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Hello. I'm Eric Knowles, and this is the programme where you can find out | 0:00:02 | 0:00:05 | |
if those tired and broken heirlooms and treasures can be restored back to their former glory, | 0:00:05 | 0:00:09 | |
and maybe make you some money at auction. | 0:00:09 | 0:00:12 | |
Find out how on Restoration Roadshow. | 0:00:12 | 0:00:14 | |
I'm at Stonyhurst College, a splendid Grade I listed building here in rural Lancashire. | 0:00:22 | 0:00:28 | |
Originally built in the early 1500s by Sir Richard Shireburn, | 0:00:28 | 0:00:31 | |
it was bequeathed to the Jesuits, and is now one of the country's top boarding schools. | 0:00:31 | 0:00:36 | |
It's a perfect setting for our Restoration Roadshow, | 0:00:36 | 0:00:40 | |
and our team of restorers are already attracting a lot of interest. | 0:00:40 | 0:00:44 | |
Your rocking horse is just one step away from the knacker's yard, isn't it? | 0:00:44 | 0:00:48 | |
And the questions on everyone's lips: just how much are they worth? | 0:00:48 | 0:00:53 | |
I'm suggesting that it may be in the £4,000 bracket. | 0:00:53 | 0:00:57 | |
Should they be cleaned up and restored? | 0:00:57 | 0:01:00 | |
-Would you like to go ahead with that? -I would, yes, because I really like it. | 0:01:00 | 0:01:03 | |
And will they make any money at auction, or end up back at home? | 0:01:03 | 0:01:08 | |
Coming up on today's programme - a mysterious Flemish woman hiding under layers of grime. | 0:01:11 | 0:01:17 | |
Can painting conservator Lucia reveal her secrets? | 0:01:17 | 0:01:21 | |
This dirt is really quite telling. | 0:01:21 | 0:01:25 | |
What hope is there for these fabulous 300-year-old battle-scarred chairs? | 0:01:25 | 0:01:29 | |
Very interesting bracket there. | 0:01:29 | 0:01:31 | |
I'm a pot-aholic. I love this vase! | 0:01:31 | 0:01:34 | |
Come on, Roger, we need your ceramics skills to bring it back to life. | 0:01:34 | 0:01:38 | |
It's worth good money, but not like this. | 0:01:38 | 0:01:41 | |
To restore Moorcroft is quite difficult. | 0:01:41 | 0:01:44 | |
So can he restore it and make this vase fly at auction? | 0:01:44 | 0:01:47 | |
£800? 850? I'll take 850. | 0:01:47 | 0:01:50 | |
It's wonderful to be at Stonyhurst College for today's Restoration Roadshow. | 0:01:55 | 0:02:01 | |
With over 400 years of scholastic history to marvel at, | 0:02:01 | 0:02:04 | |
the roll-call of past pupils is a who's who of the great and the good. | 0:02:04 | 0:02:10 | |
Along with seven Victoria Cross winners, Sir Arthur Conan Doyle, | 0:02:10 | 0:02:14 | |
celebrated author and creator of Sherlock Holmes, also left his mark. | 0:02:14 | 0:02:20 | |
While our restorers investigate the day's first casualties, this item's caught my eye. | 0:02:20 | 0:02:26 | |
Owned by Dr Frank Rudman and his wife, Liz, and it's linked to the great author himself. | 0:02:26 | 0:02:31 | |
I believe we share a literary hero in the form of... | 0:02:33 | 0:02:36 | |
-Yes, Sherlock Holmes. -Sherlock Holmes. | 0:02:36 | 0:02:38 | |
The connection of Conan Doyle with Stonyhurst is quite interesting. | 0:02:38 | 0:02:41 | |
I understand he was a pupil here in the 1870s, and he shared his classes | 0:02:41 | 0:02:46 | |
-with two characters called Moriarty and Watson. -Is that a fact? -Indeed. | 0:02:46 | 0:02:53 | |
And you've brought along a a couple of volumes... What are we looking at? | 0:02:53 | 0:02:56 | |
We're looking at bound editions of the Strand Magazine. | 0:02:56 | 0:02:59 | |
The first, 1891, possibly the most interesting. | 0:02:59 | 0:03:04 | |
OK. Just looking inside here, | 0:03:04 | 0:03:07 | |
it is profusely illustrated. | 0:03:07 | 0:03:10 | |
I was led to believe that these originally were offered in, was it the monthly editions? | 0:03:10 | 0:03:18 | |
In covered magazine form, that's right. | 0:03:18 | 0:03:20 | |
This was subsequently bound so there's the edition for the whole year there, 1891. | 0:03:20 | 0:03:26 | |
With anything to do with Sherlock Holmes extremely collectible, | 0:03:28 | 0:03:31 | |
these bound Strand magazines are highly prized. | 0:03:31 | 0:03:34 | |
They're in pretty good nick, too, so I think tampering with them would be a crime. | 0:03:34 | 0:03:39 | |
