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Oh, just before you throw those away... | 0:00:03 | 0:00:06 | |
How do you make money for nothing? | 0:00:06 | 0:00:10 | |
-Can I have it? -You can have it, yeah. | 0:00:10 | 0:00:11 | |
The answer could be hiding in the 30 million tonnes of household waste | 0:00:11 | 0:00:16 | |
we throw out every year. | 0:00:16 | 0:00:18 | |
Now this is one seriously unusual tip find. | 0:00:18 | 0:00:21 | |
That's why entrepreneur Sarah Moore wants to get her hands on things | 0:00:21 | 0:00:26 | |
before they hit the skip. | 0:00:26 | 0:00:27 | |
I'm a passionate user, maker and buyer of old stuff | 0:00:30 | 0:00:34 | |
and I've turned my passion into a moneymaking business. | 0:00:34 | 0:00:37 | |
I make new stuff out of old stuff and I sell it for profit. | 0:00:37 | 0:00:40 | |
And with some of the country's elite designers and makers... | 0:00:42 | 0:00:46 | |
These were going to be thrown away? Seriously? | 0:00:46 | 0:00:48 | |
I love it, love it, love it. | 0:00:48 | 0:00:50 | |
..she can transform her finds into desirable... | 0:00:50 | 0:00:54 | |
It looks brand-new. | 0:00:54 | 0:00:55 | |
..valuable... | 0:00:55 | 0:00:57 | |
You are joking. | 0:00:57 | 0:00:59 | |
..and hopefully saleable items. | 0:00:59 | 0:01:02 | |
That is a triumph! | 0:01:02 | 0:01:04 | |
If Sarah is successful, then she can hand the profits back | 0:01:05 | 0:01:08 | |
to the very people who had no idea | 0:01:08 | 0:01:10 | |
there was cash to be made from their trash. | 0:01:10 | 0:01:14 | |
That is amazing! | 0:01:14 | 0:01:16 | |
Sarah's in Surrey today at the Witley Recycling Centre | 0:01:28 | 0:01:32 | |
searching out three items that she can take, transform and trade, | 0:01:32 | 0:01:37 | |
making cash from old trash. | 0:01:37 | 0:01:39 | |
Wonky sideboards, stopped clocks, occasional tables, legless chairs - | 0:01:42 | 0:01:46 | |
they can all be made marvellous and all make money. | 0:01:46 | 0:01:48 | |
All I've got to do is find them. | 0:01:48 | 0:01:50 | |
Sarah's been given special permission to be here at Witley, | 0:01:52 | 0:01:55 | |
so please don't go raking your local rubbish tip. | 0:01:55 | 0:01:58 | |
Leave that to the experts. | 0:01:58 | 0:02:00 | |
I can tell the quality of your rubbish. | 0:02:02 | 0:02:04 | |
You've got superb quality rubbish. | 0:02:04 | 0:02:06 | |
Could make a hat. | 0:02:06 | 0:02:08 | |
Oh, yes, there's all manner of things at the tip today | 0:02:09 | 0:02:12 | |
and it's not long before Sarah spots | 0:02:12 | 0:02:15 | |
Jason with a boot-full of potential profit. | 0:02:15 | 0:02:18 | |
You've got some nice pieces of wood... | 0:02:18 | 0:02:20 | |
and bits, what...? Is it a new kitchen? | 0:02:20 | 0:02:22 | |
This is an old... Part of the sink that we took out - | 0:02:22 | 0:02:26 | |
-we put a new sink in. -I like that. | 0:02:26 | 0:02:28 | |
I've just had no use for it, | 0:02:28 | 0:02:29 | |
so I'd be really happy if somebody used it. | 0:02:29 | 0:02:31 | |
-Let's have a look. -OK. | 0:02:31 | 0:02:32 | |
Sarah's eye has been caught by a fresh piece of untreated oak | 0:02:32 | 0:02:37 | |
that's been left over while making new kitchen cabinets. | 0:02:37 | 0:02:41 | |
That, I think... | 0:02:41 | 0:02:42 | |
I don't want that, but that looks lovely. | 0:02:42 | 0:02:47 | |
-It's a coffee table in the waiting, isn't it? -Could be. | 0:02:47 | 0:02:50 | |
Thank you very much for letting me have this bit. | 0:02:50 | 0:02:52 | |
-I'm loving the fact that it feels so chunky. -Yeah. | 0:02:52 | 0:02:55 | |
And I've got lots of people who really make lovely things | 0:02:55 | 0:02:57 | |
out of natural wood and they'd be really pleased to see this. | 0:02:57 | 0:03:00 | |
Yeah, fantastic. | 0:03:00 | 0:03:02 | |
So, hopefully... I'll come back and show you what I've done | 0:03:02 | 0:03:04 | |
and maybe even turn up with some profit. | 0:03:04 | 0:03:06 | |
-Yeah. -Thank you ever so much. | 0:03:06 | 0:03:08 | |
Come on, then, Jason, | 0:03:10 | 0:03:12 | |
what do you think will become of that large chunk of oak? | 0:03:12 | 0:03:16 | |
I looked at that and I thought I could possibly make | 0:03:16 | 0:03:18 | |
a coffee table out of it, but my hands are hurting | 0:03:18 | 0:03:21 | |
after all of this work so I just ran out of steam on it, | 0:03:21 | 0:03:23 | |
so it's really great that somebody else could do something with it. | 0:03:23 | 0:03:27 | |
So this lovely chunk of oak has got everything | 0:03:27 | 0:03:29 | |
about it that it needs to be recycled. | 0:03:29 | 0:03:32 | |
It's solid, it's in one piece, it's new, it's untreated. | 0:03:32 | 0:03:35 | |
So, given all its great qualities, | 0:03:35 | 0:03:37 | |
I know exactly where this is going | 0:03:37 | 0:03:39 | |
and I think there's some potential profit in this, | 0:03:39 | 0:03:41 | |
because it's a big, solid piece of English oak. | 0:03:41 | 0:03:44 | |
It is indeed. | 0:03:44 | 0:03:46 | |
Sarah knows where she's taking that, | 0:03:46 | 0:03:48 | |
but it's not perhaps where you'd think. | 0:03:48 | 0:03:50 | |
Artist blacksmith Bex Simon is an expert in manipulating metal | 0:03:54 | 0:03:59 | |
into high-end furniture and bespoke metalwork commissions. | 0:03:59 | 0:04:03 | |
Together with husband Dave, this formidable team has the skill | 0:04:03 | 0:04:07 | |
and imagination to create something special from...any old iron. | 0:04:07 | 0:04:13 | |
I think I find inspiration in pretty much anything and everything. | 0:04:13 | 0:04:18 | |
And then the passion is to create and build and design, | 0:04:18 | 0:04:22 | |
which I just love. It's incredibly satisfying, | 0:04:22 | 0:04:26 | |
it's really nice. | 0:04:26 | 0:04:27 | |
The love of bending and shaping metal is understandable, | 0:04:27 | 0:04:30 | |
but what exactly will a blacksmith do with a huge chunk of wood? | 0:04:30 | 0:04:34 | |
With the first item found, | 0:04:39 | 0:04:41 | |
it's time to press on and search for a second one. | 0:04:41 | 0:04:44 | |
It's bonkers round here. Look at them. Flooding in. | 0:04:46 | 0:04:50 | |
When it's this busy, you have to keep your eyes peeled. | 0:04:50 | 0:04:54 | |
Luckily, Sarah has spotted John | 0:04:54 | 0:04:56 | |
with his Georgian-style chair among all the clutter. | 0:04:56 | 0:05:00 | |
I like your chair. | 0:05:00 | 0:05:01 | |
Well, it's... | 0:05:02 | 0:05:03 | |
-The elbows have gone. -OK. | 0:05:03 | 0:05:05 | |
-It's a... -We were going to get it refurbished, | 0:05:05 | 0:05:10 | |
but then we decided just to dump it. | 0:05:10 | 0:05:13 | |
It is tricky, isn't it? | 0:05:13 | 0:05:14 | |
Because it's quite a lot of money to get them reupholstered. | 0:05:14 | 0:05:17 | |
-It is. -And if you don't love it, then... | 0:05:17 | 0:05:19 | |
-Yeah. -Yeah. So tell me, how long have you had it? | 0:05:19 | 0:05:23 | |
-And where did it come from? -I think we've had it for about... | 0:05:23 | 0:05:26 | |
..six years. We got it from a friend of my wife, who is an artist. | 0:05:27 | 0:05:32 | |
