The Repair Shop (2017–…): Season 7, Episode 34 - Episode #7.34 - full transcript

Welcome to The Repair Shop, where
precious, but faded treasures...

This is bad. I don't think I've ever
seen a chair so broken as this.

..are returned to
their former glory.

That's lovely! It is, isn't it?
That's lovely, isn't it?

Furniture restorer Jay Blades...

Bringing history back to life
is what makes The Repair Shop
so special.

..and a dream team
of expert craftspeople...

Amazing!
It's a bit like brain surgery.

Go on! ..come together
to work their magic.

Yahoo!

THEY LAUGH



When you look at something
that looks so hopeless like this,

it makes me even more determined
to get it back!

That's teamwork.

Employing heritage craft skills
passed down the generations.

It is a privilege to be able to do
something for somebody

that means so much to them.

Preserving irreplaceable heirlooms.

To bring those pieces back to life

it's just the most wonderful thing,
and I'd like to do it for ever.

The team will restore the items...

Whoa-ho-ho-ho!

..the memories...
I'm so happy to see it!

..and unlock the stories
that they hold.

FEMALE GASPS



That's made it all worthwhile.

Aw!

INSTRUMENTAL

Morning! Good morning.

In The Repair Shop today...

So if I need a more broken surface
finish, I'll use dots,

and if I need to sort of fill
in the gaps a bit more broadly,

I'll use brushstrokes.

..the fine art of
painting restoration.

This is you being able to see
what the artist did,

not what I've done.

I just need to check
what metal it is.

And the alchemy of goldsmithing...

Yep. And that's telling me that's
likely to be around nine-carat gold.

..as Richard restores a memorial
brooch that holds precious memories.

BIRDSONG

FAINT CHATTER

But first, an immense challenge
for leather expert Suzie Fletcher.

Sue Loch and her daughter, Hannah,
need her help to save

a crumbling heirloom that connects
them to a trailblazing ancestor.

Hello!

Hi.

How are you?
I'm fine, thank you. How are you?

Yeah, really good. Hello.
Nice to meet you. And you.

And what have you brought for us
today?

Can you manage? Yeah, thank you.

My word!

This is a midwifery bag. OK.

That was my grandmother's, who was
born at the turn of the century.

And she did her nurse training,
and then she did midwife training.

And she met my grandfather.
and he said...

You know, eventually asked her
to marry him.

And in those days, married women
had to give up work.

She told my grandfather
that she would only marry him

if he allowed her to carry on
working even when they had children.

And he said,
"Yes, that's no problem".

And presented her on her wedding day
with this bag,

which had all the equipment,
midwives' equipment in it.

That's an incredible
wedding present! Yeah.

Worth getting married for. I know!

THEY LAUGH

He set her up in her own firm.

Because in those days,
this was before the NHS.

My mum and her brother came along

and she carried on working.

All through the war,
all through the air raids.

I mean, she used to tell me
stories about

going into the slums of Liverpool,

she'd take newspaper
and put the newspaper down

and then deliver the babies
on to the newspaper. Gosh!

And obviously, brought this bag...
Yes. ..with all the equipment...

Really? Yeah, yeah.

When the NHS started,

in the late 1940s, after the war,

she moved over into the NHS. Mm-hm.

And carried on being a midwife
well into the mid '60s.

A huge career. Yes. Yeah.
A long career.

She was incredibly feisty.

She was a suffragette. Really?

She chained herself to
Liverpool Town Hall railings. Wow!

And it was all supposed to be secret
because in those days,

if you were a suffragette,
you could lose your job.

She took on trade unions,
she took on the NHS

if she thought that her nurses
weren't being treated well.

I think that's definitely travelled
through the women in our family.

My mother was also a nurse,
and she was very feisty, as well.

Oh, really? Yep.

Then Hannah...is a doctor.

I've been a doctor
for about five years now.

and I'm currently just completing
my training to be a GP.

Fantastic! It's amazing. Yeah.

I can see it's all tied together.

Yes. I mean, I can take
the, um...the tie off,

but the lid's...completely off.

And if we just remove this,
you'll see that it...

Oh, look at that! ..collapses, yeah.

This is part of the design,
isn't it, that it opens up?

