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Hello, I'm Eric Knowles. What lies hidden in your attic | 0:00:02 | 0:00:05 | |
that's broken, damaged and distressed? Could it be treasure? Could it be transformed? | 0:00:05 | 0:00:09 | |
Well, we've got the answers, and we've got the experts, here on Restoration Roadshow. | 0:00:09 | 0:00:14 | |
Welcome to Burghley House in Lincolnshire. | 0:00:20 | 0:00:23 | |
Over the last 25 years, millions of pounds have been spent on restoration here, | 0:00:23 | 0:00:27 | |
which makes it a fitting venue for today's Restoration Roadshow. | 0:00:27 | 0:00:32 | |
There are plenty of people arriving here today with intriguing family treasures. | 0:00:32 | 0:00:37 | |
Everyone's keen to know just how much they're worth. | 0:00:37 | 0:00:40 | |
As it is, it's a £100 sort of thing, isn't it, really? | 0:00:40 | 0:00:44 | |
Should they be spruced up and restored? | 0:00:44 | 0:00:47 | |
-I let the grandchildren play with it. -I like grandchildren, cos they bring me lots of work. | 0:00:47 | 0:00:51 | |
Will they make money at auction... | 0:00:51 | 0:00:54 | |
-90 with you. -..or simply end up back home? | 0:00:54 | 0:00:56 | |
£800, sold! | 0:00:56 | 0:00:59 | |
Coming up, a 17th century wine jug finds a big fan. | 0:00:59 | 0:01:03 | |
-I love this. -But its owner isn't so sure. | 0:01:03 | 0:01:07 | |
I think I like it more than you do. | 0:01:07 | 0:01:08 | |
Yeah, I'm sure you do! | 0:01:08 | 0:01:11 | |
And we're hoping this beauty will woo the crowds on auction day. | 0:01:11 | 0:01:15 | |
-At £50, and 5 now? -A bit more than that. | 0:01:15 | 0:01:18 | |
Burghley House is over 500 years old. | 0:01:22 | 0:01:24 | |
It was built for William Cecil, Queen Elizabeth I's trusted adviser. | 0:01:24 | 0:01:29 | |
With so much history within its walls, Burghley has more than its share of restoration challenges. | 0:01:29 | 0:01:34 | |
Later on, we'll see how conservators are quite literally piecing its past back together. | 0:01:34 | 0:01:40 | |
I opened a drawer, and found a wonderful bag of bits, and a box. | 0:01:40 | 0:01:45 | |
But before that, we have a saying here at Restoration Roadshow - one person's junk is another's treasure. | 0:01:45 | 0:01:52 | |
'Janet Goodwin can't stand this ugly old broken jug, but to me, this 300-year-old chap is very special.' | 0:01:52 | 0:01:59 | |
Well, here's a pot with a bit of history to it. | 0:01:59 | 0:02:03 | |
I'm just intrigued to know which bit of history you can tell me about. | 0:02:03 | 0:02:07 | |
Not a lot, actually. | 0:02:07 | 0:02:08 | |
It's always been there in my mother's home, and then when she died, it came to me. | 0:02:08 | 0:02:16 | |
-Do you know when it was made, where it was made? -I thought it was either Dutch or German. | 0:02:16 | 0:02:20 | |
Ooh, yes, very good. You're absolutely right. | 0:02:20 | 0:02:24 | |
It IS German. | 0:02:24 | 0:02:25 | |
'This jug would have brought German wine to England in the late 17th century. | 0:02:25 | 0:02:30 | |
'The portrait on the neck is a cheeky swipe at a famous teetotaller of the day.' | 0:02:30 | 0:02:36 | |
-This face - bit scary, that, isn't it? -It's enough to stop a clock! | 0:02:36 | 0:02:40 | |
I don't want to be unkind, but that's only a face a mother could love. | 0:02:40 | 0:02:44 | |
-It is. -But I know who that man is. Do you know who this is? -No. | 0:02:44 | 0:02:49 | |
Let me tell you. He was a cardinal, and his name was Bellarmine. | 0:02:49 | 0:02:53 | |
'Ironic - an anti-drinking cardinal giving his name to a wine jug. | 0:02:53 | 0:02:58 | |
'Who'd have thought there was such a strong sense of humour back then?' | 0:02:58 | 0:03:02 | |
And is it something you were thinking of moving on, for want of a better expression? | 0:03:02 | 0:03:07 | |
Probably, yes. | 0:03:07 | 0:03:09 | |
In its present condition, I think it's somewhere in the region of possibly £600 on a good day. | 0:03:09 | 0:03:15 | |
'Bellarmine jugs in mint condition can fetch a pretty penny, | 0:03:15 | 0:03:18 | |
'but this old chap needs a serious facelift if he's going to get a look in. | 0:03:18 | 0:03:22 | |
'Roger Hawkins is a leading expert in ceramics restoration, with many international clients. | 0:03:22 | 0:03:28 | |
'Restored or not, he's got a passion for this pot.' | 0:03:28 | 0:03:31 | |
Come across many of these in your time, Roger? | 0:03:31 | 0:03:34 | |
