds.

(WHISPERING) I would quite like to get it for about 30.

So, I'm thinking, if I make a cheeky offer of 20, maybe I'll get it for 30.

It's worth a shot.

NARRATOR: Worth a scrape.

Why are we whispering?

KATE: Dealer Bob, is Izzie.

I'm hoping I can make you a bit of a cheeky offer and you're not going to be offended by it.

I'm sure it's going to be cheeky.

What are we going to see?

OK.

So where are you coming at?

Well I was wondering if 20 pounds would be acceptable.

I'm afraid not.

What were you thinking?

OK. 28 pounds.

Do you know what?

I will shake on that.

Thank you very, very much.

NARRATOR: Another buy in the old bag.

But will this boot scraper do more than wipe its face at auction?

Who writes this?

With 127 pounds left to spend tomorrow, that's Izzie's shopping done for today.

Do you want to get some dinner?

What would you like?

Pie, chips, and gravy.

Why aren't you 400 stone?

Well, I am sometimes.

I feel it.

I think I'll have a salad.

That's why I am 400 stone.

Too many salads in my life.

NARRATOR: Is that what you call them?

Nighty night.

It's a crisp autumnal morning in Hampshire for Charlie and Izzie.

Look at the conkers here.

Oh, I love conkers.

And there are loads of conkers on that trip.

What is she up to?

Go and get some conkers.

Look at all those conkers.

IZZIE BALMER: Look at all these conkers.

Here's a conker.

Have you ever played conkers?

Oh shall we have a game?

Here's another conker.

I think we've got enough.

One more.

No, no, no.

I want to find some more.

Come on.

There's a car behind.

IZZIE BALMER: OK, I'm coming.

- Izzie, get in the car.

- I'm coming.

I'm coming.

I'm coming.

I've got lots of frickin' conkers.

I'll give you pretty conkers.

Quickly.

Sorry, sir.

Charlie, look at all these conkers.

Why are you so passionate about conkers?

Don't know, like through the centuries, everyone's played conkers.

It's something all kids do.

And you get some really pretty ones.

We'll have a game of conkers later.

NARRATOR: I soak mine in vinegar overnight, then bake it in the AGA.

Yesterday, you'd think Charlie was going on a picnic.

He bought a chestnut roadster.

Ingenious.

NARRATOR: An egg weigher and a baguette guillotine.

[FUNNY FRENCH LAUGHTER] CHARLES ROSS: I will go and have a baguette for lunch.

NARRATOR: All for 100 pounds.

Izzie, meanwhile picked up four items, including that Italian bronze figure, a pair of nursing chairs-- I'm going to take a chance on these.

NARRATOR: --the silver trinket dish, and a cast iron boot scraper.

Love the design.

NARRATOR: Spending 118 pounds on a very interesting group.

Oh, what have you bought?

I bought three pieces of rusty old 19th century metal.

Oh.

That's some way I might describe you.

Did you buy any furniture?

Yes.

Charlie, exactly.

I had a bit of a ridiculous moment and bought two chairs.

Well done.

That's just the sort of thing I do.

I know.

I think you're rubbing off onto me.

NARRATOR: Oh, dear, oh, dear.

After dropping off Izzie, Charlie's going to the village of Odiham in Hampshire.

Handy parking.

Look at that.

Right outside Allsorts.

Ah, and a welcoming party too.

Macaroons, my fave.

[SPEAKING FRENCH] [SPEAKING FRENCH] NARRATOR: [SPEAKING FRENCH] Save one for me.

Excellent.

Magnifique.

That's the best [INAUDIBLE] I've ever had in a shop.

A French lady with marcarons.

It's like being in France.

NARRATOR: Yes.

The Entente Cordiale is alive and well.

Best get on with finding some sweet little antiques, hey?

Anything appeal on this table of silver goodies?

Aha.

That takes my eye immediately, the helmet shaped cream jug which I'm hoping will be Georgian.

Just my luck, it isn't.

But it is a Chester hallmark.

And it's Edwardian, 19-- somewhere between 1910 and 1920.

Sauce boat.

And that is Sheffield, similar sort of age.

I wonder if all these came from the same place.

Jerry, do come in.

JERRY: Charlie.

They're all unpriced, which is the way I really like it, Jerry.

Well to me they're priceless.

I know.

Have you got any scales?

