Episode 3 Restoration Roadshow


Episode 3

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Hello, I'm Eric Knowles. What lies hidden in your attic

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that's broken, damaged and distressed? Could it be treasure? Could it be transformed?

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Well, we've got the answers, and we've got the experts, here on Restoration Roadshow.

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Welcome to Burghley House in Lincolnshire.

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Over the last 25 years, millions of pounds have been spent on restoration here,

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which makes it a fitting venue for today's Restoration Roadshow.

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There are plenty of people arriving here today with intriguing family treasures.

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Everyone's keen to know just how much they're worth.

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As it is, it's a £100 sort of thing, isn't it, really?

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Should they be spruced up and restored?

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-I let the grandchildren play with it.

-I like grandchildren, cos they bring me lots of work.

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Will they make money at auction...

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-90 with you.

-..or simply end up back home?

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£800, sold!

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Coming up, a 17th century wine jug finds a big fan.

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-I love this.

-But its owner isn't so sure.

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I think I like it more than you do.

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Yeah, I'm sure you do!

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And we're hoping this beauty will woo the crowds on auction day.

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-At £50, and 5 now?

-A bit more than that.

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Burghley House is over 500 years old.

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It was built for William Cecil, Queen Elizabeth I's trusted adviser.

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With so much history within its walls, Burghley has more than its share of restoration challenges.

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Later on, we'll see how conservators are quite literally piecing its past back together.

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I opened a drawer, and found a wonderful bag of bits, and a box.

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But before that, we have a saying here at Restoration Roadshow - one person's junk is another's treasure.

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'Janet Goodwin can't stand this ugly old broken jug, but to me, this 300-year-old chap is very special.'

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Well, here's a pot with a bit of history to it.

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I'm just intrigued to know which bit of history you can tell me about.

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Not a lot, actually.

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It's always been there in my mother's home, and then when she died, it came to me.

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-Do you know when it was made, where it was made?

-I thought it was either Dutch or German.

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Ooh, yes, very good. You're absolutely right.

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It IS German.

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'This jug would have brought German wine to England in the late 17th century.

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'The portrait on the neck is a cheeky swipe at a famous teetotaller of the day.'

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-This face - bit scary, that, isn't it?

-It's enough to stop a clock!

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I don't want to be unkind, but that's only a face a mother could love.

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-It is.

-But I know who that man is. Do you know who this is?

-No.

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Let me tell you. He was a cardinal, and his name was Bellarmine.

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'Ironic - an anti-drinking cardinal giving his name to a wine jug.

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'Who'd have thought there was such a strong sense of humour back then?'

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And is it something you were thinking of moving on, for want of a better expression?

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Probably, yes.

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In its present condition, I think it's somewhere in the region of possibly £600 on a good day.

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'Bellarmine jugs in mint condition can fetch a pretty penny,

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'but this old chap needs a serious facelift if he's going to get a look in.

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'Roger Hawkins is a leading expert in ceramics restoration, with many international clients.

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'Restored or not, he's got a passion for this pot.'

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Come across many of these in your time, Roger?

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I have, yes, indeed, but not always as nice as this, because this I want to take home.

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-You do, do you?

-I do. I love this.

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-But I think I like it more than you do.

-Yeah, I'm sure you do!

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No, it's particularly nice. So often, these Bellarmine jugs

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don't have these emblems on the side,

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and the fact that it has this extra glaze,

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that's a good sign of quality, because that would have meant an extra firing.

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It would have been a more expensive piece than the ordinary, common Bellarmine jug.

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The damage, fortunately, is not too severe. It's perfectly restorable.

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The cost of that restoration, approximately?

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The cost, without looking at it under a magnifying glass, I would suspect...

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-300?

-Right.

-And that would include cleaning, because it is very, very grubby.

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You're certainly going to get your money back,

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and let's keep our fingers crossed that the world embraces it, not just Roger.

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-Ah!

-And we get it into the high hundreds and maybe, with a bit of luck, even a little bit more.

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-All right.

-OK. You say, "Yes, Eric."

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-Yes, Eric.

-That's all I need to hear.

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'He may not be tall, dark and handsome, but he's survived over 300 years of hard living.

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'In his slightly grubby state, we think he's worth £600.

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'Roger will give him the once-over

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'for around about £300,

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'and we're hoping

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'he'll go down well with the bidders

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'for £1,000 at auction.

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'Roger's certainly keen on this pot, but when it comes to auction,

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'will the bidders be thirsting to buy this wonderful old crock?'

