0:00:02 > 0:00:05I'm Eric Knowles and I'm surrounded by people with broken antiques.
0:00:05 > 0:00:10They're here to see if we can give them a new lease of life and maybe make a bit of money along the way.
0:00:10 > 0:00:13Find out how much on Restoration Roadshow.
0:00:19 > 0:00:23We've come to imposing Chatsworth in the heart of the Peak District
0:00:23 > 0:00:26for today's Restoration Roadshow.
0:00:26 > 0:00:30It's a grand setting for a fascinating programme, and I'm really excited
0:00:30 > 0:00:34about what's been arriving through the gates here in sunny Derbyshire.
0:00:34 > 0:00:38It's a beautiful piece of walnut, it just oozes warmth.
0:00:38 > 0:00:41But what everyone wants to know is, are they valuable?
0:00:41 > 0:00:43If I want to go and buy one of these,
0:00:43 > 0:00:46the price tags are in the sort of £4,000 to £5,000 bracket.
0:00:46 > 0:00:49Are they worth cleaning up and restoring?
0:00:49 > 0:00:53It would be quite nice to have it restored and then pass it on to my family.
0:00:53 > 0:00:57- 15, 18, 20...- And will the restoration add to their value...
0:00:57 > 0:00:59- 1,004.- ..when it comes to auction?
0:00:59 > 0:01:01At 1,800...
0:01:04 > 0:01:09Coming up on today's programme, remember the biblical story with animals coming in two by two?
0:01:09 > 0:01:12Well, these creatures have had a rough journey.
0:01:12 > 0:01:15Some of them are in desperate need of a vet.
0:01:15 > 0:01:18It looks like this Victorian Noah's Ark needs a miracle.
0:01:18 > 0:01:23And could this 17th century gent be related to the painting's current owner?
0:01:23 > 0:01:25It's hard to tell beneath all that grime.
0:01:25 > 0:01:26It's not city dirt.
0:01:28 > 0:01:29Oh, no, what have we here?
0:01:29 > 0:01:31Two headless 1930s ladies.
0:01:31 > 0:01:35Can we revive them, and will they make some money at auction?
0:01:35 > 0:01:38We've got lots of bidding on them.
0:01:42 > 0:01:48This 450-year-old estate is home to the Duke of Devonshire, and this elegant 18th century
0:01:48 > 0:01:53cascade water feature makes a lovely backdrop for our restorers.
0:01:53 > 0:01:57They've really got their hands full today, with broken furniture,
0:01:57 > 0:02:00cracked pots and damaged paintings.
0:02:00 > 0:02:03Elizabeth Wilbur and Nancy Pulley have brought along
0:02:03 > 0:02:06a charming and unexpected piece of history.
0:02:06 > 0:02:11I don't mind confessing that, of all the Bible stories I read as a boy,
0:02:11 > 0:02:15the one that filled me with total dread was the story of Noah's Ark.
0:02:15 > 0:02:18The minute I read it, I was keen for my dad to build one,
0:02:18 > 0:02:20just to be on the safe side.
0:02:20 > 0:02:22I know for a fact that in this case,
0:02:22 > 0:02:26this is not a toy that you've been playing with at any stage.
0:02:26 > 0:02:27I believe it's from the local museum.
0:02:27 > 0:02:30Yes, this was donated to the Bakewell Old House Museum.
0:02:30 > 0:02:33What sort of date has been placed on it?
0:02:33 > 0:02:36I thought it was Victorian, but I'm told it's Edwardian.
0:02:36 > 0:02:40Well, here's a bit of controversy, because I don't think it's Edwardian for a minute.
0:02:40 > 0:02:45I think it's very early Victorian, and the reason I say that to you
0:02:45 > 0:02:52is because the later Victorian ones were actually printed with designs.
0:02:52 > 0:02:54I've got my eyeglass here,
0:02:54 > 0:02:57and if I look very carefully at the decoration,
0:02:57 > 0:03:02that is definitely painted, which is a good sign, a nice, early sign.
0:03:02 > 0:03:06These are going to be period, whereas these fellas here are not.
0:03:06 > 0:03:08The reason being... Whoops, there you go.
0:03:08 > 0:03:11These are carved wood and these are metal.
0:03:11 > 0:03:18These may well have been made by a firm in the 1920s or the 1930s.
0:03:18 > 0:03:21But they are very vulnerable, because first of all,
0:03:21 > 0:03:25the animal's legs are very thin sticks of wood, basically.
0:03:25 > 0:03:29Let me just tell you that if I wanted to go and replace this today,
0:03:29 > 0:03:32I would struggle to find one of this period
0:03:32 > 0:03:37- with this many animals for less than £2,500 to £3,000.- No!
0:03:37 > 0:03:38- Yes!- No!