Yes. I think it is, yes.
To have access.

It opens down
so that you can put it flat.

I really want to have a look.

THEY LAUGH

Please do. Please do, yes!
Please tell us you can do something!

This has definitely been through
the wars, hasn't it? Um...

Oh, look at this!

How lovely is this!

But, my word... Hm-hm!

Yes, this is, er...quite
the challenge!

If you could only hear my heart.

THEY LAUGH

Do you know what? I haven't seen
Suzie so worried about a job before!

Sorry! I know this is going
to challenge her.

I...I...I can't make any promises.

No, don't worry. No, no. I really
can't. Of course. No, no, no, no.

Thank you very much. We all
have faith in Suzie. Yep. Yes.

OK. Well, we'll be in touch.

Thank you, and good luck.

Yeah. Bye-bye. Bye-bye. Bye-bye.

I was very close to my grandmother

because being independent
and earning her own income

and doing something she loved
was really important to her.

And that's definitely
passed through the generations.

I love my job
and it's really amazing

that the health care side of things
has carried on in the family.

And I think that's what the bag sort
of means to us when we look at it,
isn't it? Yes.

It's the...it's the family history
and the...

just amazing, strong women
in our family, really. Yes.

Oop!

This is incredibly damaged.

The leather itself is...it's
incredibly fragile,

along with the fact that this lid
is made of fibreboard

that, with it getting damp,
has distorted.

The leather has torn
along the back seam.

And there are some leather straps
here that are missing.

I mean, it really does look like
a hopeless case,

but I'm going to put my whole heart
into this.

I think what I can do is put
the case back how it originally was,

straighten it out,
make it look as best as I can,

to where Hannah and her family
can continue talking about

this amazing lady that inspired
all of these nurses

in this great family.

The first thing I need to do
is to start with the fibreboard.

And you can see
the moisture's got in there.

It's just delaminating everything.

What I'm going to do is go in here
with some glue and...

..get those boards
to all stick together again.

And that will give it the strength
back, make it nice and tidy,

but also, is going to help
to straighten out this lid.

As Suzie considers
the huge challenge she faces,

outside a sizeable new arrival.

Alice Bird from Devon
is hoping the masterful touch

of art conservator Lucia Scalisi

can get a precious painting
looking its best again.

Hello! Hello!

This is a big painting.

It is. It's quite heavy.

How exciting!

Hello, I'm Lucia.
I'm Alice. Hello. Hi, Alice.

This is an amazing painting.

What can you tell me about it?

This is a painting by my dad,
Robin Rae, from 1949.

And he painted it
when he was just 21.

It's very competent.

He was at art school
when he painted this painting.

He would have been at the Ealing
College of Art in London. Right.

And after, he went on to the
Royal College in London, as well.

Fantastic!

Did he make his living
out of painting? He did.

He was a very, very dedicated
painter from a very young age

to, um...90, when he died.

Do you have any particular
fond memories of your father?

He was a very quiet person,

but my dad had a very funny
sense of humour

and a wild imagination, I think.

And so, he was great
at telling stories.

When I was a child,
I used to love bedtimes

because he'd tell me
these fantastical stories.

How lovely. He was obsessed with
painting, I think you could say.

We'd go on very occasional
family holidays.

I remember him saying to my mother,
"How long are we going to be here?"

Because he just wanted to go home
and carry on with
the latest painting.

When did you get this painting? Did
your father give it to you, or...?

He did.
I was quite young when I got it.

A similar age to when he painted it.
Oh.

And I used to take it with me
everywhere.

It came up to university with me

and I hung it on my wall
in student halls.

Really?! Which must have looked
a bit strange.

Um...and everywhere I've moved to,
it's come with me.

So it's a very, very
well-travelled painting.

And do you know who these people
are in the painting?

I think they're just, um...

they're fictional people
that he's made up.

The painting is called
The Storyteller,

I found out quite recently.

Because I've got a number
of his old sketchbooks,

which I found in his studio, which,
although he died two years ago,

is still there,
in my parents' house.

It's obviously been through some
troubled times, hasn't it? It has.

There's quite a few holes
in the painting

and quite a bit of paint loss.

What happened?

Um...it got damaged
in a move to France.