I have, yes, indeed, but not always as nice as this, because this I want to take home. | 0:03:34 | 0:03:41 | |
-You do, do you? -I do. I love this. | 0:03:41 | 0:03:44 | |
-But I think I like it more than you do. -Yeah, I'm sure you do! | 0:03:44 | 0:03:47 | |
No, it's particularly nice. So often, these Bellarmine jugs | 0:03:49 | 0:03:52 | |
don't have these emblems on the side, | 0:03:52 | 0:03:55 | |
and the fact that it has this extra glaze, | 0:03:55 | 0:03:57 | |
that's a good sign of quality, because that would have meant an extra firing. | 0:03:57 | 0:04:01 | |
It would have been a more expensive piece than the ordinary, common Bellarmine jug. | 0:04:01 | 0:04:06 | |
The damage, fortunately, is not too severe. It's perfectly restorable. | 0:04:06 | 0:04:11 | |
The cost of that restoration, approximately? | 0:04:11 | 0:04:13 | |
The cost, without looking at it under a magnifying glass, I would suspect... | 0:04:13 | 0:04:19 | |
-300? -Right. -And that would include cleaning, because it is very, very grubby. | 0:04:22 | 0:04:28 | |
You're certainly going to get your money back, | 0:04:28 | 0:04:30 | |
and let's keep our fingers crossed that the world embraces it, not just Roger. | 0:04:30 | 0:04:36 | |
-Ah! -And we get it into the high hundreds and maybe, with a bit of luck, even a little bit more. | 0:04:36 | 0:04:41 | |
-All right. -OK. You say, "Yes, Eric." | 0:04:41 | 0:04:44 | |
-Yes, Eric. -That's all I need to hear. | 0:04:44 | 0:04:46 | |
'He may not be tall, dark and handsome, but he's survived over 300 years of hard living. | 0:04:47 | 0:04:53 | |
'In his slightly grubby state, we think he's worth £600. | 0:04:53 | 0:04:58 | |
'Roger will give him the once-over | 0:04:58 | 0:05:00 | |
'for around about £300, | 0:05:00 | 0:05:01 | |
'and we're hoping | 0:05:01 | 0:05:02 | |
'he'll go down well with the bidders | 0:05:02 | 0:05:04 | |
'for £1,000 at auction. | 0:05:04 | 0:05:06 | |
'Roger's certainly keen on this pot, but when it comes to auction, | 0:05:06 | 0:05:11 | |
'will the bidders be thirsting to buy this wonderful old crock?' | 0:05:11 | 0:05:14 | |
-We'll come back in at £500. -Come on, keep it going. | 0:05:14 | 0:05:17 | |
'Some of the items we see here on Restoration Roadshow are far more than just decorative. | 0:05:17 | 0:05:23 | |
'They're a wonderful glimpse into our social history. | 0:05:23 | 0:05:27 | |
'Craig Benson has brought something special in to show Louise. | 0:05:27 | 0:05:30 | |
'Paper conservator Louise Drover has worked for the Victoria And Albert Museum and the National Trust.' | 0:05:30 | 0:05:36 | |
So, how did you come by this poster? | 0:05:36 | 0:05:39 | |
It was brought into our shop in Stamford by a man who thought I might be interested in buying it. | 0:05:39 | 0:05:44 | |
Fantastic. It's a really striking piece, isn't it? Lovely, vibrant colours. | 0:05:44 | 0:05:49 | |
So, do you have any idea what the date is on this poster? | 0:05:49 | 0:05:53 | |
Nothing specific, | 0:05:53 | 0:05:54 | |
apart from the fact that the styles of the clothes and the make-up would suggest Second World War era. | 0:05:54 | 0:06:01 | |
'Spot on, Craig. The poster was designed for Woman's Own magazine, and is dated around 1947, | 0:06:03 | 0:06:10 | |
'but with its fresh pop art feel, it looks like it could have been made yesterday.' | 0:06:10 | 0:06:15 | |
Interestingly enough, it's actually printed on linen. It's not paper. | 0:06:17 | 0:06:21 | |
So that would figure, as there was obviously a shortage of paper during that time. | 0:06:21 | 0:06:25 | |
'But this cover girl hasn't had any admirers for a long time. | 0:06:25 | 0:06:30 | |
'Craig has kept her on top of the wardrobe for 15 years - not the best method of preservation.' | 0:06:30 | 0:06:35 | |
As it's been rolled for some time, it's got this sort of undulation. | 0:06:35 | 0:06:40 | |
You need to just lightly humidify and flatten it, | 0:06:40 | 0:06:43 | |
and to keep it nice and flat, it's mainly a mounting technique, | 0:06:43 | 0:06:47 | |
and I would add a sort of false margin to the edges so that we don't lose any of this image, | 0:06:47 | 0:06:53 | |
and that would be pulled around in a strainer-type way around a piece of board. | 0:06:53 | 0:06:58 | |
-That would cost in the region of £95 to do. -Would it, now? | 0:06:58 | 0:07:03 | |
