VOICEOVER (VO): It's the nation's favorite antiques experts...

I don't know what to do.

(HONKS HORN) VO: ..with £200 each, a classic car, and a goal: to scour Britain for antiques.

What a little diamond.

VO: The aim - to make the biggest profit at auction, but it's no mean feat.

Back in the game.

Charlie!

VO: There'll be worthy winners and valiant losers.

Oh!

VO: So, will it be the high road to glory or the slow road to disaster?

Oh!

VO: This is the Antiques Road Trip!

VO: Yeah.

VO: This week we've been hitching a ride with two antiques experts, Philip Serrell and Natasha Raskin.

PHIL: Do you know, there is one thing you can rely on in this country.

What is that?

Unreliable weather.

VO: Esteemed auctioneer, Philip, has an eye for a bargain and a nose to sniff out antiques in unlikely places.

This is just the best, much better than antique shops.

VO: Joining him on this road trip is enchanting Glaswegian, Natasha.

With expertise in paintings, sculpture, jewelry and female wiles.

Oh my goodness, I am going to have to be like cupid and sort of throw a little arrow in your direction.

VO: Our dueling duo set off in a 1957 Porsche with £200 each.

As the penultimate leg of the road trip gets underway, Phillip's edged in front with £214.04 to spend.

VO: Natasha, however, has just £122.84.

Purse's bulging now.

You're over £200.

PHIL: It's not bulging, it's about 12 quid better than we started I don't know how many days ago.

Well I'm almost £100 worse off than when we started.

I've lost the plot, I think I got the rules wrong.

VO: Natasha and Phil kicked off the week in Narberth in Pembrokeshire.

Their journey has seen them travel through the home counties.

Now they're heading to the south coast before heading to Salisbury, Wiltshire.

The fourth stretch has them going to an auction in Rayleigh in Essex.

But they're starting in Arundel.

According to local tradition, if you shake yourself on Arundel Bridge on 1 March, you'll be free from fleas for the rest of the year.

Handy that.

Our experts' first stop is Arundel Antiques.

David's been trading in militaria for over 20 years, and has amassed quite a stock.

Perfect if you know what you're looking for.

Here we go.

Stand by.

Attention!

So what do you know about militaria, Phil?

PHIL: Nothing.

TASHA: Nothing?

No.

Most of it comes from the military.

Most of it?

That's sounding good, thanks.

(SHE LAUGHS) VO: As Natasha heads to the back of the shop, Philip spots something in David's window display.

The flying leather helmets and goggles, old?

Period, yes, 1940s.

And what's the ticket price on those?

DAVID: Helmet and the goggles, £140.

OK. A bit of room for negotiation on these prices?

£140 was kind of calculating a bit of a knock.

120?

OK. And that figure, is that plaster or wood?

It's wooden, Florentine, 17th century.

How much is that?

1,850.

You couldn't do it for £17?

I couldn't actually, no, but thank you so much.

Just a thought.

VO: Putting the decimal point in the wrong place to get a deal never really works, Serrell.

You've got to try, haven't you?

VO: Natasha faring any better?

OK, this looks a bit more my cup of tea, less militaria, more stuff but it is very nicely set out, isn't it?

Very nicely set out which is a bit of a worry because it makes me think this is antiques in a retail-retail style but I'll give it a good shot, see what we can find.

VO: Better if you take the covers off, Phil.

What about that?

Oh yeah, that is quite a good old piece.

A good solid piece.

And how much is that?

35 quid.

Might benefit from a polish up but... PHIL: Wouldn't we all?

VO: Speak for yourself.

Is 35 the best or can we get it under 30?

Eh, 28.

How about that?

OK.

I might just have a go at you with that, let me just have a wander round and see if there is anything else I can see.

VO: As Philip continues his search, Natasha finds David.

So, I'm a little bit worried that I can't afford anything in your shop.

So I was coming to you to say yes, there are beautiful things here, but do you have anything on the cheap but not common kind of scale?

We've got some bargains.

Would you like to follow me and we'll have a little look?

TASHA: I'd love to follow you, thank you so much, maybe you're going to save me.

What do you have in mind?

DAVID: Well I think these are quite interesting.

Two albums of cigarette cards from the 1930s.

TASHA: Right, OK, OK. Something I've never bought before.

DAVID: Always a popular subject so you've got all the insignias in there.

TASHA: And they're totally complete?

DAVID: Totally complete.

Marvelous condition.

VO: Cigarette cards were introduced to stiffen packaging and to advertise brands.

The first in the UK were introduced by John Player and Sons in 1893.

Because of the popular subject matter, it will still be of interest.

Oh I hope so.

And do you think in this sort of quantity they will be... Oh hello.

Please take your eyes off my lovely RAF badge cigarette cards.

