The Repair Shop Season 15 Episode 1
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Short filmTranscript
00:00Oh dear.
00:01Bringing the broken.
00:03I don't know where to start with this.
00:05Back to life.
00:06Wow.
00:08It's stunning.
00:10Wow, fantastic!
00:13I think it's just amazing.
00:16Yay!
00:17Welcome to the Repair Show.
00:30Today, joining the cobbler, the shaker, and the table leg maker, Steve Fletcher is admiring the barn's first assignment.
00:41No cheer, come and have a look at this.
00:45Wow, this is something.
00:47It is, isn't it?
00:48I love things like this.
00:51This miniature marvel comes courtesy of ex-coal miner John Wiltshire from Hollywell in North Wales.
01:00Hello, sir.
01:01Hello.
01:03So, John, this is an amazing model.
01:06It sure is, it sure is.
01:08It was built by my grandfather in 1904.
01:13It's amazing. What is it?
01:14Well, this model is a model of a coal mine.
01:17When you turn the handle, all these used to turn, and them shafts would go up and down.
01:24So where was the handle then?
01:26It was just there. Can you see a little hole?
01:27I can see a little hole, yes.
01:29Oh, my word.
01:29There was, like, a crank.
01:31Yeah.
01:31It went over there, and it was housed over here.
01:33Yes.
01:34John, what was your grandfather's name?
01:37His name was John Joseph Wiltshire.
01:40So why did he make it?
01:42Because he hurt his back, and he couldn't go down the pit anymore.
01:46In them days, it was very dangerous, yeah.
01:49Very, very bad conditions, you know.
01:51There was accidents all the time.
01:53And so he just took to making models.
01:57Did you end up going down the mines?
01:59I did, sir, yes.
02:00I did.
02:01I went down the mine in the very, very early 70s to 1994.
02:06That's a long time.
02:08Yeah.
02:09Was it scary?
02:10No.
02:11It's dark.
02:12It's dirty.
02:14But I just loved the camaraderie.
02:17You're watching your mates back, you know.
02:19I think that's when I realised it.
02:21I'd coldest in my veins, you know.
02:24Tell me a bit about your grandfather.
02:26What was he like?
02:27Oh, he was a lovely old boy to me.
02:30He used to tell me stories.
02:32I always remember that.
02:35Fantastic fella.
02:37When I was told that he was coming to me in the will,
02:41I was elated, you know, really.
02:43It's an honour, isn't it, to have this?
02:46I run a little museum.
02:48I am all sorts of mining artefacts.
02:50And, of course, this little beauty was pride of place.
02:54And was it working then?
02:55It was working, yeah.
02:56It was working fine.
02:58But then it started sticking, you see.
03:01I went to a model maker.
03:03This guy says, we'll fix it for you.
03:05Yeah.
03:06So when I went to pick it up,
03:07the mechanism had gone.
03:10When you turned, you know, gone.
03:12That's very unfortunate.
03:13Oh, flippin' that guy.
03:15I guess because this is a one-off,
03:18your grandfather wouldn't have done drawings of the mechanism.
03:22He would have just done it as he went along.
03:24No, that's what he'd do, you know.
03:26Oh, Steve, he'd be so brilliant.
03:28My brain is whirring at the moment,
03:30just thinking about the cages going up and down.
03:33But I'm probably going to have to sleep on that one.
03:36What is the plan for the model if I can get it all working?
03:39It will go in pride of faith in my museum
03:44to keep all the memories of mining alive, you know.
03:48And this will be, you know, the crown on it.
03:51I'll see what I can do.
03:53Thank you so much for bringing it in.
03:55See you, my dear.
03:56See you soon.
03:57Bye-bye.
03:57See you again.
03:58Thank you very much.
04:05Steve, where on earth are you going to start with this?
04:08Do you know what?
04:08I've no idea.
04:09I've got to try and get my head into John's grandfather's head
04:14to work out what sort of mechanism it would have had.
04:17Well, there's certainly a lot to do with the paint surface
04:20and just getting this cleaned up a little bit, actually,
04:23but not too much.
04:24Let me know when you want me to come in
04:26and do the work on the surface.
04:28Might be somewhere.
04:29Well, OK.
04:41This is incredible.
04:45I'm slightly worried because I've got to design
04:50and make a complete new mechanism underneath
04:54that's going to drive everything.
04:56I've got to turn that motion of turning the handle
05:01to raise and lower the cages.
05:05Yeah, there's a lot to think about here, actually.
05:14As Steve minds his imagination,
05:17Will Kirk is awaiting the arrival of Sarah Kelly
05:20and her daughter, Laura.
05:24Something, isn't it?
05:25Yeah, thanks.
05:25They've come from Belfast
05:27with an earloom that inspired a family vocation.
05:33Hi there.
05:34Hello.
05:34Welcome to the barn.
05:35Thank you very much.
05:37This is lovely.
05:39This is a writing box, right?
05:41It is.
05:41As far as I know, it's a Victorian writing box.
05:43So if these panels sort of sit like that...
05:46That's right.
05:47And then this is the surface that you write your letters on.
05:50Yeah, that's right.
05:50It belonged to my grandmother.
05:54She was given it by...
05:56It would have been her fiancé, I think, at the time.
05:58Okay.
05:58My grandfather.
06:00I know he gave it to her before we were married
06:02because he put her name on it.
06:04So Dolly McCormick was my grandmother.
06:07My grandmother died in 59.
06:11My mum had it all her life until she died, and she died in 1993.
06:15Was your mum quite a writer then?
06:17Yeah.
06:17My mum was known as Kay Kennedy.
06:19She left school when she was only 14,
06:21went on to become a journalist,
06:24really just through force of character,
06:27which sums my mum up.
