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00:00Here at The Repair Shop, countless treasures have been brought back to life.
00:07Deep breath.
00:08Oh, gosh.
00:10That reveal so much about who we are.
00:12It is.
00:13And where we're from.
00:15It's perfect.
00:16But there's so much more out there.
00:18Let's do it.
00:19That's not yet made it to the barn.
00:22Beautiful, isn't it? Absolutely beautiful.
00:24So the team are hitting the road.
00:26This is the perfect opportunity to meet some new people.
00:30Learn some new skills and maybe fix a few things on the way.
00:32Yeah, I'm up for that.
00:35On a unique adventure.
00:37Whoa.
00:39We're going to get some looks on the way back to the barn.
00:41To join forces with expert craftspeople.
00:44We're putting 130 hours just hanging on the hazels.
00:48On their most ambitious restorations yet.
00:50They all need replacing.
00:51Yes, hundreds of pieces of stone.
00:53Wow.
00:53Keeping heritage crafts alive.
00:56Good job with friends.
00:57I know, isn't it?
00:58And passing precious skills to future generations.
01:01Is he a good student?
01:02He is, yes.
01:03Does he listen to you?
01:04He does, for the most part.
01:06Sparking restorations across the country.
01:08Are you a part of the history of this now as well?
01:10Today, the team helped commemorate a terrible loss.
01:21You hear the numbers, but then when you actually see the faces.
01:26That's why we want to build the museum, to put this tragic event into context.
01:30Because it did happen here, we can't change that.
01:33Repairs kick off on a Dundee United legend's keepsake.
01:37This is a symbol of an amazing career and an amazing couple.
01:41And I can understand that you want it to be looking its best.
01:45Will meets a fellow woodworker.
01:48Do you know what?
01:48I like the smell of a workshop.
01:50Oh, it's lovely.
01:50I can smell the glue here.
01:51And Dom travels back in time to rescue historic artworks from the Second World War.
01:58Can I cut this one first?
01:59Please do.
01:59Love it.
02:04Will and Kirsten are passing through the Scottish borders,
02:08on their way to Dumfries and Galloway.
02:10The area has a proud tradition of textile making.
02:17The world-famous pattern cloth tweed has been spun in mills here for centuries,
02:22with wool from the more than a million sheep who call these hills and valleys home.
02:27It's also a place that's close to Kirsten's heart.
02:31I know this area so well.
02:33That river down there is the River Tweed.
02:36The River Tweed?
02:37The River Tweed.
02:38It's a River Tweed.
02:39Absolutely.
02:39The only reason I know that is because it runs through Peebles,
02:42and that's where my husband's from.
02:44Oh, Peebles.
02:45Just so lovely to be here.
02:47And, yeah, it just fills my heart with joy.
02:52Here we are.
02:53We're in the most beautiful part of the country, heading to Lockerbie.
02:59The market town of Lockerbie made international headlines in 1988,
03:05when a terrorist bombing brought down a Pan Am flight,
03:08killing all 259 people on board, as well as 11 Lockerbie residents.
03:14The team have been invited to help with an ambitious restoration project,
03:18commemorating that tragic night.
03:20The work of the emergency services and the incredible spirit of the town in the years since.
03:27It's a great responsibility, but what a privilege to be asked to help to restore something for them
03:34and for their community.
03:35Absolutely.
03:37Now plans are in place to build a legacy museum in the grounds of nearby Thundergarth Kirk.
03:43It will commemorate the event and the community's response to it for generations to come.
03:49Lockerbie resident Laurie Carnahan is one of the team behind the project.
03:54So the church was used as a staging post, not just on the night of the bombing, but in the aftermath.
03:59So we had the police here, British Army, RAF.
04:03It was a place where people could come in and shelter from the elements.
04:06That's quite a lot to take in, and the thought that that was happening just over the road there.
04:12Nearly 60,000 people have signed our visitor's book in the remembrance room.
04:16And we know this is a place of pilgrimage.
04:19A lot of people, whether they're directly related to the attack
04:22or they just want to come and pay their respects, come into the church.
04:26The repair shop team have been invited to work on something they hope will become a key exhibit in the new museum.
04:33Retired firefighter Roger Claymore has an incredible archive of photographs he'd like help to preserve.
04:42Roger.
04:42Hi, Will.
04:43Nice to see you.
04:44Nice to see you.
04:45This is nice.
04:46Welcome to Scotland.
04:47Thank you very much.
04:49Roger and his colleagues were among the first on the scene on the night of the bombing.
04:54So what happened that night?
04:5531,000 feet, this plane was flying up and it exploded.
05:00And from there it was spread well over the area.
05:03A lot of buildings on fire.
05:05One of the engines had landed in a field.
05:08It had landed on the water main, so we couldn't get any water.
05:11The telephone lines were down.
05:13There were chunks of, I mean, blocks of sandstone lying on the roadways covering the path.
05:21In the days that followed, Roger was asked to gather photographs to form part of a record of the attack for the fire service.
05:29Some of them are on the night in question.