But what an unexpected treat. | 0:03:39 | 0:03:41 | |
It's this unpredictability that our restorers just love. | 0:03:45 | 0:03:49 | |
What's going to turn up next? What secrets does each treasure hide? | 0:03:49 | 0:03:54 | |
Like Edwin Grettin's mysterious oil painting. | 0:03:54 | 0:03:58 | |
He's throwing down the gauntlet to our painting conservator, Lucia Scalisi, | 0:03:58 | 0:04:03 | |
who spent 12 years at London's Victoria and Albert Museum working on priceless masterpieces. | 0:04:03 | 0:04:09 | |
What a beautiful portrait you've brought in for us today. | 0:04:09 | 0:04:12 | |
How did you come by this? | 0:04:12 | 0:04:13 | |
About 50 years ago, when I was in my early twenties, I was working | 0:04:13 | 0:04:17 | |
in Poland and I saw her in a junk-shop, and I liked the look of her. | 0:04:17 | 0:04:22 | |
She didn't cost me very much. I paid about £25 for her at the time. | 0:04:22 | 0:04:25 | |
She's beautiful. She looks Flemish to me. | 0:04:25 | 0:04:29 | |
Probably late 17th century, and she's oil on panel. | 0:04:29 | 0:04:34 | |
You can see she's very dirty, and the first thing that strikes me | 0:04:34 | 0:04:37 | |
is that somebody's actually had a little wipe of the surface here. | 0:04:37 | 0:04:40 | |
You have got this sort of streak down here. | 0:04:40 | 0:04:42 | |
That's actually taken some of the discoloured varnish off. | 0:04:42 | 0:04:44 | |
-We have also got some paint losses around the edges. -Yes. -This one here is where it would... | 0:04:44 | 0:04:48 | |
-A nail's gone through there, probably when it was in its original frame, so that's nail damage. -Yes. | 0:04:48 | 0:04:53 | |
The other curiosity about the actual image itself | 0:04:53 | 0:04:57 | |
is in the hands, and these two hands are painted very differently. | 0:04:57 | 0:05:01 | |
This looks as if it's actually been added on at a later date, but that's not a problem. | 0:05:01 | 0:05:06 | |
It adds to the history of it. | 0:05:06 | 0:05:08 | |
The other thing on the condition, apart from the little paint losses, | 0:05:08 | 0:05:11 | |
in the paint there, is this area here. | 0:05:11 | 0:05:14 | |
It's been heat damaged, and you can see that the paint in this area is bubbled up. | 0:05:14 | 0:05:19 | |
Are you thinking about selling it? Have you had an evaluation? | 0:05:19 | 0:05:22 | |
No, I haven't recently, no. | 0:05:22 | 0:05:24 | |
If it turns out to be very special, very valuable, I don't think I would want to hang on to it. | 0:05:24 | 0:05:28 | |
I would want to sell it. If it's enough to buy me a chateau in France, I would certainly sell it! | 0:05:28 | 0:05:33 | |
I don't think somehow it's going to do that. | 0:05:33 | 0:05:35 | |
Well, no, our valuers here today, | 0:05:35 | 0:05:38 | |
they suggested in this condition at a sale, and not knowing who it's by, | 0:05:38 | 0:05:44 | |
it will probably fetch something up to £1,000. | 0:05:44 | 0:05:47 | |
So what I can do today, for the painting, | 0:05:47 | 0:05:50 | |
is some local consolidation of this very fine, flaking paint here, then surface clean it. | 0:05:50 | 0:05:54 | |
Take all the dirt off the surface. | 0:05:54 | 0:05:57 | |
Not touching the varnish that's under there, that's a different thing altogether. | 0:05:57 | 0:06:01 | |
Re-varnishing it so it will look a lot better, a lot brighter, | 0:06:01 | 0:06:04 | |
-you'll get a much better idea of the image, and refit it into this frame. -The cost... | 0:06:04 | 0:06:08 | |
Would be around about £200. | 0:06:08 | 0:06:10 | |
Let's try it and see. | 0:06:10 | 0:06:13 | |
It looks like Edwin's enigmatic lady has had a tough old life. | 0:06:13 | 0:06:17 | |
Under Lucia's care, what will come to light from beneath those ancient layers of grime? | 0:06:17 | 0:06:23 | |
Could this woman prove to be Edwin's lady luck? | 0:06:23 | 0:06:26 | |
Restorers just love getting their hands on items largely untouched since they were first made. | 0:06:31 | 0:06:36 | |
Even if that was over 300 years ago. | 0:06:36 | 0:06:40 | |
These fabulous chairs were brought in by Chris and Joanne. | 0:06:40 | 0:06:45 | |
Furniture restorer Tim Akers is absolutely committed to | 0:06:45 | 0:06:49 | |