06:29And then she worked her way up to becoming an editor
06:34of one of the papers called The Ulster Star.
06:37And she was one of the first woman editors in Northern Ireland,
06:42which I'm very proud of.
06:44That's amazing.
06:45It was amazing.
06:46And she was quite an exceptional woman.
06:49Yeah.
06:49She did very hard-hitting news stories
06:52at a difficult time in Northern Ireland.
06:55She was right on the front doing that.
06:57But she also met all sorts of celebrities.
07:01Did she?
07:01Yeah.
07:02She got to know Johnny Cash quite well.
07:03Yeah.
07:04Roger Moore, the Beatles, the Rolling Stones, the Bee Gees,
07:10you name it.
07:11She was well-respected and well-admired.
07:14What she achieved for a woman with very little formal education
07:18who just really had a love of words.
07:22Granny really was a trailblazer,
07:24and so it's really important for me to say that
07:26and to talk about Kay Kennedy
07:28because she broke so many boundaries.
07:32I'm a journalist because my grandmother was a journalist.
07:35She would have brought me into the offices
07:36whenever I was, like, a toddler.
07:38My grandmother was definitely my hero.
07:41Being the writing box,
07:42it's all about that link to the craft of words
07:44and to, you know, to tell in those stories.
07:47But in its current condition, it doesn't really do justice.
07:49Exactly.
07:50Yeah, I mean, it's a bit of a sad wreck at the moment,
07:53and it would be really nice if it's not quite so sad.
07:56Yeah.
07:56Looking.
07:57The fact that it's a writing box,
07:59and writing is so important in our family,
08:02this sort of encapsulates that.
08:05You know, linking back through all of those generations
08:07of, you know, my family and the women in my family
08:10keeps that legacy alive.
08:13Yeah.
08:14I'm going to take very good care of this
08:15and get it worthy of a journalist again.
08:18Thank you so much.
08:19I'll see you very soon.
08:20Bye-bye.
08:21Bye.
08:21I've got to devise a mechanism
08:36that makes the cages go up and down,
08:39alternately, like this.
08:40Oh, God, that's complicated, isn't it?
08:42I thought about rack and pinion,
08:45and I don't know what your mind would come up with,
08:47because you're very mechanical.
08:49I'd go with cams,
08:50but, again, it's distances, travelling,
08:55and all this sort of thing, yeah.
09:06Now, this is a great box.
09:09It's a real shame that this is in the condition that it's in.
09:11It doesn't really reflect Kay's work,
09:13and she sounded like a real powerhouse
09:15in the world of journalism.
09:17You've got two compartments,
09:18one at the top, one at the bottom,
09:19and it would have been held together
09:21by sort of one piece of leather on the inside,
09:24but I'm hoping Chris can have a look at that.
09:28This box gives you the illusion
09:30that it's made out of solid walnut.
09:32There's actually pine on the core on the inside,
09:34and a very thin amount of wood will be veneered onto the surface.
09:39When it gets damaged around the edges,
09:41it looks not very nice.
09:43I'm going to start off by removing the surface dirt and residue.
09:46The solution is made up of a bit of turps,
09:53a bit of meth,
09:54and a few other ingredients.
10:00Well, it's cleaning up really well.
10:02Once I've finished the other side of the box,
10:04then I can start on the repairs.
10:05While Lucia begins restoring the paintwork
10:23of the model mine...
10:25The thing with acrylic paints,
10:27you have to move really quickly
10:28because they dry really quickly.
10:29Steve has been racking his brains
10:33on how to create the missing mechanics.
10:37I think I've now come up with a plan
10:40of how to drive all of the mine,
10:43and I've split it into two different sections.
10:46I've got this crank arm that I've made.
10:49We'll have various pulleys on,
10:51and that's going to drive the grinding wheel,
10:55saw bench, and the air pump as well.
10:58Now, the tricky bit then comes in stage two
11:01for the lifts and cages.
11:04To start with, what I'm going to do
11:05is just fit the pulleys onto this shaft,
11:10which is the same sort of pulley
11:11as I see used in my construction set
11:16when I was a kid.
11:17So I just need to now pop the pulley belt into place.
11:21I've got a mirror in there
11:23just to help me see what I'm doing.
11:26Otherwise, I'm just feeling in the dark
11:27a bit.
11:34Good.
11:35It's gone on really well.
11:36Let's see if it works.
11:41Brilliant.
11:42I'm really chuffed with that.
11:57All working absolutely as it should do.
12:00But that is the simple part of this repair.
12:05I've now got to turn my attention
12:06to getting the lifts to work.
12:08I'm now working on the part of the mechanism
12:33that will drive the winding wheels
12:35to lift the cages up and down.
12:38One of the things that makes this mechanism
12:40not straightforward is that I'm turning
12:42a sort of radial movement
12:45into an up-and-down movement.
12:48I'm just going to make this crank arm.
12:52I'm just going to make this crank arm.
12:52If someone turns the handle,
13:22the crank handle turns this little wheel here
13:24which then turns this big wheel
13:28and moves the rack one way or the other.
13:31And I'm really hoping that my final calculations
13:34are correct so that there's the right amount
13:38of up-and-down movement for the cages.
13:43If not, then I'm in the spot of bother, I think.
13:47Did you ever have a favourite toy as a kid?
13:56I have a little pig.
13:58He's called Porky.
13:59Oh, Porky Pig.
14:00And he had a little girlfriend called Porkette.
14:02Oh, I love that.
14:05Here to see plastics and toy restorer
14:08Charlotte Abbott
14:09is Jackie Harris from Barrow & Fonnes
14:12with a beloved family treasure.