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-We'll come back in at £500.

-Come on, keep it going.

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'Some of the items we see here on Restoration Roadshow are far more than just decorative.

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'They're a wonderful glimpse into our social history.

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'Craig Benson has brought something special in to show Louise.

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'Paper conservator Louise Drover has worked for the Victoria And Albert Museum and the National Trust.'

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So, how did you come by this poster?

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It was brought into our shop in Stamford by a man who thought I might be interested in buying it.

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Fantastic. It's a really striking piece, isn't it? Lovely, vibrant colours.

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So, do you have any idea what the date is on this poster?

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Nothing specific,

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apart from the fact that the styles of the clothes and the make-up would suggest Second World War era.

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'Spot on, Craig. The poster was designed for Woman's Own magazine, and is dated around 1947,

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'but with its fresh pop art feel, it looks like it could have been made yesterday.'

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Interestingly enough, it's actually printed on linen. It's not paper.

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So that would figure, as there was obviously a shortage of paper during that time.

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'But this cover girl hasn't had any admirers for a long time.

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'Craig has kept her on top of the wardrobe for 15 years - not the best method of preservation.'

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As it's been rolled for some time, it's got this sort of undulation.

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You need to just lightly humidify and flatten it,

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and to keep it nice and flat, it's mainly a mounting technique,

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and I would add a sort of false margin to the edges so that we don't lose any of this image,

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and that would be pulled around in a strainer-type way around a piece of board.

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-That would cost in the region of £95 to do.

-Would it, now?

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The thing is, though, once that work is done,

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the interesting thing is that this could sell for around £150.

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-Oh, right.

-So, do you think this is something you might like to go ahead with?

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Yes, I think so.

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It's a shame that something so striking isn't actually out there and being enjoyed by somebody.

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'So, as it is, the poster's worth around about £40-£50.

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'To make it more alluring at auction,

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'Louise will mount it for £95,

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'and we hope it'll bring in £150.

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'But even after a makeover, will she be able to turn on the style at auction?'

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£50 to begin?

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Coming up, this elegant Louis XIV-style desk from the late 1880s

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has taken a few knocks, but is it beyond repair?

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-There's a huge section of brasswork missing there.

-Oh, there is, actually.

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And will it be drinks all round when the Bellarmine jug goes to auction?

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At £1,000, somebody?

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'Here at the Restoration Roadshow, our furniture experts are familiar with a very nasty customer.

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'No, it's not woodworm.

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'It's water, wood's number one enemy.

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'It seeps deep into the grain, causing severe staining.

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'Tim Akers is a furniture restorer,

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'working on everything from 300-year-old walnut tables to modest family heirlooms.

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'I like to call him the wood doctor.

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'Val Taylor has brought in a Victorian chest with some heavy scarring.'

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That is really vicious, I have to say.

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-I can't imagine what did that, actually.

-Probably water.

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I can't guarantee that we can remove that mark.

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-I will only know when I try, so don't expect it to disappear.

-What about the other marks?

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Oh, I like that. It's really scars of its age, isn't it?

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It's been well used, well loved, apart from the little bit of accident there.

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'Tim may be able to find a way of getting rid of that hideous mark, but he's hedging his bets.'

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Don't expect it to disappear. If it does, that's absolutely fantastic.

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'Will he work wonders?

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'We'll find out later.

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'It's always a real treat to see an item that reflects the skill of its maker.

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'Our next sickly patient, a Louis XIV-style bureau from the 1880s.

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'In its day, it would have been specially commissioned, and something of a status symbol.

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'Owners Elizabeth and Stuart Smith are hoping to stop its steady decline.

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'Rodrigo Titian is supremely skilled at marquetry and gilding.

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'His clients have included Kew Gardens and the Royal household.'

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I have to thank you for bringing this amazing piece of furniture in.

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Look at the colours, look at the work that's involved.

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And how did this come to be in your possession?

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Well, it belonged to my mother, and she bought it off her mother.

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-Bought it off her mother?

-Yes, yes.

-I thought I heard that right.

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Yes, that's correct! I don't know what the price was, no idea.

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So, that's what she had to do.

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-I see.

-And it was sat there from me being about five or six.

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I remembered it growing up, but when my mother went in hospital...

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Well, she died two months ago. She would never have parted with it,

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-so I don't want to now, because of that.

-She had a good eye.

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Yes, she had.

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This is really an amazing example of Boulle work.

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'Boulle work was named after Frenchman Andre Boulle.

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'Developed during Louis XIV's reign in the late 1600s, it was a triumph of artisan techniques of the day.'