It's got a really lovely shape about it. | 0:05:32 | 0:05:35 | |
-Is it comfortable? -It's very comfortable. | 0:05:35 | 0:05:37 | |
-Can I have a go? -Yeah. | 0:05:37 | 0:05:38 | |
-It's lovely. -Yeah. | 0:05:40 | 0:05:41 | |
Isn't it? | 0:05:41 | 0:05:43 | |
Yeah, it's good to sit in. | 0:05:43 | 0:05:44 | |
I think it's lovely, but can I take it away? | 0:05:44 | 0:05:47 | |
-You certainly can. -Thank you so much for letting me have it. | 0:05:47 | 0:05:49 | |
-Would you be all right just help me over there? -Yeah. | 0:05:49 | 0:05:51 | |
Georgian furniture is a style which dates between 1714 and 1837 | 0:05:51 | 0:05:56 | |
and was made popular by designers such as | 0:05:56 | 0:05:59 | |
Thomas Chippendale and Robert Adam. | 0:05:59 | 0:06:01 | |
The style of John's old chair fits this Georgian period, | 0:06:01 | 0:06:04 | |
with high sides and delicate features. | 0:06:04 | 0:06:06 | |
But what does he think Sarah can do with it? | 0:06:06 | 0:06:09 | |
I would imagine where there's a will and a way | 0:06:09 | 0:06:11 | |
that you could refurbish it, | 0:06:11 | 0:06:13 | |
and then I think it would look really good. | 0:06:13 | 0:06:16 | |
And I'll be interested to see how good it does look. | 0:06:16 | 0:06:19 | |
I think this chair's got a fantastic look. | 0:06:19 | 0:06:22 | |
It is actually reproduction, I think. | 0:06:22 | 0:06:24 | |
But it's cool, because look at all these curves, | 0:06:24 | 0:06:27 | |
there's a lovely shape to it. | 0:06:27 | 0:06:29 | |
Reupholstered, it is going to look fantastic | 0:06:29 | 0:06:31 | |
and I know exactly who to take it to. | 0:06:31 | 0:06:34 | |
Introducing Anthony Devine. | 0:06:40 | 0:06:43 | |
Anthony's unique and quirky upholstery has earned him | 0:06:43 | 0:06:46 | |
the reputation as one of the most imaginative craftspeople around. | 0:06:46 | 0:06:50 | |
Anthony can upholster almost anything, | 0:06:52 | 0:06:54 | |
but he does love a good chair. | 0:06:54 | 0:06:56 | |
First thing I see in a room is a chair. | 0:06:57 | 0:06:59 | |
When I go round to people's houses, I look for quality, | 0:06:59 | 0:07:02 | |
I look to see what I would do differently. | 0:07:02 | 0:07:05 | |
Some chairs look like they're almost, kind of, destined for the tip. | 0:07:08 | 0:07:13 | |
But if you see one ounce of potential, then save it. | 0:07:13 | 0:07:17 | |
I suppose it is a bit of a love affair I have with chairs. | 0:07:19 | 0:07:22 | |
They're very beautiful things. | 0:07:22 | 0:07:24 | |
Anthony loves classic lines, beautiful shapes and stylish looks. | 0:07:24 | 0:07:28 | |
Hopefully, he'll also like this old thing. | 0:07:28 | 0:07:30 | |
Raking through rubbish at the dump for prolonged periods | 0:07:35 | 0:07:38 | |
is enough to send you over the edge if you're not careful. | 0:07:38 | 0:07:41 | |
SARAH SINGS: Disco Inferno | 0:07:41 | 0:07:43 | |
It's been a long day, I've had a hot chocolate, I'm feeling excellent, | 0:07:43 | 0:07:46 | |
I'm looking for one last piece of recycling. | 0:07:46 | 0:07:48 | |
Come to Mummy! What's in the disco? | 0:07:48 | 0:07:51 | |
You go, girl! | 0:07:51 | 0:07:52 | |
Sarah is now on the hunt for an item she can work on. | 0:07:53 | 0:07:56 | |
And has spotted Graham, whose passion in life is his | 0:07:58 | 0:08:01 | |
mini wildlife sanctuary he runs from home. | 0:08:01 | 0:08:04 | |
What are you throwing out today? What are you clearing out? | 0:08:08 | 0:08:10 | |
Well, we've got our bazaar on Sunday | 0:08:10 | 0:08:14 | |
and people do bring in bits and pieces. | 0:08:14 | 0:08:16 | |
Yeah, some of which are suitable and some which aren't. | 0:08:16 | 0:08:18 | |
Is that what were saying? | 0:08:18 | 0:08:20 | |
No, I understand that. | 0:08:20 | 0:08:22 | |
When you're donating things, you bung it all in. | 0:08:22 | 0:08:24 | |
I've got some old fairy wings in there, you know, and I thought, "No." | 0:08:24 | 0:08:27 | |
-There's a great temptation for me... -No, no, me too. | 0:08:27 | 0:08:31 | |
Would it be all right to have a little rummage in your rubbish | 0:08:31 | 0:08:33 | |
to see if there's anything we might be able to make some money out of? | 0:08:33 | 0:08:36 | |
Graham takes in sick and injured wild animals, | 0:08:36 | 0:08:39 | |
something that Sarah's very familiar with herself. | 0:08:39 | 0:08:43 | |
Thank you. | 0:08:43 | 0:08:44 | |
I had three pet foxes when I was growing up. | 0:08:44 | 0:08:47 | |
-Good. -I used to look after them. | 0:08:47 | 0:08:49 | |
Two owls and a kestrel, I had, when I was growing up. | 0:08:49 | 0:08:53 | |
Most people are happy with a goldfish. | 0:08:53 | 0:08:55 | |
Graham has already dropped off plenty of picture frames | 0:08:55 | 0:08:58 | |
for Sarah to rummage through. | 0:08:58 | 0:09:00 | |
Yeah, I'd really like to try and make some money for you. | 0:09:00 | 0:09:03 | |
There's one, that's quite sweet. | 0:09:03 | 0:09:05 | |
Look, it's a silver plate or something. | 0:09:05 | 0:09:07 | |
So we'll have a look at that one. | 0:09:07 | 0:09:10 | |
There's a little bundle of vintage and retro ones. | 0:09:10 | 0:09:12 | |
Maybe if I put a postcard or something in there, | 0:09:12 | 0:09:14 | |
I could sell them and raise a bit of money. | 0:09:14 | 0:09:17 | |
Bit of embroidery? Maybe. Right. | 0:09:19 | 0:09:21 | |
These frames weren't promising enough to make it | 0:09:21 | 0:09:23 | |
into Graham's own jumble sale, | 0:09:23 | 0:09:25 | |
so Sarah is going to have her work cut out with this a lot. | 0:09:25 | 0:09:28 | |
-Lovely to meet you today. -And you. | 0:09:28 | 0:09:30 | |
-Thanks ever so much. -You take care. -OK, bye-bye. | 0:09:30 | 0:09:33 | |
That's three items carefully collected with profit in mind. | 0:09:35 | 0:09:39 | |
The solid-oak offcut will be tackled by blacksmith Bex, | 0:09:39 | 0:09:43 | |
the Georgian-style chair will be a challenge for Anthony | 0:09:43 | 0:09:46 | |
and Sarah will put herself in the picture by working on the frames. | 0:09:46 | 0:09:51 | |
Today has been incredible. | 0:09:53 | 0:09:54 | |
With such a diverse mixture of items found, | 0:09:54 | 0:09:57 | |
I can't wait to see them turned into show-stopping moneymakers. | 0:09:57 | 0:10:01 | |
Sarah's first stop is deep in the heart of the Surrey countryside. | 0:10:06 | 0:10:10 | |
So tranquil... | 0:10:10 | 0:10:11 | |
..unless you're in the workshop of Bex and her husband Dave. | 0:10:13 | 0:10:16 | |
So I used to feel quite nervous about what Sarah was going to | 0:10:20 | 0:10:23 | |
bring round for us to work with, but now I've sort of become | 0:10:23 | 0:10:28 | |
a bit more to expect the unexpected. | 0:10:28 | 0:10:31 | |
I'm glad she feels that way, | 0:10:31 | 0:10:33 | |
as Sarah's about to drop off a lump of wood | 0:10:33 | 0:10:36 | |
to a specialist metalworker. | 0:10:36 | 0:10:38 | |
So you find a big chunk of oak and you immediately think - | 0:10:38 | 0:10:41 | |
well, I did - let's take it to the blacksmiths. | 0:10:41 | 0:10:43 | |