14:15Hello.
14:19So, who do we have here?
14:20This is Rose Budd.
14:22She belonged to my mum.
14:23She's about 75 years old, we think.
14:26And given to my mum when she first
14:28went to live with her adoptive parents.
14:31Gosh.
14:31What was your mum's name?
14:32My mum was called Myra.
14:34She died in 2016, so nearly nine years ago.
14:36My mum lost her dad when she was about seven
14:39and then my mum, when she was about nine,
14:43my mum had a brain tumour
14:44and knew that she was really poorly.
14:46So she tried to find a home
14:48for all the nine children before she died.
14:50Oh, my goodness.
14:52Nine.
14:53Yeah, seven of the children
14:54went to live in Ireland with an aunt there
14:56and then my mum and my mum's sister,
14:59my auntie Mary, lived in Barrow
15:01with families that she knew
15:03that could look after them.
15:04Wow.
15:05So overnight my mum lost
15:06a mum, a siblings and a home.
15:10That is just tragic, isn't it?
15:12It is really tragic, yeah.
15:14Wow.
15:15I mean, she'd never met the family before.
15:17Yeah.
15:18Before she went to live with them.
15:19But I also know that she was loved there
15:22and she was happy there.
15:24So my mum was really, really lucky
15:25to have that family.
15:26She was looked after like their own, yeah.
15:29And what were her parents like?
15:31So your grandparents, what were they like?
15:33Yeah, Violet and Walter, they were lovely.
15:34They just loved my mum.
15:36Yeah.
15:36And obviously they wanted to get a doll.
15:39Yeah.
15:41It's a lovely welcome gift, really.
15:43She'd never had a doll before.
15:44Oh.
15:45So she really treasured Rosebud.
15:48Yeah.
15:49For her whole life, obviously.
15:50Oh, yeah, she did, yeah.
15:51And when she was really poorly,
15:52the week before she died,
15:53she just asked that me and my sister
15:54would look after Rosebud for her.
15:55Oh, wow.
15:56So what was Myra like as a mum?
15:59She was a really loving mum.
16:00It was a lovely family home that my mum created
16:03really because she'd lost her own
16:05and we were her world, yeah.
16:06My dad and my sister and me, yeah.
16:08Best mum ever, yeah.
16:09Oh, that is lovely.
16:11What do you think when you look at Rosebud?
16:13Oh, I think of my mum straight away.
16:14Do you?
16:15Absolutely, yeah.
16:16She was a real support from my mum
16:18and she always used to sleep with her
16:20and even when she got married,
16:22she took her to a new home with my dad
16:24and then she just sat on this little bick of chair
16:26in my mum and dad's bedroom
16:27and that's where she's sat since I've known her.
16:30I mean, I know she's been loved so much
16:33that she's fallen apart.
16:34Yeah.
16:35Has she always been in this condition
16:37as you can remember?
16:37As long as I can remember.
16:39Yeah, I've never known her with any legs.
16:41And my dad was married to my mum in 1965
16:43and he said that she never had legs then either.
16:47What would you like me to do?
16:49Legs, hopefully.
16:50Yeah.
16:50Be a really wonderful thing to have back.
16:53A head.
16:54Hmm.
16:55Secure as well.
16:56The head's been taped on.
16:58All her hair's quite matted
16:59and there's not much hair.
17:00I'd love to see how my mum
17:02at first received her.
17:05But she's still got a gorgeous face.
17:06She does.
17:06She's still got a rosebud lips.
17:07She's got a rosebud lips, yeah.
17:08Yeah, which is how she got her name
17:09from her rosebud lips.
17:11Oh.
17:12And the lovely blue eyes.
17:13And what's the plan for Rosebud
17:14if she's restored?
17:15Well, she'll go back to my dad's
17:16little bicker chair in his bedroom
17:18and then she'll get passed on
17:20through the generations
17:22as a family heirloom
17:23and the story will be told.
17:26Rosebud has a very safe hand.
17:28I know you'll take really good care of her.
17:31And thanks for looking after her.
17:32No worries.
17:33Bye.
17:33You can tell that
17:49she's been wearing something
17:51that's been sleeveless
17:52because her body
17:53is this lovely shade of peach
17:55whereas her arms are faded
17:57quite substantially
17:57so it would be nice
17:58to get her colour back
17:59to how she was.
18:00Oh, bless her.
18:03She's lost most of her hair as well.
18:05What is left is pretty matted.
18:08I need to make her a new wig.
18:14That is going to be the hard bit.
18:15It's just making two
18:16completely brand new legs.
18:17I don't know what they looked like
18:19but I think before I tackle this
18:21I'm just going to start
18:22taking her apart
18:24so I can see
18:25how much repair is needed.
18:32The safe is really stuck.
18:39I'm inclined to
18:40think that
18:41it is a ceramic composition.
18:43I'm going to start
18:45rebuilding this missing piece.
18:47As Charlotte works
19:06on Rosebud's broken body
19:08Will's already stripped
19:09the writer's box
19:10back to its bare bones.
19:13It might look quite dull
19:14at the moment
19:15but once I've finished
19:16all my woodwork
19:17I'm going to spruce it up
19:18with some French polish.
19:19The cleaning has
19:20really brought up
19:21the areas of damaged veneer.
19:24My plan is to remove
19:25the damaged areas
19:26and replace them
19:27with a fresh section
19:28of veneer.
19:29This is actually off
19:30in the old writing box
19:31as well.
19:32I always keep
19:33spare bits of veneer
19:34in case I need them.
19:35It's time for me
19:36to remove this
19:37old glue
19:38and old bits of wood
19:39easily with this
19:40very small chisel here.