bringing back beauty to neglected and abused furniture. | 0:06:49 | 0:06:53 | |
It's a passion he's been indulging for over 30 years. | 0:06:53 | 0:06:57 | |
So, Chris, how lovely to have some early oak. | 0:06:57 | 0:07:00 | |
Can you tell me anything about them? | 0:07:00 | 0:07:02 | |
Yes, they've been in my family for many generations now. | 0:07:02 | 0:07:05 | |
Ultimately, they were retrieved from Bolton Hall, which is my family's | 0:07:05 | 0:07:08 | |
ancestral home, and have been in our family home ever since. | 0:07:08 | 0:07:12 | |
I think they're fantastic, I really do. I really love them. | 0:07:12 | 0:07:15 | |
There's a lot of Victorian copies around. | 0:07:15 | 0:07:17 | |
These are absolutely genuine. | 0:07:17 | 0:07:19 | |
-Do you know the date? -I wouldn't like to guess. | 0:07:19 | 0:07:22 | |
They're Charles II, and they date about 1680, so they are super chairs. Let's just have a look... | 0:07:22 | 0:07:28 | |
Well... OK! | 0:07:30 | 0:07:32 | |
Very interesting bracket there. | 0:07:32 | 0:07:35 | |
That's fine. That needs to be removed. | 0:07:35 | 0:07:38 | |
The joints... | 0:07:38 | 0:07:41 | |
are incredibly rickety, | 0:07:41 | 0:07:43 | |
but of course, these joints were never originally glued in the first place. | 0:07:43 | 0:07:48 | |
They were all dry assembled, and pegged, and you can see the lovely pegs on the chairs. | 0:07:48 | 0:07:54 | |
The other thing is, of course, the second chair has got replacement finials. | 0:07:54 | 0:08:00 | |
They do rather let it down. These are the originals, | 0:08:00 | 0:08:03 | |
so I will turn two new ones, age them down. | 0:08:03 | 0:08:07 | |
But the big question is, Tim, how much will they cost to fix? | 0:08:07 | 0:08:11 | |
Sounds like quite a big job to me. | 0:08:11 | 0:08:14 | |
I would have thought the restoration is going to be around about £300 | 0:08:14 | 0:08:18 | |
to get them into that sort of condition. | 0:08:18 | 0:08:21 | |
So, what are you going to do? Do you think that's worth spending the money on the restoration? | 0:08:21 | 0:08:26 | |
I would say on balance that it probably would be. | 0:08:26 | 0:08:28 | |
You know, you are looking at a niche market, and I think fully restored, you might get the best price. | 0:08:28 | 0:08:34 | |
Hold on a minute! Who's the expert here? | 0:08:34 | 0:08:36 | |
But I actually think Chris is right. | 0:08:36 | 0:08:39 | |
I reckon these chairs are worth £1,000 of anyone's money. | 0:08:39 | 0:08:43 | |
Tim is going to charge Chris £300 to restore them, so I think, | 0:08:43 | 0:08:47 | |
and I'm putting my neck on the line here, | 0:08:47 | 0:08:49 | |
at the right auction and with a fair wind, they could reach up to £1,500. | 0:08:49 | 0:08:55 | |
Coming up - as Tim starts work on the chairs, he discovers a surprising feature. | 0:08:57 | 0:09:03 | |
That's a piece of linen! | 0:09:03 | 0:09:05 | |
That's 17th-century bodging at its best! | 0:09:05 | 0:09:08 | |
And despite being hidden in the middle of the Ribble Valley, another famous name has found his way here. | 0:09:08 | 0:09:14 | |
Think hobbit and orcs! | 0:09:14 | 0:09:17 | |
Stonyhurst College is beginning to look like an antiques A&E department. | 0:09:21 | 0:09:26 | |
Bruised and battered pieces lie everywhere, with owners waiting to see if they can be rescued. | 0:09:26 | 0:09:31 | |
But is everything salvageable? | 0:09:31 | 0:09:33 | |
Sue Ashcroft is hoping for a minor miracle. | 0:09:33 | 0:09:36 | |
I'm really rooting for Roger, our ceramics restorer. | 0:09:36 | 0:09:38 | |
If he can get this right, Sue could make pots of money. | 0:09:38 | 0:09:43 | |
With over 25 years' experience under his belt, Roger is recognised as one | 0:09:43 | 0:09:48 | |
of the country's leading experts in pottery and porcelain restoration. | 0:09:48 | 0:09:52 | |
Tell me the history of this. Where's this been hiding all these years? | 0:09:52 | 0:09:57 | |
For the last seven years, it's been hiding in my garage. | 0:09:57 | 0:09:59 | |
-Oh, completely hidden. -But it belonged to my mum's cousin, who gave it to Mum, and after she died | 0:09:59 | 0:10:06 | |
