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Welcome to The Repair Shop, | 0:00:02 | 0:00:03 | |
where cherished family heirlooms are brought back to life. | 0:00:03 | 0:00:06 | |
This is the workshop of dreams. | 0:00:06 | 0:00:08 | |
Home to furniture restorer, Jay Blades. | 0:00:08 | 0:00:11 | |
Nowadays, everybody spends a fortune on stuff | 0:00:11 | 0:00:14 | |
that once it's broken, they just bin it. | 0:00:14 | 0:00:16 | |
But everybody has something that means too much to be thrown away, | 0:00:16 | 0:00:19 | |
and that's where we come in. | 0:00:19 | 0:00:21 | |
Working alongside Jay | 0:00:21 | 0:00:22 | |
will be some of the country's leading craftspeople. | 0:00:22 | 0:00:26 | |
Every piece has its own story. | 0:00:26 | 0:00:28 | |
It's amazing to think some of my work becomes a part of that story. | 0:00:28 | 0:00:31 | |
I've always played with things, I've always repaired things, | 0:00:31 | 0:00:34 | |
and I just love it. | 0:00:34 | 0:00:35 | |
There is a real pleasure in bringing people's pieces | 0:00:35 | 0:00:39 | |
back to life again. | 0:00:39 | 0:00:40 | |
Each with their own unique set of skills... | 0:00:40 | 0:00:43 | |
The right tool for the right job. | 0:00:43 | 0:00:45 | |
..they will resurrect, | 0:00:45 | 0:00:47 | |
revive and rejuvenate | 0:00:47 | 0:00:50 | |
treasured possessions | 0:00:50 | 0:00:53 | |
and irreplaceable pieces of family history. | 0:00:53 | 0:00:56 | |
Wow! She's fantastic! | 0:00:56 | 0:00:59 | |
Bringing both the objects... | 0:00:59 | 0:01:00 | |
-Oh! -This is what I remember. | 0:01:00 | 0:01:03 | |
..and the memories that they hold... | 0:01:03 | 0:01:05 | |
-Wow! -..back to life. | 0:01:05 | 0:01:07 | |
Oh, my God! | 0:01:07 | 0:01:09 | |
In the Repair Shop today, Steve is stumped by a precious wartime clock. | 0:01:23 | 0:01:29 | |
I'm just too nervous that it's going to actually end in tears. | 0:01:29 | 0:01:32 | |
And Dom comes unstuck with some heavy metal. | 0:01:32 | 0:01:37 | |
I've come so far, we're so close now to getting it completely apart. | 0:01:37 | 0:01:41 | |
I can't leave it. I've got to try and get it off. | 0:01:41 | 0:01:43 | |
But first in the Repair Shop, | 0:01:48 | 0:01:50 | |
actress Anne Marriott has brought a fragile reminder of her late husband. | 0:01:50 | 0:01:55 | |
-Hello. -Hello. -All right? I'll take that for you. | 0:01:55 | 0:01:58 | |
-Thank you very much. -OK. | 0:01:58 | 0:01:59 | |
Glass. Matt? | 0:02:01 | 0:02:04 | |
The man for this job is resident stained-glass craftsman Matt Nickels. | 0:02:04 | 0:02:09 | |
-Hi, there, I'm Matt. -Matt, hello. | 0:02:09 | 0:02:11 | |
Let's have a look at this, then. | 0:02:11 | 0:02:13 | |
What are we opening here? | 0:02:16 | 0:02:17 | |
These are pieces of glass | 0:02:17 | 0:02:19 | |
that my husband rescued from an old music hall theatre, the Old Bedford, | 0:02:19 | 0:02:24 | |
when it was being sort of finally demolished. | 0:02:24 | 0:02:27 | |
These pieces, I guess, must have come perhaps from | 0:02:27 | 0:02:29 | |
in-between the auditorium and, say, the bar at the back. | 0:02:29 | 0:02:33 | |
-Right, yeah. -To indicate to people where their seats were. | 0:02:33 | 0:02:36 | |
-Oh, that goes in there. -Yeah, the orchestra. | 0:02:36 | 0:02:39 | |
-I think this... -This one's boxes. -The posh seats, I guess. | 0:02:39 | 0:02:41 | |
The posh seats? OK. | 0:02:41 | 0:02:44 | |
The Bedford Theatre opened in Camden, North London, in 1899, | 0:02:44 | 0:02:49 | |
and was a much-loved variety venue until it closed 60 years later. | 0:02:49 | 0:02:55 | |
It lay derelict before it was finally demolished. | 0:02:55 | 0:02:57 | |
-Your husband rescued them? -He did. | 0:02:58 | 0:03:00 | |
I have a vision in my mind of him sort of stumbling over fallen masonry, | 0:03:00 | 0:03:05 | |
discovering these dusty objects, | 0:03:05 | 0:03:07 | |
fishing them out and realising the treasures they are. | 0:03:07 | 0:03:10 | |
Must have fallen in love with them, really. | 0:03:10 | 0:03:13 | |
Sadly, after his death, | 0:03:13 | 0:03:14 | |
they spent years wrapped in newspaper and up in an attic. | 0:03:14 | 0:03:18 | |
What do you reckon, can you do something with these? | 0:03:18 | 0:03:20 | |
I can, I can indeed. | 0:03:20 | 0:03:22 | |
It's nice when you look at this one that there's no broken glass. | 0:03:22 | 0:03:26 | |
This one is obviously part of a bigger window, | 0:03:26 | 0:03:29 | |