It was packaged into a hire lorry,
which then broke down,

and it had to be repackaged into
a new lorry,

and it was pouring with rain.

And, um...in the process,
the painting got soaked.

And you can see... Oh, no!
..where bits of furniture

have pierced through the canvas.
Oh, no!

I'd just like to see it as it should
have been before I got it damaged.

I just feel enormously proud of him.

And I miss him when I look at it,
actually.

I really do miss him.

Alice, I'm really excited
about this.

It's such a beautiful painting.

I can't wait to get started.

Oh, thank you so much!
Thank you for bringing it in.

Thank you.
I look forward to seeing it.

Yeah. See you soon. Bye-bye.

The painting has a great deal
of meaning for me

because my father was a huge source
of inspiration in my life.

I'm just so pleased that it's being,
you know, nursed back to health.

I'm thrilled to be working on
this painting.

For someone to have painted this
when there were 21,

it's really quite accomplished.

At the moment, I'm consolidating.

So I'm working on
this extensive flaking.

I'm using a synthetic adhesive,

and I will use my heated spatula

and the tissue will then hold
the paint in place.

And then, after that's happened,

I can actually start thinking about
cleaning it.

It is quite a sombre palette,

so it's always going to be
a dark painting,

but I am anticipating it
being better to read

once I've finished retouching.

And also, I'll varnish it,

so that will make all the colours
sort of zing again.

Alice wants to hang this again.

And it's really special
that her dad gave her this painting.

So yeah, I want to do
a really good job for her.

Revisit all those memories.

As Lucia continues to consolidate
the flaking paint,

Suzie has finished her efforts
on the crumbling leather

of the midwife's bag.

That has actually turned out
so much nicer than I was expecting.

You can see how it's become
very flat,

and it actually feels
so much stronger.

So the rest of the rebuild
of this lid

is going to be quite extensive.

This is the end that's attached to
the main body of the bag,

and it has torn off.

I need to start by glueing the
strip of attaching leather in place,

and then I can sew that in position.

Now I've got all the various pieces
of leather

that I'm going to use
in repairing this lid,

I just need to start glueing them
in place

and then I can sew them permanently.

I've now got to repair
the actual body of the nurse's bag.

And I love this design.
It's so clever.

What we have going on here is,

this front piece folds down

and it allows this tray to come out,

and this is where all those
implements would go, and tools.

These metal brackets
secure this front like so,

and then there are these straps
with press studs on

which hold the whole thing together.

So it's a really simple
little design,

but it's lost all the leather
that's covering it

and the little tabs
have actually broken.

Here, where the tray
opens and closes,

this leather has become really weak
and cracked.

What I need to do is run strips
of leather along this weakened area.

I just need to start by
glueing everything into position.

When I think about Mary,
Sue's grandmother,

coming into this line of work

when women weren't necessarily
supported in their choices

and had to really battle
to be respected,

if it wasn't for people like Mary,

it makes you wonder
where we'd be today.

Right, let's get sewing.

Now I've got all those
reinforcing strips sewn in place,

this box already feels
so much stronger.

What I need to do now is replace
these connecting straps on the side

that actually hold
this whole folding tray in place

once it's presented back
to the body.

I'm just going to use
the rotary punch.

This is one of my favourite tools.

This rotary punch,
you can just turn it around

to get the right size hole
that you need...

..and punch through like so.

There we go. Perfect.

So now I've got that in position,

I need to make the strap
that's going to connect into that.

Great.

FAINT LAUGHTER AND CHATTER

Now, I'm going to be attaching
the lid back to the main body.

This strip of leather
that I had sewed back on to the lid

is what's going to attach it
back into place.

Because this is going to be opened
and closed regularly,

I'm going to run these tacks along.

That's going to give it
that extra bond

and stay solid for years to come.

The next hopeful arrivals
are Cheryl Sanford

and her daughter, Dawn,
from Lancashire.

They've brought a precious
family keepsake

for the Midas touch
of jeweller Richard Talman.

Hello! Hiya! How you doing?

Hi. Hello.
I'm doing well, thank you.

What have you brought in for us?

This belonged to my nanny, Margaret.

OK. Could be a brooch
or it could be a necklace.