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And even though it's a Boulle work revival set around the 1880s,

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it really does show the craftsmanship to the highest quality,

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and in effect, what Boulle work is,

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is just the incising of brassware, the thin brass plate into the tortoiseshell itself.

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There's a huge section of brasswork missing there.

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-Oh, there is, actually.

-A little bit of lifting there.

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And... Lovely, a lovely piece.

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Now, do you have any idea of its value at the moment?

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None whatsoever.

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Its value at the moment, pre-restoration, is about £350-£400.

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-Right.

-If it were restored, obviously depending on how far we go with the restoration,

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but a kind of average figure of about £800-£850 value post-restoration.

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'There's a lot of work here, so Rod's got a few choices.'

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The first option, if we were just to do the essential, about £200.

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If we were to do a lot more, whereby we'd replace all the missing areas that are really offending the eye,

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about £800 on top, so a total of £1,000 there.

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-We're definitely going to have it restored, aren't we?

-Oh, yes.

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And thoughts on the options?

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-Probably the second one, don't you think?

-Yes.

-Yeah, the second option.

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It's no good going so far, and then thinking, you know, "It could look better."

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'Good on them! The current value of the bureau is £350-£400,

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'and after £1,000 of restoration,

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'it'll be worth £800-£850.

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'It gladdens my heart to see people prepared to dig so deep

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'to preserve this breathtaking piece for future generations.

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'It deserves it.

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'But Boulle work requires the patience of a saint, and the hands of a surgeon.'

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What I don't want to do is to aggravate the actual piece itself.

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Done incorrectly, it can actually completely ruin the piece.

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'Rod's going to take this bureau back to his specialist workshop,

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'where he has all the right tools for this delicate operation.'

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Coming up, don't try this at home, kids.

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Tim tries a radical approach to remove that water stain.

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I've got a jar with some hot water here, and some oxalic acid.

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'And will our funky 1940s fashion poster be enough to turn heads at auction?'

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£55. Any more?

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'At the Restoration Roadshow, we're seeing a wide variety of family heirlooms.'

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How many years has it been in your family?

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Well, in the family, since the '50s.

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'As you can imagine, a fine historic home like Burghley has its collection of family mementos too,

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'just on a slightly grander scale.

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'Over the years, the Lords of Burghley have added to the treasures here.

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'The 9th Earl of Exeter was an enthusiastic grand tourist,

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'and he brought back loads of Italian masterpieces.

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'For renowned English furniture expert and Burghley resident Orlando Rock,

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'the collection is a dream come true.'

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It's a bit like being a child in a sweet shop,

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because there are such incredible riches here, and particularly in the grand tour collecting.

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So, as a study house, Burghley doesn't get any better than that.

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'But sadly, not all of the 9th Earl's souvenirs survived intact.'

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Well, this was a great thing,

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Rootling around in the dark nurseries,

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I opened a drawer, and found a wonderful bag of bits, and a box.

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Those bits were from an 18th century frame made out of scagliola.

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A plaster made from marble dust, it can be a nightmare to restore.

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The techniques have moved on, and the abilities of the restorers are fantastic,

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so to see something raised from the dead is exactly what I love to see.

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With infinite care, the restorers were able to piece together the jagged jigsaw puzzle,

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to produce this stunning result.

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I've never, ever seen another one like it anywhere.

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So, I'm not sure if it's unique, but it appears to be so far.

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Quite splendid. The hours lavished on this piece have been time well spent.

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'Back at the Burghley roadshow, we're seeing our own fair share of antique casualties.

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'Remember that huge unsightly water stain on the mahogany chest?'

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-Did you inherit the mark, or...

-We inherited the mark.

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-So, can't blame you for that.

-No, no, no, no. It came as it is!

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'Tim's ready to tackle it. First, he cleans away the polish,

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'and then prepares the surface using methylated spirit.'

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So that's now de-polished in that area and dry, and I've got a jar with some hot water here,

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and some oxalic acid.

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'Tricky stuff, oxalic acid.

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'He's using it to bleach the stain.

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'Too little will leave the mark untouched, but too much will eat into the wood, damaging the top.

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'Acid is highly corrosive, so something like this is best left to the experts.'

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I'm just going to brush it in. With a bit of luck, we'll see some of this...

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Some of this lift.

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Go with the grain.

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I can definitely see the stain lightening as I work on it, which is really good.

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It's definitely gone lighter there.

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You can see, I think it's working quite well, actually.