05:33Some of them are aftermath.
05:36Captain Roger's attic for over 36 years and rarely seen, these images serve as a powerful record of that night.
05:45Is that part of the plane there?
05:46This is part of the plane there.
05:47And that's the cockpit which landed just over the back of here.
05:51These look really quite shocking and it gives you a really good idea of exactly what had happened on that night.
05:56Yep.
05:57This must be quite hard to look at.
05:59This is the unfortunate thing about it.
06:01I knew two of these people very well.
06:03I attended their wedding.
06:05Morris and Dora Henry.
06:06And when I looked where their house was and what was there was nothing, just a big crater in the ground.
06:15That's something you don't expect is to...
06:17No.
06:18But do you feel like it's a story that should still be told?
06:21Of course.
06:22This is it.
06:22This is history.
06:23And I would like it to be members of the public to come in and see the history of what happened that particular night.
06:30What would you like us to do with these?
06:32Well, the book's not the best book.
06:35I would like either to remodel the book, make a new book.
06:39Something to do justice.
06:41Yes.
06:42Well, at the moment you've got the two books here, so I presume it would be quite nice to put them into one book.
06:47Around the outside it's beginning to peel away.
06:49I mean...
06:50The edges are getting...
06:52Yeah.
06:53I mean, would you be happy to change the folders?
06:55Would you be...
06:56Yeah, you're happy to change the folders?
06:57I'll leave it to you.
06:58It would be great to see it.
06:59Once restored, Roger's photos will go on display in the Remembrance Room in the churchyard, before moving to the Memorial Museum, when that is completed.
07:11Kirsten, this is the Remembrance Room.
07:13And these are our We Remember banners that show the faces of nearly all of the 270 victims and, of course, our 11 Lockerbie residents as well.
07:22It's very sobering, isn't it?
07:24You hear the numbers, but then when you actually see the faces and you see the young and the old and all of the different nationalities as well, it has quite an impact, really.
07:38And what we're doing here, hopefully, will one day be in the museum.
07:43That's why we want to build the museum, to put this tragic event into context, because it did happen here.
07:49We can't change that, but we can make sure it doesn't define Lockerbie.
07:53The town and we as townspeople are a lot more than just what happened here.
07:58Roger's albums are beginning their journey to bookbinder Chris Shaw in the barn.
08:03And as they head south, another member of the repair shop team is heading north, to pick up another piece of history.
08:14In the shadow of a dundee landmark, the Tay Bridge, Dom is meeting Amanda Coppell, who has something precious that belonged to a city legend.
08:24I have brought my late husband's Scotland School Boys International cap.
08:30This goes back to 60 years ago.
08:33Oh, my goodness. What was your husband's name?
08:35Frankie Coppell.
08:36So he would have been 75 this year, right?
08:40So he signed for Manchester United as an apprentice when he was 14.
08:45And he was there in 1964 to 69, under Sir Mark Busby.
08:50And he was part of the Manchester United team that won the European Cup.
08:54Really?
08:55And then he became Jim McLean's first signing at Dundee United.
09:00So how much of that journey were you part of?
09:02Well, we met in Falkirk.
09:06We lived across the road from each other.
09:08And we were eight and ten years old.
09:11Eight and ten?
09:12Eight, yes.
09:13When you first met?
09:13Yes, when we first met.
09:15And he was coming down his path with a football under his arm.
09:21And he just says, come on, Amanda, I'll teach you how to play football.
09:25And I said, no, I don't want to play football.
09:27I'll get hurt.
09:28And he took my hand home, a sweet ten-year-old guy, and he just said, I'll never let anybody hurt you.
09:34And the rest, as they say, was history.
09:37It's amazing.
09:37Childhood sweethearts.
09:39Childhood sweethearts.
09:40I like to think we were soulmates.
09:43But, unfortunately, he was diagnosed with dementia.
09:47And he passed away in 2014, just after his 65th birthday.
09:54It was a shock.
09:56The day that we had got the diagnosis, he just said, well, dementia, Amanda.
10:01Sorry.
10:03He says, dementia, Amanda, it's not the end of the world, is it?
10:08I just thought to myself, you're right, Frankie, it's not the end of the world, but it's the end of the our world.
10:15And I would have taken him anywhere in the world if I had heard of a cure.
10:20Of course.
10:20I don't doubt that for a second.
10:22Of course you would.
10:22Because he was under 65, Frank's family had to pay for his personal care, often by selling precious memorabilia from his career.
10:35This led Amanda to campaign for free personal care for people of all ages.
10:42Frank's law was enacted in 2019, and she could never bear to part with Frankie's prized possession.
10:49It's emotional, and then, you know, when I look at that recap, I just, maybe it doesn't look much, but he used to sit and look at it, and, you know, he would say in these lucid moments,
11:01I played football and I got that, you know, and his eyes would just light up with it, because that was his pride and joy.
11:08This is a symbol of that journey that he had for the rest of his life.
11:11Well, that's right. That's right. And I hope something can be done.
11:16This would have been gold.