so you can see all of the lead has been cut at the joints there. | 0:03:29 | 0:03:32 | |
So from a kind of restoration point of view, | 0:03:32 | 0:03:35 | |
I think this one is going to be the easiest one. | 0:03:35 | 0:03:38 | |
So if you leave them with us, | 0:03:38 | 0:03:40 | |
Matt is definitely going to work his magic | 0:03:40 | 0:03:43 | |
and restore them back to their former glory. | 0:03:43 | 0:03:45 | |
That will be absolutely wonderful. | 0:03:45 | 0:03:47 | |
-Thanks a bunch. -Thank you. | 0:03:47 | 0:03:49 | |
-All right? -Yeah. Thanks very much. | 0:03:49 | 0:03:50 | |
-Bye now. -Take care now. | 0:03:50 | 0:03:52 | |
To have them looking the way they are supposed to look, | 0:03:52 | 0:03:56 | |
well, it would have been wonderful if that could have happened while Sean was alive | 0:03:56 | 0:04:00 | |
because if we would go to the theatre together, | 0:04:00 | 0:04:02 | |
then we'd be admiring the same sorts of things | 0:04:02 | 0:04:05 | |
in these sorts of buildings, actually. | 0:04:05 | 0:04:09 | |
-Now, that's a nice story, isn't it? -That's a really nice story. | 0:04:09 | 0:04:12 | |
It's kind of taken from the theatre. | 0:04:12 | 0:04:14 | |
-Yeah. -Her husband was in the theatre. | 0:04:14 | 0:04:16 | |
-Yeah. -She's in the theatre. | 0:04:16 | 0:04:17 | |
-Yeah. -And now the theatre is going to be in her house. | 0:04:17 | 0:04:19 | |
-It's fantastic. -So you're going to bring them right back up to date... | 0:04:19 | 0:04:22 | |
-Yeah. -Spruce them up. -Yeah, absolutely. | 0:04:22 | 0:04:24 | |
-And make them look good, yeah? -Yeah, I am indeed, yeah. -OK. | 0:04:24 | 0:04:27 | |
What I need to do is take them over to your bench. | 0:04:27 | 0:04:29 | |
-Yeah, all right. -Come on, then. | 0:04:29 | 0:04:32 | |
Family heirlooms are special for many reasons, | 0:04:39 | 0:04:43 | |
and some of them have extraordinary stories to tell. | 0:04:43 | 0:04:47 | |
Tom Ridgeway and his brother Tony | 0:04:47 | 0:04:48 | |
have brought along a particularly treasured possession | 0:04:48 | 0:04:51 | |
that is steeped in history. | 0:04:51 | 0:04:53 | |
-Hi, I'm Steve. -Tom. -Hi, Tom. -Tony. -Tony. | 0:04:53 | 0:04:57 | |
They are hoping that horologist Steve can lend his expertise. | 0:04:57 | 0:05:02 | |
Here we are. Right, what have we got? | 0:05:03 | 0:05:07 | |
-A propeller clock. -Yes. | 0:05:07 | 0:05:09 | |
I think there's a little bit of woodwork that needs doing on this, as well. | 0:05:09 | 0:05:13 | |
Will? Have a look at this. | 0:05:13 | 0:05:16 | |
That's really cool. | 0:05:16 | 0:05:18 | |
The propeller means a lot to us as a family, | 0:05:18 | 0:05:21 | |
because it was the propeller from my father's aeroplane, | 0:05:21 | 0:05:25 | |
which he crash-landed after being shot down in the First World War. | 0:05:25 | 0:05:30 | |
-That's incredible. -That's amazing! | 0:05:30 | 0:05:31 | |
Yeah. He was in the Leicestershire Regiment to start with | 0:05:31 | 0:05:35 | |
and when the Flying Corps started, | 0:05:35 | 0:05:37 | |
he volunteered immediately for the Flying Corps. | 0:05:37 | 0:05:41 | |
Not a lot of people would have survived | 0:05:41 | 0:05:43 | |
crash-landing an aircraft in those days. | 0:05:43 | 0:05:45 | |
No. I mean, he was quite badly injured, apparently. | 0:05:45 | 0:05:49 | |
And did he talk much of the days of flying? | 0:05:49 | 0:05:51 | |
Never. Never. | 0:05:51 | 0:05:53 | |
Now, tell me about the clock. What's wrong with it? | 0:05:53 | 0:05:56 | |
It doesn't work. | 0:05:56 | 0:05:58 | |
Well, we're going to make it into a working clock again. | 0:05:58 | 0:06:01 | |
And we'll fix the base so that it's tight and will work well again. | 0:06:02 | 0:06:06 | |
-Yeah, that'll be great, yeah. -OK? | 0:06:06 | 0:06:07 | |
-Brilliant. Thank you very much. -Thank you very much. | 0:06:07 | 0:06:09 | |
Thank you very much. | 0:06:09 | 0:06:11 | |
A great bit of history behind that. | 0:06:18 | 0:06:20 | |
-I know. It's a pretty cool clock, isn't it? -It is. | 0:06:20 | 0:06:22 | |
I mean, you think if Tony's father had been killed... | 0:06:22 | 0:06:27 | |
-Yeah. -..then all of the generations wouldn't be here. | 0:06:27 | 0:06:30 | |
It's such an important piece to them. | 0:06:30 | 0:06:33 | |
To know what that's been through, it's quite nice if we manage to salvage that. | 0:06:33 | 0:06:36 | |
Absolutely fantastic. | 0:06:36 | 0:06:38 | |
Steve's first job is to remove the outdated electrical mechanism | 0:06:40 | 0:06:44 | |
