NARRATOR: It's the nation's favorite antiques expert.

Yeah.

Typical.

How about that?

NARRATOR: Behind the wheel of a classic car.

[LAUGHTER] And a goal to scour Britain for antiques.

[LAUGHS] NARRATOR: The aim?

To make the biggest profit at auction.

But it's no mean feat.

There'll be worthy winners-- Yes.

NARRATOR: --and valiant losers.

Blast it!

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

Oh, no!

Something's wrong with the car!

NARRATOR: This is the "Antiques Road Trip."

[THEME MUSIC PLAYING] There they are-- the founder members of the Yorkshire Appreciation Society, back on the road.

Look what I've got you-- Yorkshire flags.

Yorkshire flags?

Yorkshire flags!

You have them on the front of the car.

What are we going to do with these?

ANGUS ASHWORTH: Put them on the car.

You know-- like a presidential visit.

NARRATOR: Our ambassadors of the ridings, auctioneer Angus Ashworth and antiques dealer David Harper set out from Stirling and toured Southwest Scotland and Lancashire before arriving in their beloved Yorkshire, en route the final auction in Alnwick.

DAVID HARPER: Wow.

I mean, this is a country cobbled lane.

I know.

It's fantastic.

Hey, look at this.

DAVID HARPER: Come on.

You can do it, Angus.

You can do it.

ANGUS ASHWORTH: Put it to the floor.

NARRATOR: Yes.

Follow the yellow brick road in our lovely 1973 motor.

DAVID HARPER: It's a poster car, the Karmann Ghia.

ANGUS ASHWORTH: Yeah.

That means we're bang on trend.

Yeah.

Well, lose the cap and the tweeds, you'd be absolutely perfect.

[LAUGHS] Hey, around there in West Yorkshire, I'm bang on trend.

I'll tell you.

You probably are.

Well, don't let me out with these orange trousers on, for God's sake.

[INAUDIBLE] Exactly.

[LAUGHS] NARRATOR: Watch the birdie.

Angus's standard fairly flew last time, as he seized the day, and is now rattling 276 pounds and 34 p in his piggy.

David had to wave a white flag at the last auction, as his advantage slipped away.

He is still marginally in the lead, with 293 pounds and 10 pence.

ANGUS ASHWORTH: There's only 20 pounds in it.

I mean, that is nothing.

- Oh, no.

You're right.

I mean, just one item-- I know.

--and you know, it's all to play for it, hey?

I'll tell you.

Damnation!

You're on the fight.

Yeah.

You're on the comeback.

Don't let me get in your head, David.

Yeah.

Don't lose it now.

NARRATOR: All right.

They'll need to keep their wits about them today as they gather up their goods for auction in Killinghall near Harrogate.

But first, to the village of Hollywell Green in lovely rolling countryside just south of Halifax, where Angus is dropping David at Barnyard Antiques.

ANGUS ASHWORTH: Check that little Ford out.

DAVID HARPER: Oh, look at that.

[INAUDIBLE] ANGUS ASHWORTH: I think you've got a good shop.

Good-looking spot, there.

DAVID HARPER: OK.

Thank you very much for that.

Have a good one.

Yeah.

See you later.

ANGUS ASHWORTH: Bye.

DAVID HARPER: Bye.

NARRATOR: Owner Richard is minding the shop, which is filled with all kinds of everything, including bits of machinery he salvages and restores.

David looks as if he's in the Secret Service.

DAVID HARPER: Look at that.

It is a lawn roller.

But this is a lawn roller for somebody with a magnificent lawn.

So you will see a Hudson Brothers, made in Harrogate lawn roller in India, in Canada, in America, in Australia, all over Africa.

They will still be in existence.

And they will work as well today as they did when they were made in about 1880, 1900.

Just makes you proud to be British.

NARRATOR: But patriotism won't produce to 200 pounds needed to buy it.

Keep looking, though, while we catch up with Angus, who's gone northeast to Cleckheaton, birthplace of Roger Hargreaves, whose "Mr. Men" and "Little Miss" books have sold 85 million copies in 20 languages.

Mr. Yorkshire is parking his big car.

He's going shopping.

The shop is called Terrier Antiques.

And it looks very, very nice.

Hello, terrier.

ANGUS ASHWORTH: Nolan, how are you doing?

I'm very well, thank you.

Great to meet you.

Who is this?

This is Russell, our terrier.

Oh.

I'm going to go look around before I get the licked to death.

- Lovely.

Fee free.

NARRATOR: That's the way to go.

At least you didn't get bitten, like my postman the other day.

ANGUS ASHWORTH: This is a nice-looking thing.

Considering I specialize in military, I haven't bought anything military.

This isn't military.

But it's royalty-related.

Look at the quality of that-- this brocade belt there, with these busts on it.

So this would have been made as a coronation belt.

You can see all the way along, you've got embroidered into the belt, is the royal crest there.

So this would have been a lady's belt made especially for the coronation.

You never know-- somebody that may have attended it, or just as a celebration at home, like we do nowadays, celebrating the royal weddings.

Very tiny in those days, weren't they?

Look at that.

What a lovely, quality piece of work.

That's a nice, attractive thing.

Let's see what we've got on it there.

Edward VII coronation belt, 1902, which is when the coronation was.

39 pounds.

I'm going to go have a little chat about that.

Because I quite like that.

See what we can do on that.

Peter?

I found this, which is quite nice.

Lovely.