I really need some help with this piece. | 0:10:43 | 0:10:46 | |
I know that Bex and Dave come up with | 0:10:46 | 0:10:48 | |
all sorts of ideas all the time, | 0:10:48 | 0:10:50 | |
I just need one of their really good ones to turn this big chunk of | 0:10:50 | 0:10:53 | |
English oak into something really saleable. | 0:10:53 | 0:10:56 | |
I'm looking forward to seeing what she'll bring today. | 0:10:56 | 0:10:59 | |
In fact, we'll probably go and find some other junk to help try | 0:10:59 | 0:11:03 | |
and upcycle these bits with. | 0:11:03 | 0:11:05 | |
-How you doing? -How are you doing? | 0:11:05 | 0:11:07 | |
-Look what I've got! -It's wood! | 0:11:07 | 0:11:09 | |
You've got wood! Are you all right? | 0:11:09 | 0:11:12 | |
-I'm really well, how you doing? -Put it down here. | 0:11:12 | 0:11:15 | |
-It's quite heavy. -It's a lovely piece of wood. | 0:11:15 | 0:11:18 | |
Yeah, I think it's that way up. | 0:11:18 | 0:11:19 | |
I thought, because it's so beautiful, | 0:11:19 | 0:11:21 | |
I love the kind of matt quality of the wood... | 0:11:21 | 0:11:23 | |
-Yeah. -I was just thinking, with some of your beautiful shaped legs on it, | 0:11:23 | 0:11:28 | |
I was wondering about having something quite industrial-looking, | 0:11:28 | 0:11:31 | |
like nuts and bolts or something maybe, like, coming through it. | 0:11:31 | 0:11:35 | |
So, say if it's round, you could have, like, | 0:11:35 | 0:11:38 | |
just three and it's sort of self-balanced, | 0:11:38 | 0:11:41 | |
so they are piercing the top. | 0:11:41 | 0:11:44 | |
Piercing sounds great. | 0:11:44 | 0:11:46 | |
It's either kind of a javelin shape, | 0:11:46 | 0:11:47 | |
so they're getting sort of thinner... | 0:11:47 | 0:11:50 | |
Maybe you could do that. If it's piercing it, | 0:11:50 | 0:11:52 | |
maybe it gets slightly thinner at the bottom and then a big | 0:11:52 | 0:11:54 | |
chunky, bolt-y thing at the top. | 0:11:54 | 0:11:56 | |
Yeah, because you have a flat bit with the bit coming through | 0:11:56 | 0:12:00 | |
and it's sort of balancing on three legs. | 0:12:00 | 0:12:03 | |
Industrial-looking legs! | 0:12:05 | 0:12:07 | |
I've got a pair of them myself. | 0:12:07 | 0:12:08 | |
But this table will need three, | 0:12:08 | 0:12:10 | |
so how much will it cost for each leg? | 0:12:10 | 0:12:12 | |
Um, say 60, | 0:12:13 | 0:12:16 | |
and then we can sort of fiddle about and, you know, | 0:12:16 | 0:12:18 | |
make something really nice and it will look like | 0:12:18 | 0:12:21 | |
a really good interiors piece, you know? | 0:12:21 | 0:12:24 | |
That's £180 in total for the three legs. | 0:12:24 | 0:12:28 | |
Now, what's the plan for the wood? | 0:12:28 | 0:12:30 | |
I'm wondering, are you OK to cut wood | 0:12:30 | 0:12:32 | |
or do you want me to get this delivered to you in a certain shape? | 0:12:32 | 0:12:35 | |
-What would be easier? -If we worked out between us what shape | 0:12:35 | 0:12:38 | |
and then, yeah, that would be good. | 0:12:38 | 0:12:40 | |
I could make a template, so that would be fine. | 0:12:40 | 0:12:44 | |
I love your enthusiasm. | 0:12:44 | 0:12:46 | |
I love yours! | 0:12:46 | 0:12:48 | |
Let's make a plan for the shape then and I reckon | 0:12:48 | 0:12:50 | |
we've a fairly simple solution to that. | 0:12:50 | 0:12:53 | |
-Brilliant, well done. -Yep. No, marvellous. | 0:12:53 | 0:12:56 | |
Once the shape is agreed, | 0:12:56 | 0:12:57 | |
Sarah's going to organise getting the wood cut | 0:12:57 | 0:13:00 | |
while Bex takes care of the javelin-shaped legs. | 0:13:00 | 0:13:04 | |
Brilliant. You have that, that and that and I'll take the wood. | 0:13:04 | 0:13:09 | |
OK. Keep in touch, yeah? | 0:13:09 | 0:13:10 | |
See you later. Bye. | 0:13:10 | 0:13:12 | |
I think it's going to turn out a really, really nice, | 0:13:15 | 0:13:19 | |
quite classic little piece. So, looking forward to making that... | 0:13:19 | 0:13:23 | |
if we get the fire started. | 0:13:23 | 0:13:25 | |
Bex has got her work cut out with the legs | 0:13:26 | 0:13:28 | |
and I've got my wood to cut out. | 0:13:28 | 0:13:30 | |
I think this table is going to be sweet, | 0:13:30 | 0:13:32 | |
saleable, and I think we'll make a profit. | 0:13:32 | 0:13:34 | |
With £180 already dedicated to the legs | 0:13:36 | 0:13:39 | |
and the cost of preparing the wood still unknown, | 0:13:39 | 0:13:42 | |
can this adventurous table live up to its price tag? | 0:13:42 | 0:13:45 | |
Manchester has arguably long been the North's creative capital with | 0:13:54 | 0:13:58 | |
musicians, artists and designers keeping it at the cutting edge. | 0:13:58 | 0:14:02 | |
So it's no surprise that master upholsterer | 0:14:04 | 0:14:06 | |
Anthony is on the lookout for something fashionable. | 0:14:06 | 0:14:10 | |
Sarah is on her way today, so I'm quite excited that, you know, | 0:14:10 | 0:14:12 | |
she's looking for what's on-trend, | 0:14:12 | 0:14:15 | |
what's out there and what is going to sell. | 0:14:15 | 0:14:19 | |
Well, how about something that was on-trend over 200 years ago? | 0:14:19 | 0:14:23 | |
I hope he likes it. | 0:14:23 | 0:14:25 | |
I think Anthony is the only man who's going to make this into | 0:14:26 | 0:14:29 | |
something amazing for me, and he's going to have to use | 0:14:29 | 0:14:31 | |
all of his skills if I'm going to make money. | 0:14:31 | 0:14:34 | |
Anthony? | 0:14:37 | 0:14:38 | |
-How are we? -We're good. | 0:14:39 | 0:14:41 | |
Wait till you see what I've got for you. | 0:14:43 | 0:14:46 | |
Shall we just take it inside? Just don't say anything. | 0:14:46 | 0:14:48 | |
Do you want to just tip it straight in my skip? | 0:14:48 | 0:14:51 | |
It's not that bad! | 0:14:51 | 0:14:52 | |
It's not a little gem, is it? | 0:14:57 | 0:15:00 | |
It's a big something, not a gem. | 0:15:00 | 0:15:02 | |
Anthony really isn't sold on it | 0:15:04 | 0:15:06 | |
but I'm sure that Sarah can talk him round. | 0:15:06 | 0:15:10 | |
It has potential. | 0:15:10 | 0:15:11 | |
In? | 0:15:12 | 0:15:14 | |
I've got a really good idea for it. | 0:15:14 | 0:15:15 | |
OK. Just bear with me on this and see if you think it will work. | 0:15:15 | 0:15:18 | |
How about... | 0:15:18 | 0:15:19 | |
..cut it in half, stretch it out | 0:15:20 | 0:15:22 | |
and make a fantastic Georgian sofa out of it? | 0:15:22 | 0:15:24 | |
Brilliant. Let's do it. | 0:15:24 | 0:15:27 | |
Really? Is that possible? | 0:15:27 | 0:15:29 | |
It's not just quite as simple as cutting it in the middle. | 0:15:29 | 0:15:31 | |
What would the process be? | 0:15:31 | 0:15:33 | |
Well, do away with everything between this gap. | 0:15:33 | 0:15:36 | |
So, by chopping the chair in half, | 0:15:37 | 0:15:40 | |
retaining the Georgian-style sides and building a new middle section, | 0:15:40 | 0:15:44 | |
the small seat will become a large couch. | 0:15:44 | 0:15:47 | |
I like the stretch part of it, I have to say. | 0:15:47 | 0:15:50 | |
That sounds fun. | 0:15:50 | 0:15:52 | |
Like... Not just little but big, stretch big. | 0:15:52 | 0:15:55 | |
OK, big would be great. | 0:15:55 | 0:15:57 | |