and I was sorting things out, there was a little note inside that said, "Don't just throw this out, love." | 0:10:06 | 0:10:11 | |
Oh, really? Is that because she knew the value of it? | 0:10:11 | 0:10:14 | |
-Yeah. Well, I think she knew that... -She had some idea it's a nice piece. | 0:10:14 | 0:10:16 | |
Yes, yes and she also knew that I would just get rid of it. | 0:10:16 | 0:10:19 | |
Oh, I see. And would you? Do you like it enough to keep it, or... | 0:10:19 | 0:10:22 | |
It isn't... I can see that it's beautiful, but it isn't my taste. | 0:10:22 | 0:10:26 | |
-It's not your sort of thing. There's no point it living in the garage, is there? -Not really. | 0:10:26 | 0:10:30 | |
You have the registration mark here, and the number 397964, and that 39 | 0:10:30 | 0:10:39 | |
suggests that it is after 1900, and so it's around 1905, give or take. | 0:10:39 | 0:10:46 | |
What a find. And hey, can you believe it? Dumped in a garage! | 0:10:46 | 0:10:50 | |
So you have no idea of what its value might have been? | 0:10:50 | 0:10:54 | |
-No. -If it had been perfect, it would certainly have been around the £1,000 mark, or even more. | 0:10:54 | 0:11:01 | |
Like this, if it went into auction like this, it wouldn't fetch very much. | 0:11:01 | 0:11:05 | |
It might be just a few hundred pounds. | 0:11:05 | 0:11:07 | |
To restore Moorcroft is quite difficult. | 0:11:07 | 0:11:11 | |
All the brushwork round here, very, very difficult for the restorer to put back. | 0:11:11 | 0:11:16 | |
So the cost of restoration of something like this would certainly easily be around £350, £400. | 0:11:16 | 0:11:21 | |
-What do you think about that? Do you think that's a worthwhile option for you? -I think so, yeah. | 0:11:21 | 0:11:26 | |
I thought it might have been about 300, something like that. | 0:11:26 | 0:11:28 | |
So you're happy to go ahead on that basis? | 0:11:28 | 0:11:31 | |
Are you getting the impression that I adore this pot? | 0:11:31 | 0:11:34 | |
Despite its damage, I think Sue would have no problem getting £400 to £500 in its current state. | 0:11:34 | 0:11:40 | |
Roger's cost to restore and reglaze is £400. | 0:11:40 | 0:11:44 | |
That might sound steep, but it's got to be a good investment. | 0:11:44 | 0:11:47 | |
After restoration, it could easily reach £1,000 at auction. | 0:11:47 | 0:11:52 | |
So, Roger, love that pot. Make it whole and make Sue some money! | 0:11:52 | 0:11:57 | |
It's operation SOS here at Stonyhurst. | 0:12:02 | 0:12:04 | |
So many casualties needing all our restorers' skills to give them a new lease of life. | 0:12:04 | 0:12:10 | |
Using a cotton swab and a chemical enzyme resembling human spit - yes, human spit - | 0:12:10 | 0:12:15 | |
Lucia has been painstakingly removing a veil of grime | 0:12:15 | 0:12:20 | |
shrouding Edwin's mysterious lady. But has she uncovered any secrets? | 0:12:20 | 0:12:23 | |
Well, we're now looking at the beautiful portrait of this Flemish lady. | 0:12:23 | 0:12:29 | |
I've been working on the surface dirt of the painting, | 0:12:29 | 0:12:34 | |
and you will see when I clean this little area just how much dirt is coming off. | 0:12:34 | 0:12:38 | |
This dirt is really quite telling for two reasons. | 0:12:38 | 0:12:42 | |
Not only is it thick and black, | 0:12:42 | 0:12:44 | |
but it also has a distinctive smell of soot, | 0:12:44 | 0:12:48 | |
and that ties in with particular damage in this dark area, | 0:12:48 | 0:12:51 | |
particularly here, but also across here, | 0:12:51 | 0:12:54 | |
and the painting has been in a fire or actually severely damaged by heat. | 0:12:54 | 0:12:59 | |
Lucia's teaching me a thing or two. | 0:12:59 | 0:13:01 | |
Backs are of equal importance. | 0:13:01 | 0:13:03 | |
This beautiful oak panel... | 0:13:03 | 0:13:05 | |
Flat down... | 0:13:07 | 0:13:09 | |
To get a panel in its original condition and to have come through from the 17th century | 0:13:09 | 0:13:14 | |
to the 21st century without anybody having interfered with it, | 0:13:14 | 0:13:17 | |
either having shaved it down or added a secondary support, is quite miraculous. | 0:13:17 | 0:13:22 | |
The fact that it's come through in such great condition is... | 0:13:22 | 0:13:27 | |
I haven't seen anything like it, to be honest. | 0:13:27 | 0:13:29 | |