We've not talked money yet, what do you think of these, Phil?

I'd be happy to give him £400-500 for those, I would have thought.

Don't listen to him.

Sell them to him, we split it.

VO: The ticket price is £25.

What about 20 for the two?

A tenner a piece?

Oh I don't know.

Can I have a look?

Naturally, I think they're really good subject matter.

TASHA: I'm just a bit worried about the rarity value because I don't think there is one, is there?

VO: These two collections are complete with about 50 cards in each book, so that bodes well.

So what is the most you're prepared to pay?

The most I'm prepared to pay, if I'm honest, and I only want to be honest, not offensive, is probably eight quid.

DAVID: £8 sounds like a good deal to me.

TASHA: Really?

Yeah, I can do it.

I'm quite surprised.

No, because I am going to be stuck with them otherwise.

(LAUGHS) I get it, so shall we do it then?

We'll do it.

Eight quid.

VO: What an incredible deal.

Natasha has persuaded David to part with these at a third of their ticket price.

And, with one deal done, David makes his way over to Philip.

He's spotted a 19th century box wood truncheon.

PHIL: It's got a ribbed handle, leather here, which looks suspiciously like it's been replaced at some point in time.

And it's got a not overly subtle screw in there and there.

And then this is lead filled and they used to call these life preservers, didn't they?

Which is actually the last thing in the world they did because when you've got that on the back of the head, that really would just see you out, wouldn't it?

How much is that?

It's £45.

VO: Phil's still keen on the bronze propeller too.

Total ticket price for both items is £80.

PHIL: What could you do the two for?

DAVID: 40.

20 quid each.

PHIL: £40 for the two, you caught me by surprise cos I thought they were going to be more than that but I better pay you now, look.

VO: Yeah, and with that, both experts leave their first shop with some promising purchases for auction.

VO: Philip's moved on and has motored the Porsche along the coast to Hove.

He's visiting Hove Museum and Art Gallery to find out about a forgotten genius and pioneer of early cinema.

And to tell Phil all about this remarkable man of the movies is museum curator, Suzie Plumb.

Oh, hi, I'm Philip.

< Hi Phil, I'm Suzie.

Good to see you.

Welcome to Hove Museum and Art Gallery.

This is pretty cool, isn't it?

Do you want to come through here and have a sit down?

In our mini cinema.

PHIL: You don't get many cinemas smaller than that.

SUZIE: It's pretty small.

VO: Mm, cozy.

George Albert Smith began as a showman in the 1890s.

At a time when live performance alone entertained the masses, he performed as a stage hypnotist, illusionist and psychic.

Spinning stories to a spellbound crowd, he used a magic lantern and colorful slides.

PHIL: So Smith, he was...

He sounds like a really larger than life character.

I think he was.

He was a showman, his roots were in showmanship so he's working the magic lantern, doing performances around Brighton at the Brighton aquarium.

He's interested in photography.

He also set up what he calls a pleasure garden which included live animals, monkeys, there's a hermit in a cave.

So he's an entertainer.

VO: In 1896, Smith travelled to London to witness the first demonstration of film by the Lumiere brothers.

PHIL: So the Lumiere brothers, they pioneered what?

Moving images generally?

SUZIE: Yes.

PHIL: And our man George Albert Smith, what did he do?

He went to see the first show in London in 1896 and came straight back down here and started making his own films in 1897.

So less than six months, really, after he had seen the first moving images in this country.

They would have been most definitely black and white and silent, wouldn't they?

Absolutely, absolutely.

VO: Inspired by the Lumiere brothers, Smith turned his storytelling talent to film.

Smith was really instrumental in developing in what we call a narrative of cinema, developing techniques and practices that enabled people to tell stories through moving images.

So he was the pioneer, wasn't he, really?

He certainly was one of them.

VO: To tell his stories, Smith used the first ever close-up shots and pioneered editing.

He was leading the way.

Not just by creating new techniques to tell a story but also by developing revolutionary camera technology.

SUZIE: So there's bits of work going on around the country, someone is trying to find a color film process but Smith beats them all to it.

This is the Kinemacolor camera.

PHIL: What?

Kinema?

SUZIE: Kinemacolor camera.

PHIL: Right.

SUZIE: Inside, there is a wheel here that sits between the film itself and the lens.

And this wheel consists of two filters, one half of the wheel is red and one half is green.

One half is green.

SUZIE: Using a red and green filter to create a color film is just a trick of the eye, it's just an optical illusion, where red and green spinning fast enough makes it look like it's color.

VO: Smith's Kinemacolor was launched in Paris in 1908, and he produced over 100 color films.

But in 1913, disaster stuck.

A court case brought by his competitors challenged his patent.

The judge ruled against Smith, allowing anyone to produce a color film.