It's lovely.

Lovely.

Yeah, really nice piece.

I don't think it'd fit many people, nowadays.

Me included.

Yeah, me too.

[LAUGHS] But just a nice quality thing.

39 pounds on it there.

Is there any movement on that?

A little bit, yeah.

We could do that at 33.

33 pounds.

We'll go for that.

Brilliant.

Thank you very much.

NARRATOR: A first purchase to the infantry today.

But how's our other foot soldier doing back in Hollywell Green?

DAVID HARPER: Avery's such a well known maker of scales.

It's been around since the early 18th century-- 1730 or thereabouts-- and still making.

And obviously, they make very good scales.

A little like the roller.

Same period, isn't it?

Late 19th, early 20th?

Would have been supplied to railway stations, post offices, all over the world for weighing parcels.

Fantastic thing.

And what I like about it is, you've restored it sympathetically.

It doesn't actually look overly restored.

So that's 35 quid.

Does it include the weight from the other one, though, Richard?

Because it's not complete, is it?

I'll do 2 quid on it.

So it's not 35 quid including the weight?

- No.

- Go on.

Yeah.

Go on.

I'll do that.

- 35 quid including the weight?

- Yeah.

OK. How long did it take to restore it?

About a week.

A week?

Yeah.

That's not very much money, is it?

No.

- But you enjoy doing it.

- Yeah.

It's one of the first things I tried doing.

Richard, I'll have it.

Thank you very much.

Wonderful.

Good.

That's my purchase.

NARRATOR: Well, duly divested of 35 pounds, David's mission here is done.

Meanwhile, has our Angus been taken out by the affectionate terrier?

Or is he hell-bent on another purchase?

Finally, a nice bit of militaria.

That's what I specialize in.

I haven't bought any.

So this is great.

Now, this is a sword, of course, with the crest on it there.

Victorian cipher-- so it's an officer's dress sword.

Now, this is a dress sword, rather than a sword that was designed for battle.

This was for parades and ceremonies.

And you can tell that by that the finish on the blade.

It's got this plated finish.

So it's very shiny and bright, for it to stand out on the parade grounds.

And it's got a dull edge.

So this wasn't designed for combat.

It was designed to look good, really, complete with its steel scabbard.

Again, sometimes these can be missing.

It's all there.

Condition's good.

What have we got on there?

1845 pattern sword.

That's the shape of it.

Sword and scabbard-- 95 pounds.

Do you know, I'm very tempted with that.

I'm going to have a word with Peter on that.

See what we can do on that.

Peter, I found this lovely sword.

Oh, the dress sword.

Yeah, officer's dress sword.

I was in the military, but I wasn't an officer.

So I didn't get one of these, unfortunately.

But quite nice.

It's a Victorian one.

It's got a little bit of sort of wear on the blade.

The plating has gone a little bit.

But overall, not too bad.

95 pounds on it.

Do us a little bit of help on it?

A little bit.

How does 80 sound?

80?

80 pounds, I think, sounds wonderful.

- Excellent.

- Thank you very much.

Thank you very much.

Let me you get you some money.

NARRATOR: The booty from that campaign cost a total of 113 pounds.

Retreat to vehicle.

And since Angus has the car today, David has been traveling south under his own steam to the village of Meltham in the Holme Valley for a tale of spies, Spitfires, and fast cars.

And how a life lived in the fast lane began with every boy's dream machine, the tractor.

Taxi for Harper.

Here he comes.

Oh, dear.

Ah, now you must be Stuart.

David.

Good to meet you.

Should I jump onboard?

- Jump onboard.

Right.

It's a little bit tight for space.

Oh, it's cozy.

I'm sure you'll get comfortable.

It's cozy.

Well, hey.

It's warm.

I can feel the heat of the engine.

Oh, yeah.

Yeah.

Design-- and David Brown windshield to keep the cold away from you.

You call that a windshield?

You do.

NARRATOR: Stuart Gibbard is a tractor historian.

And they're off to the David Brown Tractor Club Museum.

What fun.

DAVID HARPER: Can I have a go?

I think you can't come to Meltham and not drive a David Brown tractor, David.

That is the correct answer.

Thank you very much.

Stuart, I've never driven a tractor before.

You're going to have to give me some guidance.

Well, it looks kind of straightforward.

STUART GIBBARD: Away you go.

DAVID HARPER: Well, hey.

Hello.

NARRATOR: Well, I'm sure he could do that all day.

But it's time for the story of a business begun in the 1860s by David Brown, which became the largest gear manufacturer in the world.

In the late 1930s, and without the backing of the family, grandson David Brown Jr. began producing tractors with some success, just as war broke out.

Getting involved full-time on his own in the world of tractors in 1939 could have been really bad timing.

Bear in mind, that was the beginning of the Second World War.

How did it work out?

It could have been a disaster for him, because materials were scarce.

So it was very difficult to get the steel to build agricultural tractors.

But David Brown had this idea to build an aircraft-towing tractor.

And he got the Air Ministry interested.

And the Air Ministry had placed an order for these towing tractors to pull the heavy bombers, such as the Lancasters and the Wellingtons, which was a very clever ruse by Mr. David Brown, later Sir David.

Because he realized that he had to do something to keep the tractors in production.

So he managed to get materials to this.

And that managed to keep the agricultural tractors ticking away in the background.

David Brown was very important to the war effort, particularly the tractor factory here in Meltham Mills, which is where David started building his tractors in 1939.