11:17Yes, yes. In Scotland, 1964.
11:21That should have been gold as well?
11:22Yes, yes, yes.
11:23I mean, that's the colour it would have.
11:26Bright and vivid. Is this worn from Frankie holding it?
11:29Yeah, yes, yes.
11:30All those just from clutching hold of it?
11:32I can understand. This is a symbol of an amazing career and an amazing couple.
11:37And I can understand that you want it to be looking its best.
11:40Amanda, thank you so much for trusting us with this beautiful cap.
11:44You're welcome. I'm sure you'll take very good care of it.
11:47I will.
11:52With Roger's Lockerbie photographs now back at the barn, bookbinder Chris Shaw can start creating a new album to ensure their future safety.
12:02It's so important to preserve these photos.
12:06It's such an important part of our history and the community's history.
12:14The albums are not really fit the purpose.
12:18The pages are all tarnished.
12:20The plastic's all crinkled.
12:21I mean, luckily it is coming up.
12:24But my heart's in the mouth of lifting these.
12:27The photos are just in remarkable condition.
12:29It's the album that could basically destroy the photos.
12:34After carefully removing the photographs one by one, Chris is ready to start building their new home.
12:40So all the pages now have been cut and joined together and this is what the new album's going to be made of.
12:47The original albums were blue, so I'm going to do a new blue album.
12:51It's really important when you're making something which I really want to be special for the community, that the materials I use are going to be fit the purpose, not just in a year's time, in 50 years' time.
13:07And it's not going to affect or do any damage to the photos.
13:11So the boards all archival, this interleaving tissue is going to protect the photos either side.
13:19And what I like about using the tissues is beforehand the plastic was covering the photos.
13:26As soon as you lifted the plastic, the photos sort of came alive.
13:30It's quite a difficult operation because it's a big album to manipulate, but I'm using a linen thread and I'm using a blue colour.
13:40Normally linen thread's white.
13:41I just wanted it to blend in to the fabric so it doesn't shout out, this is an off-white.
13:47It'll make the photos sort of ping.
13:49I'm sewing around these linen tapes and these are the tapes that are going to join the back and the front cover and it also connects the spine.
14:01So it's structurally really important and using all this linen, really strong, really flexible.
14:09That's the first two on.
14:13I've got over 20 to sew, but it does look very, very smart.
14:21I'm very pleased with the way it's coming together.
14:25While Chris sews, Hatter Jayesh Fagheller gets the ball rolling on his renovation of the United legend Frank's football cap.
14:35Frank suffered from dementia and during that time, for Frank, this was his comfort.
14:45And because of handling the gold and the braiding, it has completely tarnished.
14:51To revive the gold in the braiding, I'm going to use a needle and my handy toothbrush.
14:58The reason I'm using dry clean for the trimming is because if I use wet clean, what will happen is it'll start to run into the fabric and it will start to affect the colour.
15:08I can see that it's having a very good effect.
15:27It's bringing out the gold, which is underneath.
15:32The dirt is coming away beautifully.
15:38Perseverance and candy of elbow grease.
15:43I will get this cap back to the way it was when this cap was given to Frank.
15:50As the gold braid slowly reveals itself, Chris is now working on a cover that does justice to the powerful images of Lockerbie within the new album.
16:00And I'm using a beautiful navy blue buckram.
16:07A buckram is a loaded cloth, a woven cloth that is then, they put a coating on it to make it waterproof or, in this case, bug resistant.
16:20And it's got this beautiful sort of matte finish.
16:25And it's got this beautiful shape.
16:26And it is very very tactile as well.
16:28So, on every level, I think it looks, it looks the part of it.
16:35It looks lovely.
16:36And I think that this is really refined.
16:42This is the front.
16:44I love an indented label on a book.
16:47I just think it's so posh.
16:48And it also stops any rubbing because the leather label goes below the thickness of the label.
16:54You just have to plan ahead for that.
16:56So, it's two thicknesses of millboard.
16:58And when I come to join the text, all the sewing tapes and everything get tucked in here.
17:03And then that's sandwiched together.
17:04So, it's like super strong.
17:06You know, like it's got jaws around the tape.
17:09So, the book becomes just this one massively strong book.
17:13So, once I've stuck this front board on, I just need it to dry, then I can put the album in it.
17:19And then I can tool the label.
17:24A couple of repairs are already underway in the barn.
17:29But up in Scotland, a time-sensitive fix demands Dom's attention.
17:38Passing by the capital of the Highlands, Inverness,
17:41he's heading along the Murray coast to the ancient fishing port of Nairn.
17:48I am just arriving in Nairn.
17:51And I'm on the way to the station to pick up Rich.
17:53And we're heading to the museum to work on a very interesting project.
18:02Rich is Richard Fraser, a new addition to the repair shop's expert team.
18:07And a specialist heritage stonemason and lime plaster.
18:15Hello.
18:15Hi.
18:16Jump on in.
18:20Good to be back home in the Highlands.
18:22Passionate about architectural conservation,
18:25Rich has worked on historic buildings across the UK and Ireland.