19:42That's why I have
19:43so many different chisels
19:44because they all
19:45have a purpose.
19:48I'm going to start off
19:49by cutting
19:49a bit of a curved shape
19:51to blend in well
19:52with the grain
19:53and the pattern
19:54in the wood.
19:55You want it to sort of
19:55end up blending in
19:56with the surrounding area.
19:58You don't want it
19:58to stick out
19:59like a sore thumb.
20:01That is a really good fit.
20:04Right, all I need to do now
20:05is cut that section out
20:07and stick it on the box.
20:08That's now glued in place.
20:28I'm going to let that
20:29fully dry.
20:30Once it has,
20:31I can trim off
20:31the excess veneer
20:32and move on to
20:33the next patch.
20:50Well, that looks perfect
20:51to me.
20:52The only thing that
20:53doesn't look perfect
20:53at the moment
20:54is the leather.
20:55So I'm going to speak
20:56to Chris
20:56and see if he can help.
21:03Hey, Chris.
21:04Oh, my goodness.
21:06Slight bit of damage there.
21:07To say the least.
21:08It's really important
21:09to keep as much
21:10of this leather
21:11as possible
21:11because that's
21:12where the history is.
21:13That tooling
21:13is absolutely lovely.
21:16Do you think
21:16you could try
21:17to replicate that?
21:19I'll give it a go.
21:20Brilliant.
21:20Thanks, Chris.
21:21Thanks a lot, mate.
21:26Lucia is applying
21:29her fine art finesse,
21:31bringing a miner's
21:32miniature world
21:33back to life.
21:35Steve's done a great job
21:37making these cages
21:38that go up and down
21:39and through the hole
21:40in the floor
21:41of the model.
21:42And now it's my responsibility
21:43to make them look
21:45original old parts.
21:49I'm happy with the collar match.
21:51It's just the actual
21:52surface finish.
21:53It just needs
21:54a bit more distressing.
21:55I might get a hammer
21:56and bash it a bit.
21:59Horrify, Steve.
22:03It's good.
22:15I've sketched out
22:16the dimensions
22:16of what I think
22:17Rosebud's leg
22:18would have roughly
22:19looked like.
22:20Having seen
22:21a lot of dolls
22:22over the years,
22:22you start to get
22:23a sense for how
22:24they probably
22:24would have looked.
22:26The next stage
22:27in this is
22:27I'm going to make
22:28a framework
22:28out of wire mesh.
22:29And this allows
22:30me to make
22:32Rosebud's leg
22:32quite hollow
22:33and nice and light
22:34like her arms
22:35and a torso are.
22:37It does seem
22:38to be
22:38perfect shape.
22:39It's just
22:40a rough template.
22:41So this is a two-part
22:47poxie putty.
22:48And you get the two
22:51equal parts of it
22:53mixed together
22:53and after a couple
22:54of hours
22:55they go hard.
22:56So the first layer
22:57is going to just
22:59cover everything
23:00and then the next
23:01layer I can go in
23:02and sculpt
23:02all the nicer details.
23:04I'm going to use
23:06this dow
23:07as like a point
23:09that I can push
23:09against.
23:16When I was younger
23:17I used to love
23:18playing with clay.
23:19I would,
23:20I'd really like
23:21making food
23:22so I'd make like
23:22three course meals
23:24out of clay.
23:24I'd like roll
23:25loads of little peas
23:26and I'd make
23:27little pasties.
23:28always been into
23:30sculpting
23:31and making things
23:32like this.
23:32I'd like to
24:02All these bits and bobs are working.
24:05But then the cages are going to go up and down as well.
24:08One's going to go up.
24:10How do you work that one out then?
24:13Smooth.
24:15You are just enjoying yourself far too much.
24:18I'm going to put in a nice little rounded heel.
24:37I'm again using a two-part epoxy.
24:48I'm just using a little sculpting tool.
24:52I actually have a weird collection of things that aren't really sculpting tools that I use.
24:57Like I've got a metal chopstick that I think is great.
25:00The ends of pencils and paintbrushes and things like that.
25:11My ears really start to look like a leg.
25:16I just need to leave to cure.
25:20And then next up is making the satin leg.
25:33Applying his bookbinder's art to a writer's box,
25:37Chris sits about repairing the torn leather interior.
25:41The problem with this box is this joint.
25:45It's very badly warped.
25:47When you close it, the gap just gets bigger and bigger.
25:51The leather is getting pulled and that's why it's broken along there.
25:55I would like to put some supporting cloth and a new piece of leather
25:59and eventually stick the original down.
26:02The problem I've got is will it rip once I've put the cloth in place and the leather.
26:08And I won't know that until I get to that point.
26:12It's always a nice feeling doing collaborations
26:28and it's a really traditional when it comes to writing boxes
26:32for a cabinet maker like Will to team up with a bookbinder.
26:38Goodness.
26:39It's raining out there, cats and dogs.
26:44Wow.
26:45Immersive experience.
26:51It really is.
26:54Wow.
26:54I am so pleased I'm in here, not out there.
26:58OK, I'm off.
26:59No!
26:59No!
27:00No!
27:00No!
27:00No!
27:00No!
27:01So that's the leather in place.
27:06I'm really happy with that.
27:07Now I just need to leave to dry
27:09and then I can see whether it's going to work or not.
27:12And if it doesn't,
27:13well, I'll have to come up with a plan B.
27:16Oh, my God.
27:16Oh, my God.
27:16Oh, my God.
27:18Oh, my God.
27:20Oh, my God.
27:27Now it's the moment of truth.
27:29Is it going to split when I close
27:31and all my hard work so far will be wasted?
27:37It didn't.