It's not really fair to sell things by weight, but it is relevant to a certain extent.

Oh, yes, yes.

Something like a cream jug is worth much more than its silver weight.

Teapot, sadly, as you know.

When did you last have a cup of tea out of a silver teapot?

Not recently, I'll be honest with you.

No.

NARRATOR: Well, you speak for yourself.

We've got some post office scales here, lovely old things.

Splendid.

Should do the trick.

NARRATOR: As a precious metal, silver has an intrinsic value.

It's always worth something at auction, at the very least according to its weight.

It's a bit like weighing cakes.

It is, yes.

700 grams.

I think I'd like to offer 170 pounds.

Call it 180.

We would be fine with that.

Let's give it up.

OK, Charlie.

Thank you very much indeed.

Thank you.

Well done.

NARRATOR: Not quite running off with the family silver.

And with just short of 48 pounds left in his wallet, Charlie will motor on to the last shop.

Izzie's taking a short rest from shopping and is headed 13 miles South to the village of Selborne.

it's here, in this beautiful place, that a humble 18th century parson called Gilbert White had a huge impact on science with his pioneering work, recording the local flora and fauna.

Izzie has come to where it all began, at White's home, now a museum to visit with collections manager Kimberly James.

What was Gilbert White's legacy?

Gilbert White's legacy really was to inspire generations of other naturalists, in particular Charles Darwin, who thought that he stood on the shoulders of Gilbert White and came here to Selborne, to see White's Selborne.

But he also inspired naturalists all the way through to today where modern naturalists quite often quote that they were inspired by Gilbert White and he was basically like the David Attenborough of the 18th century.

NARRATOR: Gilbert White found pleasure in the natural world and was a country cleric who saw the study of the natural sciences as a celebration of God's work.

At his Hampshire home, White created places of study in perfect isolation.

Hello, what is this?

This would have been where Gilbert White would have observed nature.

This is his windpipe seat, which is a wine barrel with a thatched roof that he would have used as a bird hide.

He built this and this would have been somewhere that he could sit and observe nature, be protected from the weather, and be hidden from the birds so they wouldn't be scared to approach.

It's really small, isn't it?

Well, Gilbert was only 5 foot 3, so he would have fitted here quite nicely.

NARRATOR: Well, mighty oaks from little acorns grow.

A young White spent a significant amount of time in his garden.

It was his inquiring interest that motivated him to record what he sowed and grew.

He was a keen gardener almost before he was a naturalist and would spend hours in the garden, harvesting really unusual things for the 18th century like melons and cucumbers.

I mean it's quite impressive he was growing a melon in this sort of climate.

Yeah, absolutely, he would have had a special set up where he would have used manure with a glass top, which would have created the heat that he needed to grow melons and then would harvest them and have a melon party.

A melon party, I like the sound of that.

NARRATOR: Gilbert White continued to observe the countryside and became famous for his pioneering methods, what he called observing narrowly.

Rather than learn from books or resort to dissecting animals like his contemporaries, he chose to record everything he saw and heard in minute detail.

Gilbert made quite a few discoveries he was the first to identify the harvest mouse as being a separate species, the first to describe, the nocturnal bat.

He also realized that the chiffchaff, the wood warbler, and the willow warbler were three distinct species.

Because even though they look identical, they have three separate birdsong.

Did his discoveries change the way in which people looked at the natural world?

Absolutely.

For example, earthworms before Gilbert, people really just thought that they'd been put on the earth to annoy gardeners.

But Gilbert realized that they were really integral to our ecosystem.

NARRATOR: White described any extinction of the earthworm as a lamentable chasm, because it would affect both the animals that relied on them for food and the vegetation for growth.

From 1767, Gilbert White began sending correspondence of his discoveries to like-minded naturalists.

He later gathered all his writings to form one extraordinary text.

This is the manuscript of The Natural History of Selborne, which was the book that Gilbert White published.

So this is Gilbert's handwriting.

It's really fascinating to look at because he's underlined bits.

He's crossed bits out.

There's bits of paper stuck on top.

It's a real work in progress.

It is absolutely, and obviously today, if we are not quite happy with how something is we can just delete it.

But that wasn't the case in the 18th century.

But these letters are what eventually became The Natural History of Selborne, which is this book here.

This is a first edition.

It was published in 1789 and has been in continuous print all that time.

It's never been out of print.