0:03:38 > 0:03:41Yes! Yes, yes, yes!
0:03:41 > 0:03:43It's important for you to know that.
0:03:43 > 0:03:45I thought it was a tatty old thing.
0:03:45 > 0:03:50But as I said, I think that your animals are in desperate need of
0:03:50 > 0:03:53a veterinary surgeon.
0:03:54 > 0:03:56Our vet is really a master restorer.
0:03:56 > 0:04:01Rod Titian learnt the art of gilding from his dad at just 14.
0:04:01 > 0:04:03He specialises in decorative pieces,
0:04:03 > 0:04:06some of which can be found in Kew Palace.
0:04:06 > 0:04:09Wow, look at this.
0:04:09 > 0:04:14Lovely. OK, it's museum, so the first thing that strikes me is that
0:04:14 > 0:04:17it's not going to be restoration, it's going to be conservation.
0:04:17 > 0:04:20We're going to conserve and preserve what's there
0:04:20 > 0:04:23just to hold that for future generations,
0:04:23 > 0:04:26which means that what we're going to be doing is quite minimal.
0:04:26 > 0:04:29I'm just going to be looking at the structural aspects.
0:04:29 > 0:04:32Straight away, I can see there are gates that are hingeless
0:04:32 > 0:04:34and some that are hanging off hinges.
0:04:34 > 0:04:37The lid is loose here, isn't it?
0:04:37 > 0:04:40It's going to need a tiny bit of work on the bow over here,
0:04:40 > 0:04:43- which has come away. Is it popular?- Absolutely.
0:04:43 > 0:04:47Very popular. It's the most popular toy with children, they love it.
0:04:47 > 0:04:48So no pressure for me, then?
0:04:48 > 0:04:51THEY LAUGH
0:04:51 > 0:04:56OK, talking of money, do you have a budget that you want to keep to?
0:04:56 > 0:04:58- Yes, it's 300.- Right, okay, £300.
0:04:58 > 0:05:01Well, this is the kind of piece that you could spend
0:05:01 > 0:05:04a fair bit of money on, depending on how far you go.
0:05:04 > 0:05:07I'll see what I can do, and I always aim to make people happy.
0:05:07 > 0:05:11- Thank you.- Now Rod, I can see that you're allowing yourself to become
0:05:11 > 0:05:13emotionally attached to this object, aren't you?
0:05:13 > 0:05:15Unfortunately, these things happen.
0:05:15 > 0:05:18No pressure, Rod, but as long as it can leave here
0:05:18 > 0:05:22in a seaworthy condition, that's all that matters, OK?
0:05:22 > 0:05:25- I'm sure we can do something about that.- Take it away, captain.
0:05:25 > 0:05:26Aye-aye, sir.
0:05:28 > 0:05:30Even though it's looking a bit seasick,
0:05:30 > 0:05:35I think Noah and his Ark is now worth around about £1,000 to £1,500.
0:05:35 > 0:05:38Rod's going to fix the gates, touch up the boat
0:05:38 > 0:05:40and secure the roof for £300.
0:05:40 > 0:05:41If he manages to do all that
0:05:41 > 0:05:43and this Noah did go to auction,
0:05:43 > 0:05:45I reckon it could fetch
0:05:45 > 0:05:46up to £2,500.
0:05:46 > 0:05:49But it'll call for some delicate brushwork
0:05:49 > 0:05:52if Rod is going to make everything shipshape.
0:05:55 > 0:05:57More and more people are turning up today
0:05:57 > 0:06:00with tricky challenges for our restorers.
0:06:00 > 0:06:02I think there's a bit of veneer work
0:06:02 > 0:06:05needed on the inner panel here, I notice.
0:06:05 > 0:06:08The top has the usual scars of slight misuse and neglect.
0:06:08 > 0:06:10Oh dear, two headless figures.
0:06:10 > 0:06:13But has Roger bitten off more than he can chew
0:06:13 > 0:06:16with Vicky Shore's tragic ladies?
0:06:16 > 0:06:20Roger Hawkins has been in the antiques trade since the 1970s,
0:06:20 > 0:06:24and is one of the leading ceramic restorers in the UK.
0:06:24 > 0:06:28So if anyone can rescue these fair maidens, it's Roger.
0:06:28 > 0:06:31So, two Doulton figures.
0:06:31 > 0:06:34This is the bridesmaid, and what's the other one you have?
0:06:34 > 0:06:39A seated lady, also minus her head.
0:06:39 > 0:06:41- Two headless figures.- Headless women.
0:06:41 > 0:06:44So what's the story behind this, how was it broken?