After this court case, what happened to Smith then?

Well, he stopped making films, sadly, and by that point this was 1914ish, the First World War comes along.

But also it becomes a lot cheaper to produce films in Hollywood.

VO: Plentiful sunlight in Los Angeles made it the perfect place to produce films.

By the 1920s, Hollywood had become the movie capital of the world.

What happened to him then?

He faded out of recognition for many years and was kind of forgotten about by the film industry until the late 40s, early 50s, when people started recognizing the value and the impact of his work on early film making.

VO: Smith looked on as the film industry, using techniques he pioneered, became a global entertainment medium.

I don't think I'll ever be able to go to the cinema again and watch a film without thinking of my new best friend Mr Smith.

Thank you.

Thanks very much.

VO: Next stop for Natasha is just along the coast, in Peacehaven.

VO: The town is located above the stunning chalk cliffs of the South Downs.

Natasha's here to shop.

This place may be small, but it's crammed full.

TASHA: I'm really into a little bit of poker work and these are really sweet, these wee napkin rings.

It's called poker work because that is exactly what it is, it's a hot poker that goes in and actually makes the design.

Got the actual stylized flowers have been lined out by the poker, and then the background has been typical of its style, dot-dot-dotted in, and then they've been filled in and colored.

But they're a little bit lacking in their color, it's all come off, to be honest with you.

And then I think maybe from the same sort of set is this one here, let me just get it.

There we go.

Because I think this one's the most obviously art nouveau in its style because this here, you've got a lovely soft yellow and then the green and the blue all working together in harmony.

Yes, there's a wee bit of paint loss and it's not in the world's best condition, but I think for its age, that's just such a lovely thing.

VO: The arts and crafts poker work pot has a ticket price of £20.

One to think about.

Dealer Steve is on hand to help Natasha find some more goodies.

TASHA: There are some sweet wee things in here.

I just have a feeling that novelty is what I'm after next.

There is one down here that's lovely, the enameled one with the 19 on it.

Yeah, that's really sweet.

So what is that, 12 quid?

Oh it's a tie clip!

STEVE: Yes.

TASHA: And it's the 19th hole.

STEVE: Yes, indeed.

TASHA: So I thought, when I saw the price tag from above, that it said 120, because I presumed it was going to be in nine carat gold.

But it's not, it's just in a sort of rolled gold plate.

The enamel's alright.

It's not in the worst order you've ever seen.

But it's kind of cool, isn't it?

(STEVE CHUCKLES) VO: That's now two items Natasha has her eye on.

Anything else?

TASHA: I absolutely love this little pill box.

STEVE: OK.

It's just, Cupid has sort of picked up his quiver and sort of shot an arrow towards my heart.

I don't want to get too carried away but what a lovely box.

It's absolutely gorgeous.

Do you mind if I take a closer look at that?

No, indeed.

Right OK, thank you very much.

Anything to do with Greek mythology is just my favorite thing.

VO: This pill box has a 1992 hallmark.

Hardly antique, but as it's not terribly old, it is in pristine condition.

TASHA: It's basically purporting to be something that it isn't in its style.

But certainly it's hallmarked clearly enough to say, you know, yes, I'm not a period piece, I am from the 20th, late 20th century, but I'm very much mimicking the style of the early 20th century.

VO: It sports a ticket price of £24.

OK, Steve, there are things that I like in your shop, truly.

I really like the poker work box.

And I really like the tie-pin.

And you've got this gorgeous hallmarked bit of silver as well.

I wonder if you would be open to a sort of a...a deal.

You can tempt me, Natasha.

And how often do you fall for temptation?

(CHUCKLES) I'm a fool for temptation.

You're a fool for temptation!

Oh my goodness, so I'm going to have to be like Cupid and throw a little arrow in your direction and see how I get on.

VO: Try throwing a price at him.

Just say £30 the lot.

I'm just going to say it, Steve.

STEVE: Make it 35 and it's yours.

35?

For the whole lot?

Yeah.

Steve, I can't resist.

I'm now falling for you.

I think that's an absolute deal.

VO: Natasha's picked up three items that had a total ticket price of £56 for just £35.

STEVE: Thank you very much.

TASHA: Thank you very much.

TASHA: I think these are going to fit perfectly into this poker work box.

Look at that!

And I'll say thank you very much, wish me luck.

It's been a pleasure, Natasha.

Oh it's been really nice!

Thank you so much, Steve.

Good luck.

Bye bye, bye bye.

VO: And with that, one day down, one to go on the road trip.

Time for a rest.

Nighty night, you two.

VO: Morning has arrived and Philip's in charge of the map.

PHIL: I know this sounds stupid cos I used to teach geography but have you any idea where we are?

VO: You're in East Sussex!

Yesterday young Natasha spent £43 on four lots for auction.