I think originally, it was both.

Right.
And this is her brother, Billy.

And she would always get it out
and she would show me, show people.

Yeah. Talk about him a lot.

When was this picture taken?

Um...we think at the outbreak
of war. Right.

It seems it's a military photograph.

So, this is him done up
in his uniform? Yep.

How old was he when he went to war?

About 17 or 18.

That's young, innit?

It is, it is young.

Did she have a close relationship
with her brother? She did.

She had eight brothers, but Billy
was particularly special to her.

Definitely. What happened to Billy?

Well, he was injured in France
in the First World War. Right.

And he was literally sent
home to die.

Um...

He couldn't have been more than 20
when he died.

That's tragic.
It was...it was tragic.

Yeah. I'm guessing that she then
put his photograph in.

And I'm also guessing she would have
taken a lock of his hair,

because that was a custom
those days. Yeah.

And there it's remained...
Yeah. ..for 100 years.

When did she give you the brooch?

It was about 1970.

So she said, "You...you have it now
and look after it!.

And what would you like to be...
Well, what do you want doing to it?

Well, it needs, obviously,
a back on it. Huh!

It needs glass. Yes.

This is a little bit bent.

If I had a choice... Yeah?

..it... I would wear it more
as a necklace.

Right, OK. So, you want to follow
in your nan's footsteps

and wear it as that necklace? Yes.

Can I take a look? Of course!
Lovely!

Ooh.

This...has certainly seen
better days.

The...the edge, the bevelled edge
that would have held the glass in,

that's all been quite
heavily distorted.

I wouldn't be surprised at all
if that had been trodden on.

I like a challenge. Good!

CHERYL LAUGHS

What do you think of the brooch,
Dawn?

Oh, it would be lovely to see
the piece repaired

to how it would have been seen
originally, 100 years ago.

Yeah. It's about keeping
those memories alive.

And we're all a very, very close
family, so it'd be lovely

for that to tie all that together
and keep those links. Yeah.

Thank you for bringing it in,

and I can't wait to see
what Richard does with this one.

Thank you. Thank you very much.

It's in safe hands. Thank you. Bye!
Take care. Bye-bye.

The brooch is special to me
because it belonged to my nanny,

and it would be lovely to have it
restored

so it would be in the condition
that she wore it.

And it would bring her closer to me.

I think it would be a lovely link
to the family

and the times that have passed.

It would mean an awful lot
to my mum,

and then, of course, me,

and then eventually,
maybe my daughter.

It really is in a bit of
a sorry state.

It's bent in just about every angle.

I'm going to have to cut
a new back plate out,

make a new pin and a hinge,

and I'm going to have to try
and make up some kind of bracket
on the back

so it can be worn as both a brooch
and a pendant.

It's going to be tricky.

But before I do any work,

I just need to check
what metal it is.

And doing that, I'm going to take
a little bit of nitric acid.

You just put a tiny, tiny
little drop on to it, like so.

What I'm hoping to see
is a little brown stain.

Yep. And that's telling me that's
likely to be around nine-carat gold.

It's important to ensure
that all the other components

that I make to go with this
is the same metal.

So now I know what to get.

Art conservator Lucia is preparing
to mend the jagged holes

in the 70-year-old canvas

of the painting passed down
from an artist to his daughter.

I'm putting the nylon gossamer
patches on the back of the tears.

I make this myself.

So it looks like a bit of
a sticking plaster,

but it's with special materials.

And the heat-seal adhesive bonds
to the actual canvas,

but the nylon gossamer
stays as a whole.

And it's proven to be
very effective.

And not only that, in years to come,
it's readily reversible

because of the heat-seal adhesive,

which is a special
conservation adhesive.

That's the last one on.

It's not going anywhere.

Um...so now I can actually
lift the painting up.

You'll see the tissue on the front
that's holding all the flaking.

I hope!

That looks great. I'm really pleased
with how this has gone.

So we're just about ready
to start cleaning.

I'm using water with a couple
of drops of ammonia in it

just to break the surface tension.

So it's the water
that's doing all the work.

Robin's technique,
it's pretty competent.

I mean, these trees up in
this corner in particular,

the way that they've been painted
is really special.