And it's been through so many editions that it's thought to be the fourth most published book in the English language.

NARRATOR: Reputedly behind the Bible, the works of Shakespeare, and the Pilgrim's Progress.

The song of the red star is superior, though somewhat like that of the white throat.

Some birds have a few more notes than others.

Sitting very placidly on the top of a tall tree in a village, the cock sings from morning to night.

It does read like a book doesn't it?

Absolutely.

A storybook.

I mean, you can tell how he has really observed these birds.

Yeah, yeah, yeah, he's really familiar with them.

Yes.

And he's trying to get across to other people that might be interested to look out and have a look themselves to see whomever they can see them.

NARRATOR: 230 years on and a mere 300 editions later, Gilbert White's published observations are still being enjoyed the world over today.

And you can go and visit his house.

How lovely.

Back on the road, how's Roscoe feeling about his dwindling money pot?

It's not often I go into a shop and spend 180 pounds, but that's exactly what I've done.

But silver price can go up.

Silver the price can go down.

I just hope it doesn't plummet before the auction.

NARRATOR: Will Charlie's next stop have a silver lining?

He's heading to Fleet in Hampshire.

And serendipity, can he strike lucky with only 47 pounds 96 to his name, nod, nod, wink, wink.

Anything catching your eye?

Ooh, that's a big one.

This is a cowbell.

I have never, ever seen such a big cowbell.

And that's got some age.

I would think that's a 19th century cowbell and almost certainly from Switzerland.

And I absolutely love it.

But it's such a size.

It must have been a hell of a strong cow.

Moooving on, belle of the ball, Izzie has crossed the county line and into Surrey to the village of Bramley, the locale of Memories Antiques.

She's got a bit of catching up to do and 127 pounds to spend.

Will Izzie play safe or take the risk?

Another bell ringer.

They're both at it.

I have found a bit of silver.

It's a silver pedestal dish.

This is quite a small one it would possibly have been used for trinkets, possibly sweet meats or bonbons.

It's hallmarked for London and 1913.

So it's just outside of the Edwardian period, we're just into early George V here.

For something small, it's got quite a good weight to it.

The gauge of the silver is thick, it's not a cheap piece this.

NARRATOR: No, a functional piece of silver too.

And the price?

I think that says 58, I mean it possibly says 28, but fairly certain it says 58.

NARRATOR: Best get shop owner Jane over for a closer inspection.

I think that says 58 pounds.

You're right it does.

Is there any movement on that price?

Yeah, well let's settle on 40.

That seems very fair and I think that gives me a fighting chance, so yes, please, that would be super, thank you very, very much.

NARRATOR: Yeah, your last buy for today, girl.

Let's see if it pays off at auction, 20 miles or so away in Fleet, what has Roscoe found?

Money box?

Cast iron or is it brass.

It's incredibly difficult to tell.

City Bank is an American bank founded in the early 19th century.

I don't think it's a reproduction.

I can be caught out by these things.

You know, they're so cleverly reproduced.

And they're pretty simple to make.

But it just doesn't have the feel.

It's a slightly better casting than a reproduction one.

Great thing about this is the more money you put in, the more you can see it as well.

NARRATOR: Enough to hold what little cash you got left, old boy.

What's the price?

And it's 15 pounds.

Not a lot of money.

And as they say, there's not a lot of downside.

Look out, Wendy, here he comes.

I am going to buy it if I may.

Lovely.

You may.

Thank you very much, Charlie.

CHARLES ROSS: Thank you very much indeed.

NARRATOR: With that, the last buy, I have to ask, will it be a banker for auction?

I think it will.

I've got a feeling you're going to be absolutely up with me after this auction.

It's going to be neck-and-neck.

Well, that'd be an exciting finish, wouldn't it?

I know.

I canter to the finish line-- or gallop.

I'll gallop.

You can canter.

I'll stroll.

NARRATOR: A photo finish.

Hmm!

Sleep tight.

Sound the alarm.

It's auction day in the seaside town of Sidmouth-- ah, lovely-- situated on the Jurassic Coast.

Which expert will be sailing to victory today?

There's nothing like a stroll in the Strand.

A stroll?

You're setting a really rather fast pace here.

Here it is.

After you, madam.

Oh, thank you.

NARRATOR: Such a gent.

Anyway, get your skates on, you two.

We're at the end of the penultimate leg of this trip.