The thing is, though, once that work is done, | 0:07:03 | 0:07:06 | |
the interesting thing is that this could sell for around £150. | 0:07:06 | 0:07:11 | |
-Oh, right. -So, do you think this is something you might like to go ahead with? | 0:07:11 | 0:07:15 | |
Yes, I think so. | 0:07:15 | 0:07:16 | |
It's a shame that something so striking isn't actually out there and being enjoyed by somebody. | 0:07:16 | 0:07:22 | |
'So, as it is, the poster's worth around about £40-£50. | 0:07:22 | 0:07:27 | |
'To make it more alluring at auction, | 0:07:27 | 0:07:29 | |
'Louise will mount it for £95, | 0:07:29 | 0:07:31 | |
'and we hope it'll bring in £150. | 0:07:31 | 0:07:34 | |
'But even after a makeover, will she be able to turn on the style at auction?' | 0:07:34 | 0:07:40 | |
£50 to begin? | 0:07:40 | 0:07:41 | |
Coming up, this elegant Louis XIV-style desk from the late 1880s | 0:07:43 | 0:07:48 | |
has taken a few knocks, but is it beyond repair? | 0:07:48 | 0:07:51 | |
-There's a huge section of brasswork missing there. -Oh, there is, actually. | 0:07:51 | 0:07:55 | |
And will it be drinks all round when the Bellarmine jug goes to auction? | 0:07:55 | 0:07:59 | |
At £1,000, somebody? | 0:07:59 | 0:08:01 | |
'Here at the Restoration Roadshow, our furniture experts are familiar with a very nasty customer. | 0:08:05 | 0:08:12 | |
'No, it's not woodworm. | 0:08:12 | 0:08:13 | |
'It's water, wood's number one enemy. | 0:08:13 | 0:08:17 | |
'It seeps deep into the grain, causing severe staining. | 0:08:17 | 0:08:19 | |
'Tim Akers is a furniture restorer, | 0:08:19 | 0:08:22 | |
'working on everything from 300-year-old walnut tables to modest family heirlooms. | 0:08:22 | 0:08:28 | |
'I like to call him the wood doctor. | 0:08:28 | 0:08:29 | |
'Val Taylor has brought in a Victorian chest with some heavy scarring.' | 0:08:29 | 0:08:35 | |
That is really vicious, I have to say. | 0:08:35 | 0:08:37 | |
-I can't imagine what did that, actually. -Probably water. | 0:08:37 | 0:08:40 | |
I can't guarantee that we can remove that mark. | 0:08:40 | 0:08:43 | |
-I will only know when I try, so don't expect it to disappear. -What about the other marks? | 0:08:43 | 0:08:48 | |
Oh, I like that. It's really scars of its age, isn't it? | 0:08:48 | 0:08:51 | |
It's been well used, well loved, apart from the little bit of accident there. | 0:08:51 | 0:08:56 | |
'Tim may be able to find a way of getting rid of that hideous mark, but he's hedging his bets.' | 0:08:56 | 0:09:02 | |
Don't expect it to disappear. If it does, that's absolutely fantastic. | 0:09:02 | 0:09:06 | |
'Will he work wonders? | 0:09:06 | 0:09:07 | |
'We'll find out later. | 0:09:07 | 0:09:09 | |
'It's always a real treat to see an item that reflects the skill of its maker. | 0:09:12 | 0:09:17 | |
'Our next sickly patient, a Louis XIV-style bureau from the 1880s. | 0:09:17 | 0:09:22 | |
'In its day, it would have been specially commissioned, and something of a status symbol. | 0:09:22 | 0:09:26 | |
'Owners Elizabeth and Stuart Smith are hoping to stop its steady decline. | 0:09:26 | 0:09:31 | |
'Rodrigo Titian is supremely skilled at marquetry and gilding. | 0:09:31 | 0:09:35 | |
'His clients have included Kew Gardens and the Royal household.' | 0:09:35 | 0:09:39 | |
I have to thank you for bringing this amazing piece of furniture in. | 0:09:39 | 0:09:42 | |
Look at the colours, look at the work that's involved. | 0:09:42 | 0:09:45 | |
And how did this come to be in your possession? | 0:09:45 | 0:09:47 | |
Well, it belonged to my mother, and she bought it off her mother. | 0:09:47 | 0:09:53 | |
-Bought it off her mother? -Yes, yes. -I thought I heard that right. | 0:09:53 | 0:09:56 | |
Yes, that's correct! I don't know what the price was, no idea. | 0:09:56 | 0:10:00 | |
So, that's what she had to do. | 0:10:00 | 0:10:02 | |
-I see. -And it was sat there from me being about five or six. | 0:10:02 | 0:10:07 | |
I remembered it growing up, but when my mother went in hospital... | 0:10:07 | 0:10:12 | |
Well, she died two months ago. She would never have parted with it, | 0:10:12 | 0:10:15 | |
-so I don't want to now, because of that. -She had a good eye. | 0:10:15 | 0:10:19 | |
Yes, she had. | 0:10:19 | 0:10:20 | |
This is really an amazing example of Boulle work. | 0:10:20 | 0:10:23 | |
'Boulle work was named after Frenchman Andre Boulle. | 0:10:23 | 0:10:27 | |