Maybe a couple of new legs in the middle, you know, five-person. | 0:15:57 | 0:16:01 | |
Something that goes in the hallway of a Georgian stately home. | 0:16:01 | 0:16:06 | |
That kind of... | 0:16:06 | 0:16:07 | |
With a modern-ish look. | 0:16:07 | 0:16:09 | |
OK. I can see you're buying in already. | 0:16:09 | 0:16:12 | |
A little bit of enthusiasm for it. | 0:16:12 | 0:16:14 | |
-You can do it. -It's coming. | 0:16:14 | 0:16:16 | |
I am almost overwhelmed with the enthusiasm, | 0:16:17 | 0:16:20 | |
but how do they intend to cover this monster of a sofa? | 0:16:20 | 0:16:24 | |
Colour-wise, I don't know, | 0:16:24 | 0:16:25 | |
it's either beautiful light linen or it's very dark. | 0:16:25 | 0:16:30 | |
I would go dark. | 0:16:30 | 0:16:32 | |
Yeah, dark velvet. | 0:16:34 | 0:16:36 | |
But then, you know, maybe we should just have a nice chic fabric on it. | 0:16:37 | 0:16:41 | |
-Country cottage sofa. -No. | 0:16:41 | 0:16:44 | |
A five-seater sofa in dark velvet sounds expensive. | 0:16:45 | 0:16:49 | |
Is it, Anthony? | 0:16:49 | 0:16:51 | |
It's going to hit just under a grand, realistically, | 0:16:51 | 0:16:55 | |
but then it's going to be a whopper. | 0:16:55 | 0:16:57 | |
I mean, it might even take a few people to carry this bad boy out. | 0:16:58 | 0:17:02 | |
It really is going to be a substantial-sized chair. | 0:17:02 | 0:17:06 | |
I'm happy to leave it like that. | 0:17:06 | 0:17:08 | |
I can't wait to see it. | 0:17:08 | 0:17:09 | |
Sarah seems happy her radical idea is underway. | 0:17:11 | 0:17:14 | |
Well, I think that is an excellent plan for that old chair | 0:17:15 | 0:17:19 | |
and between us, I think we're going to create something | 0:17:19 | 0:17:21 | |
that looks absolutely amazing. | 0:17:21 | 0:17:23 | |
But at a shade under £1,000, that budget is quite punchy. | 0:17:24 | 0:17:31 | |
It better look fabulous. | 0:17:31 | 0:17:32 | |
It's never just simple. It's never like, | 0:17:32 | 0:17:34 | |
"Oh, Anthony, I've got this perfect chair for you. | 0:17:34 | 0:17:36 | |
"It's nice and light, just a bit of fabric on it, please, | 0:17:36 | 0:17:39 | |
"and we won't argue about the budget. | 0:17:39 | 0:17:42 | |
"Everything is good, do me proud, I'll come back for it not tomorrow - | 0:17:42 | 0:17:45 | |
"I'll give you at least a week or two to do it." | 0:17:45 | 0:17:49 | |
Rant over. | 0:17:49 | 0:17:50 | |
Glad you got that off your chest. | 0:17:50 | 0:17:52 | |
Anthony is working with a budget in the region of £1,000 to turn | 0:17:52 | 0:17:57 | |
this seat into a stretched-out sofa. | 0:17:57 | 0:18:00 | |
Will this job test the limits of even his skills? | 0:18:00 | 0:18:02 | |
With both the block of solid oak and the Georgian-style chair | 0:18:09 | 0:18:13 | |
in good hands, it's Sarah's turn to take on the jumble sale cast-offs. | 0:18:13 | 0:18:18 | |
Listen to this. "My mum and me on front donkey. | 0:18:22 | 0:18:25 | |
"Fred in rear. | 0:18:25 | 0:18:28 | |
"Think I was about three years old, perhaps younger. | 0:18:28 | 0:18:30 | |
"Uncle Joe in boater, my father taking photo." | 0:18:30 | 0:18:34 | |
I would love to have seen who Uncle Joe was and what the boater | 0:18:34 | 0:18:38 | |
looked like and who Mum was, | 0:18:38 | 0:18:40 | |
but I'm afraid we're just going to have to imagine that. | 0:18:40 | 0:18:43 | |
They are such sweet things all with their little notes on the back. | 0:18:43 | 0:18:47 | |
It's a real pocket history of somebody's family here. | 0:18:47 | 0:18:50 | |
These may look like a collection of simple ordinary frames but you never | 0:18:50 | 0:18:54 | |
know what you might find, and Sarah is onto something. | 0:18:54 | 0:18:57 | |
No way. Look. | 0:18:58 | 0:19:00 | |
Can you see them? | 0:19:00 | 0:19:02 | |
Can you see the one in the middle? | 0:19:02 | 0:19:04 | |
That's a lion, so, solid silver, sterling silver. | 0:19:04 | 0:19:07 | |
This is British Art Deco silver frame. | 0:19:07 | 0:19:11 | |
That is a little gem in this bundle. | 0:19:11 | 0:19:13 | |
I've got a silver cloth. I'm hoping if I give this a polish, | 0:19:14 | 0:19:17 | |
some of it's... Oh, look, that is going to be amazing. | 0:19:17 | 0:19:21 | |
We are looking at a frame probably 100 years old | 0:19:21 | 0:19:24 | |
and it's got this pattern on it. It's called engine turning. | 0:19:24 | 0:19:27 | |
Great spot, Sarah. | 0:19:27 | 0:19:29 | |
Engine turning is the decoration of metal or ceramic objects with fine | 0:19:29 | 0:19:33 | |
geometric patterns similar to the patterns found on banknotes. | 0:19:33 | 0:19:37 | |
That is looking a lot better. | 0:19:37 | 0:19:39 | |
It is made of solid silver but there's not heaps of silver there | 0:19:39 | 0:19:43 | |
because it's quite fine, but as a design piece, | 0:19:43 | 0:19:45 | |
I think that's where the value is because it looks beautiful. | 0:19:45 | 0:19:48 | |
I'll put the surround back into it | 0:19:48 | 0:19:50 | |
and the back on it and then probably have a look | 0:19:50 | 0:19:52 | |
and see what I can find online to see what kind of examples... | 0:19:52 | 0:19:55 | |
and what they're selling for. | 0:19:55 | 0:19:57 | |
Finding that gem of a silver frame is not enough to stop Sarah | 0:19:57 | 0:20:01 | |
attempting to maximise profits from her haul. | 0:20:01 | 0:20:05 | |
And all it takes is a spruce-up and a splash of colourful wallpaper | 0:20:05 | 0:20:09 | |
to prepare the remaining frames. | 0:20:09 | 0:20:11 | |
Let's hope that looks all right on that side. | 0:20:12 | 0:20:15 | |
Yeah. No, look at the bottom. | 0:20:15 | 0:20:18 | |
Not annoying or anything! | 0:20:18 | 0:20:19 | |
Now, what about that solid silver frame? | 0:20:22 | 0:20:26 | |
Right, let's have a look. "Art Deco frame". | 0:20:26 | 0:20:30 | |
There's one. | 0:20:30 | 0:20:31 | |
"Art Deco sterling silver engine-turned frame." | 0:20:31 | 0:20:35 | |
Do you know something? They are expensive. | 0:20:35 | 0:20:38 | |
Look, even this one, £275. | 0:20:38 | 0:20:42 | |
I really like you. | 0:20:42 | 0:20:45 | |
These frames have cost Sarah nothing so far, | 0:20:45 | 0:20:48 | |
but can that silver frame live up to its potential worth | 0:20:48 | 0:20:51 | |
when Sarah tries to sell it? | 0:20:51 | 0:20:53 | |
In Manchester, Anthony is about to start work | 0:20:57 | 0:21:00 | |
on the Georgian-style chair, | 0:21:00 | 0:21:02 | |
and today he is assisted by fellow master upholsterer Dennis. | 0:21:02 | 0:21:06 | |
Dennis, to cut a long story short, | 0:21:07 | 0:21:09 | |
has been an upholsterer for many, many, many years. | 0:21:09 | 0:21:12 | |
Dennis has been in the business an incredible 70 years, to be exact, | 0:21:12 | 0:21:17 | |
so Anthony is really bringing out the big guns on this project. | 0:21:17 | 0:21:21 | |
It's going to be a bit of a two-man job. | 0:21:21 | 0:21:24 | |
-Right, do you want to crack on, then? -Yes. | 0:21:24 | 0:21:27 | |
Crikey, Dennis, you're keen. | 0:21:27 | 0:21:28 | |