from the clock and replace it with a quartz one. | 0:06:44 | 0:06:48 | |
Battery-powered, a piece of crystal quartz | 0:06:48 | 0:06:51 | |
produces a regular electric pulse that keeps the time. | 0:06:51 | 0:06:55 | |
I'm just going to pop the movement out now. | 0:06:56 | 0:06:59 | |
I just need to snip the wire off. That's the easy bit. | 0:06:59 | 0:07:05 | |
And this should just push out. | 0:07:06 | 0:07:09 | |
It's a bit tight. | 0:07:11 | 0:07:13 | |
It's completely bunged up and, er...I think that's quite dangerous. | 0:07:15 | 0:07:21 | |
It's mains electric. It's been soldered badly here and here, | 0:07:21 | 0:07:24 | |
so that could be shock danger or a fire danger, | 0:07:24 | 0:07:27 | |
so it's a good job we're taking it out | 0:07:27 | 0:07:29 | |
and putting a quartz movement in it. | 0:07:29 | 0:07:31 | |
I'm actually thinking now that the dial is plastic. | 0:07:31 | 0:07:36 | |
Now that I've taken that part out, | 0:07:36 | 0:07:38 | |
I can give the case to Will. | 0:07:38 | 0:07:42 | |
Stained-glass restorer Matt is in the midst of repairing | 0:07:47 | 0:07:50 | |
two treasured windows rescued from a demolished Victorian theatre. | 0:07:50 | 0:07:54 | |
So we've got the drawing here. | 0:07:54 | 0:07:57 | |
I'm just taking the outside lead off and just teasing this out. | 0:07:57 | 0:08:02 | |
There we go. | 0:08:04 | 0:08:05 | |
When you're taking apart the window, putting it onto here, | 0:08:05 | 0:08:08 | |
it's very important to make sure that they go on immediately. | 0:08:08 | 0:08:11 | |
You don't want to mix anything up at all. | 0:08:11 | 0:08:13 | |
You could have what seems to be two symmetrical triangles, | 0:08:13 | 0:08:18 | |
one on each side, | 0:08:18 | 0:08:19 | |
but when it comes to actually making the window, | 0:08:19 | 0:08:21 | |
chances are they might be slightly off, | 0:08:21 | 0:08:23 | |
the angles might be slightly different. | 0:08:23 | 0:08:26 | |
The difficulty will come in building a replica of the original window. | 0:08:26 | 0:08:31 | |
-What are you up to now? -Hi there, Steve. | 0:08:31 | 0:08:34 | |
-It looks like you're wrecking a piece of glass. -It does, doesn't it? | 0:08:34 | 0:08:37 | |
Well, these are the original pieces that came in. | 0:08:37 | 0:08:40 | |
One of them was fully intact. | 0:08:40 | 0:08:41 | |
-Yeah. -Whereas the other one, you can see here | 0:08:41 | 0:08:44 | |
that there was just the central section and none of the outer part to it. | 0:08:44 | 0:08:48 | |
So these, I actually salvaged about five or six years ago, | 0:08:48 | 0:08:52 | |
so this is all original Victorian glass. | 0:08:52 | 0:08:56 | |
-Yeah. -And it's going to be the best match I can get | 0:08:56 | 0:08:59 | |
for the tints for this piece. | 0:08:59 | 0:09:02 | |
Do you have loads and loads of bits of old glass like this? | 0:09:02 | 0:09:05 | |
I've probably got too much, maybe, | 0:09:05 | 0:09:08 | |
but, you know, at some point, yeah, you might use them. | 0:09:08 | 0:09:11 | |
-So all of that's missing? -All of that is missing, yeah. | 0:09:11 | 0:09:14 | |
-Oh, gosh. -So I've set myself quite a big job. | 0:09:14 | 0:09:17 | |
Many of the items that pass through the doors of the Repair Shop | 0:09:20 | 0:09:23 | |
are reminders not just of family history, but of working life. | 0:09:23 | 0:09:27 | |
Right, OK, cool. | 0:09:27 | 0:09:29 | |
-If you follow me in. -I will do. | 0:09:29 | 0:09:31 | |
Right. | 0:09:31 | 0:09:33 | |
Dom, I've got one for you, mate. | 0:09:33 | 0:09:34 | |
Maggie Collis has brought in a highly unusual piece of equipment | 0:09:37 | 0:09:40 | |
that's been in her family for over 100 years. | 0:09:40 | 0:09:44 | |
And there it is. | 0:09:45 | 0:09:47 | |
All right. So I've gathered it's heavy and it's metal. | 0:09:47 | 0:09:50 | |
Yes, and it's very rusty. | 0:09:50 | 0:09:52 | |
It sounds perfect for me, this. | 0:09:52 | 0:09:54 | |
So, please tell me, what is this? | 0:09:54 | 0:09:57 | |
-It's a shoe stretcher. -A shoe stretcher? | 0:09:57 | 0:10:00 | |
If you've got a pair of shoes you really like | 0:10:00 | 0:10:02 | |
and your feet are just not quite right for the shoes, | 0:10:02 | 0:10:05 | |
-you can stretch the shoes and then you can wear them. -Oh, right! | 0:10:05 | 0:10:08 | |
The shoe goes on there and that turns and that alters this and these... | 0:10:08 | 0:10:13 | |
-these alter... -Push these in and out. | 0:10:13 | 0:10:14 | |
-It's a clever thing. -It is a clever thing. It's very clever. | 0:10:14 | 0:10:17 | |