'Developed during Louis XIV's reign in the late 1600s, it was a triumph of artisan techniques of the day.' | 0:10:27 | 0:10:34 | |
And even though it's a Boulle work revival set around the 1880s, | 0:10:34 | 0:10:38 | |
it really does show the craftsmanship to the highest quality, | 0:10:38 | 0:10:41 | |
and in effect, what Boulle work is, | 0:10:41 | 0:10:43 | |
is just the incising of brassware, the thin brass plate into the tortoiseshell itself. | 0:10:43 | 0:10:49 | |
There's a huge section of brasswork missing there. | 0:10:49 | 0:10:52 | |
-Oh, there is, actually. -A little bit of lifting there. | 0:10:52 | 0:10:56 | |
And... Lovely, a lovely piece. | 0:10:56 | 0:11:00 | |
Now, do you have any idea of its value at the moment? | 0:11:00 | 0:11:02 | |
None whatsoever. | 0:11:02 | 0:11:04 | |
Its value at the moment, pre-restoration, is about £350-£400. | 0:11:04 | 0:11:08 | |
-Right. -If it were restored, obviously depending on how far we go with the restoration, | 0:11:08 | 0:11:14 | |
but a kind of average figure of about £800-£850 value post-restoration. | 0:11:14 | 0:11:20 | |
'There's a lot of work here, so Rod's got a few choices.' | 0:11:20 | 0:11:23 | |
The first option, if we were just to do the essential, about £200. | 0:11:23 | 0:11:29 | |
If we were to do a lot more, whereby we'd replace all the missing areas that are really offending the eye, | 0:11:29 | 0:11:36 | |
about £800 on top, so a total of £1,000 there. | 0:11:36 | 0:11:39 | |
-We're definitely going to have it restored, aren't we? -Oh, yes. | 0:11:39 | 0:11:43 | |
And thoughts on the options? | 0:11:43 | 0:11:45 | |
-Probably the second one, don't you think? -Yes. -Yeah, the second option. | 0:11:45 | 0:11:50 | |
It's no good going so far, and then thinking, you know, "It could look better." | 0:11:50 | 0:11:56 | |
'Good on them! The current value of the bureau is £350-£400, | 0:11:56 | 0:12:01 | |
'and after £1,000 of restoration, | 0:12:01 | 0:12:03 | |
'it'll be worth £800-£850. | 0:12:03 | 0:12:07 | |
'It gladdens my heart to see people prepared to dig so deep | 0:12:07 | 0:12:10 | |
'to preserve this breathtaking piece for future generations. | 0:12:10 | 0:12:14 | |
'It deserves it. | 0:12:14 | 0:12:15 | |
'But Boulle work requires the patience of a saint, and the hands of a surgeon.' | 0:12:17 | 0:12:21 | |
What I don't want to do is to aggravate the actual piece itself. | 0:12:21 | 0:12:25 | |
Done incorrectly, it can actually completely ruin the piece. | 0:12:25 | 0:12:29 | |
'Rod's going to take this bureau back to his specialist workshop, | 0:12:29 | 0:12:32 | |
'where he has all the right tools for this delicate operation.' | 0:12:32 | 0:12:36 | |
Coming up, don't try this at home, kids. | 0:12:39 | 0:12:41 | |
Tim tries a radical approach to remove that water stain. | 0:12:41 | 0:12:45 | |
I've got a jar with some hot water here, and some oxalic acid. | 0:12:45 | 0:12:49 | |
'And will our funky 1940s fashion poster be enough to turn heads at auction?' | 0:12:49 | 0:12:53 | |
£55. Any more? | 0:12:53 | 0:12:57 | |
'At the Restoration Roadshow, we're seeing a wide variety of family heirlooms.' | 0:13:01 | 0:13:07 | |
How many years has it been in your family? | 0:13:07 | 0:13:09 | |
Well, in the family, since the '50s. | 0:13:09 | 0:13:11 | |
'As you can imagine, a fine historic home like Burghley has its collection of family mementos too, | 0:13:11 | 0:13:18 | |
'just on a slightly grander scale. | 0:13:18 | 0:13:21 | |
'Over the years, the Lords of Burghley have added to the treasures here. | 0:13:21 | 0:13:25 | |
'The 9th Earl of Exeter was an enthusiastic grand tourist, | 0:13:25 | 0:13:28 | |
'and he brought back loads of Italian masterpieces. | 0:13:28 | 0:13:32 | |
'For renowned English furniture expert and Burghley resident Orlando Rock, | 0:13:32 | 0:13:36 | |
'the collection is a dream come true.' | 0:13:36 | 0:13:39 | |
It's a bit like being a child in a sweet shop, | 0:13:39 | 0:13:41 | |
because there are such incredible riches here, and particularly in the grand tour collecting. | 0:13:41 | 0:13:46 | |
So, as a study house, Burghley doesn't get any better than that. | 0:13:46 | 0:13:49 | |
'But sadly, not all of the 9th Earl's souvenirs survived intact.' | 0:13:49 | 0:13:54 | |
Well, this was a great thing, | 0:13:54 | 0:13:55 | |
Rootling around in the dark nurseries, | 0:13:55 | 0:13:58 | |