They took over a tank gearbox manufacturer.

They also built gears for the Merlin engines that powered the Spitfires, the Lancaster bombers, the Hurricanes.

The other factories in London that were manufacturing these gears were bombed out of existence early in the war.

So if it wasn't then for the David Brown factory in the war producing these parts, things may well have been quite different.

STUART GIBBARD: If David Brown hadn't been manufacturing these gears, there would have been no Spitfires, no Hurricanes.

And we would have lost the Battle of Britain.

Germany was well aware of this.

And they knew that David Brown had this factory in a hidden Pennine Valley.

Luftwaffe was directed to find it and bomb it, but they couldn't find it.

The closest they actually got was bombing Wiltshire chicken farm, which was about 2 miles away.

Well, the poor old chickens.

STUART GIBBARD: Yeah.

Everybody woke up in the morning to find the area carpeted in feathers.

It looked like it had snowed.

And at the end of the war, an American strategist wrote a report on the five reasons that the Axis powers lost the Second World War.

And alongside Pearl Harbor, Hitler's decision to invade Russia, was the fact that the Luftwaffe couldn't find this engineering works in Yorkshire.

NARRATOR: [LAUGHS] After the war, the company boomed.

DAVID HARPER: So this is a David Brown Cropmaster.

And it was very important to David Brown's success, because it's a machine that got them into volume production.

It was an extremely popular machine with farmers.

It was comfortable.

It was streamlined and styled, when other tractors at the time were not.

David Brown liked his fast cars.

And so he wanted his tractors to be styled and modern looking in their appearance.

I see it.

NARRATOR: Post-war austerity didn't stop Brown acquiring high class businesses Aston Martin and Lagonda in 1947.

STUART GIBBARD: He bought a sports car manufacturer that was struggling.

And he turned that into a company that won Le Mans in 1959, and of course, became involved with James Bond with the 007 Aston Martin in Goldfinger in 1965.

DAVID HARPER: The DB5.

STUART GIBBARD: Actually, he wasn't keen.

He wasn't?

STUART GIBBARD: No.

When they first went to him, he thought, these Bond films-- I don't think anybody's going to watch them.

He wasn't worried about making money out of Aston Martin, because Aston Martin was a good advertising tool for the tractors.

The tractors were earning so much money that he could afford to run Aston Martin on the profits out of the tractor business.

So you know, if it wasn't for big, tough, strong, agricultural vehicles like this, the exotic car company of Aston Martin just wouldn't exist.

It is also said that a million pounds a year came out of tractors to keep his yacht afloat.

But that's another story.

NARRATOR: The original gear company survives today under new ownership.

And although the tractor and car companies were sold off in the 70s following financial losses, Sir David Brown's name lives on in the DB on Aston Martins.

STUART GIBBARD: It's a fantastic story.

It's also a fantastic Yorkshire story.

DAVID HARPER: It is a great Yorkshire story.

And talking of great stories and great cars, who owns that Aston Martin?

That's mine.

Am I going to drive it?

[INTERPOSING VOICES] [LAUGHS] NARRATOR: There they go, 007-- and Miss Moneypenny.

Meanwhile, Oddjob is still at the left-hand wheel of the VW.

And he's headed for his last shop of the day in the lovely village of Cawthorne, west of Barnsley.

He's got 163 pounds and 34 pence left to play with.

And his destination is Cawthorne Antiques and Collectors Centre.

Looks nice.

Wonder what will ring his bell?

[BELL RINGS] He's going to find owner Karen.

Karen?

ANGUS ASHWORTH: It's just this cabinet here, Karen, with all the militaria in there, [INAUDIBLE] And what I'm particularly looking at is this collection of powder flasks up there.

It's this one here that I'm particularly interested in.

Lovely design on it there, the triple horse head.

Bit rarer, this design.

Condition's good.

Seams are all intact, which is important.

Little bit of a dent on the back there, but it's nothing too bad.

I'll just check-- got a maker's name there-- Sykes patent, one of the good makers.

Spring's a little bit stiff, but it's intact.

That's a really nice, good example of a three-headed horse powder flask.

75 pounds on that.

Do you think there'd be much movement on that?

Generally, just the 10%.

Generally, 10%?

Yeah.

So what, 67.50?

67.50.

Do you know what?

That's a real strong possibility.

Can I leave that with you to put on the counter?

Certainly.

And I'm going to carry on looking, see if I find anything else.

- No, that's fine.

- That'd be great.

Thanks.

- Thank you.

NARRATOR: He does like to blow the lot, doesn't he?

More manly things, perhaps.

Oh, getting in touch with his feminine side.

So this is a micro mosaic bracelet.

So each one of these panels has tiny little set bits of sort of glass beadwork panels, there-- all this floral detail.

Probably Italian in manufacture.

They were very popular on this.

Just like you have the Roman mosaic floors, it was done into jewelry.

I really like that.

And I don't think David would expect that.

So let's keep him on his toes.

What have we got on it?

38 pounds.

I don't think that's bad.

I'm going to take that up to the counter and see if we can get a buy on that.

Karen, I'm back again.

Found this lovely bracelet that's got 38 pounds on it.

What can we do on the bracelet?

30 on the bracelet.

30 on the bracelet?

Excellent.

So 30 on that, 67.50 on that.

I'll take the two of those.

Wonderful.

Thank you very much.

Wonderful.

- Thank you.

- Thank you.