27:58What a relief.
28:00So now I know Laura and Sarah can open and close this with ease.
28:05It's all, as the young people would say, gravy.
28:08So now I can start sticking the original leather down
28:11and then I can start thinking about retouching
28:14and retooling the missing pieces.
28:16So I'm really happy all the original now has been stuck down and dry.
28:43And now I need to retool and put back in the missing bits of gold.
28:49This is 22 or 23 carat gold.
28:53I've had some tools made of the exact pattern.
28:56And to do that, I've taken a rub in
28:58and you send it off to a fantastic company
29:00that can reproduce the tool for me to re-gold the missing area.
29:05So the gold's now in place
29:12and now I'm going to tool it with a hot tool.
29:14So that looks really good.
29:40I just need to do it to the other side
29:43and then I can blend the old and new leather together.
29:46It's taken hours of mind-bending, pondering, planning and production.
30:07But Steve's vision for the model mind is about to be realised.
30:12I've got all of the pieces of the mechanism made
30:18so I'm just going to assemble it all, oil it all
30:22and then it's all going to be ready to pop into the mine
30:25and fingers crossed, hopefully, it'll all work.
30:29I've really enjoyed doing all of this so far.
30:33actually having to reinvent what I thought John's grandfather may have put in.
30:39I'm just going to connect one of the lines up
30:57to see whether it all works and lifts one of the cages.
31:00That's coming up all right, that's going down there.
31:09Oh, that's really good.
31:14That's working absolutely true.
31:17Everything is working exactly as it should do.
31:22I just need to get the other three cages in place now
31:26and, yeah, I can play with it a bit longer then.
31:35Once the prize exhibit in a mining museum,
31:39this detailed model of a working pit had fallen into disrepair
31:44and the internal mechanism had been lost.
31:49For John, the model is a reminder of his enduring connection
31:53to the tradition of mining
31:55but most poignantly, to his grandfather who crafted it.
32:01Hello, John.
32:02Hello.
32:03I wonder what you've got in there.
32:06How are you feeling about being here today, John?
32:09I'm excited to hear you
32:10and I'm looking forward to what Stephen has worked his magic on, you know.
32:16Have you done any magic, Steve?
32:17Have you done some magic as well?
32:22What are you hoping to see?
32:24If I get them things working there,
32:27it'll come to life again then, you know.
32:29And what will that mean to you?
32:32I mean the world.
32:34Yeah, it'll be in the world to me.
32:38Would you like to see it?
32:39Yes, please, sir.
32:40Oh, my God.
33:06Steve.
33:08Steve.
33:08Steve.
33:09Is this how you remember it?
33:38Better than I remember it, you know.
33:41Absolutely fabulous.
33:44Lucia has done all the painting work that has needed to be done.
33:49Thank you, my dear.
33:49Oh, it's been an absolute treat.
33:52Yeah.
33:53She's done a fantastic job.
33:55I mean, this is bit made in 1904
33:58and I bet it'll be going now for another 120 years.
34:02And this has been an absolute honour to work on,
34:06not just for you, but for all of the mining community.
34:10Thank you so much.
34:11Thank you so much.
34:12Thank you so much.
34:12Thank you so much.
34:12Thank you so much.
34:16I am feeling ecstatic to tell you the truth.
34:19What a job that they've done on that.
34:21Brought all the memories flooding back, you know.
34:25My granddad would be so proud.
34:28It's going from here straight to the museum.
34:32The community would be very, very, very pleased.
34:36Yes, to see this thing that was created in 1904
34:40I'm still going.
34:42Oh, it's brilliant.
34:58From mines to megastructures,
35:02Tilly Newnham has a mighty piece of British engineering history
35:05for the attention of paper conservator Angelina Bacallaro.
35:13Hi there.
35:14Hello.
35:15Welcome, welcome.
35:16Please take a seat.
35:18What did you get for us?
35:19That's interesting.
35:20So this is a drawing.
35:22It's an original engineering drawing
35:23of a design for the Humber Bridge.
35:26Wow.
35:26My God, this is amazing.
35:29Is this all drawn by pencil?
35:31I believe so.
35:32Wow.
35:33So tell us a bit more about it.
35:34So this was a drawing that was owned by my grandfather
35:37but it actually dates back to 1930.
35:40What was your granddad's name?
35:41Bernard Wex.
35:42The detailing's absolutely amazing.
35:44Was this drawn by an artist or...?
35:46No, it was drawn by Sir Ralph Freeman Senior.
35:50He was a civil engineer in the trade of building bridges.
35:53He was commissioned to come up with a design
35:54either for a bridge or a tunnel
35:56to cross the Humber estuary.
35:59Linking the industrial heartlands of Lincolnshire
36:04to the docks at Hull and beyond with a bridge
36:07took decades of planning and building.
36:11But this original multi-span design was never realised.
36:1630 years later, government decided
36:19they wanted to potentially invest again
36:20so my grandfather was approached
36:22and he was given this drawing by the firm
36:24as a, here's some inspiration,
36:27here's what we designed previously.
36:29So how long did it take for the bridge to be built?
36:32So it actually took 10 years in the end
36:33and was opened finally in 1981.
36:36The Queen attended to open it with Prince Philip.
36:39Wow.
36:40We have pictures of my grandfather meeting her
36:42and eventually he was awarded an OBE
36:44for his contribution with the bridge.
36:46That's amazing.
36:48And is grandpa still with us?
36:50No, I'm afraid he died in 1990.
36:52He's just fondly remembered.
36:54Our family generally view the bridge
36:56as that legacy that stands of his
36:57that keeps us connected to him.
36:59Yeah, I bet.
37:00We call it Grandad's Bridge.