The plan - we're going to cut this open and then we should start to see | 0:21:30 | 0:21:34 | |
the wooden frame, and then we're going to simply take a saw | 0:21:34 | 0:21:37 | |
and chop half of this off and hopefully glue it, | 0:21:37 | 0:21:41 | |
screw it, dowel it, drill it into a sofa. | 0:21:41 | 0:21:46 | |
Let me know if you find any money. | 0:21:46 | 0:21:48 | |
-We'll share it. -We'll share it. | 0:21:48 | 0:21:50 | |
We'll buy some biscuits for teatime. | 0:21:50 | 0:21:52 | |
Hurray! | 0:21:55 | 0:21:56 | |
Hurray! | 0:21:58 | 0:21:59 | |
I declare this chair... | 0:22:01 | 0:22:03 | |
open! | 0:22:03 | 0:22:05 | |
How big are we planning to make this, then? | 0:22:06 | 0:22:09 | |
Well, Sarah is expecting a large five-seater. | 0:22:09 | 0:22:11 | |
Something similar, like that. | 0:22:14 | 0:22:15 | |
What I was thinking was more like... | 0:22:15 | 0:22:19 | |
LAUGHTER | 0:22:19 | 0:22:21 | |
You're going a bit too far now. It's too long. | 0:22:21 | 0:22:24 | |
With the size of families nowadays, and the size of TVs, | 0:22:24 | 0:22:27 | |
you know, you'll probably want a big sofa. | 0:22:27 | 0:22:29 | |
Anthony has gone a bit off-piste in the past and it looks like he's | 0:22:30 | 0:22:34 | |
thinking of deviating from the agreed plan with Sarah. | 0:22:34 | 0:22:37 | |
Not sure how she'll feel about that. | 0:22:37 | 0:22:40 | |
That's not going to be far off 40 inches at that. | 0:22:40 | 0:22:42 | |
Oh, and they still need to build the thing. | 0:22:42 | 0:22:45 | |
We'll have a cup of tea first, yeah? | 0:22:45 | 0:22:47 | |
Back in Surrey, blacksmith Bex is getting started | 0:22:50 | 0:22:54 | |
on the spear-like legs and chunky bolt fittings | 0:22:54 | 0:22:58 | |
that will hold up the oak tabletop Sarah is having cut into shape. | 0:22:58 | 0:23:03 | |
It is basically making it so it has got this nice, slow, | 0:23:07 | 0:23:11 | |
you know, not to a point but... | 0:23:11 | 0:23:13 | |
..looks nice and slick rather than just a straight bar. | 0:23:14 | 0:23:19 | |
Before the legs can be tapered, | 0:23:19 | 0:23:21 | |
first they have to be cut. | 0:23:21 | 0:23:24 | |
Fancy a cup of tea? | 0:23:24 | 0:23:26 | |
Bex is using mild steel to form the legs. | 0:23:26 | 0:23:29 | |
It's a malleable alloy that can be shaped | 0:23:29 | 0:23:32 | |
when heated above 1,000 degrees Celsius. | 0:23:32 | 0:23:35 | |
It's more often used in a building context | 0:23:36 | 0:23:39 | |
and so will provide this coffee table with an industrial feel. | 0:23:39 | 0:23:42 | |
So I make the bolt, just use that material to make the bolt | 0:23:45 | 0:23:48 | |
so it's, like, quite slick and small, | 0:23:48 | 0:23:52 | |
or go nuts and do a big fat bolt. | 0:23:52 | 0:23:56 | |
But then, it's a coffee table - it might get in the way. | 0:23:56 | 0:23:59 | |
Ah, it's a tough decision to make. | 0:23:59 | 0:24:00 | |
Yeah, doing the smaller, neater... Using that material. | 0:24:02 | 0:24:07 | |
So, small and elegant is the way forward, | 0:24:07 | 0:24:10 | |
and she can check out her design against the tabletop, | 0:24:10 | 0:24:13 | |
as Sarah has now returned the chunk of oak all shaped and finished. | 0:24:13 | 0:24:17 | |
Oh, wow, it's like a giant kidney bean. | 0:24:20 | 0:24:23 | |
Oh, it's really nice. Look, with her dirty hands. | 0:24:23 | 0:24:25 | |
No, it's got a really nice shape. | 0:24:27 | 0:24:28 | |
It'll go well with the legs. | 0:24:28 | 0:24:30 | |
We haven't told her that we're going to countersink, | 0:24:30 | 0:24:33 | |
you know, the nuts and stuff, so, you know, | 0:24:33 | 0:24:37 | |
rather that it looks like they're plonked on, | 0:24:37 | 0:24:39 | |
they're going to be set in nicely with the little top, | 0:24:39 | 0:24:42 | |
so it's a really nice detail. | 0:24:42 | 0:24:44 | |
With the top ready to go, | 0:24:44 | 0:24:46 | |
Bex concentrates on putting the finishing touches | 0:24:46 | 0:24:49 | |
to the metal legs with a bit of help from Dave's, erm, pants? | 0:24:49 | 0:24:54 | |
Actually, there's a new pair that I've been planning to bring in. | 0:24:54 | 0:24:57 | |
It's when they start to look a bit like a skirt... | 0:24:57 | 0:24:59 | |
They were perfectly good underpants, them. | 0:24:59 | 0:25:01 | |
I don't know what she's doing with them in here. | 0:25:01 | 0:25:04 | |
Four or five years in them! | 0:25:06 | 0:25:07 | |
Very unflattering, dear. | 0:25:07 | 0:25:10 | |
Very unflattering. | 0:25:10 | 0:25:12 | |
Poor Dave. Now all that's left to do is drill and stain the wood, | 0:25:12 | 0:25:16 | |
fix it together and then show Sarah. | 0:25:16 | 0:25:18 | |
I can't wait to see this one. | 0:25:18 | 0:25:20 | |
I hope she likes my nuts. | 0:25:20 | 0:25:22 | |
SHE CHUCKLES | 0:25:22 | 0:25:24 | |
Anyway... So immature. Right. | 0:25:24 | 0:25:26 | |
Back in Manchester, there's been a small change of plan | 0:25:29 | 0:25:32 | |
at Anthony's place. | 0:25:32 | 0:25:34 | |
Originally we talked about doing it in an indigo, deep-blue colour | 0:25:34 | 0:25:39 | |
but now we chose this kind of tulip-y colour. | 0:25:39 | 0:25:43 | |
But I'm not sure it's going to be one of Sarah's favourite colours, | 0:25:43 | 0:25:46 | |
I've been told. | 0:25:46 | 0:25:48 | |
Brave man, Anthony. | 0:25:48 | 0:25:49 | |
Also, that sofa looks a lot smaller than the five-seater | 0:25:49 | 0:25:53 | |
you promised Sarah. How big is it? | 0:25:53 | 0:25:55 | |
We cut it in half and then we've now rebuilt it all. | 0:25:55 | 0:25:58 | |
So we've kind of gone for... | 0:25:58 | 0:26:00 | |
I think it's just under 54-inches wide in total. | 0:26:00 | 0:26:05 | |
There was no scientific way of doing this. | 0:26:05 | 0:26:07 | |
We basically clamped a bit of wood down and we stepped back and went... | 0:26:07 | 0:26:10 | |
Then we had a position - can two people get on there? | 0:26:10 | 0:26:13 | |
That's it, that's how we did it. | 0:26:13 | 0:26:15 | |
And it's basically a chair but just wider. | 0:26:17 | 0:26:19 | |
Yeah, but that's very different from a large sofa. | 0:26:20 | 0:26:23 | |
It's all about the sound, getting the right tension. | 0:26:25 | 0:26:28 | |
So, we're going to put another... Probably half a dozen this side, | 0:26:28 | 0:26:32 | |
another half a dozen that side | 0:26:32 | 0:26:33 | |
and then we're going to weave them across... | 0:26:33 | 0:26:36 | |
I can't stop twanging! | 0:26:36 | 0:26:37 | |
Weave them across in opposites. | 0:26:37 | 0:26:40 | |
Individually they are quite weak but collectively, | 0:26:40 | 0:26:44 | |
when they're all woven, they become nice and strong. | 0:26:44 | 0:26:47 | |
-TWANG -Oh! | 0:26:47 | 0:26:50 | |
The one pressure that we are under is to just make sure we get it | 0:26:53 | 0:26:56 | |
finished in time for Her Ladyship arriving. | 0:26:56 | 0:26:59 | |
But it's so addictive! | 0:26:59 | 0:27:00 | |
HE TWANGS THE CHAIR | 0:27:00 | 0:27:02 | |
It's the wrong size, the wrong colour and potentially unfinished, | 0:27:02 | 0:27:07 | |
but at least you'll be able to play Sarah a tune, Anthony. | 0:27:07 | 0:27:11 | |