It was my father's and his father's before him. | 0:10:17 | 0:10:19 | |
They had a shoe-repairing shop. | 0:10:19 | 0:10:21 | |
So, where was this shop, then? | 0:10:21 | 0:10:23 | |
It was in a place called Southall in Middlesex. | 0:10:23 | 0:10:25 | |
OK. And why do you want to get this restored, then? | 0:10:25 | 0:10:28 | |
Why do you want it done up now? | 0:10:28 | 0:10:30 | |
It's such a reminder of my childhood. | 0:10:30 | 0:10:33 | |
Because I used to work in the shop from the age of about six | 0:10:33 | 0:10:35 | |
and I used to do all the change and the money and what for people. | 0:10:35 | 0:10:38 | |
-Yeah. -And it's the only thing I've got left, really, | 0:10:38 | 0:10:42 | |
of my father's whole lifestyle. | 0:10:42 | 0:10:44 | |
Well, don't worry, we'll... | 0:10:44 | 0:10:45 | |
-You'll look after it. -We'll look after it, exactly. | 0:10:45 | 0:10:48 | |
So, Dom, what do you reckon? | 0:10:48 | 0:10:50 | |
30-odd years in the shed has taken its toll, but... | 0:10:50 | 0:10:54 | |
-That's a very kind way of putting it. -Yeah. | 0:10:54 | 0:10:57 | |
THEY LAUGH | 0:10:57 | 0:10:58 | |
But it's all there. It just depends how far you want to go, really, | 0:10:58 | 0:11:01 | |
with the paint, things like that. | 0:11:01 | 0:11:03 | |
Do you want to preserve some of the history of this old, flaky paint? | 0:11:03 | 0:11:06 | |
If it was painted red, it would be fantastic, | 0:11:06 | 0:11:09 | |
-because it would just be as it was. -As it was. -As you remember it. | 0:11:09 | 0:11:12 | |
-Just as I remember it for all those years. -I understand. | 0:11:12 | 0:11:14 | |
If you leave it with us, Dom is going to work his magic on it | 0:11:14 | 0:11:18 | |
and as soon as he's done it and got it looking red again, we'll get back to you. | 0:11:18 | 0:11:22 | |
-That will be wonderful. -That all right? -Thank you. -Thank you. | 0:11:22 | 0:11:24 | |
-Thanks for coming. -Thank you. -Nice to meet you. | 0:11:24 | 0:11:26 | |
Metal-worker Dom is used to dealing with seized-up machinery, | 0:11:32 | 0:11:37 | |
but this shoemaker's gadget has been rusting for over 30 years | 0:11:37 | 0:11:40 | |
and could really test his mettle. | 0:11:40 | 0:11:43 | |
This is not strawberry smoothie in here. | 0:11:43 | 0:11:45 | |
It's actually a mix of automatic gearbox fluid | 0:11:45 | 0:11:49 | |
and acetone. Mixed 50/50. | 0:11:49 | 0:11:51 | |
It's a bit of an old sort of farmer's trick from back in the day. | 0:11:51 | 0:11:55 | |
Just working it in with a brush, a stiff brush, | 0:11:55 | 0:11:57 | |
working it into all the little areas. | 0:11:57 | 0:11:58 | |
There's lots of small bolts and bits we need to free up. | 0:11:58 | 0:12:01 | |
I'm going to leave it in overnight, | 0:12:01 | 0:12:03 | |
come back in the morning and see what the results are. | 0:12:03 | 0:12:05 | |
The Repair Shop team is also working on a much-loved clock | 0:12:08 | 0:12:12 | |
embedded in an aircraft propeller. | 0:12:12 | 0:12:15 | |
Woodwork expert Will has taken on | 0:12:15 | 0:12:17 | |
the job of reviving the mahogany case. | 0:12:17 | 0:12:20 | |
In this jar, I have a secret concoction | 0:12:21 | 0:12:25 | |
that I've made up to clean off waxy surfaces and dirty surfaces. | 0:12:25 | 0:12:30 | |
Look at that. Decades of dirt on there. | 0:12:30 | 0:12:33 | |
You can see already it's a lot clearer. | 0:12:33 | 0:12:36 | |
You can actually see the lettering a lot better. | 0:12:36 | 0:12:38 | |
Once I've done that, I can give it a bit of polish | 0:12:38 | 0:12:41 | |
with a natural shellac polish, | 0:12:41 | 0:12:44 | |
which is what you use for French-polishing furniture. | 0:12:44 | 0:12:46 | |
While Will continues his clean-up operation, | 0:12:46 | 0:12:50 | |
Steve has a rather grimy dial on his hands. | 0:12:50 | 0:12:53 | |
He's hoping Kirsten might be able to help get it sparkling again. | 0:12:53 | 0:12:58 | |
Right, a bit of advice. | 0:12:58 | 0:13:00 | |
It's a one-piece plastic dial. Um... | 0:13:00 | 0:13:04 | |
It's had some pretty dirty oil in the back there, on the mechanism, | 0:13:04 | 0:13:09 | |
and it's just stained that. | 0:13:09 | 0:13:12 | |
I'd love to just dip it in some detergent and wash it off, | 0:13:12 | 0:13:15 | |
but I can't because I'm concerned that I'll take the numerals off. | 0:13:15 | 0:13:20 | |
Yeah. Have you tried anything on it yet? | 0:13:20 | 0:13:23 | |
-No, I haven't. -No. | 0:13:23 | 0:13:25 | |