I rarely get panels that haven't been tampered with. It's rare. | 0:13:29 | 0:13:34 | |
It's a once-in-a-career find, but is there more to the lady than meets the eye? | 0:13:35 | 0:13:41 | |
And will Tim's cruel-to-be-kind approach impress the bidders, | 0:13:42 | 0:13:46 | |
when those Charles II chairs go under the hammer? | 0:13:46 | 0:13:49 | |
Who will start me at what for these? £2,000 for the pair? | 0:13:49 | 0:13:52 | |
It's a restoration bonanza for the crowds here at Stonyhurst. | 0:13:56 | 0:14:00 | |
All manner of battered and injured objects keep turning up. | 0:14:00 | 0:14:04 | |
I've come across something that I reckon is worth a bob or two. | 0:14:04 | 0:14:08 | |
Well, it's amazing what's coming out of the woodwork here at Stonyhurst College, | 0:14:08 | 0:14:12 | |
because we've got here quite a pleasant sketch. | 0:14:12 | 0:14:17 | |
It's using pencil and crayon, and it shows one of the outbuildings, | 0:14:17 | 0:14:20 | |
and it also shows various flowering plants, and I'm told | 0:14:20 | 0:14:25 | |
it's the bean row just around the corner from here. | 0:14:25 | 0:14:29 | |
What makes it interesting is that it was drawn here in 1947 | 0:14:29 | 0:14:34 | |
by none other than JRR Tolkien. | 0:14:34 | 0:14:38 | |
Yes, the man that gave us The Hobbit and the man who gave us Lord Of The Rings. | 0:14:38 | 0:14:42 | |
This was drawn and given to the people he stayed with as a little memento. | 0:14:42 | 0:14:47 | |
Now, unfortunately, it has got a few problems, | 0:14:47 | 0:14:51 | |
which if you look around here, is only too evident. | 0:14:51 | 0:14:54 | |
The problem's been created by using this sort of | 0:14:54 | 0:14:58 | |
sticky masking tape, which has done it no favours whatsoever. | 0:14:58 | 0:15:03 | |
The tape has left its gummy mark. | 0:15:03 | 0:15:05 | |
It should have been framed using conservation tape, | 0:15:05 | 0:15:08 | |
so I'm definitely going to have to pass it on to one of our restorers to stop it getting any worse. | 0:15:08 | 0:15:14 | |
Speaking of which, hasn't Tim sorted out those Charles II chairs yet? | 0:15:18 | 0:15:23 | |
One of the chairs is so rickety that unless Tim | 0:15:23 | 0:15:26 | |
takes its joints apart and dismantles it, the chair's likely to collapse. | 0:15:26 | 0:15:30 | |
It's held together by old and new pegs. The originals come out easily. | 0:15:30 | 0:15:35 | |
The newer ones need 21st-century technology. | 0:15:35 | 0:15:39 | |
What I don't want to do with drilling is go at an angle. | 0:15:43 | 0:15:45 | |
If I go to an angle by mistake, I am going to make the hole much bigger. | 0:15:45 | 0:15:49 | |
That will weaken the leg of the chair, so you have to be very careful to get your angles right. | 0:15:49 | 0:15:56 | |
That's perfect. | 0:15:56 | 0:15:58 | |
The next stage is to knock the chair apart. | 0:15:58 | 0:16:02 | |
There's no glue, so in theory, it should come apart quite easily, | 0:16:02 | 0:16:05 | |
so let's have a go and see what happens. | 0:16:05 | 0:16:08 | |
But these chairs conceal some extraordinary secrets. | 0:16:10 | 0:16:13 | |
Let's remove that rather cruddy area there. | 0:16:13 | 0:16:17 | |
That's a piece of... | 0:16:17 | 0:16:20 | |
That's a piece of linen. | 0:16:20 | 0:16:22 | |
That has been there a long, long time. | 0:16:22 | 0:16:24 | |
The cabinet maker made his joint a bit too small | 0:16:24 | 0:16:28 | |
and stuffed some linen there to pack the hole. | 0:16:28 | 0:16:31 | |
There you go. | 0:16:36 | 0:16:38 | |
All labelled, so that I remember where each joint goes, | 0:16:38 | 0:16:43 | |
and one... | 0:16:43 | 0:16:45 | |
Well, I suppose it's a flat pack 17th-century piece of furniture. | 0:16:45 | 0:16:52 | |
But a 17th-century flat-pack needs its own specialist assembly tools. | 0:16:52 | 0:16:58 | |
Back at his workshop, Tim's ready to tackle that nasty metal bracket. | 0:17:00 | 0:17:05 | |
That doesn't want to go anywhere. Let's try another one. | 0:17:05 | 0:17:08 | |
The screws don't come out easily, and Tim must grapple with them, | 0:17:08 | 0:17:11 | |
at the same time being aware that the wood could splinter. | 0:17:11 | 0:17:15 | |