Today, Sarah is hosting a barn sale featuring her own handiwork | 0:27:17 | 0:27:21 | |
and others from local artisans. | 0:27:21 | 0:27:23 | |
And there's interest in some of her refurbished picture frames. | 0:27:25 | 0:27:29 | |
I think they're absolutely beautiful. | 0:27:31 | 0:27:33 | |
They are just what I was looking for. Can I give you £10? | 0:27:33 | 0:27:36 | |
-Really? -That'll be... Yes, it'll be my pleasure. | 0:27:36 | 0:27:38 | |
-Delighted with them. Thank you. -Oh, lovely, excellent. | 0:27:38 | 0:27:41 | |
Come with me to the till. | 0:27:41 | 0:27:43 | |
That's two frames sold and if the others don't sell today, | 0:27:44 | 0:27:47 | |
they'll be going straight online. | 0:27:47 | 0:27:50 | |
Sarah is now concentrating on getting the best price | 0:27:50 | 0:27:53 | |
for her star item, the solid silver frame. | 0:27:53 | 0:27:55 | |
She's travelled to the Bourbon Hanby Arcade in central London, | 0:27:57 | 0:28:01 | |
home to antiques exports, Ian Towning. | 0:28:01 | 0:28:05 | |
This is engine-turned, made in Birmingham in about 1926, 1927. | 0:28:05 | 0:28:11 | |
-What is important is the silver is in good condition. -OK. | 0:28:13 | 0:28:16 | |
If that is in good condition, | 0:28:16 | 0:28:18 | |
there's a chance we can do something with it | 0:28:18 | 0:28:20 | |
because they're beautiful pieces. | 0:28:20 | 0:28:22 | |
With the silver being undamaged and Ian recognising the potential, | 0:28:22 | 0:28:27 | |
he was keen to make Sarah on offer. | 0:28:27 | 0:28:30 | |
If I was selling to an end user who is looking for a christening present | 0:28:30 | 0:28:33 | |
or something like that, I'd be looking for different money, | 0:28:33 | 0:28:36 | |
but I think that's lovely of you to make that offer | 0:28:36 | 0:28:39 | |
so I think I'm going to say - I'll take your offer. | 0:28:39 | 0:28:42 | |
You'll take my offer. | 0:28:42 | 0:28:43 | |
While at the dump in Witley, | 0:28:45 | 0:28:46 | |
Sarah spotted Graham with a boot-full of jumble sale rejects. | 0:28:46 | 0:28:51 | |
People do bring in bits and pieces. | 0:28:51 | 0:28:53 | |
Yeah, some which are suitable and some which aren't. | 0:28:53 | 0:28:55 | |
Is that what we're saying? | 0:28:55 | 0:28:56 | |
He was raising money for his animal sanctuary | 0:28:56 | 0:28:59 | |
and these frames didn't make the cut. | 0:28:59 | 0:29:01 | |
-Lovely to meet you today. -And you. -Thanks ever so much. Goodbye. | 0:29:01 | 0:29:05 | |
After some TLC, | 0:29:05 | 0:29:06 | |
a barn sale at home was the perfect place to sell the simple frames, | 0:29:06 | 0:29:10 | |
but the silver star of the show was taken further afield. | 0:29:10 | 0:29:14 | |
Sarah has now returned to Witley to show Graham what became | 0:29:14 | 0:29:18 | |
of his jumble junk and to hand over the cash. | 0:29:18 | 0:29:21 | |
-Hi, Graham. -Hello, Sarah. -Lovely to see you again. | 0:29:28 | 0:29:30 | |
-And you. -It looks like you're busy. | 0:29:30 | 0:29:32 | |
How many of these people have you got round here? | 0:29:32 | 0:29:35 | |
Don't ask me to count. | 0:29:35 | 0:29:36 | |
When I last saw you, you were having a big clear out of stuff | 0:29:36 | 0:29:39 | |
-before a sale, is that right? -Just a bit, yeah. | 0:29:39 | 0:29:41 | |
-And how did the sale go? -Very well. Very well indeed. | 0:29:41 | 0:29:44 | |
Now, the stuff that I took from you, | 0:29:44 | 0:29:46 | |
-there was a box which had some old frames in it. -That's right. | 0:29:46 | 0:29:49 | |
So I took the frames and used some old wallpaper. | 0:29:49 | 0:29:52 | |
That's amazing how it transfers itself from just a bit of old junk. | 0:29:53 | 0:29:58 | |
-That's amazing. -Amongst them, there was a lovely frame, actually. | 0:29:58 | 0:30:04 | |
It was an Art Deco silver frame. | 0:30:04 | 0:30:07 | |
So I took it to London and I took it to an antique dealer | 0:30:10 | 0:30:13 | |
and he made me a really good offer on it. | 0:30:13 | 0:30:15 | |
So I did accept the offer | 0:30:15 | 0:30:17 | |
and there is some money for you, actually. | 0:30:17 | 0:30:20 | |
-Brilliant. -There is... | 0:30:20 | 0:30:21 | |
..£4 here... | 0:30:22 | 0:30:25 | |
-Oh, excellent! -And £200 there. | 0:30:25 | 0:30:28 | |
And that's all for you to do whatever you need to do with it. | 0:30:28 | 0:30:31 | |
You're joking! | 0:30:31 | 0:30:33 | |
Oh, my God! That is amazing. | 0:30:33 | 0:30:36 | |
That is amazing. That is definitely money for nothing there. | 0:30:37 | 0:30:40 | |
There was no cost incurred sprucing up the old frames. | 0:30:42 | 0:30:45 | |
Sarah made £10 from the barn sale, | 0:30:45 | 0:30:49 | |
£150 from the Art Deco silver frame and another £44 | 0:30:49 | 0:30:53 | |
from selling seven of the more simple frames online. | 0:30:53 | 0:30:57 | |
That's £204 profit. | 0:30:57 | 0:31:00 | |
Graham was clearly so pleased with that and you get a really warm | 0:31:02 | 0:31:06 | |
fuzzy feeling handing over money for nothing. | 0:31:06 | 0:31:08 | |
Buoyed by the success of the sale of the frames, | 0:31:13 | 0:31:16 | |
Sarah is back at the workshop of Bex and Dave | 0:31:16 | 0:31:18 | |
to see the fruits of their hard labour. | 0:31:18 | 0:31:21 | |
Did you spit on it? | 0:31:24 | 0:31:25 | |
I think she'll be pleased, don't you? | 0:31:25 | 0:31:28 | |
I think she'll like this one. | 0:31:28 | 0:31:30 | |
There's not much to not like about it. | 0:31:30 | 0:31:32 | |
It's been in our house for a little bit for the wood to dry | 0:31:32 | 0:31:36 | |
and it looked quite nice in there. | 0:31:36 | 0:31:38 | |
I've been really looking forward to seeing what Bex has managed to do | 0:31:38 | 0:31:42 | |
with that old piece of worktop | 0:31:42 | 0:31:43 | |
because although it was only quite a small item, | 0:31:43 | 0:31:46 | |
it's potentially a really big transformation. | 0:31:46 | 0:31:48 | |
When Sarah dropped off the chunk of untreated oak, | 0:31:51 | 0:31:54 | |
it was unremarkable and unwanted. | 0:31:54 | 0:31:56 | |
In collaboration with Sarah, | 0:31:59 | 0:32:01 | |
Bex and Dave have created an elegant kidney-shaped coffee table. | 0:32:01 | 0:32:06 | |
Hand-forged steel legs complete with chunky fittings | 0:32:06 | 0:32:10 | |
are countersunk into the tabletop, | 0:32:10 | 0:32:13 | |
which has been stained black to match the legs. | 0:32:13 | 0:32:15 | |
-Hello, hello, hello. -Hello! | 0:32:20 | 0:32:22 | |
-Is that it? -Might be. | 0:32:23 | 0:32:26 | |
-Let's have a look, then. -Here you go. | 0:32:27 | 0:32:29 | |
Oh, my word. Are they metal? | 0:32:29 | 0:32:32 | |
-Yeah. -How cool are they? | 0:32:32 | 0:32:35 | |
It looks really good, doesn't it? | 0:32:35 | 0:32:37 | |
Yeah, it's worked out nicely. | 0:32:37 | 0:32:39 | |
I thought it was going to be sort of less polished and a bit metally, | 0:32:39 | 0:32:44 | |
kind of, rougher, but it's really fine. | 0:32:44 | 0:32:47 | |
So tell me, was it a good thing to do? | 0:32:47 | 0:32:49 | |
-Was it a nice make? -Yeah, definitely, | 0:32:49 | 0:32:51 | |