Shall we just have a go with some acetone first of all, | 0:13:25 | 0:13:27 | |
-just to try and remove some of this grease? -OK. | 0:13:27 | 0:13:29 | |
-I don't think it's made any difference at all. -Don't you? | 0:13:33 | 0:13:36 | |
No. | 0:13:36 | 0:13:39 | |
Absolutely nothing. | 0:13:39 | 0:13:40 | |
I did wonder about putting some bleach, | 0:13:42 | 0:13:45 | |
but I don't know what'll happen to the rest of the plastic. | 0:13:45 | 0:13:50 | |
The trouble is, it's quite difficult to control it, really, isn't it? | 0:13:50 | 0:13:54 | |
I'm a bit nervous. | 0:13:54 | 0:13:56 | |
Do you know what, I think, actually, we're going to leave it. | 0:13:57 | 0:14:01 | |
-OK. -I'm just too nervous that it's going to actually end in tears. | 0:14:01 | 0:14:04 | |
OK. | 0:14:04 | 0:14:06 | |
With glass harvested from his own salvaged pieces, | 0:14:14 | 0:14:18 | |
Matt can begin rebuilding the windows | 0:14:18 | 0:14:20 | |
of the stained-glass theatre panels. | 0:14:20 | 0:14:23 | |
First, he's creating the surround | 0:14:23 | 0:14:24 | |
for the smaller panel completely from scratch. | 0:14:24 | 0:14:28 | |
At this stage here, you can see these are just | 0:14:28 | 0:14:32 | |
pieces of glass that don't have any housing on them yet. | 0:14:32 | 0:14:35 | |
So here, you've got your lead knife to cut your lead, like this. | 0:14:35 | 0:14:41 | |
Then you're going to use a horseshoe nail. | 0:14:41 | 0:14:44 | |
And these horseshoe nails are basically keeping it | 0:14:46 | 0:14:50 | |
in place. | 0:14:50 | 0:14:51 | |
Once all the glass is encased in new lead, | 0:14:53 | 0:14:55 | |
the entire piece can be secured with solder. | 0:14:55 | 0:14:58 | |
It's looking really good. | 0:15:08 | 0:15:09 | |
Outside, metal-worker Dom is tackling a cast-iron device | 0:15:12 | 0:15:16 | |
that's riddled with rust. | 0:15:16 | 0:15:18 | |
The shoe stretcher's had its bath overnight in the pink solution. | 0:15:18 | 0:15:22 | |
That's penetrated in as much as it can. | 0:15:22 | 0:15:24 | |
First job I'm going to try and do is just try and free up this heel part | 0:15:24 | 0:15:29 | |
because it's still...impossible to turn. | 0:15:29 | 0:15:33 | |
I'm going to warm up the block, so as it gets hot, | 0:15:35 | 0:15:38 | |
it will expand ever so slightly. A tiny, tiny amount. | 0:15:38 | 0:15:41 | |
Just expand a little bit to try and break that rust joint. | 0:15:41 | 0:15:45 | |
OK. That should be enough. | 0:15:46 | 0:15:49 | |
Let's have a look. | 0:15:49 | 0:15:51 | |
This dial here will turn that, so that should start moving. | 0:15:53 | 0:15:55 | |
I've heated up in there. I'm just going to give it a little tap. | 0:15:55 | 0:15:58 | |
I don't really want to be hitting it with a hammer too much. | 0:16:01 | 0:16:03 | |
It's obviously as fragile as anything. | 0:16:03 | 0:16:05 | |
Sometimes the shock of hitting it just frees up. | 0:16:05 | 0:16:08 | |
Just starting to move now. | 0:16:12 | 0:16:13 | |
A little bit of oil. | 0:16:13 | 0:16:15 | |
There we go. | 0:16:19 | 0:16:21 | |
Yeah. | 0:16:21 | 0:16:22 | |
That's it. | 0:16:28 | 0:16:30 | |
I'm really pleased. It just shows that red potion did its job. | 0:16:30 | 0:16:33 | |
It looked like it was almost ready for the scrap pile, it was so rusty, | 0:16:33 | 0:16:38 | |
but it's well on the way now. | 0:16:38 | 0:16:41 | |
Good place to get the rest of it freed up, as well. | 0:16:41 | 0:16:43 | |
Meanwhile, Steve's managed to give the plastic dial | 0:16:46 | 0:16:49 | |
on the propeller clock a gentle polish. | 0:16:49 | 0:16:53 | |
Now he's got to get it ticking again. | 0:16:53 | 0:16:55 | |
I'm now just going to pop the new movement in, | 0:16:56 | 0:16:58 | |
so this is just a simple quartz movement. | 0:16:58 | 0:17:01 | |
So all I need to do now is to make these hands fit onto the movement. | 0:17:01 | 0:17:06 | |
The brass centre of this hand, which is called a collet, | 0:17:06 | 0:17:10 | |
I need to modify that so that it fits the new movement. | 0:17:10 | 0:17:14 | |
That means I've got to make the hole slightly bigger | 0:17:14 | 0:17:16 | |
so it just fits onto the movement friction tight. | 0:17:16 | 0:17:19 | |
It's almost there, not quite. | 0:17:20 | 0:17:22 | |
So I need to just take the tiniest, tiniest fraction off, | 0:17:22 | 0:17:26 | |
and then it will be ready to go into the clock case. | 0:17:26 | 0:17:30 | |
But Will and Jay are still deciding on the best way to iron out | 0:17:31 | 0:17:35 | |