I opened a drawer, and found a wonderful bag of bits, and a box. | 0:13:58 | 0:14:02 | |
Those bits were from an 18th century frame made out of scagliola. | 0:14:03 | 0:14:08 | |
A plaster made from marble dust, it can be a nightmare to restore. | 0:14:08 | 0:14:13 | |
The techniques have moved on, and the abilities of the restorers are fantastic, | 0:14:13 | 0:14:17 | |
so to see something raised from the dead is exactly what I love to see. | 0:14:17 | 0:14:21 | |
With infinite care, the restorers were able to piece together the jagged jigsaw puzzle, | 0:14:21 | 0:14:26 | |
to produce this stunning result. | 0:14:26 | 0:14:29 | |
I've never, ever seen another one like it anywhere. | 0:14:29 | 0:14:31 | |
So, I'm not sure if it's unique, but it appears to be so far. | 0:14:31 | 0:14:35 | |
Quite splendid. The hours lavished on this piece have been time well spent. | 0:14:36 | 0:14:40 | |
'Back at the Burghley roadshow, we're seeing our own fair share of antique casualties. | 0:14:42 | 0:14:48 | |
'Remember that huge unsightly water stain on the mahogany chest?' | 0:14:49 | 0:14:53 | |
-Did you inherit the mark, or... -We inherited the mark. | 0:14:53 | 0:14:56 | |
-So, can't blame you for that. -No, no, no, no. It came as it is! | 0:14:56 | 0:14:59 | |
'Tim's ready to tackle it. First, he cleans away the polish, | 0:14:59 | 0:15:03 | |
'and then prepares the surface using methylated spirit.' | 0:15:03 | 0:15:07 | |
So that's now de-polished in that area and dry, and I've got a jar with some hot water here, | 0:15:08 | 0:15:15 | |
and some oxalic acid. | 0:15:15 | 0:15:19 | |
'Tricky stuff, oxalic acid. | 0:15:19 | 0:15:20 | |
'He's using it to bleach the stain. | 0:15:20 | 0:15:22 | |
'Too little will leave the mark untouched, but too much will eat into the wood, damaging the top. | 0:15:22 | 0:15:28 | |
'Acid is highly corrosive, so something like this is best left to the experts.' | 0:15:28 | 0:15:34 | |
I'm just going to brush it in. With a bit of luck, we'll see some of this... | 0:15:34 | 0:15:37 | |
Some of this lift. | 0:15:37 | 0:15:39 | |
Go with the grain. | 0:15:41 | 0:15:44 | |
I can definitely see the stain lightening as I work on it, which is really good. | 0:15:44 | 0:15:49 | |
It's definitely gone lighter there. | 0:15:49 | 0:15:51 | |
You can see, I think it's working quite well, actually. | 0:15:51 | 0:15:54 | |
As it dries, it actually bites in more, | 0:15:54 | 0:15:56 | |
so if you've got some movement when you first do it, you know you're on to some form of success. | 0:15:56 | 0:16:02 | |
You can actually paint this on and nothing happens at all. | 0:16:02 | 0:16:05 | |
'But will Tim's delicate brushwork be enough to banish a century's worth of dirt and staining? | 0:16:05 | 0:16:11 | |
'In a moment, we'll see if he's passed the acid test. | 0:16:11 | 0:16:14 | |
'Our restorers have been busy nipping and tucking at today's Restoration Roadshow. | 0:16:16 | 0:16:20 | |
'But sometimes they need a more controlled environment to finish the job. | 0:16:20 | 0:16:24 | |
'Remember that Bellarmine jug with a broken neck? | 0:16:24 | 0:16:28 | |
'Roger has taken it back to his workshop.' | 0:16:28 | 0:16:30 | |
I've stuck the top back on. | 0:16:30 | 0:16:34 | |
I have made good the join between the two materials. | 0:16:34 | 0:16:37 | |
There was a piece here I've put back in. | 0:16:37 | 0:16:39 | |
His eyebrows here were a little bit chipped. | 0:16:39 | 0:16:43 | |
I've remodelled that back in. | 0:16:43 | 0:16:45 | |
My task now is to give it its first coat of paint. | 0:16:45 | 0:16:49 | |
The jug's covered in a salt glaze. | 0:16:49 | 0:16:52 | |
When it was fired, the salt was thrown into the kiln, which then vaporized, | 0:16:52 | 0:16:56 | |
to form this distinctive glaze. Roger's got to match this effect, | 0:16:56 | 0:17:00 | |
which means working in very careful stages. | 0:17:00 | 0:17:02 | |
I'm going to paint what needs to be the lightest colour. | 0:17:02 | 0:17:07 | |
It's no use painting this brown on here. | 0:17:07 | 0:17:09 | |
I've got to go for this undercoat colour. | 0:17:09 | 0:17:13 | |
That's the colour I'm going to go for first. | 0:17:13 | 0:17:16 | |
I'll spray that on, and if I'm happy with it, | 0:17:16 | 0:17:19 | |
I'll leave it on, and then over that, I can then put the brown colours. | 0:17:19 | 0:17:24 | |
Now, I have to get the undercoat, | 0:17:24 | 0:17:26 | |