18:29So, Rich, are you from around here?
18:31Yeah, I was born in Inverness.
18:33Oh, OK.
18:34When I was a kid, we used to drive through here to visit the beach.
18:38You know, and it was ice creams on the beach.
18:40We'd swim in the North Sea.
18:42It was great.
18:44We've been invited to the museum by Annie.
18:47OK.
18:48Quite curiously, she has found something interesting in the attic.
18:51Sounds ominous.
18:52Yeah.
19:01OK, this is it.
19:02Nairn Museum.
19:19Hello.
19:19Welcome to Nairn Museum.
19:22Dom and Rich have been invited by curator, Annie McDonald.
19:26We've got some major roof work happening soon.
19:29OK.
19:30But we found these really quite precious artworks,
19:34and I'd really like to save them.
19:35Do you want to come and have a look?
19:37I'd love to, yes.
19:37You really want to.
19:38Brilliant.
19:39Rich, I think you're leading the way.
19:40This is the old servants' quarters of the house.
19:49OK.
19:49And here we've got one of the pieces of artwork that's on the walls.
19:54Oh, it's beautiful.
19:55So this was drawn in 1945 by Polish soldiers who were stationed here towards the end of the Second World War.
20:04So we've got these flowers and we've got a portrait of a lady who I like to imagine is someone's sweetheart.
20:11So what are you hoping we can do with these?
20:14I'd love for us to be able to display these to the public in our museum exhibitions.
20:19That's my dream.
20:20Rich, what do you think?
20:21Well...
20:21Is it possible?
20:22Yeah, I think we could chop it out.
20:24Our problems might be encountered with the masonry, but we'll have an investigation and see what we can do.
20:29You know what?
20:29I like your confidence because that terrifies me.
20:32Yeah, I'm glad you're here.
20:33I'll enjoy this.
20:38As Rich takes on the tricky task of extracting the crumbling plaster paintings,
20:44Dom gets the bigger picture from Annie.
20:47So we're in Bewfield House. It's a historic building for Nern.
20:51It was built in 1803, so it's Regency period.
20:54OK.
20:54But in the Second World War, it was requisitioned by the army.
20:59So Nern's beaches were used for training for the D-Day landings.
21:03So where does the graffiti upstairs fit into all this?
21:06After Germany invaded Poland, the Polish military personnel were all sent to Scotland,
21:12which was seen as safer than the English South East.
21:15And they helped to construct concrete tank defences along the Murray coast to protect these shores from invasion.
21:25They stayed in Bewfield House, which, like many stately homes, was requisitioned for a military personnel and the war effort.
21:33This seems like quite a small, quite peaceful town.
21:37It must have been quite a change having the soldiers turn up.
21:39Indeed.
21:40But the Poles did integrate incredibly well into local life.
21:46We have evidence of them playing competitive football with the locals, taking part in dances.
21:53So why is it important to you, then, to try and save the lovely paintings upstairs?
21:57I think they're very intimate, very delicate, and they show the endurance of the human spirit.
22:06And it's a story that not a lot of people know, and it's one that I know the Polish community really, really care about.
22:13It feels very special.
22:15If Rich is feeling the pressure, he's not showing it.
22:21This is a job that demands a cool head, steady hands, and a lifetime of experience.
22:27This little section here, it's almost completely fallen off. It's holding on by a whisker.
22:32We will want to make a cut to work out where the studs are behind here.
22:39To assess what he's up against, Rich must break into the wall.
22:44Traditionally, walls like this were made up of a lime plaster mix, thickened with coarse animal hair from horses or goats.
22:51The plaster is laid over wooden laths, tightly packed horizontal strips of wood that run between the vertical studs.
23:01Under stub, it can last for centuries. But removing a section intact is a tricky proposition.
23:12Rich, are you OK? Hello, Dom. Yeah, I'm OK, thanks. How are you?
23:15It looks like you're making some progress. This is good.
23:17Yeah, yeah, it's good. We have investigated, we've found the studs, but we've also found the dukes, which are the fixings, which attach the stud to the masonry.
23:27So it's like an old-fashioned wall plug.
23:29Very much so. OK, OK.
23:30So we believe there's one round about here, right behind.
23:34Oh, you're kidding. No, no, seriously.
23:37Literally the worst possible place.
23:38Yeah, because if we put any twist or force, the fracture is going to happen right there.
23:42So I'm going to use this timber as a stretcher and we'll fix that to the feast.
23:47The wooden stretcher will help protect the surface.
23:51But behind the picture, the vertical stud remains firmly attached to the stonework.
23:57If Rich pulls the plaster away now, he risks destroying it.
24:03All right, let's do it.
24:05So what's next? We just need to chop it out.
24:07Yeah, let's cut the plaster either side.
24:09Can I cut this one first? Yeah, please do.
24:12Love it.
24:31Now, I quite like to pull this off so I can see what's going on.
24:37I'll just be careful. I don't want you telling me off.
24:42I'll have a look in here, Don. What have you got?