I can see why he would have been
selected to go to the Royal College
of Art.

I'm just going to finish this
and, er...check the surface,

and then I'll be ready to put
the first coat of varnish on.

This varnish coating will saturate
the image,

so you'll be able to see it
more clearly.

But it provides
the first isolating layer

between the actual original painting

and then any subsequent work
I'm going to do.

So I'll wait for this to dry

and then I'll be able to start
the filling and the retouching.

I like varnishing.
I do like varnishing.

I'm at the filling stage.

It's, er...quite an exciting stage
to be at,

and it makes the painting look a bit
of a mess whilst you're doing it,

but it's essential
and it's very worthwhile.

I'm literally putting it on
very, very thinly

and allowing the canvas weave
to show through,

because I want that to be
part of the paint texture

when I do the retouching.

So I've got quite a lot to do.

They're scattered across
the surface.

But it's very satisfying to start
seeing the form come together,

all ready for the retouching.

It's been one of
the toughest challenges

leather expert Suzie has ever faced.

But after hours of hard labour,
the midwife's bag is taking shape.

I'm now starting to tidy up
the main body.

And these back corners have been
very damaged over the years,

banging up against things.

So I've just put some
matching leather caps on here

that will disguise
all of that damage.

Then, where the sides come together
here,

the leather has been damaged
and worn away.

So what I've started doing is fill

where we've got a bit of a void here
with some of this leather fill.

I do like to make every effort

to get it as near perfect
as possible.

I feel that it's just going to add
a finishing touch.

This bag accompanied
its courageous owner

as she delivered hundreds of babies

throughout the Second World War
and beyond.

Inspiring generations of her family.

Including great-granddaughter
Hannah, a doctor,

along with her mum, Sue.

Since we dropped the bag off,
I've been able to spend some time
thinking about my great-grandma.

And even though I never met her,
I've heard these amazing stories.

We've been remembering stories
that my grandmother used to tell us

about when she was a midwife,
before the NHS.

I'm a bit, um...apprehensive
in a way

because it was such, er...in poor
condition,

so if Suzie's been able to do
anything positive to it,

I'll be just over the moon, really.

Very excited.

Hello! Hello! Hello! Hello.

Nice to see you.
Lovely to see you again.

How are you doing? Fine, thank you.
Nervous and excited.

You nervous, as well? Yeah.

We want to know whether you've been
able to do anything with it.

I have to be perfectly honest
with you here, that, um...

it's probably the worst bag

I've ever had to work on.

However, the story of
your great-grandmother

and the legacy that you're going
to carry on with

really made me do
the very best that I could.

And hopefully, you are happy
with what I've been able to do.

Whatever it looks like,
we're very grateful.

You want to show them, Suzie?

Are you ready? Yes! Yeah, go on.
Go on, please. Right, here we go.

Oh, my goodness! Oh, my goodness!

Wow! That is incredible!

Oh, wow! Oh, my goodness!

That's probably... Wow!
..not far off what it looked like.

Oh, my goodness me! I can't believe
it. I actually cannot believe it!

How have you done that?
Oh, my goodness! Ah!

Just... Oh! Oh, my gosh!

Oh, wow!

JAY CHUCKLES

Wow, wow, wow!

Oh, my goodness me!
I can't believe that!

Oh, wow!

That's is, I think, the most
impressive thing I've ever seen.

THEY LAUGH

I completely agree.

I just...
Well, from...from what it was...

Yeah. I mean...

It's... I'm...I'm speechless.

There are no words, really,
to describe...the difference

and also, you know what,
what it means, really. Yeah.

And how... Just what a difference
it will mean to my practice.

To be able to see my patients
in the surgery, but with my bag

and explain, you know,
the history of it.

I'm very, very relieved.

THEY LAUGH

Absolutely amazing.

You've worked a miracle.
You really have.

This is the best medicine
I've ever seen! Yes!

THEY LAUGH

And to see your reaction
is just everything.

Thank you for bringing it in,

and giving Suzie such
a challenge to work on.

Yes.

THEY CHUCKLE

It's yours. Yep. Thank you.

Right, Hannah?
I'll be super careful with it.

OK? Ooh! Thank you.

Take care. Thank you very much.
You take care.