Very stubborn. Let's try something else. | 0:17:15 | 0:17:19 | |
There, it's turning now. | 0:17:19 | 0:17:22 | |
It's broken off. It doesn't matter as long as it's below the surface. | 0:17:22 | 0:17:25 | |
I can plug those little holes. | 0:17:25 | 0:17:28 | |
I won't know until I put the two together whether that's going to be a good fit. | 0:17:31 | 0:17:35 | |
Actually, that's a very good fit. I couldn't have asked for better. | 0:17:37 | 0:17:40 | |
That will be a very good repair. | 0:17:40 | 0:17:43 | |
But carving finials is an extremely delicate operation. | 0:17:43 | 0:17:47 | |
Tim's craftsmanship is now being tested. | 0:17:47 | 0:17:51 | |
He has to fashion two new finials out of pieces of oak. | 0:17:51 | 0:17:54 | |
Steady hands, Tim. Just one slip and it will be start all over again. | 0:17:56 | 0:18:01 | |
If we have a look... That is that collar there. | 0:18:03 | 0:18:07 | |
Need to dish that in there. | 0:18:07 | 0:18:09 | |
It's quite a large chunk of timber to take off there, and that's very narrow. | 0:18:09 | 0:18:13 | |
You are putting a lot of stress on that little bit of timber while you're turning that. | 0:18:13 | 0:18:16 | |
So let's do that bigger one first. | 0:18:16 | 0:18:19 | |
If you actually rest it up against... You can see if you are out in any way. | 0:18:28 | 0:18:33 | |
In fact, there's a tiny piece on that edge there, that I need to do a bit more on. | 0:18:33 | 0:18:38 | |
Turning the acorn part of the finial is fiendishly tricky. | 0:18:40 | 0:18:45 | |
If he's to make them identical, there's no margin for error. | 0:18:45 | 0:18:50 | |
-That's it. -Looking good, so this piece is almost ready to make its debut at auction. | 0:18:50 | 0:18:56 | |
Roger's also headed to his studio to tackle the restoration of the Moorcroft vase. | 0:18:58 | 0:19:04 | |
Remember, Sue's pot had two pieces that had obviously been chipped off and glued back on. | 0:19:04 | 0:19:10 | |
And there's that ugly crack, too. | 0:19:10 | 0:19:12 | |
Roger's already reglued the pieces back in, but what's really tricky | 0:19:12 | 0:19:16 | |
with Moorcroft is getting the paint finish just right. | 0:19:16 | 0:19:19 | |
On with the mask. | 0:19:19 | 0:19:21 | |
Roger is trying to get an even coat and hide the repair - no mean feat on this type of ceramic. | 0:19:27 | 0:19:33 | |
Rather you than me, Roger. | 0:19:33 | 0:19:35 | |
Moorcroft doesn't actually lend itself terribly well to conservation because of the colours. | 0:19:35 | 0:19:40 | |
To do a coloured filler on Moorcroft can be quite difficult. | 0:19:40 | 0:19:46 | |
I'm happy with the join and my filling. | 0:19:46 | 0:19:49 | |
It's a little too light, so I can put another coat on top | 0:19:49 | 0:19:53 | |
to adjust the colour and the glaze. | 0:19:53 | 0:19:56 | |
Coming up - will Roger's glaze be a perfect match? | 0:19:58 | 0:20:01 | |
Will Sue spot the difference? | 0:20:01 | 0:20:04 | |
Back at the Restoration Roadshow, | 0:20:09 | 0:20:11 | |
Lucia has finished working on Edwin's mysterious Flemish lady. | 0:20:11 | 0:20:15 | |
Has she been able to give the fair maiden a much-needed facelift? | 0:20:15 | 0:20:19 | |
Right, so here we go. | 0:20:21 | 0:20:23 | |
The beautiful Flemish lady. | 0:20:23 | 0:20:25 | |
Yes, yes, yes. Completely changed. | 0:20:30 | 0:20:33 | |
I can see the detail now, quite clearly. There is much more colour. | 0:20:33 | 0:20:37 | |
From the gloom of soot-stained wood, | 0:20:37 | 0:20:40 | |
Lucia has managed to reveal the lady in her true colours. | 0:20:40 | 0:20:45 | |
I mean, she is damaged, obviously with the fire damage there... | 0:20:45 | 0:20:48 | |
I'd never noticed this crazing before, because it was all so | 0:20:48 | 0:20:52 | |
dirty and obscured, but now it does show up. | 0:20:52 | 0:20:56 | |
-Unfortunate, that's irreversible. -You can't do anything? -No, no, no. | 0:20:56 | 0:20:59 | |
The other thing that came up with taking that sooty dirt off is this lovely little fringe that she's got. | 0:20:59 | 0:21:04 | |
You can see how fine those little brush marks are, just outlining her hair. It's very delicately painted. | 0:21:04 | 0:21:10 | |
She could well have been done by a respectable artist. | 0:21:10 | 0:21:12 | |