cos we got to do a bit of forging on it. | 0:32:51 | 0:32:53 | |
So we made the nuts and we made the legs down to have that nice, | 0:32:53 | 0:32:58 | |
you know, clean shape going down. | 0:32:58 | 0:33:02 | |
These are great, aren't they? | 0:33:02 | 0:33:03 | |
You can't get those off the shelf. | 0:33:03 | 0:33:06 | |
They look amazing. | 0:33:06 | 0:33:08 | |
I think I cunningly chose a three-legged table | 0:33:08 | 0:33:12 | |
because we were paying by the leg, weren't we? | 0:33:12 | 0:33:14 | |
It was something like 60... | 0:33:14 | 0:33:16 | |
60 quid a leg. | 0:33:16 | 0:33:19 | |
-Anywhere near that? -Yeah. -It's about right. | 0:33:19 | 0:33:21 | |
By the time you've messed about with the wood, | 0:33:21 | 0:33:25 | |
got it all working and nice, it's about right. | 0:33:25 | 0:33:29 | |
It's very cool. | 0:33:29 | 0:33:30 | |
I'm glad you like it. | 0:33:30 | 0:33:32 | |
I think it's a charming thing made out of something that was, you know, | 0:33:32 | 0:33:37 | |
scrub-top utility piece of wood, so I'm really pleased with that. | 0:33:37 | 0:33:41 | |
-Thanks so much. -Brilliant, thank you. | 0:33:41 | 0:33:43 | |
Always lovely to see you. | 0:33:43 | 0:33:44 | |
-How heavy is it? -It's not too bad. -Not too bad. | 0:33:44 | 0:33:47 | |
-You'll be OK. -That's what they always say. | 0:33:47 | 0:33:50 | |
-Take care. -See you later. -Bye. | 0:33:50 | 0:33:52 | |
There's always the question of what other people | 0:33:55 | 0:33:58 | |
-will think of your work. -Yeah. | 0:33:58 | 0:34:01 | |
No, it's really good and she was really pleased, | 0:34:01 | 0:34:04 | |
so that makes us really pleased. | 0:34:04 | 0:34:06 | |
-You're wearing my hat. -Yeah, all right! | 0:34:06 | 0:34:10 | |
My hat now. | 0:34:10 | 0:34:11 | |
Those guys just pull it out of the bag every time. | 0:34:12 | 0:34:15 | |
Look at the finish on that. | 0:34:15 | 0:34:17 | |
(It's fantastic.) | 0:34:17 | 0:34:18 | |
When Sarah spotted Jason at the tip in Witley, | 0:34:21 | 0:34:24 | |
she immediately spotted potential. | 0:34:24 | 0:34:26 | |
You've got some nice pieces of wood and bits. | 0:34:27 | 0:34:30 | |
-Is it a new kitchen? -This is an old part of the sink that we took out. | 0:34:30 | 0:34:33 | |
We put a new sink in. | 0:34:33 | 0:34:34 | |
Jason was quick to catch on with ideas of his own. | 0:34:34 | 0:34:38 | |
I looked at that and I thought I could possibly make a coffee table | 0:34:38 | 0:34:41 | |
out of it but my hands are hurting after all of this work so I just... | 0:34:41 | 0:34:45 | |
I just ran out of steam on it. | 0:34:45 | 0:34:47 | |
Fortunately for Sarah, | 0:34:47 | 0:34:48 | |
it was full steam ahead when the finished coffee table | 0:34:48 | 0:34:51 | |
was offered for sale, and it was soon snapped up | 0:34:51 | 0:34:54 | |
by a vintage and retro retail outlet in London. | 0:34:54 | 0:34:58 | |
Sarah has returned to Witley to show what Jason what became | 0:34:58 | 0:35:01 | |
of his oak cast-offs and possibly hand of some profit. | 0:35:01 | 0:35:05 | |
-Hi, Jason. -Hi, how are you doing? | 0:35:05 | 0:35:07 | |
-Yeah, really well. How are you? -Good, thank you. | 0:35:07 | 0:35:09 | |
-Nice to see you again. -Yep. | 0:35:09 | 0:35:10 | |
I said at the tip that it would be great to catch up if I'd managed | 0:35:10 | 0:35:14 | |
to do anything with your chunk of oak so I'm here, I'm here. | 0:35:14 | 0:35:18 | |
We actually managed to use it. | 0:35:18 | 0:35:20 | |
-Do you want to see what we did? -I'd love to, sounds great. | 0:35:20 | 0:35:22 | |
-So, that's how it turned out. -That's unbelievable, isn't it? | 0:35:22 | 0:35:25 | |
That is great. I honestly just thought it would be | 0:35:25 | 0:35:27 | |
just a nice square oblong of... | 0:35:27 | 0:35:29 | |
That's what I was going to make. | 0:35:29 | 0:35:31 | |
But that, yeah, that looks fantastic. | 0:35:31 | 0:35:33 | |
The good news is it sold and it sold at a profit, | 0:35:33 | 0:35:35 | |
so I've got some money to hand over to you here. | 0:35:35 | 0:35:38 | |
I've got... | 0:35:38 | 0:35:39 | |
Wow, that's incredible. I wasn't expecting that at all. | 0:35:39 | 0:35:41 | |
£4 there and another 60 more to go with it. | 0:35:41 | 0:35:44 | |
That's unbelievable. I wasn't expecting that at all. | 0:35:44 | 0:35:46 | |
Thank you so much. | 0:35:46 | 0:35:48 | |
So, 64 quid. | 0:35:48 | 0:35:50 | |
Any ideas what you'd do with £64? | 0:35:50 | 0:35:52 | |
There's a lot of things I'd like to do with it | 0:35:52 | 0:35:54 | |
but my children might have a different idea | 0:35:54 | 0:35:56 | |
about what I can spend it on. | 0:35:56 | 0:35:58 | |
But, yeah, I'm sure we'll find something fun to do with this. | 0:35:58 | 0:36:02 | |
-Excellent. -A day out, I should think, at least, yeah. | 0:36:02 | 0:36:05 | |
Thank you so much for all of your time and for letting us come back | 0:36:05 | 0:36:08 | |
-and showing you what we did. -Thank you. -Take care. Bye-bye. | 0:36:08 | 0:36:11 | |
Sarah spent a total of £206 on the coffee table. | 0:36:13 | 0:36:17 | |
£180 for the three hand-forged legs from Bex, | 0:36:17 | 0:36:22 | |
the cutting of the wood cost £6 and £20 was spent on wood stain. | 0:36:22 | 0:36:27 | |
With a sale price of 270, that left £64 to return to Jason. | 0:36:27 | 0:36:32 | |
I think Jason was genuinely surprised | 0:36:32 | 0:36:35 | |
and quite pleased with what we did with his chunk of oak. | 0:36:35 | 0:36:37 | |
And £64, I think the family are going to have | 0:36:37 | 0:36:39 | |
a lovely day out with that. | 0:36:39 | 0:36:41 | |
In Manchester, Anthony has been in a race against time to complete | 0:36:47 | 0:36:51 | |
the Georgian-style chair he was tasked with converting into a modern | 0:36:51 | 0:36:55 | |
five-seater sofa. | 0:36:55 | 0:36:57 | |
So, Sarah is on her way and we're done, | 0:36:57 | 0:37:01 | |
with moments to spare. | 0:37:01 | 0:37:03 | |
Obviously, at the start we were talking big ideas and big sofas. | 0:37:03 | 0:37:07 | |
We still have a big idea and now we've just got a smaller sofa. | 0:37:07 | 0:37:11 | |
Well, I left Anthony with a lovely sturdy old chair. | 0:37:11 | 0:37:14 | |
I know he's going to turn it into something big, but to make money | 0:37:14 | 0:37:17 | |
it's going to have to be beautiful. | 0:37:17 | 0:37:19 | |
The chair started out as a tired single seat with good bones | 0:37:21 | 0:37:25 | |
and burst upholstery. | 0:37:25 | 0:37:27 | |
Anthony has reimagined it as a stunning two-seater | 0:37:31 | 0:37:34 | |
that could certainly stop traffic. | 0:37:34 | 0:37:36 | |
The new seat has been built from scratch | 0:37:38 | 0:37:41 | |
and covered in a tulip pink velvet with hand finishings. | 0:37:41 | 0:37:44 | |
The couch also boasts a deep button detail across the back. | 0:37:44 | 0:37:49 | |
It's nice, but Sarah is expecting something quite a bit bigger. | 0:37:49 | 0:37:54 | |
This could be interesting. | 0:37:54 | 0:37:56 | |
Oh, my word! | 0:37:57 | 0:37:59 | |
Is that our chair? | 0:37:59 | 0:38:01 | |