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As it dries, it actually bites in more,

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so if you've got some movement when you first do it, you know you're on to some form of success.

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You can actually paint this on and nothing happens at all.

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'But will Tim's delicate brushwork be enough to banish a century's worth of dirt and staining?

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'In a moment, we'll see if he's passed the acid test.

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'Our restorers have been busy nipping and tucking at today's Restoration Roadshow.

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'But sometimes they need a more controlled environment to finish the job.

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'Remember that Bellarmine jug with a broken neck?

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'Roger has taken it back to his workshop.'

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I've stuck the top back on.

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I have made good the join between the two materials.

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There was a piece here I've put back in.

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His eyebrows here were a little bit chipped.

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I've remodelled that back in.

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My task now is to give it its first coat of paint.

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The jug's covered in a salt glaze.

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When it was fired, the salt was thrown into the kiln, which then vaporized,

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to form this distinctive glaze. Roger's got to match this effect,

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which means working in very careful stages.

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I'm going to paint what needs to be the lightest colour.

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It's no use painting this brown on here.

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I've got to go for this undercoat colour.

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That's the colour I'm going to go for first.

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I'll spray that on, and if I'm happy with it,

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I'll leave it on, and then over that, I can then put the brown colours.

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Now, I have to get the undercoat,

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the first coat of paint I put on, absolutely spot on,

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because if that's wrong, then the topcoat will be wrong.

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Roger must also use the right technique to apply the paint.

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Airbrushing best mimics the glaze.

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But will Roger's meticulous work intoxicate the bidders when it comes to auction?

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Remember the 19th century Louis XIV-style desk with all its intricate Boulle work?

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In his workshop, Rod has begun the delicate process of repair.

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This is brass plate.

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We need to actually plot out the design of the section that's missing on here, and then cut this out.

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This is very, very thin, about a hundredth of a millimetre thin.

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So you can actually see, you know, the fact that it really is like paper... Cardboard, if anything.

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Rod sandwiches the wafer-thin brass between two pieces of veneer to help keep it steady.

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So, the way we do this by cutting the shapes out and everything

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are all done in very much the traditional methods that were used 150 to 400 years ago,

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when Boulle work was first evolved.

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Rod then immerses the cut-out in hot water to melt the glue,

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and when he peels away the veneer, hey presto!

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It's all literally... It's cut away so nicely, nice and cleanly.

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So I'm just going to try this in position first, just dry, just to make sure it fits nicely.

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I'm going to have to make a couple of adjustments.

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A little bit of adjusting to do in that section there where it's a little bit proud,

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but generally, that's come out quite nicely. It's quite happy with that.

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Impressive stuff. But it's just the first step in what will be a painstaking labour of love for Rod.

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Louise is back in her workshop too, along with that crinkled linen fashion poster.

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She's mounting it ready for auction.

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Posters were often printed on poor quality paper that fell apart, but linen is really hard-wearing,

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and Louise wants to keep it in tip-top condition.

0:19:280:19:31

But this is the only chance to get it right.

0:19:310:19:35

The reason we wouldn't stick just one sheet to one side

0:19:350:19:39

is that you can get this terrible bowing.

0:19:390:19:43

You would end up with a very warped board, and this way keeps it nice and rigid, which is what you want.

0:19:430:19:50

The next stage is to glue the poster onto the board.

0:19:510:19:53

It might seem like a simple job, but if she gets it wrong, she might damage the artwork.

0:19:530:20:00

I've got to work quite quickly,

0:20:000:20:02

because the adhesive will actually dry,

0:20:020:20:05

and then we can't... You know, if we happen to pitch it wrong, it will actually end up in the wrong place.

0:20:050:20:12

Louise is taking a lot of time and care,

0:20:120:20:16

but will the end result catch the eye of the bidders when it comes to auction?

0:20:160:20:20

Restoration work requires incredible concentration and many lonely hours in the workshop.

0:20:230:20:31

But at the end of the day, it's the result that counts.

0:20:310:20:34

Remember the water-stained Georgian chest?

0:20:340:20:37

Oh, wow! Oh, wow!

0:20:370:20:39

It's come out.

0:20:390:20:41

-Thank goodness.

-You've managed to get it out.

0:20:410:20:45

Remember the blackened and scarred surface?

0:20:450:20:49

Now it's hard to believe it was ever there.

0:20:490:20:53

Fabulous. That's really, really, really lovely.

0:20:530:20:56

What's surprising is you managed to get the mark out.

0:20:560:20:59

You can see where it's eaten into the wood. It's slightly rougher there.