the first coat of paint I put on, absolutely spot on, | 0:17:26 | 0:17:30 | |
because if that's wrong, then the topcoat will be wrong. | 0:17:30 | 0:17:33 | |
Roger must also use the right technique to apply the paint. | 0:17:33 | 0:17:38 | |
Airbrushing best mimics the glaze. | 0:17:38 | 0:17:41 | |
But will Roger's meticulous work intoxicate the bidders when it comes to auction? | 0:17:41 | 0:17:47 | |
Remember the 19th century Louis XIV-style desk with all its intricate Boulle work? | 0:17:49 | 0:17:56 | |
In his workshop, Rod has begun the delicate process of repair. | 0:17:56 | 0:17:59 | |
This is brass plate. | 0:17:59 | 0:18:01 | |
We need to actually plot out the design of the section that's missing on here, and then cut this out. | 0:18:01 | 0:18:08 | |
This is very, very thin, about a hundredth of a millimetre thin. | 0:18:08 | 0:18:11 | |
So you can actually see, you know, the fact that it really is like paper... Cardboard, if anything. | 0:18:11 | 0:18:17 | |
Rod sandwiches the wafer-thin brass between two pieces of veneer to help keep it steady. | 0:18:17 | 0:18:23 | |
So, the way we do this by cutting the shapes out and everything | 0:18:23 | 0:18:27 | |
are all done in very much the traditional methods that were used 150 to 400 years ago, | 0:18:27 | 0:18:33 | |
when Boulle work was first evolved. | 0:18:33 | 0:18:35 | |
Rod then immerses the cut-out in hot water to melt the glue, | 0:18:35 | 0:18:39 | |
and when he peels away the veneer, hey presto! | 0:18:39 | 0:18:42 | |
It's all literally... It's cut away so nicely, nice and cleanly. | 0:18:42 | 0:18:45 | |
So I'm just going to try this in position first, just dry, just to make sure it fits nicely. | 0:18:47 | 0:18:52 | |
I'm going to have to make a couple of adjustments. | 0:18:52 | 0:18:55 | |
A little bit of adjusting to do in that section there where it's a little bit proud, | 0:18:55 | 0:19:00 | |
but generally, that's come out quite nicely. It's quite happy with that. | 0:19:00 | 0:19:03 | |
Impressive stuff. But it's just the first step in what will be a painstaking labour of love for Rod. | 0:19:03 | 0:19:10 | |
Louise is back in her workshop too, along with that crinkled linen fashion poster. | 0:19:14 | 0:19:19 | |
She's mounting it ready for auction. | 0:19:19 | 0:19:21 | |
Posters were often printed on poor quality paper that fell apart, but linen is really hard-wearing, | 0:19:21 | 0:19:28 | |
and Louise wants to keep it in tip-top condition. | 0:19:28 | 0:19:31 | |
But this is the only chance to get it right. | 0:19:31 | 0:19:35 | |
The reason we wouldn't stick just one sheet to one side | 0:19:35 | 0:19:39 | |
is that you can get this terrible bowing. | 0:19:39 | 0:19:43 | |
You would end up with a very warped board, and this way keeps it nice and rigid, which is what you want. | 0:19:43 | 0:19:50 | |
The next stage is to glue the poster onto the board. | 0:19:51 | 0:19:53 | |
It might seem like a simple job, but if she gets it wrong, she might damage the artwork. | 0:19:53 | 0:20:00 | |
I've got to work quite quickly, | 0:20:00 | 0:20:02 | |
because the adhesive will actually dry, | 0:20:02 | 0:20:05 | |
and then we can't... You know, if we happen to pitch it wrong, it will actually end up in the wrong place. | 0:20:05 | 0:20:12 | |
Louise is taking a lot of time and care, | 0:20:12 | 0:20:16 | |
but will the end result catch the eye of the bidders when it comes to auction? | 0:20:16 | 0:20:20 | |
Restoration work requires incredible concentration and many lonely hours in the workshop. | 0:20:23 | 0:20:31 | |
But at the end of the day, it's the result that counts. | 0:20:31 | 0:20:34 | |
Remember the water-stained Georgian chest? | 0:20:34 | 0:20:37 | |
Oh, wow! Oh, wow! | 0:20:37 | 0:20:39 | |
It's come out. | 0:20:39 | 0:20:41 | |
-Thank goodness. -You've managed to get it out. | 0:20:41 | 0:20:45 | |
Remember the blackened and scarred surface? | 0:20:45 | 0:20:49 | |
Now it's hard to believe it was ever there. | 0:20:49 | 0:20:53 | |
Fabulous. That's really, really, really lovely. | 0:20:53 | 0:20:56 | |
What's surprising is you managed to get the mark out. | 0:20:56 | 0:20:59 | |
You can see where it's eaten into the wood. It's slightly rougher there. | 0:20:59 | 0:21:03 | |
But that's purely because that's what the water had done, eaten into the timber. | 0:21:03 | 0:21:07 | |