-Yes. -I think it's a thing of beauty. | 0:38:01 | 0:38:03 | |
-Good. -I think that it's a striking transformation. | 0:38:03 | 0:38:07 | |
It looks better than that chair that was dropped off, by so much, | 0:38:07 | 0:38:10 | |
-doesn't it? -Yes. | 0:38:10 | 0:38:12 | |
Phew! That went quite well, really. | 0:38:12 | 0:38:15 | |
Still, there's a bit of explaining to do, Anthony. | 0:38:15 | 0:38:18 | |
I thought it was going to be like a stretch limousine. | 0:38:20 | 0:38:22 | |
-I know! -What happened? It's a bit more compact. | 0:38:22 | 0:38:24 | |
We had to make it sellable and this is a good sellable size. | 0:38:24 | 0:38:28 | |
If we got all daft and started making it, you know, | 0:38:28 | 0:38:30 | |
16-foot long then... it wouldn't fit in my house. | 0:38:30 | 0:38:33 | |
That's probably a fair comment. | 0:38:33 | 0:38:35 | |
I don't want to say you're right too much but... | 0:38:35 | 0:38:37 | |
-Keep going, keep going. -I think you might have been right on this one. | 0:38:37 | 0:38:40 | |
Sarah is won over despite its reduced proportions. | 0:38:40 | 0:38:43 | |
I am slightly worried that I left nearly £1,000 on this. | 0:38:43 | 0:38:47 | |
Is that what that cost? Is there any leeway on that? | 0:38:47 | 0:38:49 | |
By the time we bought all the fabric and we paid for all the pizza | 0:38:49 | 0:38:54 | |
that we had to eat during the making of it... | 0:38:54 | 0:38:56 | |
Yeah, I mean, it's not cheap, pizza, you know? | 0:38:58 | 0:39:01 | |
-Or velvet. -Or the velvet, to be honest. | 0:39:02 | 0:39:05 | |
So you're telling me that the budget's gone. | 0:39:06 | 0:39:08 | |
The budget's gone. | 0:39:08 | 0:39:10 | |
I think you've done well. If you can get it wrapped up for me, | 0:39:10 | 0:39:13 | |
I'm going to get that taken away, whisked off to some boutique | 0:39:13 | 0:39:16 | |
somewhere probably near here, and say thank you very much. | 0:39:16 | 0:39:20 | |
Thank you very much. | 0:39:20 | 0:39:21 | |
She brought a tatty old chair, we chopped it up, we made into a sofa. | 0:39:26 | 0:39:30 | |
She can sell it, she can make money and give it back to the peeps. | 0:39:30 | 0:39:33 | |
It's not quite as big as I expected but I think it is quite beautiful. | 0:39:36 | 0:39:39 | |
But I'm worried I might have my work cut out | 0:39:39 | 0:39:41 | |
if I'm going to make a really big profit on it. | 0:39:41 | 0:39:43 | |
But as a transformation, that's a fantastic piece. | 0:39:43 | 0:39:46 | |
When Sarah met John at the tip in Witley, | 0:39:48 | 0:39:51 | |
he was just about to chuck out his chintz. | 0:39:51 | 0:39:53 | |
We were going to get it refurbished but then we decided just to dump it. | 0:39:53 | 0:39:59 | |
The chair badly needed an overhaul. | 0:39:59 | 0:40:02 | |
It is tricky, isn't it? | 0:40:02 | 0:40:03 | |
-Because it's quite a lot of money to get them reupholstered. -It is. | 0:40:03 | 0:40:07 | |
But that suited Sarah down to a tee. | 0:40:07 | 0:40:09 | |
Are you a golfing man? Is that yours? | 0:40:09 | 0:40:12 | |
-That's mine. -After a lot of hard work, | 0:40:12 | 0:40:14 | |
that humble armchair has become a glamorous hot pink two-seater sofa. | 0:40:14 | 0:40:20 | |
It didn't take long before this distinctive piece | 0:40:20 | 0:40:23 | |
was catching the eye of Augustus Brandt Antiques in Petworth, | 0:40:23 | 0:40:27 | |
who promptly snapped it up. | 0:40:27 | 0:40:29 | |
Sarah has now returned to Witley to show John what became | 0:40:30 | 0:40:34 | |
of his old chair, but will there be a profit to hand over too? | 0:40:34 | 0:40:37 | |
-Hi, there. -Hello. | 0:40:41 | 0:40:42 | |
-Nice to see you again. -Nice to see you again. | 0:40:42 | 0:40:45 | |
-How are you? -I'm good, I'm good. | 0:40:45 | 0:40:46 | |
I took your chair from the tip. Is this where it came from? | 0:40:46 | 0:40:49 | |
Yeah, it was in the main room. | 0:40:49 | 0:40:52 | |
We used it quite a lot and then the arms went. | 0:40:52 | 0:40:56 | |
So there's good news and bad news. | 0:40:56 | 0:40:58 | |
Because it was so sturdy, it actually got cut in half. | 0:40:58 | 0:41:01 | |
You cut it in half? | 0:41:02 | 0:41:04 | |
Do you want to see what we did with it? | 0:41:04 | 0:41:07 | |
Yeah. Brace. OK. | 0:41:07 | 0:41:08 | |
Here is your chair in its new incarnation. | 0:41:10 | 0:41:15 | |
I never imagined for a second that... | 0:41:15 | 0:41:19 | |
You know, I thought they would recover it and it would look | 0:41:19 | 0:41:22 | |
something like we had before, but you would never have known | 0:41:22 | 0:41:25 | |
by looking at that it was the same chair. | 0:41:25 | 0:41:27 | |
Well, there was a reason why we did that to it, | 0:41:27 | 0:41:29 | |
because as a chair has a process to recovering it, | 0:41:29 | 0:41:32 | |
it is an investment to have a piece recovered, | 0:41:32 | 0:41:35 | |
and what we wanted to do was try and stretch it a bit | 0:41:35 | 0:41:38 | |
and hopefully get some more money for it, and so we sold it at a profit. | 0:41:38 | 0:41:41 | |
I have got £215 here... | 0:41:41 | 0:41:45 | |
..for your old chair. | 0:41:46 | 0:41:48 | |
-Thanks very much. -Absolute pleasure. | 0:41:48 | 0:41:51 | |
I am now not taking things to the dump. | 0:41:51 | 0:41:53 | |
I'm now thinking, where can I take them to get them fixed? | 0:41:54 | 0:41:58 | |
So, it's £215. | 0:41:58 | 0:42:01 | |
What are you going to do with that? | 0:42:01 | 0:42:03 | |
Well, I'd like to think I'm going to get more golf lessons but my wife | 0:42:03 | 0:42:05 | |
will probably say she's going to have it for the house. | 0:42:05 | 0:42:08 | |
Oh, really? Well, something towards a new chair, maybe. | 0:42:08 | 0:42:11 | |
Something towards a new chair. | 0:42:11 | 0:42:13 | |
-Thank you ever so much. -OK. -Bye-bye. -Bye-bye. | 0:42:13 | 0:42:16 | |
The original budget Anthony quoted for the work was in the region of | 0:42:21 | 0:42:24 | |
£1,000 and he managed to do it for £985. | 0:42:24 | 0:42:30 | |
The fuchsia pink sofa sold for 1,200, which left Sarah | 0:42:30 | 0:42:34 | |
with a profit of £215 to return to John. | 0:42:34 | 0:42:37 | |
Well, I don't think John was expecting that, | 0:42:39 | 0:42:41 | |
but frankly I don't think any of us were, | 0:42:41 | 0:42:43 | |
because it was a stretch of the imagination. | 0:42:43 | 0:42:45 | |
£215 of profit handed over | 0:42:45 | 0:42:47 | |
and although John might not be getting golf lessons, | 0:42:47 | 0:42:50 | |
I think he's definitely going to be in his wife's good books. | 0:42:50 | 0:42:53 | |
Sarah salvaged three unwanted items from the Witley Recycling Centre. | 0:42:57 | 0:43:03 | |
The chunk of oak was turned into a classy industrial coffee table, | 0:43:03 | 0:43:08 | |
the tired old Georgian-style chair is now a magenta marvel, | 0:43:08 | 0:43:13 | |
and the collection of old frames with a silver hidden gem. | 0:43:13 | 0:43:17 | |
Who knew that a few bits of old rubbish could generate so much enthusiasm, | 0:43:18 | 0:43:22 | |
creativity and hard cash? | 0:43:22 | 0:43:25 |