0:06:44 > 0:06:48Well, they initially were passed from my grandmother to my mother,
0:06:48 > 0:06:51and unfortunately my mum was looking after my daughter one day
0:06:51 > 0:06:55and she decided she'd like to have a little look,
0:06:55 > 0:06:57as four-year-olds do,
0:06:57 > 0:07:01and she went in there and the shelf on top fell down onto these figures
0:07:01 > 0:07:04which were below and decapitated the poor ladies.
0:07:04 > 0:07:08Well, let's look at this one first, Theresa. Do you know anything about these?
0:07:08 > 0:07:11- Do you know what these numbers here mean?- No.
0:07:11 > 0:07:17This HN number, from that we can get a good approximate date of it,
0:07:17 > 0:07:21so this would be around at 1938, 1940, maybe.
0:07:21 > 0:07:25Is it something that, because you've inherited it and it's sentimental,
0:07:25 > 0:07:26are you going to keep it?
0:07:26 > 0:07:29No, they're not my style, they're not the style of my home.
0:07:29 > 0:07:31My mum would have said,
0:07:31 > 0:07:34"Sell them and buy something that you like."
0:07:34 > 0:07:37Which is a good idea, yes.
0:07:37 > 0:07:43On this one, the head is off and the little part of the settee
0:07:43 > 0:07:45at the back has broken off.
0:07:45 > 0:07:53To restore that would probably cost around £120, that sort of figure.
0:07:53 > 0:07:58Restored so that it looks absolutely perfect, then that would be,
0:07:58 > 0:08:01I suggest, around £400, maybe £500.
0:08:01 > 0:08:07So spending £120 on having it restored certainly is quite viable.
0:08:07 > 0:08:15The bridesmaid figure is something which is not as valuable as this one.
0:08:15 > 0:08:23To restore this one would probably be in the £70 region, to put that back,
0:08:23 > 0:08:27and I think in auction, that would probably fetch around £100.
0:08:27 > 0:08:31So is that something you would like to go ahead with
0:08:31 > 0:08:33and put them in auction?
0:08:33 > 0:08:34Yes, why not? Absolutely.
0:08:34 > 0:08:36Bang on the nail, Roger.
0:08:36 > 0:08:39Headless women are a bit of a non-starter these days,
0:08:39 > 0:08:43and in this state, these two are worth little more than £100.
0:08:43 > 0:08:49Roger's estimating £170 to restore, and I do think his value is spot on.
0:08:49 > 0:08:51Frankly, I reckon you would be lucky
0:08:51 > 0:08:54to get more than £400 at auction.
0:08:54 > 0:08:56But first, Roger has the delicate task
0:08:56 > 0:08:59of making those necklines irresistible.
0:08:59 > 0:09:01Rather him than me.
0:09:01 > 0:09:04Coming up, a 400-year-old painting.
0:09:04 > 0:09:06One of the simplest materials
0:09:06 > 0:09:09to clean the surface of a painting is saliva.
0:09:09 > 0:09:13Not particularly ladylike, but if it works...
0:09:13 > 0:09:18Find out how Rod's coping with that battered Victorian Noah's Ark.
0:09:18 > 0:09:22And poor old Roger has a case of metal mania on his hands.
0:09:22 > 0:09:25Unfortunately, rivets are a rather unsightly,
0:09:25 > 0:09:28invasive technique for restoration.
0:09:34 > 0:09:37Plenty of antiques have found their way to Chatsworth.
0:09:37 > 0:09:41This is a trench map from the First World War.
0:09:41 > 0:09:44Lots of you seem to have objects cluttering you're homes,
0:09:44 > 0:09:46gardens and garages.
0:09:46 > 0:09:49Well, I like that. That's quite ancient, isn't it?
0:09:49 > 0:09:53And some of you are simply looking for restoration advice,
0:09:53 > 0:09:55like George and Jane Bakewell.
0:09:56 > 0:10:00We are quite attached to it, we've had it a long time now.
0:10:00 > 0:10:03Is he somebody that's been in your family for a while?
0:10:03 > 0:10:05It was a bit of a joke, actually.
0:10:05 > 0:10:09We had fairly recently moved into an old house,
0:10:09 > 0:10:12and when we had redecorated it, I said,
0:10:12 > 0:10:16"We need some ancestors to hang on these walls."
0:10:16 > 0:10:18And some time later,
0:10:18 > 0:10:23my husband came home and said, "I've found your ancestor."
0:10:23 > 0:10:27So did your ancestor come cheap or did he come at a price?
0:10:27 > 0:10:28- We paid £3,000 for it.- OK.
0:10:28 > 0:10:31Do you know the artist concerned?
0:10:31 > 0:10:35It has always been attributed to
0:10:35 > 0:10:39Cornelius Jansen, otherwise known as Johnson.
0:10:39 > 0:10:43Cornelius Johnson was a 17th century English painter
0:10:43 > 0:10:45famous for his portraits.