37:01Do you?
37:02Yeah, so if we drive under it
37:03we say hello Grandad.
37:04Oh my God, that's so sweet.
37:05I took my daughter to see it
37:07about four or five years ago.
37:09It's quite sweet
37:09so I've got pictures of me
37:10at a similar age to her
37:12in front of the bridge.
37:13So it's a very emotional connection
37:14for us to Grandad's Bridge.
37:16It's part of the story
37:18of how he came to build
37:19the bridge he did.
37:21It's something we will always cherish
37:22as a family
37:23and want others to know as well
37:25because we're so proud
37:26of what he achieved.
37:28It's a one of a kind.
37:29I can't wait to get my hands on it.
37:32We really appreciate it.
37:33We'll see you very soon.
37:34Thanks a lot.
37:34I am so amazed
37:51by how much detail
37:54this drawing has in it.
37:56However, there are quite a few issues
37:57on the paper itself.
37:59First and most obvious
38:01is this difference of colour.
38:03The middle side actually
38:04is much lighter
38:05than both of the edges.
38:07Something that is quite interesting
38:10is all of these losses.
38:13This is a very, very typical damage
38:15caused by silverfish.
38:17Silverfish are not fish.
38:19They are little insects
38:21that live in the damp, dark places
38:23in your home
38:24and they love eating paper.
38:26These really small black dots
38:30on this side of the paper
38:31some bug
38:34has left their droppings on it
38:37which is lovely.
38:38We call this frass.
38:39I love the name.
38:41I don't like how it looks.
38:42It needs to be removed.
38:43Rosebud, a 75-year-old doll
38:57is heading for a fresh new look
39:00as Charlotte addresses
39:01those tresses.
39:04I don't want to glue the hair
39:05directly to her head.
39:07That wasn't how her wig was originally.
39:09There was fabric there
39:10and the hair was sewn to that
39:12so I'm going to be following
39:13that process.
39:15Let's see if this fits.
39:18I managed to clean
39:19Rosebud's hair
39:22and there is some of it here
39:24that is in good enough condition
39:25that I can integrate this
39:26into the wig.
39:27Looking at Rosebud's original wig
39:30I can tell what style of hair she had.
39:32She's got the parting
39:33kind of running all the way along
39:34but no hair was here.
39:36This tells me that she had a hairstyle
39:38that would have come down like this
39:40and then been in little plaques.
39:43I managed to source
39:45some really good replacement hair.
39:47This is sewn together
39:48and then I can then sew that
39:50onto the wig cap.
39:53It's great to be able to
39:54take Rosebud back
39:56to how she was originally
39:57because Jackie has never seen her
39:59with beautiful pigtails.
40:17Well, job done.
40:20Yes, Monarch.
40:20What kind of trickery is this?
40:25And it opens!
40:27So I feel like a child
40:28on Christmas Day
40:28and it's not even my box.
40:30No.
40:31This is unbelievable.
40:32How have you drawn
40:33those two together?
40:34Well, if I told you
40:36I'd have to kill you.
40:36Oh, God, don't do that.
40:38I'm still needed
40:39to polish the box.
40:40Yeah.
40:40And it's going to look great.
40:41I think it will.
40:42Thanks for having me.
40:43Cheers.
40:43It's been dirty work
40:52for Angelina
40:53cleaning the creepy-crawly
40:55calling cards
40:56from the rare engineering plans.
41:00This looks really much fresher now
41:03and especially now
41:04that all of the frass
41:06has gone from this side.
41:08Unfortunately,
41:08there's quite a bit of tape.
41:10It creates stains
41:12that are sometimes
41:13impossible to remove.
41:15The best way
41:16to tackle tapes like this
41:19is to use
41:20a little bit of heat
41:21reactivating
41:23the adhesive
41:24on the tape.
41:28Oh, there we go.
41:29Fantastic.
41:30It's all very moving.
41:35Ah.
41:37Woof.
41:37Done.
41:42Once I remove
41:47as much of the residue
41:49as possible,
41:51then I will start
41:52preparing the drawing
41:53for washing.
41:53I am washing
42:20the Humber Bridge drawing.
42:23It's so yellow
42:24and so discoloured.
42:26It might look
42:27quite scary
42:28that I'm introducing
42:30water to paper,
42:31but paper is surprisingly
42:33strong
42:34if it's not handled
42:35too much
42:36and should allow
42:38any discolouration
42:39to be absorbed
42:40through it
42:40and allow the drawing
42:42to start cleaning.
42:46Ha.
42:46Well,
42:47I think this is already
42:48a really, really good sign
42:49that the blotting paper
42:50is starting to work
42:51and it's allowing
42:52the discolouration
42:53to come through.
43:07I've got to paint
43:08quite a lot of limbs
43:10so I'm going to make
43:11quite a lot of paint.
43:12Making this kind
43:13of flesh tone
43:14is mainly a balance
43:16between red and yellow.
43:18sometimes with a little bit
43:20of blue
43:20to kind of cool it down
43:22and matching to her face
43:25because,
43:26well, that's the bit
43:26of rosewood
43:27that Jackie remembers
43:28so it makes sense
43:29that the rest of it
43:30would be the same colour
43:30as well.
43:31Chris and Will
43:44are rewriting
43:45the future
43:46of a writer's box
43:47that once belonged
43:48to Kay Kennedy,
43:50one of Northern Ireland's
43:51pioneering female
43:52newspaper editors.
43:53I'm now applying
43:56a really thin coat
43:58of shellac polish
44:00to show off
44:00that beautiful walnut
44:01and I'm also going to add
44:03an extra little touch
44:04so Kay's name lifts
44:05on in the box.