Two albums of cigarette cards, a poker work pot, a novelty tie clip and a hallmarked silver pill box.

After that spending spree, she has £79.84 left today.

VO: Philip spent £40 on two items - a 19th century lead weighted life preserver and a ship's propeller.

Philip has £174.04 left to spend.

VO: Our two experts have driven to the picturesque village of Golden Cross.

TASHA: This is your stop, sir.

Have a really good time.

PHIL: Yeah, you too.

TASHA: I'll see you later.

Yeah, have a good trip!

TASHA: Bye.

PHIL: Bye.

VO: Philip's first to shop today.

Hi, I'm Philip.

Oh hi, I'm Rhoda.

How are you Rhoda, you alright?

Fine, thank you.

You have some stock in here, don't you?

A few bits and pieces, yeah.

VO: Rhoda's being rather modest - her shop is crammed with all sorts of goodies for Philip to have a look at.

VO: He's really casing the joint.

An organ.

VO: Oh Lordy.

These are cool, these things, because they are operated, oh look, by pumping these pedals down here.

What you do is that, look.

Now, I started out in life as a PE teacher.

Played a lot of rugby, used to teach geography.

But what many of you won't know is I am in fact a classically trained pianist.

VO: Really?

You ready for this?

VO: Stand by.

(PLAYS TUNE) Don't know any more.

(RHODA LAUGHS) VO: Thank goodness for that.

PHIL: Rhoda, how much is this?

I think it's way beyond your budget.

PHIL: Probably a very good thing.

Right, let's go and see what else we can find.

VO: Yup, stick to what you know!

These are quite interesting, Rhoda.

How old do you think those are?

I would imagine about 1910, something like that.

What do you think?

Yeah, I think you're right.

VO: Philip's keen.

I think they're quite interesting.

VO: And I don't blame him.

They're in the style of William Benson - one of the most forward thinking of the arts and crafts designers, known for producing well thought out, functional items, particularly light fittings.

This is a drip pan.

So you put your candle in there and this is a drip pan, quite clever really, so it catches the wax.

So you're not forever getting wax off your damask tablecloth or worse still, in my view, off your beautifully patinated mahogany dining table.

VO: If they're by Benson, they could be worth a few quid.

However there's no maker's mark and Philip's spotted a problem.

That's just, it's been dropped, hasn't it?

If you look at that one, look at that one there and look at that one there.

And it's just been...

It's been dropped.

VO: Yeah, maybe Rhoda will drop a bit off her £25 ticket price.

I could do them for...

I could do them for 20.

Is that your very very best or can I squeeze you down to 15?

No, not really as low as 15.

What could I squeeze you to?

18.

OK, I'll have those, my love.

Thank you very much indeed.

RHODA: Thank you.

VO: That's most kind, Rhoda.

Philip's leaving with the brass candlesticks for £18.

VO: Natasha has taken the Porsche onwards to the village of Burwash.

She's visiting a house, deep in the wooded landscape of the Sussex Weald, which became sanctuary to a world famous writer.

Hello, hi!

I'm Tasha.

Hello, welcome to Bateman's.

Thank you so much.

Bateman's indeed.

This is a spectacular home and the residence of one particularly important gentleman.

An extraordinary man with an extraordinary story.

VO: In 1902, Rudyard Kipling was at the height of his fame.

His Just So Stories were ready to go to print and The Jungle Book had been published globally and translated into many languages.

VO: As a man of great wealth and fame, Rudyard could have chosen to live anywhere, but he fell in love with Bateman's in the secluded Dudwell Valley.

And it was here he experienced some of his greatest joys and deepest sorrows.

So Rudyard Kipling comes to Bateman's in the autumn of his life, really.

But where did it all begin for him?

He was born in India and his father was a head teacher who set up a school in India.

And that Indian influence, those early years in Bombay really had a big influence on him.

His father managed to get him a job as a reporter on one of the English newspapers in India and he started writing little stories and one day the editors asked Rudyard if he'd mind writing a story to sort of fill half a dozen pages.

That became really successful and so they were serialized into booklet forms and they sold by an extraordinary amount as well.

VO: By the age of 32, he was the highest paid author in the world.

Rudyard married and had three children.

Life could not be better.

But all the riches in the world were no compensation for the loss of the eldest of his three children to pneumonia.

So Josephine died and that really did influence him.

He took a long time to get over it.

VO: Josephine was just six years old.

Overcome with grief and wishing to escape public glare, Rudyard bought Bateman's.

And he threw his energies into writing, drawing inspiration from his new surroundings.

TASHA: Look at the view.

I mean, his surroundings and being at Bateman's and being in such a beautifully beamed study with this view, he can't have lacked inspiration in here?

No, he certainly didn't.