NARRATOR: Time to part with his 97 pounds 50.

And that's quite enough spending for one day.

That's wonderful.

Thank you very much, Karen.

Absolute pleasure to meet you.

- Thank you very much.

Take care.

Bye.

NARRATOR: Your traveling companion awaits.

Time to get in that wagon and hit the trail.

On to Sheffield, David?

Staying in Yorkshire, Angus.

Staying in Yorkshire.

We're getting further and further south.

But look at your trousers.

They're the brightest pair you've had.

Listen-- I think you're trying to dazzle me into, you know, losing.

I've dazzled you already.

Admit it.

[LAUGHS] DAVID HARPER: See, I'm bringing a bit of tropical sunshine to West Yorkshire.

Well, that's very good of you.

Thank you.

Thank you.

Thank you very much.

I'm like a public service.

NARRATOR: God bless them and all who sail with them.

Nighty night.

It's a damp morning.

And on the road to Sheffield, thoughts are turning to the city's 19th century steel and silver glory days.

ANGUS ASHWORTH: Mr. Hall of Walker - Yeah.

- My relative.

What do you mean, your relative?

Well, I'm related to the master silversmith.

You are not.

I am, yeah.

Martin Hall of Martin Ebenezer Hall.

That's my relative.

I'm remotely impressed by that.

Yeah.

They made really impressive solid silver, like candelabras, and all that sort of thing.

I'm sort of impressed.

It's a connection to Sheffield.

DAVID HARPER: Angus, you're very good at bringing the conversation back to yourself.

- I know.

Has anyone ever said that to you?

Yeah, I know.

I've been training for years.

Have you, really?

Yeah.

It's an absolute skill.

It's incredible.

NARRATOR: They get on famously really, I think.

Yesterday, Angus bought militarily-- a powder flask and a sword.

A nice bit of militaria.

NARRATOR: And also secured an Edwardian belt and a mosaic bracelet, leaving him 65 pounds and 84p, while David weighed in with one purchase only-- a set of Avery scales.

Just makes you proud to be British.

NARRATOR: So he still has 258 pounds and 10p to spend.

DAVID HARPER: Well, you're an ex-military man.

ANGUS ASHWORTH: I am, yes.

Yep.

And did you buy anything on tour?

Yeah.

Afghanistan was amazing.

About six months before I went to Afghanistan, there was a chap that went into one of the bazaars, bought a coin.

Oh, how much is that?

They put it on the scales, weighed it, scrap price.

Yeah.

- Alexander the Great gold coin.

- Wow.

And he had more of these.

They pulled some bag out full of them.

Oh, my goodness.

Yeah, I know.

So the history and stuff that was there is just phenomenal.

DAVID HARPER: Wonderful.

- Lovely.

Well, I don't know whether we're going to buy anything so exotic in Sheffield.

But you never know.

NARRATOR: Well, we'll find out soon enough, as they head through the foothills of the Pennines to Sheffield, where the greenery continues in a city of abundant parkland and trees-- an estimated 4 and 1/2 million of them.

And having dropped off Angus, David is off to raid his first shop of the day-- a former bank.

So stick 'em up!

There he goes.

Looks like a bandit.

You look like a very busy man.

Hello, sir.

Can I help you?

Welcome to Heeley Bank Antiques Centre.

You must be Paul.

Yes.

So do you own the place?

I do on the place, yes.

OK.

Outright, for my sins.

Outright, my gosh.

Well, there you go, making a fortune.

Yes, I've got me own bank.

You certainly have.

So I'm a sort of a bank manager, sir.

[LAUGHS] How many dealers have you got?

Around about 35.

OK. OK. Get your dealing boots on.

Right.

I'll be giving you a shout in a mo'.

Right.

Okey-dokey.

Sees you later.

NARRATOR: Alligator.

Look at these fabulous Victorian tiled walls.

What a fine home for antiques.

DAVID HARPER: What we have is really a big collection of snuff boxes intermingled with little vesta cases.

I'm going to focus on the snuff boxes.

Well, I can just see down here, we've got a horn box here.

It has an almost kind of like, a bovine horn byproduct feel to it.

But I don't think it is.

It maybe is a lacquered wood.

I think it's got a wooden lid.

But the glory is in the pattern.

So you've got this ribbed pattern all the way around the outside edge.

If you turn it over and look at the base, you've got a definite fan motif.

Now, that fan motif is a real Georgian design.

Very, very popular, George III period-- 1760 to 1820, thereabouts.

So I'm going to date this to very late 18th century, possibly into the early 19th century.

So the chances are, this little snuff box was around the Battle of Waterloo, the Battle of Trafalgar, the Battle of the Nile.

This thing has seen British history unfold.

Open up, and now you see what a snuff box really should look like on the inside.

Because there, indeed, is ancient residue of powdered snuff.

There you go.

Just on the end of my finger-- ancient snuff.

NARRATOR: Filthy.

Wash your hands.

And for 18 pounds, that is, I think, absolutely for nothing.

So this little baby is leaving with me.

NARRATOR: Rather you than me.

Anything else a bit less smelly, then?

Ah, now, I love a miniature chest.

So its style is certainly Georgian.

So you've got that very plain, straight, architectural kind of design, which is very, very typical Georgian.

It is genuinely inlaid.

Rub your nail over it.

You can feel the raised bits of cut timber.

So it's not transfer printed, or indeed, painted.

It's hand-cut.