Beginning in Salisbury, our experts have twisted and turned their way to Sidmouth.

And today, we're at Potburys Auction Rooms.

Izzie bought five lots, some on the more adventurous side of her expertise, totaling 158 pounds.

But what will Charlie make of Izzie's chairs?

Great to see Izzie buying furniture.

Do you think she bought these especially for me?

They're ladder back, they're 19th century.

The rush seating's in good order.

Cost 40 pounds worth.

I would say 40 pounds.

NARRATOR: You'll be hoping those go.

Charlie also bought five lots, spending just shy of 300 pounds.

Well, I've seen baguette cutters sell before.

They don't usually make a huge amount of money.

What I do like about it, though, is its age and its history.

And it's clearly sliced lots of baguettes in its time, so hopefully it will slice Charlie a nice profit.

NARRATOR: Today's auctioneer is Philip Hurst.

What are his thoughts on our experts' lots?

PHILIP HURST: The early 20th century silver pedestal dish, a nice pretty little thing, but nevertheless, the estimate will be based on the weight in the region of 30 to 40 pounds, I think.

The 19th century egg scale is one of my favorite lots in the auction.

Great character to it.

I like the balance of the thing.

I like the little apple-shaped weight on it.

It's got a great deal of character.

I'm thinking in terms of 50 to 100 pounds.

NARRATOR: It's not long now.

The auction room is buzzing with bids being taken in the room and online.

In you come.

Get yourself settled, dears.

Oh, my!

I'll never get out of here.

This is wonderful.

Good night.

Don't fall asleep.

Wake up!

It's packed!

There's a number of people here.

They've come to see you sleep.

I don't think-- NARRATOR: No dribbling, Charlie.

First up is Izzie's Italian bronze figure.

Well, there it is.

There it is.

One commission bid on this starts me at 10 pounds.

Charlie!

Look to the room.

I look around for any bids.

12.

Thank you.

14.

16.

CHARLIE ROSS: Come on.

18.

20.

Here we go, Izzie.

20, sir.

Oh, I need more!

Commission bidder at 18 pounds.

NARRATOR: Unlucky.

Don't worry.

Lots more lots to come.

Oh, Izzie it's not fair.

You've bought nice things.

And it's an antique.

You're always teasing me about 20th century.

I bought antiques this time.

I know, I know, I know.

NARRATOR: First for Charlie, the group lot of silver.

IZZIE BALMER: They look very smart, don't they?

I love the helmet-shaped cream jug.

I mean, that could be Georgian.

Two commissions for the bids for these, which start me at 170 pounds.

That's not bad.

Yeah.

I look to the room for 180.

170 pounds commission bid.

I'm about to sell.

NARRATOR: What a shame.

Looks like it's stuck exactly to its weight price.

I was just hoping in the space of a couple of days that the silver price would have doubled.

NARRATOR: Will Izzie's Maria Theresia trinket dish pay off for her?

Maria Theresia.

--such, shall we say 15 pounds?

I paid 20.

At 12.

At 10.

Anyone?

Anyone?

Oh, come on.

Come on.

Hang on.

10 on the bid.

Thank you.

There's a man bidding.

Don't worry.

A bid of 10.

I'm looking for 12.

At 10 pounds.

I'm about to sell.

Fair warning.

IZZIE BALMER: This is terrible.

NARRATOR: Such a shame, but only a small loss.

I think he's stolen that, Izzie.

I think so too!

Charlie will be hoping his money box is a banker.

If that was my money box, I wouldn't have very much in the bottom, but I suspect your money box would be full to the brim of money.

Actually, it's not big enough.

10 pounds, anyone?

10, thank you.

10 pound bid.

12.

14.

16.

Yes!

18.

20.

22.

Profit!

PHILIP HURST: 24.

Thank you.

CHARLIE ROSS: Oh!

[INAUDIBLE] 24 pounds.

NARRATOR: First profit of the day goes to Charlie.

Not to be sniffed at, Ms. Balmer.

I am not sniffing at it.

Good.

[SNIFFS] NARRATOR: Next is Izzie's big gamble, a pair of 19th century chairs.

Come on, Charlie.

10.

Thank you.

12.

14.

16.

Here we go.

18.

20.

22.

- Izzie!

- 24.

CHARLIE ROSS: Izzie, you're stealing.

IZZIE BALMER: No, I'm not.