He really did, his whole focused slightly changed by the time he moved to Bateman's.

He was really influenced by the Sussex countryside, by this valley, this environment.

So it really did influence his work.

He doesn't have to write for money, monetary reasons any longer, he can actually just write for the enjoyment and so he writes his stories for his children.

VO: Rudyard welcomed many guests to Bateman's and kept a meticulous record of every visitor.

So you've got, you know, extraordinary people, you've got politicians, so Stanley Baldwin.

You've also got people like Scott and Shackleton, the explorers.

And you've got American presidents.

George Clemenceau, the president of France, he comes here.

TASHA: He was a man to visit, I was going to say, yeah.

And even Mother gets a mention, in fact, she's highlighted.

(LAUGHS) Mother came on 4 August, 1920, about 6.30pm.

And he's annotated that FIP.

Yeah, that's a bit of a personal joke that Rudyard made.

For many many years no one knew what it actually meant, and it was only a maid, many years after Rudyard's death was able to come back and explain what FIP meant.

And it turns out it was Kipling's little personal joke for people that fell in the pond.

Fell in the pond?

Yeah, now it's interesting because the pond here is not that dangerous and considering the amount of people that did seem to occur, this seemed to happen to, I got the feeling it might have been closer to PIP or pushed in the pond.

Pushed!

And I think it shows you maybe a little bit more of the high jinx and the japes he would get up to and how he was very much an interesting figure that would love to have a good time.

Yeah, that's wild.

You can't throw your mum in the pond.

Well, Rudyard certainly did by the look of it.

VO: But this idyll was soon to be shattered.

The world lurched towards the Great War and Rudyard was to know personal tragedy for a second time.

His son, John, he then struggles to get into the military during the First World War.

Eventually manages to get away, partly because of Rud pulling a few strings for him.

And of course, John disappears during the Battle of Lewes, never to be seen again and Rud not only then blames himself for Josephine's death but very much so for John's death as well.

VO: While Rudyard continued to write for the next two decades, he never again returned to the bright, cheery children's tales he had once so delighted in crafting.

Health issues eventually caught up with Rudyard, the result of age, but also of grief.

TASHA: Kipling must have been a man of extraordinary character to really carry that burden of outliving two of your children.

Throughout all this tragedy, for a man that has so much to give and gives so much to the world with his literary genius and stuff, he experiences so much tragedy himself.

And so it is very strange how that all comes out, all this literary genius comes out of all that tragedy as well.

VO: Philip has hit the road and journeyed to just outside the East Sussex town of Battle.

Although this doesn't look like an antique shop.

Philip's known for going rogue, and true to form he's making an unscheduled stop at a fencing contractor.

And it looks like busy managing director, John Hobden, is humoring him.

This is just the best.

Much better than antique shops, this is.

Anybody can go and buy stuff at antique shops.

Natasha, this is where you should be.

VO: John's taking Philip to a storage unit.

JOHN: There's a few bits of old woodwork and kit in there, you're welcome to have a look at it.

Can I have a wander?

Let me just...

I can find all the company records in here.

VO: Only Serrell would go looking for a bargain by torch light.

PHIL: John, I think I might... JOHN: Have you found something?

Well, can I drag this out?

I don't know what that is, but can we take that outside and put it into some daylight?

PHIL: So that's presumably bolted to the floor... VO: Hopefully John will know what it is.

JOHN: Do you know, I've no idea.

VO: Oh.

PHIL: These clearly go round and round.

VO: Come on, chaps, everyone knows that's a cast iron saw sharpening stand, right?

PHIL: But it does all work, doesn't it?

JOHN: It does all work.

It's all freed up which I'm amazed.

It's been sitting up there for years and years, and... PHIL: When would have been the last time this was used?

That would have been 20 years ago at least.

At least?

Yeah, at least.

That's a cool thing, isn't it?

VO: Philip knows there's value in bygone machinery that can be up-cycled into something trendy.

JOHN: I tell you what, when I saw it dragged out, I thought 20 quid but... That's what I thought.

Can I...

I'll have a deal with you at 15 quid.

JOHN: Deal.

PHIL: You're gentleman.

JOHN: Good man.

PHIL: Thank you very much.

VO: Philip's nose for a unique buy has bagged him his fourth lot for auction.

PHIL: There you are.

JOHN: You're a good man.

Thank you for having me round.

JOHN: Pleasure doing business.

PHIL: Lump this in the car now.

Gordon Bennett!

VO: As Philip gets back on track, Natasha's stopped off in the village of Appledore, just north of Romney Marsh.

TASHA: Here we go.

VO: Here, in this mid-19th century building was once the local blacksmith.

Today, it's home to Old Forge Antiques.

Hello.

Hi there.

You must be Steph?

I am.

Hi, I'm Tasha.