Crucially, look at the quality of the construction.

So pull the drawer out.

Is the drawer made with dovetail joints?

Yes, it is.

So that is a hand-cut dovetail joint, which is just utterly delicious.

It may well be earlier in the 19th century.

But it certainly would accurately be described, for auction purposes, as 19th century.

And that would be absolutely bang-on.

So it is at least 120-odd years old.

That would, in auction, be 20 to 40, 30 to 50 pounds, which is absolutely no money.

So in here, it's going to have to be about 20 quid.

I'll call Paul.

Paul?

Can I talk to you about this?

You certainly can.

I think it's something that will grow in value, if you sat on it a bit.

I think you're going to have to.

The thing is, I can't sit on it.

I'm going to auction.

Sadly, with these things, you need to sit on there for 20 years.

You're trying to talk price down, aren't you?

I am.

Well, I haven't got the price yet.

I think-- - You haven't got a price yet.

--it needs to be about 20 quid.

How much is it?

30 pounds.

I'll meet you in the middle, and I'll have it.

28.

Well, 28.

That'll do.

Somewhere in the middle.

I'm not very good at maths.

No, [INAUDIBLE].

[LAUGHS] And then, I've also got a little snuff box from upstairs priced at 18.

All right.

OK.

So I'll have that.

Yes.

Right.

What's that?

So that's 46.

NARRATOR: Not a bad haul there for less than 50 pounds.

Now, be off with you.

Okey-dokey?

Time to head across Sheffield now to Weston Park Museum, where Angus is off to hear about a woman who dedicated her life and her art to providing a living for disabled soldiers returning home from the First World War trenches.

100 years after the armistice, curator Clara Morgan remembers a woman who brought hope to those who had lost so much.

CLARA MORGAN: Annie Bindon Carter was born in Nottinghamshire around 1888.

And she came to Sheffield to study at the Sheffield School of Art.

She was quite a talented artist.

And while she was here, she ran art classes at Wharncliffe War Hospital, which was one of the hospitals set up in Sheffield to treat injured ex-servicemen.

NARRATOR: When the guns fell silent, 2 million men returned home to Britain with a permanent disability, 40,000 with amputated limbs.

They were promised a land fit for heroes.

CLARA MORGAN: They were entitled to a pension based on what their injuries were like, and the level of them.

So you would get more money the more injured that you were.

But there wasn't really a national support scheme for the men.

Places like the Salvation Army offered soup kitchens and hostels.

But they were really left to fend for themselves.

I think, when it came to things like amputations of arms and legs, medical science wasn't really there yet, to kind of help those men heal, and to be able to kind of be as active as they would be today.

NARRATOR: Annie Bindon Carter believed that the healing power of art could bring purpose and dignity to blighted lives.

CLARA MORGAN: There's a story where she found a man walking in the garden.

And she said to him, well, why don't you come and join our art class?

But he had had both of his hands amputated because of his injuries.

And he basically said, well, what do you expect me to do with these?

And then she realized that men with those sorts of injuries would need something more.

So that inspired her to work out ways to adapt brushes so they could be attached to the men's arms so that they could take part in the stenciling and the painting.

Rather than throwing away the products that they were making in the art classes, she thought, well, maybe we can make things like cushion covers and silk handkerchiefs.

And she sold them to her friends and family.

And as they built up the stock, she suddenly thought, oh, well, maybe we could have a sale.

So she had a sale at Wharncliffe War Hospital.

And all the profits went back to the men.

And I think from that-- the germ of expanding that, and creating something larger, and employing more men.

NARRATOR: Annie's maxim from the outset was, work, not charity.

She leased a disused army camp and converted the huts into workshops.

And Painted Fabrics Limited began production.

ANGUS ASHWORTH: And is this some examples of the company's work in this cabinet here?

- Yeah.

It's a really beautiful thing.

This is one of my favorite things-- - I love that.

- --in the collection.

I could just see my little kids running around in that.

Yeah.

It is beautiful.

It's obviously a little butterfly outfit for a girl.

ANGUS ASHWORTH: Fantastic.

I mean, that just screams 1920s at you, doesn't it?

Yeah.

The design and everything else.

So I mean, real focus on the design work as well, in there.

Yeah.

It's beautiful with the way that they've depicted the shapes of butterfly's wings.

NARRATOR: The men were able to produce very delicate and intricate work.

So I've got these lovely objects to show you.

And you can see the range of the colors, and the styles, and the craftsmanship involved.

ANGUS ASHWORTH: I absolutely love this.

I mean, it's just beautiful-- the vibrant colors, the silk work.

And it just screams art nouveau in the design.

I mean, it's just lovely.

It is.

Particularly, it's a batik technique they've used.

And I really like hot pink and the blue designs.

ANGUS ASHWORTH: Well, the design is lovely.

And just think, that was all sort of hand stenciled on.

Yes.

ANGUS ASHWORTH: I mean, look at that.

I just love the sort of silk work, and how it shimmers in the light.

I mean, it's just lovely.

It is a beautiful thing.

And then, this brush-- - Yeah.

--which we're lucky to have it-- was owned by a chap called Arthur Fisher.

Would have been used to make something like this.

So you'd put a stencil over the top to get your paint, and like, dab through with all the different colors.

Dab it in.

Absolutely fantastic.

Wow.

And incredible-- you've still have one of the brushes.

I mean, they just would have probably disappeared.

But that's lovely.

What a fantastic piece.