24:48We're going to have to try and saw in this one from the side and saw in that one from the side.
24:55Rich plans to cut around the vertical studs, leaving the ones running directly behind the picture as support.
25:02So, that's us. We're through.
25:05Are you done? Yeah?
25:06We're through. Yeah, yeah.
25:07Well done.
25:08It's your turn now.
25:09No problem. Good luck.
25:11OK.
25:16Makes me so nervous.
25:18Do you still get nervous, even though you've been doing this for years?
25:20Yeah, yeah, absolutely. There's always risk involved.
25:23Yeah, I'm through.
25:25So, there's literally one nile in the middle. Hold on, hold on.
25:29I think the placement of a hand is going to be really important.
25:32So, a hand on the studs. Go on, then. I'm just going to hold it. I've got my sandwich here.
25:37A hand here. A hand here. And we just want to see how responsive it is.
25:41Anyone left there? Yeah. OK.
25:42So, just slowly leave her. Just wiggle it a little bit and just see what's moving.
25:48Yeah. It's going.
25:51Yeah. I can feel it. Yeah.
25:54It's so close, a good yanker would go, but we could crack the plaster in the process.
25:58So, we'll just continue to wiggle it. Slowly, slowly.
26:03I'd like to see behind this. Could you hold it so I can come in from this side?
26:24Ah! Yes! It's off!
26:26It's off! You got it? Got it. Right. Now, let's...
26:30Oh, it's quite heavy. Let's spin around. So, these are the studs in question.
26:38Oh, goodness me. These are the big handmade blacks with nails.
26:41This guy. This guy. This one. This guy.
26:45We're not friends with this one. Right. OK.
26:49We'll lay this on its face. Because it's protected.
26:52On its face. On its face. Perfect.
26:54Two hands. Yeah, got it.
26:58And it's safe.
27:00Oh, I can breathe now.
27:03Well done.
27:04One painting done.
27:06Then Rich has another to remove.
27:18Back at the barn, Chris has moved on to the cover of his new album for Roger's Lockerbie bombing photographs.
27:26I'm now at the stage where I'm making a label, a leather label, and I have various stages.
27:32I plan it out first using an ink pad. There's lots to consider, especially with this one. It has to be respectful. It can't be too glitzy. And I just wanted to make it look class. And once I'm happy with it, I then transfer it onto another piece of paper.
27:50And this is the master copy, which then I tool through. And that gives me this pattern.
27:57But I'm starting with the border. I'm making around it just to frame the letters. I'm doing a line and then a repeat pattern of a thistle. From a distance, it just looks like a pattern. But on closer inspection, it's a Scottish thistle.
28:16I'm using 22-carat gold, double-thickness gold leaf. And I use cotton wool to transfer it. Because obviously, it's a very, very thin. And you can't actually handle it. Otherwise, it would just stick to your skin.
28:34Tooling is the historic technique of engraving a design into leather using a stamp or tool.
28:40So I've warmed it up. And I'm just going to cool it down to a sizzle. And once a sizzle comes off, then it's the correct temperature.
28:50You're putting the gold on. It won't be until I clean it off at the end that I'll see whether I'm going to be pleased with it.
28:57So it's that anticipation. It's like you're running up to the end. You can't wait to get to it. But at the same time, you're really enjoying what you're doing. So it's a lot going on.
29:10So it's a lot going on.
29:16These are from, like, early 1900s. So it's what I like about it. It's got that history as well. And I know this is a very modern event. But using... There was a style back then with the tools. So I like that.
29:33I can cut this out and put this on the album. And I hope Roger will feel it's a fitting tribute to all those who perished, ensuring that the photos that Roger has collected will carry forward.
29:52The new album is ready to be delivered back to Scotland. So Will is returning to Tundergath Kirk, outside Lockerbie.
30:05The last time I was here, it's quite emotional listening to Roger's story. He was just one of the many people that had to deal with the tragedy.
30:11So getting these photos turned into a memorial is important, not just for him, but for the whole community.
30:16Now, you've been a guardian of this book for quite a number of years now. What were you hoping that we were able to achieve with the photos?
30:30Honestly, I don't know what I'm going to see below this cover here.
30:34Well, I'm hoping that you'll be pleased with what Chris has done, because he knows how much it means to you.
30:41And we all at the bar know how much it means to you and the community here.
30:44Shall we take a look?
30:45Yes, please.
30:49Wow.
30:59Is this what you were hoping for?
31:03I'm really touched. Yeah. Just seeing that front page.
31:08Could you open the book for me, please?
31:12Sure.
31:21Brings it back.
31:32Yeah, it's excellent. It's excellent.
31:34It does it proud.
31:35It does it proud. How they've been sent out and seeing them like that, it does it justice.
31:42I can see how much this means to you.
31:45But also, you know, I presume it's going to mean quite a lot to the community as well.
31:49I hope so. I really hope so.
31:51Can we now go outside and take it to the memorial room, please?
31:55Definitely.
31:55Because I think that's where it's going to go.
31:57Waiting to welcome the photos to their new home, lorry and members of the local community.