Lovely to meet you.

Nice to meet you.

TASHA: How are you?

STEPH: Fine, thank you.

And you're in charge of this place, but not all of your stock?

Not all my stock, no, about 15 traders here.

TASHA: About 15 of you, OK.

So I'll go and have a wee look.

I'm sure I'm going to be asking for your assistance, Steph, so I'll see you in a bit.

STEPH: OK. TASHA: Thank you.

VO: Natasha has just over £79 left in her pocket.

What's she found?

I always look at these mahogany dressing mirrors or toilet mirrors or whatever you want to call them, because they're always lovely and Victorian and Georgian and they're always really super expensive.

But there's one here that is not crazy expensive, it's £63.

So first of all I thought, oh, why's it only £63?

Maybe it's kind of repro or something.

But actually it's really nice.

It's a lovely mahogany finish and it's really nicely carved and turned.

It's got everything you would want from a nice toilet mirror.

It's quite large, so it would work in any interior but at the back it's a bit of a mess.

It's actually the backing panel here has all split and it's been repaired.

And it's not done very much good to the front because although there are no repairs or splits or anything like that that correlate to the back panel directly, it's a bit of a mess, the original mirror.

I mean, it is the original mirror, which is quite nice.

But personally I would only want to be paying about £30 for it or so, so I don't really know if that's going to work out.

VO: There's another one too.

This one's £55 and it's marked AF - As Found.

I think the As Found or Sold As Seen sort of element is because of this really poor glass.

VO: Yes, but that's reflected in the ticket price.

The pros about the other one are the style and the glass, the con is the back.

The cons about this are perhaps the more simple style and the glass, but the pro is the back.

You can see that the wooden paneled back is totally complete.

So you can see how the other one should look, and this one has that.

VO: Two mirrors, neither in great condition.

Natasha though can see an opportunity for a deal staring at her in the face.

Now, Steph.

Currently they have a combined price of 63 plus 55 and some fast math tells me that's £118.

Right.

But I was going to make you an offer that's a little bit cheeky.

If, for the two, I were to offer you a really cheeky £65, for the two... For the two?

For the two.

It would be sort of 32.50 a mirror.

I'd do them for £70.

£70 for the two?

You're quite happy with that?

Yeah.

VO: What a deal, a £50 discount.

Could these two mirrors be the lot to give Natasha a big profit?

VO: Just outside the village of Appledore is Philip.

He's found Station Antiques.

Housed in the original railway goods shed on the Hastings to Ashford line.

Hi, how are you?

I'm Philip.

Hello.

I'm Kelly.

Good to see you, how are you doing?

Welcome.

VO: Introductions over... What's this over here?

VO: ..Philip wastes no time in getting down to business.

That's a bit of fun, isn't it, that clock?

VO: Hang on... You've got a bent second hand, my love.

Nothing wrong with a bent second hand.

It's unique.

VO: Unique maybe, but does it work?

There you are, look, it's off.

There you go.

You hardly notice it's bent now.

(HE LAUGHS) Clearly a career in sales was destined for you, Kelly.

Ah, now there's a problem, Kelly, look.

VO: Oh dear.

Kelly, it stops after 29 seconds.

It does.

This is really very unusual, because we've got a stopwatch... That stops!

..that will only stop for you...

It's a stopwatch that stops.

Yeah, so whatever you're gonna time, you've got to do it in 29 seconds otherwise you fail.

(KELLY LAUGHS) So that is just absolutely...

It's a very rare 29 second stopwatch.

So why has that stopped, Kelly?

Possibly cos the hand's bent.

(LAUGHS) VO: Despite Kelly's valiant sales approach...

It's a one of a kind.

PHIL: Thankfully, yeah.

So are you, I reckon.

VO: ..Philip moves on.

Those are quite interesting, aren't they?

They're lovely.

They're Indian, aren't they?

Yup.

VO: Philip's found three carved wooden friezes.

Originally these would be over a door or fireplace.

PHIL: Kelly, I like these.

So these have come from India, right?

And they probably cost the middle and both ends of not very much over there.

VO: They're priced at £40 each.

What could you do them for?

What would you be...

I could phone the owner of them and ask what his lowest would be for all three of them.

I tell you what you could do.

Ask him what his best would be for one, two and three.

KELLY: Yeah.

I think they've got to come for somewhere between £50 and £80.

Something like that.

KELLY: I'll give him a call now... You go and give him a call.

..and see what he can do on them.

Alright, you're an angel, thank you.

I think those are quite fun things.

And the thing about them is, is that in this day and age, it is upcycling, it is turning things into other things.

I think those are really good decorators' lots.

VO: That was quick, Kelly's back.

How much for one?

For one it's got to be the 40.

PHIL: For two?