0:10:45 > 0:10:48I don't think this chap is looking too bad for his age,
0:10:48 > 0:10:49but after 400 years,
0:10:49 > 0:10:52he might appreciate a little bit of skin care.
0:10:52 > 0:10:54Time to call in the expert.
0:10:54 > 0:10:56Lucia Scalisi was a senior conservator
0:10:56 > 0:11:00at London's Victoria and Albert Museum for 12 years.
0:11:00 > 0:11:04Since then, her restoration work has taken her across the globe,
0:11:04 > 0:11:06from Calcutta to Georgia.
0:11:06 > 0:11:07What about this portrait?
0:11:07 > 0:11:11What can you see that is really needing your attention?
0:11:11 > 0:11:14First of all, it's a fantastic portrait,
0:11:14 > 0:11:19and I can see straight away it's had some restoration treatment in the past, which is probably 19th century.
0:11:19 > 0:11:23In terms of what's happening on the surface, it's fairly obvious there are a lot of scuff marks
0:11:23 > 0:11:28and scratches here, they're the matt areas. What I'm proposing to do today
0:11:28 > 0:11:33is a superficial cleaning of the surface dirt and then a revarnish.
0:11:33 > 0:11:34What will happen is,
0:11:34 > 0:11:37the re-varnishing will re-saturate all these scuff marks,
0:11:37 > 0:11:41and if I just wet those areas with my swab here,
0:11:41 > 0:11:43this area down here which is quite damaged,
0:11:43 > 0:11:47if I wet over it, you can see it wets out the surface
0:11:47 > 0:11:50and a lot of the scuff marks will disappear.
0:11:50 > 0:11:53Some of the scuff marks are very deep gouges in the paint there,
0:11:53 > 0:11:55so paint is actually lost from those areas,
0:11:55 > 0:11:58and there's nothing I can do about that today,
0:11:58 > 0:12:00because that's quite a major conservation treatment.
0:12:00 > 0:12:03But certainly today, we can improve the whole surface.
0:12:03 > 0:12:06What sort or money are we talking about to do this job?
0:12:06 > 0:12:09Sort of £250, £300?
0:12:09 > 0:12:12- Yes, I think that's OK.- Sounds OK? - Yeah.- Good.
0:12:12 > 0:12:15It's hard to give an accurate valuation for this painting,
0:12:15 > 0:12:17but it is a handsome piece
0:12:17 > 0:12:20and I think currently worth around about £2,000.
0:12:20 > 0:12:24Lucia is going to give it a clean for £250-300.
0:12:24 > 0:12:25If proven to be by Johnson,
0:12:25 > 0:12:27you're looking at nearer
0:12:27 > 0:12:28the £8,000 mark.
0:12:28 > 0:12:32Hats off to any man like George who'd buy his wife a painting.
0:12:32 > 0:12:35I only hope my other half's not watching.
0:12:35 > 0:12:40I reckon a few hundred pounds on restoration is money well spent.
0:12:40 > 0:12:42But what will Lucia uncover
0:12:42 > 0:12:46when she gives this chap a 21st century facelift?
0:12:50 > 0:12:54Many items you bring to our roadshow need serious attention.
0:12:54 > 0:12:58If you want to save an object for future generations,
0:12:58 > 0:13:02it's more about sentiment value than auction price.
0:13:02 > 0:13:04But for those of you wishing to sell,
0:13:04 > 0:13:08the cost of restoration can sometimes be simply not worth it.
0:13:08 > 0:13:11Linda Tinker has turned up with some plates
0:13:11 > 0:13:14that are definitely showing their age.
0:13:14 > 0:13:19So, three what look like Derby plates. Where did you get these from?
0:13:19 > 0:13:22In a box from auction with other things.
0:13:22 > 0:13:26Ah, the famous box of miscellaneous.
0:13:26 > 0:13:29- Yes.- And do you know anything about these, about Derby,
0:13:29 > 0:13:30their date etc, and value?
0:13:30 > 0:13:35I've looked it up and they date to about 1903.
0:13:35 > 0:13:40Spot on. You can see you've got an impressed mark there,
0:13:40 > 0:13:48which says 3-02, so we know it's 1902, 1903, quite easy to date.
0:13:48 > 0:13:52What do you want from these plates?
0:13:52 > 0:13:55Are they something you hope can be restored?
0:13:55 > 0:13:57Well, just to see what could be done with them.
0:13:57 > 0:14:01Obviously, they have already had some restoration,
0:14:01 > 0:14:05and whether it would be better to leave them as they are
0:14:05 > 0:14:08or to have them re-restored, if you like.
0:14:08 > 0:14:11Unfortunately, rivets are a rather unsightly,
0:14:11 > 0:14:14invasive technique for restoration.