32:04For them, these are more than just images.
32:09Thank you all so much for coming down.
32:11It's been a great honour to be part of getting this together for you all.
32:15Now that the book is finished, where is it going to go?
32:17Well, we hope to create a legacy museum here so that people can come along and be educated
32:22about what happened.
32:24And the hope is that we can keep the book and put it on display in the legacy museum for
32:28future generations to see.
32:30Roger, would you do the honour?
32:33No.
32:34Yeah.
32:36It's beautiful.
32:37Absolutely beautiful.
32:38Well, can I have a look?
32:40Yeah.
32:41Wow.
32:44Lovely Mr. Thistle, isn't it, Roger, really?
32:47Didn't expect to be quite emotional about it.
32:55You know, you see these images.
32:57We work with them every day, capturing all the stories that we're doing with the work
33:01for the museum, and yet they're still so impactful.
33:06Well, thank you so much.
33:09Yeah, thanks you all.
33:16They've done so well, such a great job.
33:18It really is.
33:21There's just something about to still photograph, I think.
33:25And it just takes you back to that moment in time.
33:28I think it is a really fitting memorial to what happened in the area and to those that
33:33got affected and involved in the events at that time.
33:40Roger, thank you so much for entrusting us with these photos.
33:44And I really hope that this will show visitors the bravery and the community spirit of the
33:50people of Lockerbie.
33:52Absolutely.
33:52Well, we're so privileged to have it.
34:00The memorial book rests in its new home.
34:03And at the barn, Jayesh has finished the first stage of his work on Frankie's football cap.
34:10It has come up really well with the cleaning.
34:18But the thing is, with this type of metal, once the gold has tarnished, even by cleaning the surface,
34:27unfortunately, the gold does not come back to the way it looked.
34:31So, what I'm going to do is find a perfect match of paint and then highlight the braiding.
34:40The paint I'm using is acrylic.
34:43When it goes on a metal surface, it adheres really well.
34:47I want that texture of the metalwork in the braiding to come through and still be visible the way it was in 1964.
35:14I'm using my left hand as a support, so I have a better control over the brush.
35:35The peak is looking really great.
35:38And I'm going to move on to the rest of the braiding.
35:41And then, a final steam, then the cap is ready.
35:53600 miles north in Neon Museum, Rich is moving on to the second of the wall paintings, the portrait.
36:01It looks as though she's painted directly onto paper, which has been applied on the plaster.
36:08These sharp lines would indicate somebody's had a go with a sharp knife and tried to cut out the section.
36:15And they've also tried to peel the paper off the plaster.
36:19But by doing so, they've removed some of her beautiful perm.
36:22Young lady with her big 1940s perm.
36:25Rich is making a small wooden handle to attach to the firmer plaster either side of the portrait, then begins to cut into the wall.
36:35I made a precision cut all the way round.
36:50Using the handle, we've got a really firm hold on her, so as not to disturb her at all.
37:08So yeah, I'm really happy we got this one out.
37:09At the barn, Hatter Jayesh is approaching the final whistle on the football cap fix.
37:35Jayesh.
37:36Hi.
37:37I saw the steam.
37:38Oh, yes.
37:39You know what that means, don't you?
37:40Yeah, I do.
37:41That is so beautiful.
37:44The way you've got the gold back to being gold.
37:47Yes.
37:47It's radiant.
37:49So what's next?
37:50Well, one final brush.
37:52Then we're going to get it out onto the road to Amanda.
37:56Stunning.
37:57Up in the Highlands, the World War II artworks have arrived in Rich's workshop.
38:14They may have come free from the wall, but both are in an unstable condition.
38:20Rich sets to work on the portrait.
38:22I can see there's a little bit of damage to the plaster where it's bonded to the lath, so we want to stabilise that.
38:28It's a little bit of conservation work to make sure she's secure.
38:32So right now I'm making a little fine casting plaster slurry.
38:39I want to suck it up with the syringe and inject it.
38:44Right, that's really runny, so that should flow really well into the crack.
38:48Let's try this.
38:51That's sucking up well.
38:53Take plenty.
38:57By doing this process, we are reattaching the plaster panel to the supportive lath.
39:05So now we've injected the side of the lath, I want to inject the front of the lath.
39:17That will secure her and we'll be able to transport her to a frame that we're making.
39:23There's a bigger syringe this time.
39:24This is going in really well.
39:36It's flowing nicely.
39:40Yeah, we can really get a good amount of material in behind there.
39:45If we just check the stuff at the back, that's firmed right up.
39:49Now I've done all I can do with her.
39:53She's firm, she's secure.
39:55And I'll get the big one in.
39:57As Rich's preservation of the delicate Polish artworks continues,
40:05Dom is back in Dundee to return footballer Frank's treasured Scotland schoolboy's camp.
40:12I'm meeting Amanda at Tanerdyce, Dundee United's home stadium.
40:16It's where Frankie spent a lot of his football years doing something that he loved.
40:22So I thought it's only right to rearrange to meet Amanda there to give her Frankie's cap back.