the imperfections in the 100-year-old mahogany propeller. | 0:17:35 | 0:17:39 | |
That's brought that right out. | 0:17:39 | 0:17:41 | |
So, I think you can see here, there's a chip on the base. | 0:17:41 | 0:17:46 | |
-Oh, yeah. Yeah. -So what I intend to do | 0:17:46 | 0:17:49 | |
is fill that out and use a really thin layer of polish | 0:17:49 | 0:17:53 | |
so I can use some pigments in that layer of polish to disguise that fill. | 0:17:53 | 0:17:59 | |
-OK. Cool. You're doing good, mate. -Thanks, Jay. | 0:17:59 | 0:18:02 | |
Once the chip is filled, | 0:18:03 | 0:18:05 | |
Will carefully blends in his repair | 0:18:05 | 0:18:07 | |
until the damage is completely camouflaged. | 0:18:07 | 0:18:10 | |
Matt is putting his all into restoring | 0:18:20 | 0:18:22 | |
two cherished stained-glass windows. | 0:18:22 | 0:18:24 | |
Now assembled, he makes sure lead and glass | 0:18:24 | 0:18:27 | |
are bonded together for years to come. | 0:18:27 | 0:18:30 | |
So this is the part I really enjoy. | 0:18:30 | 0:18:32 | |
I put the cement over the window | 0:18:32 | 0:18:35 | |
and then it sets and creates a watertight seal | 0:18:35 | 0:18:38 | |
and also makes the window very rigid and strong. | 0:18:38 | 0:18:42 | |
A big dollop around the edge. | 0:18:42 | 0:18:46 | |
It does feel a bit naughty, when you put all these on. | 0:18:46 | 0:18:49 | |
You've got this nice kind of crisp, clean-lined window | 0:18:49 | 0:18:52 | |
and you're just putting all of this | 0:18:52 | 0:18:55 | |
kind of like cake mix on top of it. | 0:18:55 | 0:18:57 | |
I wouldn't eat this cake mix, though. | 0:18:58 | 0:19:01 | |
And what you're looking to do is make sure that | 0:19:01 | 0:19:03 | |
it goes underneath the lead. | 0:19:03 | 0:19:05 | |
So a good way to do this - | 0:19:05 | 0:19:07 | |
I was taught by a guy called Trev the Lead - | 0:19:07 | 0:19:10 | |
and he said, you go up like this, | 0:19:10 | 0:19:14 | |
then you turn the piece 90 degrees | 0:19:14 | 0:19:19 | |
and you do it again. | 0:19:19 | 0:19:21 | |
And then just do it until you're back at the beginning again. | 0:19:22 | 0:19:25 | |
Just got to wait a little bit and that's going to set. | 0:19:28 | 0:19:30 | |
Meanwhile, Dom's dismantling the cast-iron shoe stretcher | 0:19:41 | 0:19:44 | |
so that he can clean every individual component. | 0:19:44 | 0:19:48 | |
But there's one stubborn bolt holding up the whole operation. | 0:19:48 | 0:19:52 | |
I've come so far, we are so close to just getting it completely apart. | 0:19:54 | 0:19:57 | |
I can't...I can't leave it. I've got to try and get it off. | 0:19:57 | 0:20:00 | |
It seems like it's moving. | 0:20:13 | 0:20:15 | |
There we go. | 0:20:15 | 0:20:17 | |
That's really good. | 0:20:17 | 0:20:19 | |
The pieces are finally ready for a long overdue deep clean. | 0:20:23 | 0:20:27 | |
You can see some of the old, really old bits of pitting, just from use, | 0:20:28 | 0:20:31 | |
wear and tear. I think it would be a shame to get rid of all of that | 0:20:31 | 0:20:34 | |
history and patina there, | 0:20:34 | 0:20:36 | |
so I'm just going to polish the surface and leave some of that. | 0:20:36 | 0:20:38 | |
Obviously an old piece, so it's nice to keep some of the... | 0:20:38 | 0:20:41 | |
some of the character in there. | 0:20:41 | 0:20:43 | |
Now Dom must paint all the pieces just as Maggie remembers them. | 0:20:45 | 0:20:49 | |
The Repair Shop has also been breathing life back into | 0:20:57 | 0:21:00 | |
another important piece of family history. | 0:21:00 | 0:21:02 | |
Tom has returned to collect what he hopes will be a constant ticking | 0:21:04 | 0:21:08 | |
reminder of his late grandfather's service and bravery. | 0:21:08 | 0:21:13 | |
-Hiya, Tom. -How are you? -Good to see you. | 0:21:13 | 0:21:16 | |
You, too. Excited to be here. | 0:21:16 | 0:21:18 | |
Yeah, I'm sure you are. I'll get your clock. | 0:21:18 | 0:21:20 | |
Right. | 0:21:25 | 0:21:27 | |
-There we go. -Wow, that looks amazing! | 0:21:32 | 0:21:34 | |
-And it's saying about the right time as well. -It is. That was lucky! | 0:21:34 | 0:21:38 | |
So I've taken the old mechanism out. | 0:21:38 | 0:21:42 | |
-Yes. -I've exchanged it for a battery quartz mechanism. | 0:21:42 | 0:21:45 | |
-OK. -So it's a lot safer now. | 0:21:45 | 0:21:47 | |
-Yes. -The old mechanism was really quite dangerous. | 0:21:47 | 0:21:49 | |
-The dial is actually a plastic dial. -Is it? Oh, right, I didn't realise that. | 0:21:49 | 0:21:52 | |