Bye-bye. Bye-bye. Bye-bye.

Watch it...carefully.

"Careful." Careful.

That's what you want to hear.
It's great. Yeah.

She has put it back together,

and it looks like it would have
looked nearly 100 years ago.

So, it was incredibly emotional.

Just seeing it and what Suzie's
been able to achieve,

it was just complete shock.

And just absolutely incredible.
Lost for words, to be honest.

It looks amazing. It feels amazing.

And it's just such a
beautiful piece.

Absolutely incredible.

Yeah, we're very proud.

We're very, very,
very grateful and happy.

Goldsmith Richard has begun
work on the mangled

First World War brooch.

Now is the critical part,
trying to straighten up this edge.

I'm just taking a pair of half
round pliers, and just slowly,

kind of, bend outer part
of this frame out,

got to go around doing this very,
very gently, very carefully.

Don't want to stretch it
in any other points.

Otherwise, the chances of
getting a glass back in it

is going to be slim.

Good thing about working with gold
is it's quite malleable.

So, I've managed to get the oval
shape back on this brooch now.

Now, I've just got to mark the oval
shape on a sheet of nine-karat gold.

And I'm going to cut that out,
and that'll be used at the back

to hold the hair and the
photograph in safe.

That fits in there like a glove.
I'm happy with that.

Hiya, Will. Hey, Richard, what's up?

Got this brooch that
we're doing for Cheryl,

and it'll be turned into a pendant,

so I fancy a nice little bit of wood
to hang it on to present to her.

Lovely. Something you could
do for us? Yeah!

I appreciate it. No worries.

I've made a new pin that
locks in like so.

And then, we just put...

..another pin through
the middle of the hinge.

And now, that...

..is a working pin.

So, this is the piece of glass
that I've had cut

specifically to size,

and the next job will be to
get some glue around this edge

using a specially-designed
adhesive here.

It's got, like, a very,
very fine needle on the tip,

so we can actually dispense
the most tiniest amount

all the way around the rim.

Very, very delicate work.

You forget to breathe,
a lot of the time.

Here goes.

I really, really don't want
to have to pull this out again,

so I've really got to get it
in perfect first time.

There we go.

Before I put the hair and the photo
in, I need to make the adaption

to turn this brooch into a pendant.

Brooches that adapts themselves
into pendants were quite popular,

but usually there would be a little
swivel point at the top

where the bale would affix to.

There isn't anything
like that on this brooch.

I don't think I've done one of
them for quite some years.

I'll start by taking
a small piece of gold tube.

The pin will slide through and,
off of that piece of tubing,

I'm going to have a frame
which is going to attach to

a small hoop at the top where
the chain will pass through,

and hopefully, it will work.

Let's give that a cut.

At the moment, this gold's black
because it's oxidised.

As soon as that's put in the acid
to clean it up,

it will return to the gold colour.

That frame...

..is going to fit up onto the back.

The painting by accomplished
artist and much-missed father

has had its torn canvas
repaired and filled.

And Lucia has made a start
repainting the lost areas of colour.

I'm wearing a glove for this.

There's a lot of reflection, surface
reflection because of the varnish.

The glove just takes off
the reflection of my skin tone.

There are lots of different
ways of retouching,

lots of different techniques.

So, if I need a more broken
surface finish, I'll use dots.

And if I need to, sort of,
fill in the gaps a bit more broadly,

I'll use brush strokes.

It's lovely to be able to see
how the artists work.

When you're this close, you can
really see what they were doing

and what they were thinking of.

And I'm trying to mimic
what he's done.

This is you being able to see
what the artist did,

not what I've done.

Artist Robin Rae was just 21 years
old when he created this work

before attending the prestigious
Royal College of Art.

To his daughter, Alice,
it's a reminder of a beloved father

and his lifelong passion.

Since my dad died, I haven't
really talked about him at all.

But I have been thinking
about him a lot more

since I left the painting.

I've felt able to talk about him
and think about him,

and tell my children about him in
a way that I didn't really before.

It's been very cathartic, I suppose.

Hello! Hi, Alice! Hi.

It's so great to see you.
And you! My gosh, it looks enormous!

Are you excited?
I'm genuinely excited. Yeah.