40:29The cap was awarded to Amanda's late husband at just 14 years old,
40:34kicking off a brilliant footballing career.
40:37Ten years of it spent here at Dundee United.
40:41How are you doing?
40:42I'm doing fine, thank you.
40:44Just I've been wondering about it and I've missed it as well too.
40:48Has it been strange not having it at home?
40:50It has been, yes.
40:51It was so special to him and it means a lot to me.
40:54Does it make it even more special being here, the home of Dundee United?
40:59Oh, definitely.
41:00It's the home that, you know, Frankie was Jim McLean's first signing in 1972.
41:06There's a lot of reminders around here.
41:08Yes, definitely.
41:09I've seen Frankie's name on a few boards.
41:11Yeah, yeah, very good memories.
41:14Good.
41:14What are you hoping to see then today?
41:17Well, I'm hoping to see it in a better condition than I left because it was in quite a state.
41:25It had been well loved, I think it's fair to say, hadn't it?
41:27Yes, it was well loved and you could tell it had been well loved.
41:30Well, do you want to have a look?
41:32Yeah.
41:32Oh, that is beautiful.
41:40It's absolutely beautiful, don't you?
41:43Because you could hardly make that out.
41:47Yeah.
41:48And it's absolutely beautiful.
41:52Can I pick it up?
41:53Of course you could.
41:56You know, considering this wee cap is 60 years old.
42:01It's amazing, isn't it?
42:02It is.
42:03Takes me back to 1958 when I was a little girl of eight years old when we first met.
42:10Do you know, we'd be so proud of it.
42:23He was always proud of it, but he would be so proud of seeing that today.
42:29It's like getting another piece of him back.
42:31Do anything to see him standing here just now.
42:34I would have loved to have seen him being here.
42:37I can't thank you enough, honestly.
42:40I cannot thank you enough.
42:43Well, I'm very pleased to say it's yours to take home.
42:46It's just, I can't stop looking at it.
42:49I can see you can't take your eyes off it.
42:51I know.
42:53Thank you very much, Dom, for everything.
42:55And please pass on my grateful thanks to Jayesh.
42:59I will let Jayesh know.
43:00What Jayesh has been able to do with Frankie's cap has been absolutely amazing.
43:08You know, that wee cap sat there for years and years.
43:12I'm so happy.
43:13I'm delighted.
43:14I'm on cloud nine.
43:15I've stood on cloud nine.
43:18He's brought it back to life.
43:19As well as an opportunity to pick up treasured possessions all over the country,
43:30being on the road gives the repair shop team the chance to meet the nation's finest craftspeople.
43:37Wills hopped over the Scottish border into Northumberland.
43:40As the repair shop's resident woodworker, he always welcomes the opportunity to meet a fellow enthusiast.
43:50Do you know what? I like the smell of a workshop.
43:52Oh, it's lovely.
43:52I can smell the glue here.
43:53That's scotch glue.
43:55All bubbling away.
43:56The workshop belongs to Victoria Walpole, who's keeping the endangered craft of marquetry alive.
44:05With astonishing results.
44:07I was not expecting to see something like this.
44:11I was expecting to see sort of very flat marquetry.
44:15So this is all marquetry on the bottom here?
44:18This is all marquetry.
44:19The fish?
44:19Yes.
44:20Is that like a waterfall, kind of like a stream?
44:22Is that water coming down there?
44:22Yes, this is the waterfall coming down.
44:25This remarkable example of Victoria's sculptural approach to marquetry was made to cover the church font.
44:31But more traditionally, marquetry is the craft of creating intricate designs and pictures out of thin layers of wood called veneers.
44:43Popular in the 17th and 18th centuries, Victoria is one of the last specialists in the country practicing this delicate art.
44:51I was expecting something more like this here.
44:55Is that something else that you kind of work on?
44:57Do you work on furniture as well?
44:58Yes, this is restoration.
45:00So I'm also a restorer of antique marquetry.
45:03Right.
45:04To help give Will a flavor of her craft, Victoria's taking him back to basics.
45:10We have a little selection of nicely contrasting veneers, and these are all going to be glued together into a little stack.
45:22The first job is to make the individual wooden pieces that will be used to create a finished design.
45:29The idea of you have multiple layers of wood.
45:32Yes.
45:33You glue them all together, so like a wood sandwich.
45:35Yes, exactly, and then they'll dry into a little card, a little block of veneers.
45:41And then when that has all dried, what do you do then?
45:44Then I've put this, stuck a little paper design on the top.
45:47Right.
45:48And then we're ready to start cutting.
45:50By lightly gluing the different colored veneers on top of each other, before cutting in a design,
45:57Victoria can produce multiple versions of the same shape.
46:01Like making pieces of a jigsaw, only in different colored woods.
46:08This is my fret saw.
46:09Your fret saw.
46:10I'll have to take my time with this.
46:12Ooh!
46:13No, I love these.
46:14Slightly terrifying because the blade's really sharp.
46:17Yeah, just don't lean over it too far because that would bop you if you were...