0:14:14 > 0:14:16They're certainly an old repair,
0:14:16 > 0:14:18perhaps not long after they were made,
0:14:18 > 0:14:20and they used rivets in those days
0:14:20 > 0:14:23simply because they didn't have the glues available
0:14:23 > 0:14:24to glue porcelain.
0:14:24 > 0:14:28The plates themselves aren't hugely valuable,
0:14:28 > 0:14:33but like this in this condition, they're almost worthless.
0:14:33 > 0:14:34What do you think of their value,
0:14:34 > 0:14:36assuming they're in perfect condition?
0:14:36 > 0:14:40I would have thought £100 to £150.
0:14:40 > 0:14:42Yes, probably nearer £100, I think,
0:14:42 > 0:14:45because they're very, very collectible.
0:14:45 > 0:14:50Sadly, they never will be worth anything like that now.
0:14:50 > 0:14:54The time involved in taking all this apart and putting it back together,
0:14:54 > 0:14:56there's quite a few hours work in doing that,
0:14:56 > 0:15:02so you're probably looking at something in the order of about £50 a plate.
0:15:02 > 0:15:08As much as I hate this ugly rivet repair, Roger's got it right.
0:15:08 > 0:15:10They're not of much value at the moment.
0:15:10 > 0:15:12Restoration would cost £150,
0:15:12 > 0:15:14and after that they'd probably
0:15:14 > 0:15:17only reach around £100 at auction.
0:15:17 > 0:15:21But Linda's keen to see if they can make her some money,
0:15:21 > 0:15:23so we'll find out later how they fare.
0:15:23 > 0:15:29Coming up, Roger's decapitated 1930s ladies prove a bit headstrong.
0:15:29 > 0:15:33The first problem you have is when you put the head back on,
0:15:33 > 0:15:36it keeps falling off.
0:15:36 > 0:15:39Lot number 90 is the Royal Doulton figure...
0:15:39 > 0:15:42So, will a suitor come forward when they go to auction?
0:15:49 > 0:15:52Remember this fantastic Noah's Ark?
0:15:52 > 0:15:55It's a much-loved toy at the local museum,
0:15:55 > 0:15:57but it's taken quite a battering,
0:15:57 > 0:16:02so Rod's been painstakingly painting and piecing it back together.
0:16:02 > 0:16:06At the moment, I'm just putting back a tiny bit of the colour
0:16:06 > 0:16:08on the bow where it was missing.
0:16:08 > 0:16:11So, where the paint has actually come through
0:16:11 > 0:16:14and you can see the white underneath, which is the substrate,
0:16:14 > 0:16:16I'm just putting back a bit of the colour.
0:16:16 > 0:16:20And because this is more a conservation job than restoration,
0:16:20 > 0:16:23I'm not really improving it to how it was when it was first made.
0:16:23 > 0:16:26All I'm doing is just putting back a bit of colour to
0:16:26 > 0:16:29take the eye away from the areas that are disturbing.
0:16:29 > 0:16:31Obviously, it's very hard not to go overboard.
0:16:31 > 0:16:33You have to really reserve yourself
0:16:33 > 0:16:36when doing this kind of conservation work.
0:16:39 > 0:16:43OK, I'm going to leave that because I don't want to overdo it.
0:16:43 > 0:16:46It still looks old and as if I haven't touched it.
0:16:46 > 0:16:50The fact that it still looks as if it needs a bit of work is perfect, as far as I'm concerned.
0:16:50 > 0:16:54And it's not just Rod who's been working the paint pots.
0:16:54 > 0:16:57Lucia is uncovering the true character
0:16:57 > 0:17:00of this handsome 17th century portrait.
0:17:00 > 0:17:03The best thing to clean a painting with is something we all have -
0:17:03 > 0:17:06although using it is a challenge for experts only.
0:17:06 > 0:17:08One of the simplest materials
0:17:08 > 0:17:12to clean the surface of a painting is saliva.
0:17:12 > 0:17:14One of the problems with using saliva,
0:17:14 > 0:17:17which is quite a complicated mixture of enzymes
0:17:17 > 0:17:19and collating agents and amino acids,
0:17:19 > 0:17:21is that you can't clean a whole painting with it
0:17:21 > 0:17:24because you actually run out of saliva.
0:17:24 > 0:17:28So Lucia uses artificial saliva made up of a chemical enzyme,
0:17:28 > 0:17:32but what is this concoction actually removing?
0:17:32 > 0:17:36The dirt that's coming off this painting is general dirt
0:17:36 > 0:17:38from any household, really.
0:17:38 > 0:17:42It's not city dirt. City dirt is a completely different colour,
0:17:42 > 0:17:46a completely different texture, much greasier, much greyer.