28.

30.

[INAUDIBLE],, are you getting there?

Fair warning.

At 30 pounds.

NARRATOR: They were worth taking a risk on, but, sadly, not moneymakers.

Why did I ever think buying chairs was a good idea?

Why did I listen to you?

I cannot possibly imagine.

NARRATOR: Charlie's chestnut roaster.

Proper profit.

I don't know if I'd prefer your chestnut roaster to be a chestnut roaster or a coffee roaster, because I like both.

I have two commission bids, which start me at 18 pounds.

Oh, no.

Not enough.

--pounds.

Room for 20.

22.

24.

26.

28.

30.

32.

- Oh, come on.

A little bit more.

PHILIP HURST: 30 pounds.

CHARLIE ROSS: A little bit more.

- 32.

- Yeah!

34.

36.

38.

39.

40.

42.

Ah, come on, madam.

Fair warning at 42 pounds.

NARRATOR: Well done.

Nice find.

Goodly profit.

There's a lady in the back there that has bought a couple of my things.

Yes.

And she hasn't bid on any of mine.

I know.

She's a woman, obviously, of impeccable taste and no shortage of funds.

NARRATOR: Is she a relation?

[LAUGHS] NARRATOR: What about Izzie's scraper?

Concentrate.

Here comes your boot scraper.

Commission bid starts me at 10 pounds.

Oh.

I look to the room for 12.

I look through for 12.

14.

16.

18.

There's somebody over there with some very muddy boots.

28 with me.

30, will you?

Let's have a new bidder.

Fair warning, at 30 pounds.

I'm about to sell.

NARRATOR: It wiped its face.

Every little helps, and your first profit, girl.

What will be will be.

NARRATOR: Yeah.

Can Charlie get a good price for his baguette guillotine?

You know when you go to France, don't you just love going to a boulangerie each morning?

The smell.

The smell.

Asking in French for your bread and your croissant.

Oh.

20, anyone?

20 on bid?

20 pounds!

24.

26.

28.

30.

32.

34.

Charlie Ross.

I know all about [INAUDIBLE] down there.

Fair warning at 36 pounds.

NARRATOR: [SPEAKING FRENCH] That's not another profit, is it?

It-- ahem.

NARRATOR: Can Izzie's final lot, a silver pedestal dish, bring her some cheer.

I could see somebody in a shop asking 75 pounds for that.

They really good.

Two commission bids start me at 28 pounds.

Well done.

That's a good start.

Good start.

30.

32.

34.

36.

38.

- Izzie!

- 40.

42.

Two in the room-- Well done!

We need another one, don't we?

At 42 pounds.

Fair warning.

NARRATOR: Just over the auctioneer's estimate.

And is a profit, before costs.

So you're only down a smidge.

I'm not going to let you dampen my positivity.

Would I?

What's next?

Positive vibes.

NARRATOR: We are all egg-static for Charlie's final item, the egg scale.

You know how you always say that your head's like a boiled egg?

Yeah.

Well, is that why the eggware appealed to you?

Yeah.

Yeah!

Weigh your head.

Here they come.

Now, look, this is a big risk.

I have four commission bids.

[GASPS] These start me at 140 pounds.

No!

I look to the room for 150.

Any advance?

Charlie Ross!

With me then at 140-- Weigh my eggs!

--pounds commission bid.

Fair warning.

Charlie!

Thank you very much, sir!

Thank you.

NARRATOR: Egg-cellent.

Great price for a rare and interesting thing.

You come with me, and I'll buy you something nice, like an enormous ice cream by the seaside.

OK. Come on.

NARRATOR: Great idea.

Fingers and thumbs at the ready.

Let's work out the sums.

Now, Izzie hoped to add to the 245 pounds in her piggy-bank.

After costs, she's made a loss of just over 50 pounds, and now has 193 for the last leg.

She'll pull it back.

I know she will!

Charlie started with over 327 pounds.

After fees, he's made a profit of 43 pounds, and fattens his pig to over 370 pounds.

He retains the lead, but Izzie could still catch him.

CHARLIE ROSS: Izzie!

Where are you?

Your ice cream's melting!

My ice cream's melting!

It's about to pour with rain!

And you said, meet me by the seaside!

There's only one thing for it.

I'm going to have to have both of them.

NARRATOR: A moment on the lips, Charlie.

A lifetime on the hips.