KELLY: It's cost price.

If you have all three, we can only really drop another £10.

PHIL: So you're saying that if I bought all three, you could do them for £110?

Yes.

PHIL: No, that wouldn't work for me.

Let me just... Let's put those, that one there.

PHIL: I like them.

They're lovely.

VO: I think Kelly knows a cheeky offer for two of them is on its way.

If you agree to 60 quid I'll take them now.

VO: That's £20 off what the dealer is asking.

OK, I'll do 60.

You're an angel, my love.

I'll have those off you.

And I will take the flak for it.

VO: Oh Kelly, I hope Serrell hasn't landed you in too much trouble with the dealer.

Kelly, this is it.

You've been very kind to me.

Two, four, six.

£60... Lovely, thank you.

And let me just sit here and wonder if I've done the right thing or not.

'Course you have!

VO: Well, we're about to find out as we're now off to auction.

Here's a rundown of what Natasha and Philip picked up on this leg.

VO: Natasha bought two cigarette albums, a pokerwork pot, a novelty golfer's tie pin, and silver pillbox and two large Victorian dressing mirrors.

The five lots cost her £113.

VO: Philip's purchases included a lead weighted life preserver, a bronze ship's propeller, a pair of candlesticks, a saw sharpening stand and two Indian carved friezes.

All that lot cost him £133.

What do they make of each other's lots?

Well, Phil's lead weighted life preserver could be his lifesaver because I've never seen anything like it in my life.

It's sort of half truncheon, half beater, I have no idea what is going on with it.

But knowing Phil, he's bought it for a good price, £20, and it will make double that at least, I'm sure of it.

This really is Natasha's little and large show.

She has bought four items for little or no money and then really gone large on the last one.

Her little cigarette card albums, I think they are quite sweet things, RAF themed, they could do quite well.

It's exactly like Philip Serrell to buy a crazy saw sharpener for £15 from a timber yard.

He's been true to himself and I'm sure it will pay off.

It always does for the Serrell.

Then at the end, she goes in large at £70 and buys two toilet mirrors.

You know, I think she could do quite well.

And I'm sort of bothered about what I bought because I've taken a bit of risk, you know?

We could be all square after this one.

VO: Well, it's time to turn those lots into a profit and head to Rayleigh in Essex.

VO: Rayleigh is a charming Essex town which can trace its origins all the way back to the Doomsday Book.

TASHA: It's really nice around here.

PHIL: "Rayleigh"?

TASHA: It must be really.

It's where we're headed.

PHIL: It must be very posh in Rayleigh.

(IN RP) Rayleigh!

TASHA: (IN RP) Rayleigh!

PHIL: Rayleigh!

VO: The scene for today's auction is Stacey's Auctioneers and Valuers.

A family business now operating under the third generation of the clan.

Oh, this is exciting!

Good luck.

You too, love.

Oh, here we go.

VO: Mark Stacey, but not our Mark, will be wielding the gavel today.

The candle sticks, I really like this lot.

Arts and crafts influence, should do really well.

The little silver box, lovely little thing, shame it's the date that it is.

I'd have liked it to have been an Edwardian period but I think it will still make £30-£50.

VO: Let's find out.

It's time for our experts to take their seats as first up is that silver pillbox.

Hallmarked as 1992, technically it is last century, but will it make any money?

£20 for it?

20, 22 online.

25 is bid.

28, internet is running at 30.

32 now bid.

30, 32, 35.

All on the internet now, 38 bid.

38, 40.

At 40, 42 now.

Well done, girl.

£42.

All finished online, finished in the room?

Internet bidding at £42, all done?

(GAVEL) VO: That's a great start.

Hurrah!

That's a good 30 quid profit, isn't it?

That's alright.

That is OK. Oh, cool!

VO: First up for Philip are the two Indian carved friezes.

Interest commission bid, I must commence the bidding at £40.

The bid's here on commission at £40 against you.

At £40, any advances?

42 on the internet, 45 is back with me.

Against you, online bidder.

TASHA: Come on, come on!

MARK: 48, 50 is bid.

And five.

Internet is at 55.

60 anywhere?

£60, thank you sir.

£60, against you online bidder.

Back online at 65.

One more?

At £65, internet bidding then.

All done?

That's a loss.

MARK: I'll sell at 65... TASHA: Minor.

PHIL: That's a loss.

(GAVEL) VO: Yup, sadly so, because after auction costs are deducted, he'll be slightly out of pocket.

Up next, Natasha's lovely novelty golfer's tie pin.

Commission bids, two of them, must start the bidding to clear the book at £15, 18 anywhere?

VO: Promising start.

18, 20 against you.

22.

At £22.

Back in the room at £22.

Advance if you like.

All done?

All finished?

At £22 only.

(GAVEL) TASHA: That's alright.