Definitely, and I think the quality of the panel reflects that. | 0:21:12 | 0:21:15 | |
In terms of the valuation, I know it was discussed with our valuer here, it was about £1,000, | 0:21:15 | 0:21:21 | |
and having talked about it just recently with him, he thinks it may fetch £2,000 - £3,000 at auction. | 0:21:21 | 0:21:27 | |
I'll tell you what, Lucia's done a splendid job on Edwin's paramour. | 0:21:27 | 0:21:32 | |
And to think she valued the artwork at £1,000 when he first introduced her. | 0:21:32 | 0:21:37 | |
Lucia then cleaned her up for £200. | 0:21:37 | 0:21:40 | |
That means if Edwin had the heart to part with his Flemish lady, he could pocket £2,000 - £3,000. | 0:21:40 | 0:21:46 | |
She's more than doubled in value. | 0:21:46 | 0:21:49 | |
But Edwin's smitten, and as for the lovely lady, she ain't going nowhere but his living-room wall. | 0:21:49 | 0:21:54 | |
It's been a cracking day here at Stonyhurst, | 0:21:58 | 0:22:00 | |
and a successful Restoration Roadshow with plenty of satisfied customers. | 0:22:00 | 0:22:05 | |
Here's a reminder of what tired old heirlooms needed our restorers' skilful touch. | 0:22:05 | 0:22:11 | |
I'm obviously biased, but Sue's exquisite Moorcroft vase | 0:22:11 | 0:22:15 | |
is well on its way to making her at least £1,000 at auction. | 0:22:15 | 0:22:19 | |
Edwin's alluring Flemish mistress is now worth 2,000 - 3,000, but not enough for him to part with her. | 0:22:19 | 0:22:26 | |
As for the Charles II chairs, Tim has sorted out their 300-year-old bodges. | 0:22:26 | 0:22:31 | |
Will that be enough to tempt the buyers into spending £1,500 at auction? | 0:22:31 | 0:22:36 | |
A few weeks later, we have come to the special fine art sale | 0:22:41 | 0:22:44 | |
at Silverwoods auction rooms in Clitheroe near Stonyhurst. | 0:22:44 | 0:22:47 | |
The place is filling up with customers eager to investigate the gems on offer. | 0:22:47 | 0:22:53 | |
Do remember that auction houses charge fees and commission. | 0:22:53 | 0:22:56 | |
Everything that's been restored will be noted in the catalogue, | 0:22:56 | 0:23:00 | |
including Sue's Moorcroft vase. | 0:23:00 | 0:23:03 | |
But what will she make of it after Roger's expert makeover? | 0:23:03 | 0:23:06 | |
Well, shall we do the reveal? | 0:23:06 | 0:23:08 | |
-Yes. -Are you ready? I've been practising this. | 0:23:08 | 0:23:11 | |
-Have you? -I have. | 0:23:11 | 0:23:13 | |
Very gentle. | 0:23:13 | 0:23:15 | |
-And, voila. -Wow, that's incredible, isn't it? | 0:23:15 | 0:23:19 | |
That's just amazing. I can't believe that. | 0:23:19 | 0:23:22 | |
Now, if you can show me exactly where that restoration's been done, I'll give you a tenner. | 0:23:22 | 0:23:28 | |
I just can't see where it is at all. It's just amazing. | 0:23:30 | 0:23:33 | |
I've no idea. You keep your tenner. | 0:23:33 | 0:23:36 | |
If we got near the £1,000, then you would be a happy bunny? | 0:23:36 | 0:23:40 | |
-I would be very happy with that, yes. -All right. Well, so will I. | 0:23:40 | 0:23:44 | |
Before, Sue's vase had badly glued chips and a nasty crack, | 0:23:46 | 0:23:50 | |
but Roger has turned himself into the Michelangelo of ceramics | 0:23:50 | 0:23:55 | |
and produced a breathtaking paint finish. | 0:23:55 | 0:23:58 | |
Tim has also restored the 300-year-old chairs, | 0:23:58 | 0:24:03 | |
but will Chris and Joanne be bowled over by his skilful craftsmanship? | 0:24:03 | 0:24:08 | |
That's amazing. I really can't remember where the join was. | 0:24:10 | 0:24:15 | |
-Which is the new finials? You can't tell. It's this one. -This one here. | 0:24:15 | 0:24:18 | |
-You'd never know, would you? -Yeah. | 0:24:18 | 0:24:22 | |
-What do you think of those? They're amazing, aren't they? -Very, very good. | 0:24:22 | 0:24:26 | |
Before Tim turned his hand to these ancient chairs, | 0:24:26 | 0:24:28 | |
one was held by a bracket and another had replacement finials, | 0:24:28 | 0:24:32 | |
and one was really unstable. | 0:24:32 | 0:24:34 | |
But now they have been beautifully restored. | 0:24:34 | 0:24:37 | |
Look too good to sell now. | 0:24:37 | 0:24:40 | |
Take them home. | 0:24:40 | 0:24:42 | |
It looks like Chris and Joanne are falling in love | 0:24:42 | 0:24:44 | |