NARRATOR: Painted fabric products were highly prized.

CLARA MORGAN: They weren't sold cheaply.

Annie Bindon Carter said herself that these are individually handcrafted products.

Take a while for the men to do.

They might take longer than an able-bodied person.

So you know, she didn't underprice.

And she sold them as quality items.

So they held two or three sales every year.

And they sold privately.

And I think that what we have is just a small selection of the products that are out there.

NARRATOR: Painted Fabrics Limited employed 67 men at its peak, and became a close-knit community, as homes and families grew up alongside the workshops, which continued creating work until 1958.

CLARA MORGAN: When the men from the First World War were getting old, reaching retirement age, she herself was getting older.

And I think all of her patrons and her network were obviously getting on, too.

And also, the provision for disabled men after the Second World War was a lot better from the First World War.

So there was less of a need for her company.

And fashions were changing, too.

So I think all those things combined together meant that she sort of gracefully wound the company down.

- Wound it down.

Yeah.

- Yeah.

NARRATOR: Annie Bindon Carter died in 1969 before the term social entrepreneur was coined.

But she was a pioneer in the field.

And her work deserves to be saluted lest we forget, eh?

The last stop on our trip this time is Bolsover.

Towered over by its magnificent 17th century castle where Charles I was once royally entertained before he got his head chopped off, our final destination today is Odds and Sods Reclamation, a sprawling scrapyard filled with junk-- or treasure.

David's first to get raking.

Pottery dog.

1960s soda siphon.

A reproduction Georgian corner cupboard.

So this, ideally, would be the Gillows piece made in 1790.

Pull a drawer out, and it's stamped.

But it's not.

It's made in 1980.

And it's a copy.

What looks like a trouser press.

They've improved it-- Everitt Patent Press, made in England-- when people would stamp things "Made in England" because they were very proud to be made in England.

Oh, there's the guarantee.

That's quite interesting.

So it says here, this press is guaranteed to be a product of the Everitt Press Manufacturing Company Limited.

And unbelievably, we've got the date of purchase-- December the 12, 1936.

Isn't that just absolutely fantastic?

It's 15 quid.

It's original.

It's as it was made.

It's just aged a bit.

It would still press your trousers today as well as it did in 1936.

It's of a museum standard.

It could sit very nicely with a little bit of wax in a 20th century museum.

We're going to have to save it.

We're going to save it from the shipping container.

NARRATOR: He's a philanthropist, really, and well known for his good work with trousers.

Meanwhile, here's Angus.

And there's owner Matt.

Matt Hubbard, how are you doing?

All right.

I'm doing all right.

You all right?

Yeah.

Thank you.

Yeah.

Fantastic view.

Castle in the background.

It's lovely.

It looks like you've got lots of interesting things to have a look at.

- Yep, we have.

- So let's see what we can find.

- Okey-dokey.

Brilliant.

NARRATOR: Crack on, then.

There's so many good bits in here-- just all sorts, isn't there?

Sort of odds and sods.

- Yeah, odds and sods.

Yeah.

[LAUGHS] I see where the name comes from.

I particularly-- I've seen a few things.

But I like this.

Let me put it up there, because it's quite hefty.

Irvin glaze barrel-- would have had a tap on there, a dispensing tap.

Caulking on top-- that would have been filled up full of spirits, or some sort of substance there.

I'm noticing it's empty.

Did you have a good night?

- Oh, yeah.

Yeah?

[LAUGHS] I've got a nice maker's stamp there.

Powell, Bristol.

So Bristol glaze-- probably for sherry-- the big producer of sherry in Bristol.

So that's a nice thing.

And quite often, these get made into table lamps.

The flex comes out there-- - Yeah, right.

--I think.

So good decorative piece.

What have we got there?

Do you know what?

15 pounds you got there.

Do you know what?

Can't argue with that.

- Can't argue.

- I'm going to take that.

- All right.

Thank you very much.

Let me put that down and get you some money.

NARRATOR: 15 pounds.

Cheers.

- There you go.

Thank you.

NARRATOR: Right.

Where's David?

Rummaging among some rusty cutlery, by the look of things.

Found any silver yet?

[METAL CLATTERS] [LAUGHS] I've got a lovely Georgian tankard out there.

- You did not-- - Yeah.

--get a Georgian tankard out of here.

Yeah.

Do you need a clothes brush?

Eh.

How are you doing?

You all right?

- All right.

All right.

Well, we're treasure hunting, aren't we?

All right.

Will you hurry up?

I'm done and waiting to go.

You're not.

Are you done?

Yeah.

Yeah.

Have you bought well?

- Really well.

- Have you?

Got a fantastic piece out of here.

- Good man.

- Really, really good.

- Good man.

- Yeah.

Good man.

I never quite-- I've got some cake.

I'm going to go have some cake and stuff.

Well, I'll join you for a slice of cake.

Yeah.

Well, hurry up then.

Give me a little while.

I'm just-- You've been there ages rummaging through all these boxes.

Just make a decision.

I'm treasure hunting.

Treasure hunting?

I've found the treasure already.

Well, you go and eat a bit of cake.

- I will.

- Thank you.

Very nice indeed.

It's very fattening.

Go on, David.

I want my tea, too.

That's quite a nice thing.

You've got the Yorkshire rose on there, which is rather nice.

Brass and copper.

I would guess that's 1820, 1830, something like that.

Some kind of warmer, isn't it?

Interesting thing.