0:17:46 > 0:17:51It's not nicotine, so whoever has this painting doesn't smoke,
0:17:51 > 0:17:54which is rather nice. It's just households dust and dirt,
0:17:54 > 0:17:55years of it hanging on a wall.
0:17:55 > 0:17:58But you can get an idea of what it's going to look like
0:17:58 > 0:18:00once it's been cleaned and revarnished.
0:18:00 > 0:18:02You really get a good saturation of the colours,
0:18:02 > 0:18:05you get a much better idea of how it's meant to look
0:18:05 > 0:18:06than you did before,
0:18:06 > 0:18:10when it was just covered in this sort of smoggy veil of dirt and dust.
0:18:10 > 0:18:13And once this veil has been lifted,
0:18:13 > 0:18:16will this 17th century fellow make Jane swoon?
0:18:16 > 0:18:19All will be revealed later.
0:18:19 > 0:18:23Coming up, what will Elizabeth and Nancy make of Rod's new home
0:18:23 > 0:18:26for Noah's animals? Are you ready?
0:18:26 > 0:18:28We are.
0:18:32 > 0:18:35With no end of broken antiques turning up today,
0:18:35 > 0:18:38our restorers have been working their socks off.
0:18:38 > 0:18:41It just needs to very slightly ping and you've lost it,
0:18:41 > 0:18:43you have to start again.
0:18:45 > 0:18:48And for Roger, putting these two Royal Doulton ladies
0:18:48 > 0:18:49back together again
0:18:49 > 0:18:52is proving a bit of a headache.
0:18:52 > 0:18:55The first problem we have is,
0:18:55 > 0:18:59when you put the head back on with the glue,
0:18:59 > 0:19:02what are you going to do while it's setting,
0:19:02 > 0:19:04because it keeps falling off?
0:19:04 > 0:19:10So we have to do something, we have to balance it while that head
0:19:10 > 0:19:15is resting. So, we have a very, very easy solution.
0:19:15 > 0:19:20We just put it into a bowl of gravel at an appropriate angle,
0:19:20 > 0:19:22so that when we glue it on
0:19:22 > 0:19:25it rests perfectly in alignment.
0:19:25 > 0:19:31Let's have a go at mixing the glue, and the good thing about this glue
0:19:31 > 0:19:38is that, as you can see, it's a water white glue and it never yellows.
0:19:38 > 0:19:45Then we just coat the glue on to one surface. Never both surfaces.
0:19:45 > 0:19:50That then goes into the gravel at that angle I've predetermined,
0:19:50 > 0:19:52and that head should now
0:19:52 > 0:19:57just rest on there.
0:19:57 > 0:20:03I will just give it a gentle, sustained pressure,
0:20:03 > 0:20:05and I'll leave that now.
0:20:05 > 0:20:07This glue is slow setting,
0:20:07 > 0:20:14so I would leave that for, ideally, about 24 hours before I touched it.
0:20:14 > 0:20:17Roger has to repeat the same time-consuming process
0:20:17 > 0:20:20for the other figure before carefully packing them up
0:20:20 > 0:20:22and returning to his workshop,
0:20:22 > 0:20:26where he has special tools to fill the cracks and paint the joins.
0:20:26 > 0:20:28It's a fiddly job, Roger,
0:20:28 > 0:20:31but I can't wait to see the ladies looking their best,
0:20:31 > 0:20:35and hopefully the buyers will love them when they go to auction.
0:20:39 > 0:20:43Back at the roadshow, it's the bit I enjoy best.
0:20:43 > 0:20:47All our restorers' hard work is hopefully about to pay off.
0:20:47 > 0:20:51It's fingers crossed as we return the restored treasures
0:20:51 > 0:20:52back to their owners.
0:20:52 > 0:20:54- Oh, that's fantastic. - The bubble's gone.
0:20:54 > 0:20:58Rod's been working on that lovely Victorian Noah's Ark,
0:20:58 > 0:21:00and it's about to be relaunched.
0:21:00 > 0:21:02To use a biblical quote,
0:21:02 > 0:21:07I think we're about to experience "revelations", I think.
0:21:07 > 0:21:09Looking at your faces,
0:21:09 > 0:21:13- there's a certain amount of anticipation, yes?- A little.
0:21:13 > 0:21:16Shall we reveal all?
0:21:16 > 0:21:18- Let's get on with it.- Let's do it.
0:21:18 > 0:21:21- Are you ready?- We are. There we go.
0:21:21 > 0:21:23Oh, it's magnificent!
0:21:23 > 0:21:25It's wonderful!
0:21:27 > 0:21:29Go and have a play.
0:21:29 > 0:21:31Oh, my goodness!
0:21:31 > 0:21:34It's just lovely to see the gates on.