with their chairs all over again - | 0:24:44 | 0:24:47 | |
so much so, they've decided to put a £1,500 reserve on them. | 0:24:47 | 0:24:51 | |
They're just too good to give away. | 0:24:51 | 0:24:53 | |
It's the moment of truth, as everyone takes their places for today's fine art sale. | 0:24:59 | 0:25:04 | |
-Lot 129... -First up are the 17th-century oak chairs. | 0:25:04 | 0:25:07 | |
They were valued at £1,000 before restoration, which cost £300, | 0:25:07 | 0:25:14 | |
and could now fetch £1,500. | 0:25:14 | 0:25:17 | |
Next lot. OK? | 0:25:17 | 0:25:19 | |
Who will start me at what for these? £2,000 for the pair? | 0:25:19 | 0:25:24 | |
£2,000, any of you? | 0:25:24 | 0:25:26 | |
£1,500, then? | 0:25:26 | 0:25:28 | |
Go on, I'll take £1,000. | 0:25:28 | 0:25:31 | |
They are well worth that. | 0:25:31 | 0:25:33 | |
700, 800 this time? 800? 800. | 0:25:33 | 0:25:36 | |
And nine? At £800. | 0:25:36 | 0:25:37 | |
900 for the pair together? Come on. | 0:25:37 | 0:25:39 | |
Where are those oak buyers? | 0:25:39 | 0:25:42 | |
All finished at £800, are you all done at 800? | 0:25:42 | 0:25:45 | |
Sorry, folks, I'll have to leave them where they are. Sorry. | 0:25:45 | 0:25:50 | |
Bit of an anti-climax. | 0:25:50 | 0:25:51 | |
-It is a bit. -It is a bit, isn't it? | 0:25:51 | 0:25:55 | |
I agree. I'm disappointed, too. | 0:25:55 | 0:25:57 | |
Think how special it is that something so old has survived so well. | 0:25:57 | 0:26:01 | |
But at least Chris and Joanne seem philosophical. | 0:26:01 | 0:26:04 | |
-They're going back in your hallway, are they? -There's a nice gap waiting for them. | 0:26:04 | 0:26:08 | |
So they'll be welcome home. | 0:26:08 | 0:26:11 | |
-Right, Lot number 17... -Next up, Sue's Moorcroft vase. | 0:26:11 | 0:26:16 | |
Even with the damage, I thought it was worth £500. | 0:26:16 | 0:26:19 | |
Sue paid £400 to have it restored, and I genuinely think it could make at least £1,000. | 0:26:19 | 0:26:26 | |
Here we go. Are you holding your breath? | 0:26:26 | 0:26:28 | |
I'll start this straight away at £800. 800, and 50 if you like? | 0:26:28 | 0:26:32 | |
At £800, and 850? I'll take 850. | 0:26:32 | 0:26:36 | |
850. 900? And 50? 950? | 0:26:36 | 0:26:39 | |
1,000. And 50. | 0:26:39 | 0:26:41 | |
1,050. | 0:26:41 | 0:26:43 | |
-Going the right way. -And 50 again? | 0:26:43 | 0:26:45 | |
1,450 on the telephone. | 0:26:45 | 0:26:47 | |
At 1,450. Anybody else now? 1,500. | 0:26:47 | 0:26:51 | |
-Gentleman hiding at the back, bidding. -Is he? | 0:26:51 | 0:26:54 | |
1,650. 1,700? And 50 again, now? | 0:26:54 | 0:26:58 | |
1,750? 1,800? And 50? | 0:26:58 | 0:27:02 | |
1,850. 1,900? And 50? | 0:27:02 | 0:27:07 | |
-2,000? -Wow, wow, wow, wow, wow! | 0:27:07 | 0:27:10 | |
Two one? Two two? Two three? | 0:27:10 | 0:27:12 | |
Two three? Two four? Two five? | 0:27:12 | 0:27:17 | |
2,500. Two six? Two seven? | 0:27:17 | 0:27:21 | |
Are you all quite sure, at 2,600? Thank you, sir. | 0:27:21 | 0:27:25 | |
-£2,600! -Amazing! | 0:27:27 | 0:27:31 | |
Do you think that was £400 well spent? | 0:27:31 | 0:27:34 | |
I do think it was £400 well spent! | 0:27:34 | 0:27:36 | |
2,600! | 0:27:36 | 0:27:38 | |
It's incredible, isn't it? I can't believe it. It's just amazing. | 0:27:38 | 0:27:42 | |
I did say, "Wow, wow, wow," | 0:27:42 | 0:27:44 | |
and I meant it. Now, to be honest, that's far more than I expected. | 0:27:44 | 0:27:48 | |
What a result! £1,000 over its restoration value. | 0:27:48 | 0:27:51 | |
Bring out the champagne! | 0:27:51 | 0:27:55 | |
To think it was in my garage for all that time! | 0:27:55 | 0:27:58 | |
So while Joanne prepares to take home the pristine family heirlooms, | 0:28:00 | 0:28:05 | |
Sue's fantastic windfall proves again that our Restoration Roadshow experts are worth every penny. | 0:28:05 | 0:28:12 | |
Well, as the auction draws to a close I can tell you that | 0:28:12 | 0:28:15 | |
we've had a very interesting time of it up here in Clitheroe. | 0:28:15 | 0:28:18 | |
So until the next time, it's goodbye from everybody on Restoration Roadshow. | 0:28:18 | 0:28:23 | |
Subtitles by Red Bee Media Ltd | 0:28:29 | 0:28:34 | |
E-mail [email protected] | 0:28:34 | 0:28:39 |