Obviously, to hang in a kitchen.

Lovely shape.

It's forge-made.

So in other words, it's not manufactured in a factory producing, you know, 100 a day of these things.

You can see that the stem here is absolutely imperfect, which sort of makes it perfect, because it's been made by hand.

But that's lovely, having the Yorkshire rose right in the middle.

Matt?

Yeah?

Now, then, come on down.

Now that, I think, is a chestnut roaster, isn't it?

I think so, yeah.

Please tell me it's very, very, very cheap, please.

It can be 10 pounds.

Well, I'll have it.

That's fine.

Thank you very much.

One more thing outside.

There's a little trouser press-- 1930s.

Think it's got 15 quid on it.

So I'll have that.

So I owe you 25 pounds.

If you can hold that for a moment.

Moth alert!

Two items for 25 pounds.

ANGUS ASHWORTH: Wow.

Look at this glorious sunshine.

Stick with me, Angus.

The sun will shine.

You know why?

It's 'cause we're heading back to North Yorkshire.

North Yorkshire.

North Yorkshire we go.

Are you ready?

- I'm ready.

I'm ready.

We're going.

Let's go.

NARRATOR: And they're off.

Next stop-- auction.

DAVID HARPER: Harrogate.

ANGUS ASHWORTH: Harrogate.

Yes.

DAVID HARPER: One of my favorite towns in the whole world.

It's nice, too.

Beautiful flowers, tea rooms.

ANGUS ASHWORTH: Yeah.

DAVID HARPER: Sophisticated people with money and style.

NARRATOR: Just like yourselves, then, eh?

Make sure you get your beauty shuteye.

Well, all things look bright and beautiful this morning.

But this isn't the sophisticated town of Harrogate.

Our auctioneers are Thompson's, 3 miles north of Harrogate in the fearful-sounding village Killinghall.

Happily, the only thing being murdered here today will be a cup of tea and a couple of knobbly knees.

ANGUS ASHWORTH: Have you got enough money, David?

You should have.

All yours.

I've got 1 pound 70.

Will that get us two teas?

Oh, my God.

It's me buying them again, isn't it?

NARRATOR: Nope.

No time.

I've got mine right here, though.

[SIPS] Come on, Angus.

You all right?

You ready to lose?

NARRATOR: That's enough, children.

Play nicely.

Well, it certainly looks plenty busy in here.

David kept a tight grip on the purse strings this time, parting with the parsimonious 106 pounds for his 5 lots.

This, I absolutely love.

David's done a great thing here.

Lovely little miniature chest, 19th century, sort of apprentice piece.

Quite often, these are made before you became a cabinet maker.

You didn't pay much for it-- 28 pounds.

That's going to be his winner of the day.

Really, really right, that.

If it wasn't David's, I'd probably have a bid on that myself.

NARRATOR: Angus spent more than double his rival on the 5 lots for which he shelled out 225 pounds and 50p.

Now, if I had to describe Angus as an antique object, it would probably be a powder flask.

So it's a 19th century powder flask.

Unusual design on the front with the three horses, really good condition, completely complete.

He knows what he's doing.

He wouldn't have bought that unless it was absolutely for nothing.

He's going to make some profit.

[AUCTIONEER CHANT] Let's ask our auctioneer Michael Johnson what he thinks.

At 20 pounds.

MICHAEL JOHNSON: The trouser press, I think, is probably a bit of a wooden spoon.

We throw quite a lot of them away, because they tend not to sell.

We tend to get them in from house clearances.

I'd be very surprised if it sells.

The sword's in good condition.

It's still very collectible.

There's been a bit of interest in it already.

So hopefully, that will do really well.

NARRATOR: Time will tell.

To your seats, if you please, gents.

Oh, right at the front.

[INAUDIBLE] Hey, nice orange sofa.

It kind of matches me.

It's nice.

MICHAEL JOHNSON: [AUCTIONEER CHANT] NARRATOR: Clashes horribly with your scales, though.

They're up first.

I'm at 80 pounds 5 anywhere?

We've made 80.

Do I see 85?

[AUCTIONEER CHANT] - Come on, a bit more.

- That is ridiculous.

- Come on.

MICHAEL JOHNSON: I've got 80 pounds.

Get in there.

[LAUGHS] MICHAEL JOHNSON: 85, 85, oh.

NARRATOR: [LAUGHS] No hanging about, there.

They weighed in at more than double.

Isn't that good news?

You are the most chummy person I know.

Isn't that good news?

No, it's not good news.

NARRATOR: Oh, dear.

Well, you can always poke him with your officer's dress sword.

It's next.

MICHAEL JOHNSON: [INAUDIBLE] with me on this one at 110.

There you go.

MICHAEL JOHNSON: 120 now.

- Ah, we'll see.

- There you go.

MICHAEL JOHNSON: Do I see 120?

Are we holding on?

120 on the telephone.

Hey, phone bid.

Phone bid.

Phone bid?

Yeah, yeah.

Come on.

Keep going.

Well, that's good.

That's good.

Well done, well done, well done.

NARRATOR: Looking good so far, gentlemen.

That's about what you thought.

Yeah, nearly.

Yeah, yeah.

NARRATOR: Pinch your noses.

David's Georgian snuff box is under the hammer now.

It's a proper thing.

It's 200 years old.

Apart from all the damage on the top.

Well, that's not damage.

I wouldn't call that damage.

I'd call that "passination."