0:20:590:21:03

But that's purely because that's what the water had done, eaten into the timber.

0:21:030:21:07

-Oh, it's hugely better.

-Brilliant.

-Fantastic. Thank you.

0:21:070:21:11

So today's top tip, folks, always protect your wooden surfaces.

0:21:110:21:15

Speaking of wood, brass, tortoiseshell, and gilding too -

0:21:180:21:21

Rod's finished work on that Louis XIV-style bureau from the 1880s.

0:21:210:21:27

So let's have a go.

0:21:290:21:31

Oh, that's fantastic.

0:21:330:21:35

-That's just amazing, that.

-It is.

0:21:350:21:37

-Oh, he's cleaned the cherubs.

-Yes, I can't believe what it looks like.

0:21:370:21:41

Before, the bureau was tired and patchy.

0:21:410:21:44

Even the inlay was coming away.

0:21:440:21:46

Inch by careful inch, Rod's re-laid the brass and tortoiseshell.

0:21:460:21:52

I have to say, his efforts have been highly successful.

0:21:520:21:55

There were lots and lots of areas missing.

0:21:550:21:57

There was couple of missing areas of brasswork here we've put back,

0:21:570:22:01

and just literally, you know, if you tapped it along,

0:22:010:22:03

you could see and hear all the raised sections of brasswork.

0:22:030:22:07

So, was it worth parting with £1,000?

0:22:070:22:10

-I think it looks absolutely fantastic.

-Brilliant.

-I'm really, really pleased.

0:22:100:22:14

I mean, it's been in our family many, many years,

0:22:140:22:18

and hopefully it will stop in the family many, many more years.

0:22:180:22:21

'What a cracking result, but there's more to come.

0:22:240:22:27

'Here's a reminder of the bedraggled bunch of antiques that came to our attention at our Burghley Roadshow,

0:22:270:22:33

'which we'll now be taking to auction.

0:22:330:22:36

'The wrinkled 1940s fashion poster.

0:22:360:22:39

'We're hoping a facelift will help it bring at least £100 at auction.

0:22:390:22:44

'And I've taken a liking to the ugly and ancient Bellarmine jug.

0:22:440:22:49

'It's bursting with character, but will the bidders agree, and pay up to £1,000 after restoration?

0:22:490:22:55

'It's the moment of reckoning here at Thomas Mawer & Sons in Lincoln.

0:23:010:23:06

'The viewing room is full of antique temptations, and we've brought along some treats of our own.

0:23:060:23:11

'Now, do remember that auction houses charge fees and commission,

0:23:110:23:15

'and that everything that's been restored will be noted in the catalogue,

0:23:150:23:20

'like Janet's Bellarmine jug.

0:23:200:23:21

'She wasn't susceptible to his rugged charm before,

0:23:210:23:24

'so what will she think of him after Roger's makeover?'

0:23:240:23:28

Wow! That's amazing.

0:23:300:23:32

It looks lovely, doesn't it?

0:23:320:23:35

-Yes, very good.

-It's amazing what's happened to it,

0:23:350:23:38

and the sheen and the colours I think are lovely. You've done very well.

0:23:380:23:42

-Thank you. A little bit different, a little bit neater and tidier than it was last time.

-Absolutely!

0:23:420:23:48

'Before, Janet's jug had a nasty chunk missing from the lip and neck.

0:23:480:23:53

'But can you see the mend? I know I can't.'

0:23:530:23:58

It looks as good as the day it was made, doesn't it?

0:23:580:24:00

You've got a reserve on this piece?

0:24:000:24:02

I have. It's £1,200.

0:24:020:24:04

-OK. Well, we're hopeful.

-Yes.

0:24:040:24:07

We can't offer you any guarantees.

0:24:070:24:09

No. Well, looking at it now, I'd take it home!

0:24:090:24:11

'Oh, Janet, you fickle lady!'

0:24:130:24:16

What did she say before? "Oh, I don't like it. I think I'll sell it."

0:24:160:24:20

-Yes, OK.

-Now, it's a different story.

0:24:200:24:24

It is a different story.

0:24:240:24:25

'So, while Janet's fallen in love with her jug,

0:24:250:24:28

'what will Craig make of the crumpled poster that once lived on top of his wardrobe?'

0:24:280:24:33

I'm going to be very gentle with this one, because...

0:24:330:24:38

There it is.

0:24:380:24:41

That is very impressive. It looks a lot better than it did when I brought it in.