44:06The once tattered
44:14and battered
44:15writer's box
44:16has inspired
44:17four generations
44:18of women.
44:19From original owner
44:21Dolly
44:21through trailblazing
44:23reporter Kay Kennedy
44:24to Sarah
44:26and journalist
44:27daughter Laura,
44:28this box
44:29continues to inspire.
44:33Hi there,
44:34come in,
44:34come in.
44:35Hello.
44:35Lovely to see you
44:36both again.
44:37It's lovely to see you
44:38too.
44:38Kay was a very
44:39important lady
44:40in both your lives.
44:41Yeah.
44:41She was an absolute
44:42tribulacer
44:43and she deserves
44:44to be remembered
44:45with the kind of
44:47reverence
44:48that, you know,
44:49that she deserved
44:50and she earned
44:50in her lifetime.
44:52Are you ready
44:52to take a look?
44:53I think so.
44:54Yeah.
44:55Okay, here we go.
44:59Oh my goodness.
45:00Oh, it's beautiful,
45:05Will.
45:06It's absolutely
45:06beautiful.
45:10I want to get it
45:10open.
45:11I'm like,
45:11yeah, let me
45:12open it.
45:14Okay, here we go.
45:17Oh.
45:18Oh.
45:18Oh, wow.
45:22Absolutely gorgeous.
45:24Absolutely beautiful.
45:24This is the original
45:25look, isn't it?
45:26Uh-huh.
45:27It looks like
45:28it's healed
45:29itself, doesn't it?
45:30I cannot take
45:31all the credit.
45:32Chris, our bookbinder,
45:34he's actually retained
45:35the original surface
45:36but he's somehow
45:38managed to,
45:38as you say,
45:39heal
45:39the join line.
45:41It's really beautiful.
45:42That's such a lovely
45:43tribute.
45:45Well, I know that
45:45as people pass away
45:46keeping their name
45:47going,
45:48it's important for you.
45:49Yeah.
45:52Oh.
45:53Oh.
45:54Oh, that's lovely.
45:58Oh, that's so lovely.
46:00Oh, that was so thoughtful.
46:02Well, as you know,
46:03I was like,
46:03say her name,
46:04say her name.
46:05And there she is,
46:06Kay Kennedy,
46:07and she's so important.
46:08And that's just
46:09such a beautiful
46:10way of honouring her.
46:12It's been great
46:13to be able to keep
46:14Kay's name alive.
46:16Thank you so much, Will.
46:17It's a pleasure.
46:17Right, it's over to you.
46:19Absolutely beautiful.
46:22Thank you so much.
46:23Bye-bye.
46:24Bye.
46:24I'm feeling very happy.
46:31I'm feeling proud of my family,
46:33both past and present.
46:35It's important that people
46:36should know who
46:37Kay Kennedy was.
46:39She was right there
46:40in the forefront,
46:41as well as
46:42covering some of the
46:43hardest times
46:44in Northern Irish history.
46:45And I think that we should
46:47honour powerful Irish women.
46:49And for there to be
46:50one of those in my family,
46:51I've got to champion her name
46:53and keep that flame alive.
46:55with the Humber Bridge plans
47:15now clean and bright,
47:17Angelina can tackle the tears.
47:21I am using wheat starch paste.
47:24It has really good age properties.
47:26It will not discolour
47:28and it will not break down
47:29over the years.
47:39This repair tissue
47:40has very, very long fibres
47:43and it makes it extra strong.
47:45I will just trace the shape
47:49of the repair
47:50with my water pen.
47:52So all I need to do
48:00is just apply it on.
48:04It will be beautiful.
48:05Don't worry, I'm not making breakfast.
48:26I just finished
48:27with the support
48:28of all of the tears
48:29and all of the losses
48:30and now I'm thinking
48:31the best way
48:32to do my infills.
48:33Cellulose powder
48:35is like powdered paper
48:37that when it's mixed
48:39with some methicellulose
48:41or an adhesive
48:42it creates a paste
48:43and it will effectively dry
48:46just like paper.
48:47However,
48:48this is so white right now
48:50and if I want to avoid
48:52retouching too much
48:53I think the best way
48:55to do it
48:55is toast it.
48:57Toasting the cellulose
48:59will help it
49:00become a little bit browner.
49:02It's pretty much
49:03like toasting bread.
49:06This is starting
49:06to get brown now.
49:07This is lovely.
49:10All I need to do
49:11is just allow it
49:11for a few minutes
49:12to cool
49:12and then mix it
49:13with my methylcellulose
49:15and apply it
49:16on my losses.
49:17This is very exciting.
49:18It looks a little bit darker
49:25but as it dries
49:27it should lighten up.
49:31What I need to do
49:32is just continue
49:33working my way
49:34through all of the rest
49:35of the losses
49:36and then hopefully
49:37at the end
49:37we will have a much more
49:39unified image
49:40of the Hummer Bridge.
49:41with Rosebud's head
50:03shoulders
50:04knees
50:05and toes
50:06all painstakingly
50:07restored
50:08Charlotte's ready
50:09to bring her
50:10back to life.
50:12I've got this
50:12really long
50:13string of elastic
50:14really nice
50:15and boiling.
50:16The tension
50:27all looks great
50:28inside
50:28but I think
50:29the final test
50:30is
50:30can she sit up?
50:34Oh
50:34well she can.
50:36Just getting her
50:36back together again
50:37is amazing.
50:39Yeah
50:40to be honest
50:41I'm a bit overwhelmed
50:41myself.
50:42Jackie has never
50:43seen Rosebud's
50:44in one piece
50:45and it's just
50:46going to be
50:46so wonderful
50:46for her
50:47to experience
50:48Rosebud like
50:48her mum did.