[LAUGHS] I am 15.

Bid 20 now.

25, 35.

No?

36-- Come on, baby.

World record.

30 pounds.

You're on it today, aren't you?

NARRATOR: Looks like it.

But we're only halfway there.

You've got a couple of potential stars coming your way.

NARRATOR: Can an Angus's Edward VII coronation belt shine now?

10 pounds for it?

10 for that?

Nobody?

10, we have.

Could we go 15?

20?

25?

30?

No?

25 at the front.

Oh, it's worth 30.

MICHAEL JOHNSON: 25 pounds.

25.

Good bidding.

Yeah.

I don't know why I'm saying good bidding.

- I've made a loss.

- Oh, no.

That is good for me.

That is good.

- Yeah, yeah.

- Yeah, that's great.

A lovely thing.

Star lot of a sale, that.

Well, I liked it.

Shame it bombed.

Well, well done, Angus.

Well, no.

That's not very well, is it?

NARRATOR: Will it be a similar fate for David's vintage trouser press next.

ANGUS ASHWORTH: I think that could be a road trip first-- an item that doesn't sell.

You know what?

You might have to pay somebody to take it away.

I think you might be right.

I am 10 bid.

15 anywhere?

- Come on.

- No.

MICHAEL JOHNSON: Do I see 15?

15, we have.

And 20 anywhere?

Go on.

What's one more?

MICHAEL JOHNSON: 15 pounds.

- Did you buy it, madame?

- I didn't.

Oh, you didn't?

Oh, that-- well done, madame.

ANGUS ASHWORTH: 15 pounds?

A lady of taste, if you don't mind me saying so.

Thank you.

There you go.

NARRATOR: I wonder if she has a wardrobe full of colored trousers.

Suits you, madame.

[LAUGHS] That's the worst thing, I think, that's ever been on this program.

Thank you very much.

Do I get an award?

NARRATOR: I'll be the judge of that-- no.

Time for Angus's Italian mosaic bracelet now.

DAVID HARPER: Is this your sort of weekend wear?

[LAUGHS] Is it?

I mean, it's only you and I here.

You can be honest.

Friday night, when I'm [INAUDIBLE].. Yeah.

[INAUDIBLE] on this one at 20 pounds 5 anywhere?

With me at 20?

Do I see 5?

- No.

No.

MICHAEL JOHNSON: --at 20 pounds.

Excellent.

Sure day today, isn't it?

NARRATOR: It's looking that way.

But you never know.

I don't usually touch jewelry, and that's why.

[LAUGHS] I lose money.

NARRATOR: Chestnut roaster, anyone?

Commission starts with me on this one at 30 pounds 5 anywhere?

- Come on, baby.

- That is-- MICHAEL JOHNSON: I see 30.

Do I see 5?

And on commission, at 30 pounds.

David, what-- That's called triple bubble, that is.

NARRATOR: No, it isn't.

You made that up.

But you did triple your money.

I think it's profit on everything-- apart from my trouser press.

[LAUGHS] [LAUGHS] NARRATOR: Can Angus make up some ground now with his sherry barrel?

20 pounds for it?

Start me off at 20.

No?

- Yes, yes.

At 20 here.

MICHAEL JOHNSON: 5 anywhere?

Gentleman's bid at 20 pounds.

Do we see 5?

Are we all done over there?

20 pounds.

That's all right.

How can that be 20 pounds, and the trouser press 15?

NARRATOR: I'm asking myself the same question.

Well, it got more than my trouser press.

That's about ten times better than your trouser press.

NARRATOR: Time for David's last lot, now-- the military chest of drawers, which is nice.

MICHAEL JOHNSON: Commission starts with me on this one at 85, 90 now.

NARRATOR: Good grief.

We'll be at 85, 90.

95, 100.

Go, go.

MICHAEL JOHNSON: 100 in the room.

110 anywhere?

Go on, 110.

100 pounds.

Well done.

Get in there.

NARRATOR: Well, that was certainly a final flourish.

Thank you.

Appreciate it.

I do appreciate it.

I don't mind you making on that, because it was a good thing.

NARRATOR: Oh, yeah.

Most kind.

Last up for Angus, now.

Will his powder flask gallop away or fall at the first fence?

MICHAEL JOHNSON: Going to go straight-- do we have 140?

158 there?

NARRATOR: And the going is good.

MICHAEL JOHNSON: With me on commission at 140.

Do I see 150?

Are we all good at 140 pounds?

Well done.

I've done well.

You're done.

Yeah, there we go.

It did what I said it should do.

Yeah.

That's all right.

NARRATOR: Yep.

More than double is definitely all right.

We've both done all right.

But you've done really well.

No, no.

We have.

It's been a good day.

And Angus, you've done very well.

Congratulations.

You've been a very good boy.

Thank you for being so patronizing.

- It's my pleasure.

- Come on.

Let's go.

NARRATOR: You told him.

So how did they do?

Angus's flutters netted him a profit of 41 pounds after sell room fees, which means his piggy has swelled up with 317 pounds and 34 pence.

But David's lots romped home.

And his winnings, after auction commission, were a princely 103 pounds and 10 pence.

His new total of 396 pounds and 20p means he's first past the post this time.

ANGUS ASHWORTH: Well, at least the sun's shining.

Sunshine and a drive up the northeast coast.

Oh, I know.

Lovely, beautiful part of the world.

NARRATOR: So it is.

[THEME MUSIC PLAYING]