-Oh, it's hugely better. -Brilliant. -Fantastic. Thank you. | 0:21:07 | 0:21:11 | |
So today's top tip, folks, always protect your wooden surfaces. | 0:21:11 | 0:21:15 | |
Speaking of wood, brass, tortoiseshell, and gilding too - | 0:21:18 | 0:21:21 | |
Rod's finished work on that Louis XIV-style bureau from the 1880s. | 0:21:21 | 0:21:27 | |
So let's have a go. | 0:21:29 | 0:21:31 | |
Oh, that's fantastic. | 0:21:33 | 0:21:35 | |
-That's just amazing, that. -It is. | 0:21:35 | 0:21:37 | |
-Oh, he's cleaned the cherubs. -Yes, I can't believe what it looks like. | 0:21:37 | 0:21:41 | |
Before, the bureau was tired and patchy. | 0:21:41 | 0:21:44 | |
Even the inlay was coming away. | 0:21:44 | 0:21:46 | |
Inch by careful inch, Rod's re-laid the brass and tortoiseshell. | 0:21:46 | 0:21:52 | |
I have to say, his efforts have been highly successful. | 0:21:52 | 0:21:55 | |
There were lots and lots of areas missing. | 0:21:55 | 0:21:57 | |
There was couple of missing areas of brasswork here we've put back, | 0:21:57 | 0:22:01 | |
and just literally, you know, if you tapped it along, | 0:22:01 | 0:22:03 | |
you could see and hear all the raised sections of brasswork. | 0:22:03 | 0:22:07 | |
So, was it worth parting with £1,000? | 0:22:07 | 0:22:10 | |
-I think it looks absolutely fantastic. -Brilliant. -I'm really, really pleased. | 0:22:10 | 0:22:14 | |
I mean, it's been in our family many, many years, | 0:22:14 | 0:22:18 | |
and hopefully it will stop in the family many, many more years. | 0:22:18 | 0:22:21 | |
'What a cracking result, but there's more to come. | 0:22:24 | 0:22:27 | |
'Here's a reminder of the bedraggled bunch of antiques that came to our attention at our Burghley Roadshow, | 0:22:27 | 0:22:33 | |
'which we'll now be taking to auction. | 0:22:33 | 0:22:36 | |
'The wrinkled 1940s fashion poster. | 0:22:36 | 0:22:39 | |
'We're hoping a facelift will help it bring at least £100 at auction. | 0:22:39 | 0:22:44 | |
'And I've taken a liking to the ugly and ancient Bellarmine jug. | 0:22:44 | 0:22:49 | |
'It's bursting with character, but will the bidders agree, and pay up to £1,000 after restoration? | 0:22:49 | 0:22:55 | |
'It's the moment of reckoning here at Thomas Mawer & Sons in Lincoln. | 0:23:01 | 0:23:06 | |
'The viewing room is full of antique temptations, and we've brought along some treats of our own. | 0:23:06 | 0:23:11 | |
'Now, do remember that auction houses charge fees and commission, | 0:23:11 | 0:23:15 | |
'and that everything that's been restored will be noted in the catalogue, | 0:23:15 | 0:23:20 | |
'like Janet's Bellarmine jug. | 0:23:20 | 0:23:21 | |
'She wasn't susceptible to his rugged charm before, | 0:23:21 | 0:23:24 | |
'so what will she think of him after Roger's makeover?' | 0:23:24 | 0:23:28 | |
Wow! That's amazing. | 0:23:30 | 0:23:32 | |
It looks lovely, doesn't it? | 0:23:32 | 0:23:35 | |
-Yes, very good. -It's amazing what's happened to it, | 0:23:35 | 0:23:38 | |
and the sheen and the colours I think are lovely. You've done very well. | 0:23:38 | 0:23:42 | |
-Thank you. A little bit different, a little bit neater and tidier than it was last time. -Absolutely! | 0:23:42 | 0:23:48 | |
'Before, Janet's jug had a nasty chunk missing from the lip and neck. | 0:23:48 | 0:23:53 | |
'But can you see the mend? I know I can't.' | 0:23:53 | 0:23:58 | |
It looks as good as the day it was made, doesn't it? | 0:23:58 | 0:24:00 | |
You've got a reserve on this piece? | 0:24:00 | 0:24:02 | |
I have. It's £1,200. | 0:24:02 | 0:24:04 | |
-OK. Well, we're hopeful. -Yes. | 0:24:04 | 0:24:07 | |
We can't offer you any guarantees. | 0:24:07 | 0:24:09 | |
No. Well, looking at it now, I'd take it home! | 0:24:09 | 0:24:11 | |
'Oh, Janet, you fickle lady!' | 0:24:13 | 0:24:16 | |
What did she say before? "Oh, I don't like it. I think I'll sell it." | 0:24:16 | 0:24:20 | |
-Yes, OK. -Now, it's a different story. | 0:24:20 | 0:24:24 | |
It is a different story. | 0:24:24 | 0:24:25 | |
'So, while Janet's fallen in love with her jug, | 0:24:25 | 0:24:28 | |
'what will Craig make of the crumpled poster that once lived on top of his wardrobe?' | 0:24:28 | 0:24:33 | |
I'm going to be very gentle with this one, because... | 0:24:33 | 0:24:38 | |
There it is. | 0:24:38 | 0:24:41 | |
That is very impressive. It looks a lot better than it did when I brought it in. | 0:24:41 | 0:24:45 | |