0:24:410:24:45

If I was looking at that for the first time, I'd swear that it was contemporary,

0:24:450:24:49

because she's got very much a contemporary face,

0:24:490:24:53

and just the sheer condition. I mean, it looks brand new.

0:24:530:24:58

'Before, the poster was wrinkled.

0:24:580:25:00

'Now fixed flat to a new board, the striking image has a really fresh feel.

0:25:000:25:05

'Louise's handiwork is a big hit with Craig, but will the bidders be equally keen?'

0:25:050:25:11

My hope would be that somebody will give it a good home, and actually put it up on display.

0:25:110:25:15

'First up is the Bellarmine jug which Janet inherited.

0:25:230:25:28

'It cost £300 to restore.

0:25:280:25:30

'Janet has put a high reserve of £1,200 on it,

0:25:300:25:34

'but I suspect she's letting her heart rule her head, and £1,000 is a more realistic price.'

0:25:340:25:40

-How are we feeling?

-A bit nervous.

0:25:410:25:44

You're allowed that. You are allowed that.

0:25:440:25:47

Lot number 592, this Bellarmine.

0:25:470:25:49

Who's going to start this one at £1,000? £1,000, looking for a starter at £1,000.

0:25:490:25:54

£700. £700 starts it. £700 starts it.

0:25:540:25:57

5, then, £500. Anybody going to start me at £500?

0:25:570:26:01

At £500? No? Not going to go at £500? We've got a bid of £500 on the internet. Back in at £500.

0:26:010:26:06

Oh, all of a sudden there's action.

0:26:060:26:08

550. 550 going to on the net, 550. £600, 650.

0:26:080:26:14

-Come on. Keep it going.

-700 now.

0:26:140:26:17

Thank you. £700 out. £700.

0:26:170:26:19

£700 on the net. At £700. £750 now?

0:26:190:26:22

No? No more on the net at £750?

0:26:220:26:25

Out at 750, how infuriating.

0:26:270:26:29

-Hmm.

-So it looks to me...

-As if I'm taking it home.

0:26:290:26:32

It does, doesn't it? But you're not shedding any tears, I see.

0:26:320:26:35

No. No, no, no, no. Well, when I saw it restored, I just thought, well, "Do I want to sell it now?"

0:26:350:26:40

-Mmm.

-It looks wonderful.

0:26:400:26:44

'Well, Janet's obviously happy with her newfound love.

0:26:440:26:49

'Now, it's our fashion icon's turn to strut her stuff.

0:26:490:26:52

'Originally valued at £40-£50, Craig invested £95 getting her ready for auction.

0:26:520:26:59

'We're hoping for anything from £100-£150.'

0:26:590:27:03

Lot 510A is the poster.

0:27:030:27:09

£100 to start me, £100?

0:27:090:27:11

-£50 to begin?

-Where are you?

0:27:110:27:14

£50, I'm bid at £50. At £50, and 5 now.

0:27:140:27:18

55, 60, 5, 70. 5 now.

0:27:180:27:22

It's worth a bit more than that.

0:27:220:27:24

There is a bidder. There it is.

0:27:240:27:28

-85, 90.

-Come on.

-£90.

0:27:280:27:31

-95, 100?

-100.

-110?

0:27:310:27:33

-£100 I'm bid.

-£100.

-£100. Any more?

0:27:330:27:36

All done at £100. The last time....

0:27:360:27:40

£100. Well, you're an ex-owner.

0:27:420:27:45

-That's it.

-There is a new owner. It would have been nice to...

0:27:450:27:48

It would have been nice to make a bit more on it,

0:27:480:27:51

but I'd be lucky to get a fiver in the state it was in when I brought it in, so, yeah, it's hugely improved.

0:27:510:27:57

It makes it a far more beautiful thing.

0:27:570:27:59

'Craig's philosophical about his £95 investment,

0:27:590:28:02

'and happy that a £100 sale means that it's going to a good home.

0:28:020:28:06

'So it's been swings and roundabouts here in Lincolnshire.

0:28:060:28:09

'The jug didn't find the right buyer, but Janet's got other plans.'

0:28:090:28:13

When I saw how lovely it was, I'm certainly not disappointed.

0:28:130:28:17

When I get home, it's going back on the top of the stairs.

0:28:170:28:20

I have to say, as a pot fanatic, I'm thrilled that Janet's found a new passion for her jug.

0:28:200:28:27

So, join us again for more affairs of the heart, here on Restoration Roadshow.

0:28:270:28:33

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0:28:560:28:59

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0:28:590:29:02

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