This painting's been
everywhere with you.

Sort of, most of your life,
really, hasn't it? Yes.

It's just a huge reminder of
who my dad was and what he did,

and his dedication to painting.

It's going to be amazing
to have it back not broken.

Let's see what you think.

Oh, gosh, it's amazing.

Oh, it looks beautiful,
it looks absolutely beautiful.

It looks new.

It was so dirty and flaky,
you couldn't really see

all of the detail before.

And all the holes have gone.

I can't believe you can't even
see where they were.

It looks amazing. Thank you.
Really, thank you so much.

It's seriously a very good painting.

And I think, for a 21-year-old
to have created this,

it's a remarkable job. It really is.

And I think you're very
lucky to have it.

I do, too. This in your collection,
and also, to have a father

that was an artist...
Yeah, so do I.

It makes you realise
he's a really important role model

for me and my children,
because these paintings will be

passed down through
to his ancestors.

It'll definitely bring
gasps of amazement when it

goes up in the house. Yeah.

OK, well, leave it with me,
and we'll get this to you.

Thank you so much. Thank you.

All right. Thanks, bye-bye. Bye.

I just feel completely elated,
actually.

Just so pleased to have it mended,

because I've always felt so bad
about getting it damaged.

And now, it's just - as if it's
just come out of the studio.

So, it's really brought the
21-year-old Robin Rae back to life.

It's amazing, yeah.

Having designed a bespoke gold frame
to convert the First World War

brooch into a pendant,

Richard is now ready
to rebuild the keepsake.

The first one that's going
to go in is the photo.

It's just going into
the hollow of the brooch,

right up against the glass.

Second is the hair.

Gently as possible.

But what I'm hoping will make Cheryl
extra pleased with this repair...

..is the addition of this frame.

And that just hooks
over the back, like so.

And becomes a pendant.

I think she's going to be
happy with this.

This family heirloom was showing
its hundred years of age.

Twisted and tarnished,
and no longer a fitting memorial.

Accompanied by daughter Dawn,

Cheryl is hoping to keep
the family tradition alive

by wearing it once again.

This brooch means a lot to me,
because it belonged to my Nanny.

It contains a photograph of her
brother, Billy, who was killed

in the First World War.

So, it would also obviously
bring his memory alive again.

That's what she would've wanted.

That's what she would've wanted.
Right.

WILL: There they are. Welcome back.
Thank you. Hi.

Hi, Cheryl. Hi, Dawn. Hiya.

You look really excited.

We are really excited.
I'm really excited!

You were very close to your Nanny.
I was.

So, it means quite a lot to you,
to have this in the family still.

It does. Of course it does.

Wherever she went, I went, too

Are we ready? Yes! We're ready.

SHE GIGGLES

Deep breath. Deep breath.

LOUD GASPS

Oh, wow!

It looks so much fun...
That's so shiny! It is shiny.

That is gorgeous.

And a pendant. And a brooch.

And a brooch.

We never thought we'd see it...
Not like that. Ever. No.

As much as anything,
rather than just for me, or Dawn,

it's for her, it's for my Nanny,
for Margaret,

because that's how she
would've remembered it,

and that's how she would've worn it.

I can't believe
what you've done to that.

That is incredible.
Incredible, yeah.

Thank you, Dawn. Oh.

I know how much this means to you.

So, when you're not wearing it,

I've actually made you
a display board.

That's amazing.
That's wonderful, isn't it?

More to be treasured.

Now, I think it's about time
you put on the necklace.

Oh, do you think? I think so.

There we go. It's gorgeous.

Absolutely amazing. Amazing.
It's just beautiful.

It's always a pleasure to restore
things that means so much to people.

Cheryl, Dawn, thank you very much
for bringing it in.

Thank you so much.

We're so grateful and so happy,
aren't we?

Thanks a lot. Bye. Bye-bye.
Safe journey home. Thank you.

Just to see it all now done and
wearable like that is just amazing.

I do feel very proud to wear it.

We both will be.

Passed down the generations.

Just like Nanny Margaret
would've wanted.

Join us next time...

Perfect.

..for more dazzling restorations...

SHE SMOOCHES

..in The Repair Shop.