If I was looking at that for the first time, I'd swear that it was contemporary, | 0:24:45 | 0:24:49 | |
because she's got very much a contemporary face, | 0:24:49 | 0:24:53 | |
and just the sheer condition. I mean, it looks brand new. | 0:24:53 | 0:24:58 | |
'Before, the poster was wrinkled. | 0:24:58 | 0:25:00 | |
'Now fixed flat to a new board, the striking image has a really fresh feel. | 0:25:00 | 0:25:05 | |
'Louise's handiwork is a big hit with Craig, but will the bidders be equally keen?' | 0:25:05 | 0:25:11 | |
My hope would be that somebody will give it a good home, and actually put it up on display. | 0:25:11 | 0:25:15 | |
'First up is the Bellarmine jug which Janet inherited. | 0:25:23 | 0:25:28 | |
'It cost £300 to restore. | 0:25:28 | 0:25:30 | |
'Janet has put a high reserve of £1,200 on it, | 0:25:30 | 0:25:34 | |
'but I suspect she's letting her heart rule her head, and £1,000 is a more realistic price.' | 0:25:34 | 0:25:40 | |
-How are we feeling? -A bit nervous. | 0:25:41 | 0:25:44 | |
You're allowed that. You are allowed that. | 0:25:44 | 0:25:47 | |
Lot number 592, this Bellarmine. | 0:25:47 | 0:25:49 | |
Who's going to start this one at £1,000? £1,000, looking for a starter at £1,000. | 0:25:49 | 0:25:54 | |
£700. £700 starts it. £700 starts it. | 0:25:54 | 0:25:57 | |
5, then, £500. Anybody going to start me at £500? | 0:25:57 | 0:26:01 | |
At £500? No? Not going to go at £500? We've got a bid of £500 on the internet. Back in at £500. | 0:26:01 | 0:26:06 | |
Oh, all of a sudden there's action. | 0:26:06 | 0:26:08 | |
550. 550 going to on the net, 550. £600, 650. | 0:26:08 | 0:26:14 | |
-Come on. Keep it going. -700 now. | 0:26:14 | 0:26:17 | |
Thank you. £700 out. £700. | 0:26:17 | 0:26:19 | |
£700 on the net. At £700. £750 now? | 0:26:19 | 0:26:22 | |
No? No more on the net at £750? | 0:26:22 | 0:26:25 | |
Out at 750, how infuriating. | 0:26:27 | 0:26:29 | |
-Hmm. -So it looks to me... -As if I'm taking it home. | 0:26:29 | 0:26:32 | |
It does, doesn't it? But you're not shedding any tears, I see. | 0:26:32 | 0:26:35 | |
No. No, no, no, no. Well, when I saw it restored, I just thought, well, "Do I want to sell it now?" | 0:26:35 | 0:26:40 | |
-Mmm. -It looks wonderful. | 0:26:40 | 0:26:44 | |
'Well, Janet's obviously happy with her newfound love. | 0:26:44 | 0:26:49 | |
'Now, it's our fashion icon's turn to strut her stuff. | 0:26:49 | 0:26:52 | |
'Originally valued at £40-£50, Craig invested £95 getting her ready for auction. | 0:26:52 | 0:26:59 | |
'We're hoping for anything from £100-£150.' | 0:26:59 | 0:27:03 | |
Lot 510A is the poster. | 0:27:03 | 0:27:09 | |
£100 to start me, £100? | 0:27:09 | 0:27:11 | |
-£50 to begin? -Where are you? | 0:27:11 | 0:27:14 | |
£50, I'm bid at £50. At £50, and 5 now. | 0:27:14 | 0:27:18 | |
55, 60, 5, 70. 5 now. | 0:27:18 | 0:27:22 | |
It's worth a bit more than that. | 0:27:22 | 0:27:24 | |
There is a bidder. There it is. | 0:27:24 | 0:27:28 | |
-85, 90. -Come on. -£90. | 0:27:28 | 0:27:31 | |
-95, 100? -100. -110? | 0:27:31 | 0:27:33 | |
-£100 I'm bid. -£100. -£100. Any more? | 0:27:33 | 0:27:36 | |
All done at £100. The last time.... | 0:27:36 | 0:27:40 | |
£100. Well, you're an ex-owner. | 0:27:42 | 0:27:45 | |
-That's it. -There is a new owner. It would have been nice to... | 0:27:45 | 0:27:48 | |
It would have been nice to make a bit more on it, | 0:27:48 | 0:27:51 | |
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. | 0:27:51 | 0:27:57 | |
It makes it a far more beautiful thing. | 0:27:57 | 0:27:59 | |
'Craig's philosophical about his £95 investment, | 0:27:59 | 0:28:02 | |
'and happy that a £100 sale means that it's going to a good home. | 0:28:02 | 0:28:06 | |
'So it's been swings and roundabouts here in Lincolnshire. | 0:28:06 | 0:28:09 | |
'The jug didn't find the right buyer, but Janet's got other plans.' | 0:28:09 | 0:28:13 | |
When I saw how lovely it was, I'm certainly not disappointed. | 0:28:13 | 0:28:17 | |
When I get home, it's going back on the top of the stairs. | 0:28:17 | 0:28:20 | |
I have to say, as a pot fanatic, I'm thrilled that Janet's found a new passion for her jug. | 0:28:20 | 0:28:27 | |
So, join us again for more affairs of the heart, here on Restoration Roadshow. | 0:28:27 | 0:28:33 | |
Subtitles by Red Bee Media Ltd | 0:28:56 | 0:28:59 | |
E-mail [email protected] | 0:28:59 | 0:29:02 |