-So there's not a lot we could do... -Do with it. | 0:21:52 | 0:21:55 | |
-Apart from just clean it the way we have. -Yeah. | 0:21:55 | 0:21:57 | |
And Will has polished the case up beautifully. | 0:21:57 | 0:22:00 | |
Yeah, it looks amazing. My dad will be very, very pleased. | 0:22:00 | 0:22:04 | |
Thank you very much for bringing it in. That was a real joy to work on. | 0:22:04 | 0:22:06 | |
-Thank you for all your work on it. It looks amazing. -Thank you. | 0:22:06 | 0:22:09 | |
After cleaning and painting all of the components | 0:22:18 | 0:22:20 | |
of the ancient shoe stretcher, | 0:22:20 | 0:22:22 | |
Dom is now painstakingly piecing them back together. | 0:22:22 | 0:22:25 | |
Because all these parts have been stripped and dipped | 0:22:25 | 0:22:28 | |
and blasted and everything else, | 0:22:28 | 0:22:30 | |
all the moving parts are just dry. | 0:22:30 | 0:22:32 | |
So as I assemble it, I'm just going to just keep greasing up the parts. | 0:22:32 | 0:22:36 | |
Definitely looks different. I'm a bit anxious to see her reaction, actually. | 0:22:39 | 0:22:42 | |
The shoe stretcher from Maggie's parents' shop | 0:22:44 | 0:22:47 | |
had been rusting away in her garden shed for over 30 years. | 0:22:47 | 0:22:50 | |
She's ready to be united with this treasured slice of family history. | 0:22:50 | 0:22:55 | |
-Hello. -Hello. -How are we doing? | 0:22:57 | 0:23:00 | |
-Fine, thank you. You? -I'm very good. -Good to see you again. | 0:23:00 | 0:23:03 | |
-OK. Shall we let her see it? -Yeah, come on. | 0:23:03 | 0:23:06 | |
Oh, wow! I can't believe it! | 0:23:08 | 0:23:10 | |
-And it's red, as well. -It's red, yeah. | 0:23:10 | 0:23:12 | |
Look at that! It's shiny! | 0:23:12 | 0:23:14 | |
I can't believe it! How did you manage that? | 0:23:14 | 0:23:16 | |
-It was a lot of work. -That's incredible! | 0:23:16 | 0:23:19 | |
And all the lines on here that you've put on | 0:23:19 | 0:23:22 | |
and all the markings, absolutely brilliant! | 0:23:22 | 0:23:25 | |
-A bit of character. -It looks lovely. | 0:23:25 | 0:23:27 | |
Where you've cleaned this all up, you can see the marks around here. | 0:23:27 | 0:23:30 | |
-Yeah. -It's amazing. Very well done. -Thank you. | 0:23:30 | 0:23:32 | |
Did it take you hours and hours? | 0:23:32 | 0:23:33 | |
Getting it apart was tricky, yeah. | 0:23:33 | 0:23:36 | |
Yeah, it was a lot of work. | 0:23:36 | 0:23:37 | |
So, when was the last time you saw this working, then? | 0:23:37 | 0:23:40 | |
Well, I must have been somewhere about 15, I would think. | 0:23:40 | 0:23:43 | |
-Right. -And I'm not going to say how long ago that was. | 0:23:43 | 0:23:45 | |
-No problem. -But it was a very, very long time. | 0:23:45 | 0:23:48 | |
-A couple of weeks ago, yeah? -Yeah. | 0:23:48 | 0:23:49 | |
Now, I have brought with me a pair of shoes. | 0:23:49 | 0:23:51 | |
So you're going to place it on here, then you need to get... | 0:23:51 | 0:23:55 | |
-Come forwards with that. -That comes forward. | 0:23:55 | 0:23:57 | |
Now you need to pull that back to make the shoe tight on. | 0:23:57 | 0:24:00 | |
-And back. -Keep going. Yeah, keep going. That's it. | 0:24:00 | 0:24:03 | |
So now it's on there firm, now you want to stretch this, so you're going to... | 0:24:03 | 0:24:06 | |
-Can you see how that's coming open? -Yeah. | 0:24:06 | 0:24:08 | |
But I wouldn't do it more than that now. | 0:24:08 | 0:24:11 | |
Leave it on for two days and just gradually, | 0:24:11 | 0:24:14 | |
gradually stretch the leather out. | 0:24:14 | 0:24:16 | |
Looking at this now, it's just fantastic. | 0:24:16 | 0:24:19 | |
And it brings back so many memories. | 0:24:19 | 0:24:21 | |
I can almost see it sitting there beside my father as he was working. | 0:24:21 | 0:24:24 | |
-Glad you're happy. -Yeah, very happy. -Good, good. | 0:24:24 | 0:24:26 | |
I'll be happier when I can wear the shoes. | 0:24:26 | 0:24:28 | |
-When you can wear the shoes! -THEY LAUGH | 0:24:28 | 0:24:30 | |
My friends are going to come with their shoes... | 0:24:30 | 0:24:32 | |
They'll bring their shoes. You'll be working again. | 0:24:32 | 0:24:34 | |
-I shall have lots of tea parties. -Yeah. | 0:24:34 | 0:24:36 | |
Fantastic! I can't believe you've made it look like that. | 0:24:36 | 0:24:39 | |
-Thank you very much indeed. -Thank you. -Absolutely brilliant. | 0:24:39 | 0:24:42 | |
I really had grave doubts that anybody could get it to work, | 0:24:45 | 0:24:48 | |