That's OK, isn't it?

TASHA: 22.

PHIL: Write it down, girl.

I can deal with that, Phil.

Absolutely right.

Well, it's going the right way.

Now it can only go... VO: Come on, stay positive, chaps.

A £13 profit isn't to be sniffed at.

The next lot is Philip's salvaged saw sharpening stand.

20 straight in, please, at 20.

Thank you, sir.

At £20, yours.

20, 22.

Against you online.

25 now bid.

28.

Back in the room at £28, all done?

You all finished at £28?

(GAVEL) VO: Philip's wandering off piste has landed him a profit.

Next under the gavel is Natasha's pokerwork pot.

At £10 bid.

12, 14, against you online.

16 internet bidding.

18 back on the commission.

18 now, two bidders online now.

£20 bid.

All on the internet at £20 now.

22, going on.

At 22, 25.

Internet is all at £25 now.

28 anywhere?

All done?

All finished?

TASHA: 28 would be good.

I'll sell to the internet then...

I'll take 25.

28 come along, a bit quicker online.

Last opportunity then, please.

I'm selling at £28.

Hammer's going down.

(GAVEL) Oh, he eked that out for me, thank you.

VO: She's more than doubled her money with that.

Up now, Philip's bronze propeller.

£20 bid.

22, 25, against you online.

28 I've got.

30 if you wish, sir.

At £28 now, internet bidding is at £28.

30 new bidder, thank you.

Coming back online.

32, 35, 38.

40 bid.

42, 45.

By the gents at £45, you all done?

You're all finished?

At 45... (GAVEL) VO: Another strong profit for Philip, putting the pressure on Natasha.

Can her two Victorian toilet mirrors turn a profit?

Let's not waste time.

£20 to bid straight in.

£20 now.

20 bid, thank you.

At 22, five, eight.

30 bid.

At £30 now.

Coming on the phone.

32, 35.

38, 40 bid.

42, 45.

48, 50 bid.

I think you're going to show a profit, my love.

TASHA: Oh no!

MARK: At 55, new bidder... Oh, come on!

60 I've got against you, the commission bid is at 60.

Against you, back in the room at £60.

Commission bid I've got now.

At £60, you're out on the phone.

All done, fair warning at 60.

Hammer's going down.

(GAVEL) VO: Oh, disappointing.

Bad luck.

Och well.

What can you do?

What can you do?

I tried.

VO: Philip's candlesticks in the style of Benson are next.

Two commission bids on this lot, ladies and gentlemen.

Must start the bidding to clear the book at £50.

50 is bid.

Five anywhere?

At £50... TASHA: You only paid 18.

PHIL: Yeah.

All done?

55 online.

60 I've got.

£60 against you, online bidder.

65, 70 is bid.

75, £75, commission bids are out.

75 on the internet.

75 online.

80 if you like.

£75 internet bidding, all done, all finished?

Last chance then, I'll sell to the internet, at £75, hammer's going down.

PHIL: That's OK, isn't it?

(GAVEL) You're a legend.

You're a legend!

VO: A very healthy gain for Phil.

Next, Natasha's cigarette card albums.

She bought two for £8.

Commission bids, two of them, must start the bidding at £20.

TASHA: Why?

PHIL: Get in.

Here with me at 20.

22, 25.

28, 30.

32, 35.

38, I am out.

Back of the room at £38.

All done?

So, so pleased.

At £38, hammer's going down.

(GAVEL) VO: Another canny buy gets Natasha a great profit.

Next, Philip's last lot.

Must commence at £60.

60 bid, five anywhere?

You coming in, sir?

65.

VO: Great start!

70 against you.

75.

80.

One more takes it.

85, I am out.

Just behind at £85... You've beat commission.

Any advances?

You all done?

You all finished?

Fair warning, at £85.

(GAVEL) Yes!

Phil, you're a genius.

You're a genius.

VO: A cracking result and a lovely profit.

And what's more, I think you're driving.

No, I'm wearing heels, if you wouldn't mind.

Yeah, but I am as well.

(LAUGHS) Come on, come on, come on!

VO: After paying auction house fees, Natasha has made a gain of £42.80.

As a result, Ms Raskin has £165.64 in her kitty.

Well done.

VO: Philip made a gain of £111.36 after costs.

Phil now has £325.40 to start the final leg of the road trip.

PHIL: Where are we off to?

Hampshire!

TASHA: Hampshire!

PHIL: Here we come.

Don't test me, Philip.

OK. Ahh!

Right, OK. VO: Cheerio, road trippers!

Next time on Antiques Road Trip, Phil has a bit of a wobble.

As tables go, that's not what you're looking for.

VO: While it's all fun and games for Natasha.

Oh, hook the pig.

Hook out the pig.

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