50:49I need to
50:50fit her a wig
50:51and then I'll
50:52dress her
50:52in some kind
50:53of period
50:53appropriate clothing.
51:04Rosebud was gifted
51:05to nine year old
51:07orphan Myra
51:08by her newly
51:09adoptive parents
51:10over 75 years ago.
51:12hoping to see
51:15her mother's
51:16childhood companion
51:17Hall again
51:18Jackie is back
51:19accompanied by
51:21her dad
51:21Ron.
51:23Hello.
51:26Hello.
51:27Hi.
51:28Lovely to meet you.
51:31How are you feeling?
51:32Excited.
51:33Yeah
51:33emotional
51:34yes.
51:35She sits in a
51:36wicked chair
51:37in our bedroom
51:38next to Teddy
51:39and Teddy's
51:39lonely.
51:42So what are you
51:43hoping that I've
51:43done?
51:44Giving her her
51:45legs back.
51:46That would be a
51:47big thing for me.
51:48And just to see
51:49how my mum first
51:50saw her on the
51:51day that she was
51:51given to her.
51:53Are you ready?
51:54Shall we do it?
51:55Please.
51:56Yes.
51:56Oh
52:03Alex.
52:05Oh
52:05Oh
52:06Hard to recognise her.
52:12Oh my gosh
52:13look
52:14Oh she's amazing
52:15look at her hair
52:16Why
52:17Oh
52:17look at her dad
52:20Hey look at these
52:21feet
52:21Alexa
52:22And she's sitting
52:25up like we've
52:25never seen her
52:26sitting up
52:26Oh
52:28Oh
52:30look at her dad
52:31Yeah
52:32Oh
52:33We can move her
52:34legs and everything
52:35How did you do that?
52:37You are so clever
52:38Yeah
52:39Yeah
52:39Holding Rosebud
52:43now
52:43what's going
52:44through your mind?
52:46My mum holding her
52:47Yeah
52:48just my mum's face
52:49when she first saw her
52:50and just
52:51she was comforted
52:52by her didn't she
52:52Oh
52:53my mum would be
52:54absolutely over the moon
52:55Charlotte
52:55thank you
52:56I wish she was here
52:59Oh
52:59yeah
53:00She looks brilliant
53:02doesn't she dad
53:02A million dollars
53:05Honestly
53:06thank you Charlotte
53:07Rosebud symbolises
53:16my mum's
53:16and family's story
53:18that we just want to be able
53:19to pass on and tell
53:20forever
53:21and now we can do that
53:23now we've got Rosebud
53:23in one piece
53:24Myra
53:27would never have expected
53:29to see a hole again
53:30so
53:31today's quite a big day
53:33which
53:33I
53:35you know
53:35I find
53:36quite touching
53:37yeah
53:38yeah
53:38The Humber crossing drawing
53:49is no study
53:50but the repairs
53:51have left some gaps
53:52to bridge
53:53I'm going
53:55super
53:56super soft
53:57with the pencil
53:57because I don't want
53:59it to be a very
54:00very distinct
54:02and sharp line
54:03there we go
54:05first line in
54:06Tilly is incredibly proud
54:09of her grandfather
54:10so now
54:12the drawing
54:12has been conserved
54:13and treated
54:14the family
54:15will be able
54:16to appreciate it
54:17without having
54:18to take a trip
54:19up to Hall
54:19to just see
54:20the real thing
54:21The Humber Bridge
54:27may have been
54:28a triumph
54:29of British engineering
54:30built to last
54:32but these
54:33original plans
54:34were showing
54:34all of their
54:3595 years
54:37oh Angie
54:41do you like it
54:43that is amazing
54:44where's the rip
54:46where indeed
54:48you're clever
54:49aren't you
54:50for Tilly
54:53the drawing
54:54is a reminder
54:55of her grandfather
54:56his achievements
54:57and the proud
54:58family legacy
54:59they still celebrate
55:01generations later
55:02hello
55:04hi again
55:04welcome back
55:05good to see you
55:06have you been
55:08excited to come back
55:09yeah I have
55:10I'm so intrigued
55:11to see
55:11how it's looking now
55:13we really cherish
55:14the memory
55:14of my grandfather
55:16it's just part of
55:17the whole story
55:18of how the Humber Bridge
55:19came to be
55:20and it's something
55:20we're so proud of
55:21as a family
55:22would you like to see
55:24what I've done to it
55:25then
55:25love to
55:26alright
55:26wow
55:34that's amazing
55:36it looks so beautiful
55:39I'm really glad
55:41so lovely
55:41it looks loved
55:46wow
55:49what do you think
55:54of when you look
55:55at the drawing
55:56to build a bridge
55:57it blows my mind
55:58and you know
55:58it's still standing
55:59how incredible
56:01is that
56:01to have achieved this
56:02and that's always
56:04been a real source
56:05of inspiration
56:05my parents will be
56:08over the moon
56:08to see it
56:09thank you so much
56:11like this means
56:12so much to us
56:12so thank you
56:13for all your work
56:14on it
56:14let me give you a hand
56:16let's go
56:19I'm feeling so impressed
56:25with the final outcome
56:26it's really nice
56:28to have another
56:28connection to my
56:29grandfather
56:30it can continue
56:32to be appreciated
56:33by our family
56:34and stay part
56:35of that pride
56:37that we have
56:37in the bridge
56:38if you have a
56:47treasured possession
56:48that's seen better days
56:50and you think
56:50the team can help
56:51please get in touch
56:53at bbc.co.uk
56:55slash take part
56:56and join us
56:58in the repair show
56:59at bbc.co.uk
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