0:21:34 > 0:21:39I'd like to keep it for myself, actually, take it home!
0:21:39 > 0:21:42Maybe you could take it in turns.
0:21:42 > 0:21:47Before Rod got to work the Ark look shabby and a bit leaky,
0:21:47 > 0:21:50but now it's totally transformed.
0:21:50 > 0:21:51He's repaired the gates,
0:21:51 > 0:21:54fixed the roof and touched up the paintwork,
0:21:54 > 0:21:57while carefully conserving the weathering acquired over the years.
0:21:57 > 0:22:00So how do you think your museum committee
0:22:00 > 0:22:03are going to react to you going out and spending £300?
0:22:03 > 0:22:06Could you think of a better way of spending it?
0:22:06 > 0:22:09No, I could not. I think they'll be absolutely stunned
0:22:09 > 0:22:11and it will get pride of place in our museum.
0:22:11 > 0:22:14The beauty of this, as I have said earlier,
0:22:14 > 0:22:17it's conservation, so it's preserving it.
0:22:17 > 0:22:21What I've done is make it look like it still needs potential work.
0:22:21 > 0:22:23- It is so much better. - Thank you ever so much.
0:22:23 > 0:22:24You're most welcome.
0:22:24 > 0:22:27It has been a pleasure working on it, it really has.
0:22:27 > 0:22:29- That's even better. - And from our point of view,
0:22:29 > 0:22:32it's good for us to know that when we leave Chatsworth,
0:22:32 > 0:22:35we're leaving behind a vestige of what this programme's all about,
0:22:35 > 0:22:37and that's giving pieces like this
0:22:37 > 0:22:39a new lease in life.
0:22:39 > 0:22:41Rod's performed miracles.
0:22:41 > 0:22:43Meanwhile, Lucia's been hard at work
0:22:43 > 0:22:49trying to uncover the true beauty of this 17th century oil painting.
0:22:49 > 0:22:51Are you excited about seeing your painting?
0:22:51 > 0:22:54I'm excited, but I'm horribly nervous as well!
0:22:54 > 0:22:57All right. So, we will do a reveal and let's see what you think.
0:23:03 > 0:23:06Oh, my goodness!
0:23:06 > 0:23:09That is so different.
0:23:09 > 0:23:11You can see his hair,
0:23:11 > 0:23:17his clothes, he's even got a sparkle in his cheeks.
0:23:17 > 0:23:18That is amazing.
0:23:18 > 0:23:20I couldn't agree more, Jane.
0:23:20 > 0:23:23Before, the painting's surface was dull and lifeless,
0:23:23 > 0:23:26the details on the poor man's face and coat
0:23:26 > 0:23:29hidden beneath 400 years of grime.
0:23:29 > 0:23:31But no more.
0:23:31 > 0:23:34The veil has been lifted, the warm colours and fine brushwork
0:23:34 > 0:23:38are clear to see, bringing the portrait vividly to life.
0:23:38 > 0:23:43We can now see this proud 17th century fellow in all his glory.
0:23:43 > 0:23:47Thank you very much for all your hard work, I really appreciate it.
0:23:47 > 0:23:49- It's a beautiful portrait.- Thank you.
0:23:49 > 0:23:53Lucia's done a great job, and I think this handsome gentleman
0:23:53 > 0:23:56wouldn't look out of place hanging here at Chatsworth.
0:23:58 > 0:24:01Our restorers have had a truly interesting and challenging time
0:24:01 > 0:24:03here in Derbyshire,
0:24:03 > 0:24:07and hopefully they've been able to put a smile on quite a few faces.
0:24:07 > 0:24:12Here are some of the treasures that passed through their skilled hands.
0:24:12 > 0:24:16The Victorian animals are safely on board, much to the joy of the museum
0:24:16 > 0:24:20that will preserve this Ark for future generations.
0:24:20 > 0:24:23Lucia delighted us by giving this 17th century chap
0:24:23 > 0:24:24a wash and brush-up.
0:24:24 > 0:24:28He'll take pride of place in Jane's sitting room.
0:24:28 > 0:24:29Coming up for auction,
0:24:29 > 0:24:33we have these unrestored Crown Derby plates, rivets and all.
0:24:33 > 0:24:36And what will Vicky say when she's reunited
0:24:36 > 0:24:38with her 1930s headless ladies?
0:24:38 > 0:24:41Will they find any admirers when they go under the hammer?
0:24:46 > 0:24:49It's auction day at Bamfords in Derby.
0:24:49 > 0:24:54The place is buzzing with people all keen to see what they can bag today.
0:24:54 > 0:24:58Do remember that auction houses charge fees and commission,
0:24:58 > 0:25:02and everything that's been restored will be noted in the catalogue.