never mind get it to work and look so fantastic. | 0:24:48 | 0:24:52 | |
It's a great memento. | 0:24:52 | 0:24:54 | |
Really, really pleased. | 0:24:54 | 0:24:56 | |
The Victorian theatre windows | 0:25:02 | 0:25:03 | |
that Matt's been restoring are nearly done. | 0:25:03 | 0:25:06 | |
But he needs Will to help him get them over the line. | 0:25:06 | 0:25:09 | |
-Hi, there, Will. -Hey, there, buddy. -All right. | 0:25:10 | 0:25:13 | |
-What do you think of these, then? -Ha-ha-ha-ha! | 0:25:13 | 0:25:15 | |
Looking a bit messy, isn't it? | 0:25:15 | 0:25:16 | |
It looks like a flock of pigeons | 0:25:16 | 0:25:18 | |
have been hanging out on your stained glass. | 0:25:18 | 0:25:20 | |
-It does. -That looks filthy. | 0:25:20 | 0:25:21 | |
Well, this is pretty much the final bit. This is the cement. | 0:25:21 | 0:25:25 | |
When I've cleaned it, it's going to be nice, crisp lines. | 0:25:25 | 0:25:28 | |
So I just need to really concentrate on these | 0:25:28 | 0:25:30 | |
to make them look really special, | 0:25:30 | 0:25:32 | |
but we said we were going to do a frame. | 0:25:32 | 0:25:35 | |
-A frame? -Yeah. -For both of them? | 0:25:35 | 0:25:36 | |
-Yeah, yeah. -OK. | 0:25:36 | 0:25:38 | |
You look like you've got a lot to do. | 0:25:38 | 0:25:40 | |
-I will help you out and get onto those frames. -Thanks. | 0:25:40 | 0:25:42 | |
Anne is back to see the theatre windows | 0:25:50 | 0:25:52 | |
that are such a powerful reminder of her late husband. | 0:25:52 | 0:25:56 | |
-Hi, there, Anne. -Hello, Matt. -All right? | 0:25:57 | 0:25:59 | |
-Do you want to come around here with me? -Thank you. | 0:25:59 | 0:26:01 | |
Oh, look! | 0:26:02 | 0:26:04 | |
-Right. It's very exciting. -It is! | 0:26:04 | 0:26:07 | |
This is wonderful! | 0:26:07 | 0:26:09 | |
Right. | 0:26:09 | 0:26:11 | |
There you go. | 0:26:11 | 0:26:13 | |
That's...fantastic! | 0:26:13 | 0:26:17 | |
And the colours are just wonderful. | 0:26:17 | 0:26:19 | |
I...I can't believe how... | 0:26:19 | 0:26:21 | |
I can't believe how much light is coming through, actually. | 0:26:21 | 0:26:24 | |
It sparkles. It really, really does. | 0:26:24 | 0:26:27 | |
-It's beautiful, Matt. -Yeah? | 0:26:27 | 0:26:28 | |
-Thank you very much indeed. -That's all right. | 0:26:28 | 0:26:31 | |
And then the other one you brought in was just the central piece. | 0:26:31 | 0:26:34 | |
-Yes. -And it was in a bit more of a sorry state. | 0:26:34 | 0:26:36 | |
-It was, it was. -I'll show you what I've done with that one. | 0:26:36 | 0:26:39 | |
OK. | 0:26:39 | 0:26:41 | |
So there you go. | 0:26:41 | 0:26:42 | |
Oh, wow! | 0:26:46 | 0:26:47 | |
That's...that's amazing, Matt! | 0:26:49 | 0:26:53 | |
That's amazing! | 0:26:53 | 0:26:54 | |
Because you only had...you only had the central bit to work with. | 0:26:56 | 0:26:59 | |
Yep, we did. | 0:26:59 | 0:27:00 | |
So, what happened...? | 0:27:00 | 0:27:02 | |
So you've recreated all of that, haven't you, around...? | 0:27:02 | 0:27:07 | |
Yep. I actually saved a couple of Victorian windows | 0:27:07 | 0:27:10 | |
from going into a skip from a building site probably about six years ago | 0:27:10 | 0:27:14 | |
and I realised that they've got the same colour tints as these, | 0:27:14 | 0:27:18 | |
-so I was able to basically... -That's wonderful! | 0:27:18 | 0:27:22 | |
-..use original glass... -Yeah. -..that matches. | 0:27:22 | 0:27:25 | |
How lucky is this? | 0:27:25 | 0:27:27 | |
So, I mean, what do you think it would have meant to your husband | 0:27:27 | 0:27:30 | |
to have this kind of restored...? | 0:27:30 | 0:27:32 | |
Oh, he'd be...he'd be over the moon. | 0:27:32 | 0:27:34 | |
This is...this is wonderful. | 0:27:34 | 0:27:37 | |
I'm staggered. Really, honestly. | 0:27:37 | 0:27:39 | |
I can't thank you enough. I can't thank you enough. | 0:27:39 | 0:27:42 | |
They're going to be extremely special, | 0:27:42 | 0:27:44 | |
my theatrical windows. | 0:27:44 | 0:27:46 | |
It's just fantastic. | 0:27:48 | 0:27:50 | |
I've got two beautiful pieces. | 0:27:50 | 0:27:52 | |
They're full of life again. | 0:27:54 | 0:27:56 | |
They'll bring good old Sean back, but in a very happy way, actually. | 0:27:56 | 0:28:00 | |
And that's priceless. | 0:28:00 | 0:28:02 | |
I can't quite believe it, honestly. It's lovely. | 0:28:02 | 0:28:05 | |
Join us next time as more extraordinary treasures | 0:28:11 | 0:28:14 | |
are rescued and restored in The Repair Shop. | 0:28:14 | 0:28:18 | |
Oh, my word! | 0:28:18 | 0:28:20 |