0:25:02 > 0:25:07But before we can begin, it's time Vicky saw her Royal Doulton ladies.
0:25:07 > 0:25:08She's with her daughter, Holly,
0:25:08 > 0:25:12the culprit responsible for the damage in the first place.
0:25:14 > 0:25:17- There you are.- That's amazing.
0:25:17 > 0:25:20Absolutely amazing.
0:25:20 > 0:25:23You can't see the join.
0:25:23 > 0:25:26That's fantastic, absolutely fantastic.
0:25:26 > 0:25:29He's even repaired the little flowers.
0:25:29 > 0:25:31You just can't tell.
0:25:31 > 0:25:34Absolutely amazing.
0:25:34 > 0:25:37It's an extraordinary transformation.
0:25:37 > 0:25:40Once, these pitiful ladies were in pieces,
0:25:40 > 0:25:44their pretty heads lying helplessly at their feet.
0:25:44 > 0:25:46But now they're intact,
0:25:46 > 0:25:49they look fabulous and they can hold their heads high.
0:25:49 > 0:25:51Roger has really done us proud.
0:25:53 > 0:25:56Before he got to work, these ladies were of no great value,
0:25:56 > 0:26:01and while Roger's ingenious restoration work cost Vicky £170,
0:26:01 > 0:26:05it means that these Royal Doulton figurines,
0:26:05 > 0:26:08now being sold together, could fetch £400.
0:26:08 > 0:26:12But not wanting to let the ladies go for nothing,
0:26:12 > 0:26:15Vicky has put a £300 reserve on them.
0:26:15 > 0:26:18Lot number 90...
0:26:18 > 0:26:19And now their number's up.
0:26:19 > 0:26:22There we go, they're being held aloft.
0:26:22 > 0:26:25- I have got lots of bidding on them. - Have we?
0:26:25 > 0:26:31It will start with me at £270.
0:26:31 > 0:26:33Fantastic.
0:26:33 > 0:26:36At £270, 280 now.
0:26:36 > 0:26:39At £270. 280, 290, 300?
0:26:39 > 0:26:41300. 300. We've gone to 300.
0:26:41 > 0:26:43- At 290.- 290, where is he?
0:26:43 > 0:26:46I can't see, I'm looking hard...
0:26:46 > 0:26:50- All done at 290.- Come on. - No! £10 more!
0:26:50 > 0:26:53- Come on, one more bid. - Those remain with me.
0:26:55 > 0:26:58At 290, that's just so near yet so far.
0:26:58 > 0:27:00- I know.- Not to worry.
0:27:00 > 0:27:02I'm not heartbroken, no.
0:27:02 > 0:27:04- You're not heartbroken? - Absolutely not, no.
0:27:04 > 0:27:07At least they're two girls that may have lost their heads,
0:27:07 > 0:27:11- but they've got their act back together, haven't they?- Absolutely.
0:27:11 > 0:27:13Well, you can't win them all.
0:27:13 > 0:27:18- But it's not all over for us just yet.- Lot 110.
0:27:18 > 0:27:22Next to be served up are Linda's three Crown Derby plates.
0:27:22 > 0:27:25They're unrestored as Roger didn't think they were of much value,
0:27:25 > 0:27:28but surely she'll get a few bob for them.
0:27:28 > 0:27:29Here we go, we're off.
0:27:29 > 0:27:32Nicely decorated...
0:27:32 > 0:27:36We've got three of them, we don't him to hold up three.
0:27:36 > 0:27:43- £30? 20 then. £20 is bid to my left. - Where is he going? Come on.
0:27:43 > 0:27:47- At £20 and two now. - 20... He's got 20.
0:27:47 > 0:27:49- At £20 and two do I see?- £20...
0:27:49 > 0:27:53Come on, boys and girls, lets get it up. Come on, auctioneer.
0:27:53 > 0:27:58£20, 405, thank you, sir.
0:27:58 > 0:28:00£20.
0:28:00 > 0:28:02Well, it's hardly a king's ransom, is it?
0:28:02 > 0:28:04No, but not a bad result.
0:28:04 > 0:28:07No, it is a result because they sold, didn't they?
0:28:07 > 0:28:10Yeah. I got them for nothing so we've not lost anything.
0:28:10 > 0:28:14They were in a box of assorted items at the bottom, so a result.
0:28:16 > 0:28:21Well, no real high-flyers today, but no shortage of satisfied customers
0:28:21 > 0:28:23whose antiques we've saved from the scrapheap.
0:28:23 > 0:28:28Until the next time, it's goodbye from Restoration Roadshow.
0:28:30 > 0:28:33Subtitles by Red Bee Media Ltd
0:28:33 > 0:28:35E-mail subtitling@bbc.co.uk