46:22OK.
46:22OK.
46:24Apart from that, I'll be fine.
46:25It's fine.
46:25OK.
46:26A fret saw carries a thin blade, ideal for cutting these intricate leaf shapes.
46:36But one slip and Victoria's design could be ruined.
46:42Now, what I don't like to do is I don't like to turn it too much, but I don't want to twist the blade and break it.
46:46It's so small, you can really be quite flexible with it.
46:52It's actually quite therapeutic.
46:55It's lovely, isn't it?
46:56Quite meditational, I think, for you.
46:58It's really hard to get around those tighter curves.
47:02Come on.
47:04Come on.
47:08Really sorry about this.
47:09It's OK.
47:10It's a leaf.
47:11It can be any shape.
47:14Hey!
47:14Beautiful.
47:15There we are.
47:15Oh, my gosh.
47:21I'm so tense.
47:22There we go.
47:23Lovely.
47:28Perfect.
47:29Oh, yeah, I can see down the edge.
47:30There's one, two...
47:31Shall we see?
47:32Yeah, I'd love to see.
47:35Design cut.
47:36Time now to separate the veneers.
47:38Right, so you've got the hot water.
47:41Yeah.
47:42So we're going to put the little pieces in there.
47:46We're going to cover them with hot water.
47:48Right.
47:50So this is going to then melt the glue, and then that should then separate all the pieces.
47:53So they just need to swim around in there for a few minutes.
47:58They're starting to separate, aren't they?
48:00They are.
48:01Yeah.
48:01They're really delicate little pieces.
48:03Oh, look at that.
48:05That is lovely.
48:06Oh.
48:08Oh, I'm going to open this up.
48:09Right, so once you've separated all those pieces and you dry them out, then they turn into something like this.
48:17Yep.
48:17Nice and flat.
48:19Then we're going to put them back in their background.
48:22The individual leaves are placed back into the cutouts, but mixing up the colours of the wood veneers gives a striking new effect.
48:33So we get to, like, here.
48:35So that's been filled, scraped back, and this is the bit that I enjoy the most.
48:41That's when it goes from a very dull-looking piece of wood to something vibrant.
48:45So I'm all right in thinking that if I slightly wet the surface, this is what it's going to look like when it's polished.
48:49It'll give you an idea, yeah.
48:50OK.
48:50Do-do-do-do.
48:53Wow!
48:55Oh, my word.
48:56Now that makes a massive difference.
49:04That is wonderful.
49:07I mean, this must be really rewarding.
49:10I love it.
49:11Do you love it?
49:11Yeah.
49:12It goes onto a...
49:13If it's for a box, it goes onto a box.
49:15You get something like that?
49:16Mm-hmm.
49:17That's really clever.
49:18And that gets all sanded down and polished and waxed and stuff like that.
49:22That is beautiful.
49:23I've learnt so much.
49:26And this is going to come back to the barn with me, because I think you have inspired me to get my veneer out and start making.
49:33Brilliant.
49:33So thank you very much.
49:34While Will marvels at Victoria's skills, up in the Highlands, Rich is still stabilising the Second World War Polish artworks and has moved on to the flower picture, the larger of the paintings cut from the walls of Nairn Museum.
49:50I am quite worried about this one.
49:54It has incurred quite a bit of disruption in vibration.
49:59Rich, you OK?
50:00Hi, Dom.
50:01Good to be back.
50:02How are you doing?
50:02Just rolling my sleeves up to get stuck in the next stage.
50:05I'm excited.
50:06Yeah.
50:06This is all...
50:07I mean, it looks a lot more stable already.
50:09Yeah.
50:09Yeah, so currently it has a stretcher on its face, and I want to flip it over and remove that stretcher.
50:14You still haven't had a look?
50:15No, I've not seen it yet.
50:16No.
50:16There's a...
50:16Can we have a look now?
50:17Nope.
50:18Nope.
50:19So what we're going to do is put this timber backing on it, but I can't apply it straight onto the studs.
50:24I'm going to use this neoprene backpacking.
50:27Yeah.
50:27As a comfort, as a mattress, as a cushion.
50:30A soft pillow.
50:31I like it.
50:31Soft pillow, yeah.
50:33Rich and Dom plan to attach a permanent wood backboard, faced with a rubber lining,
50:38to prevent the plaster from twisting.
50:41So if we draw a few pilot holes in...
50:45Only after the backboard is secure can they turn the painting over, remove the temporary
50:51wood panel that's protecting the image, and see for the first time whether the flower
50:56painting has survived the process.
51:00Right, it safely does it.
51:02Slow and steady.
51:04That's the top.
51:05So let's line up our centre points.
51:07Perfect, perfect, perfect.
51:08I've got some screws here.
51:12If you line them up.
51:20Rich, we are getting closer and closer to being able to take off that front board.
51:25How are you feeling?
51:27Not going to lie.
51:28A little bit nervous.
51:30Yeah.
51:30There was quite a lot of hairline fractures evident in the plaster originally.
51:38That's it.
51:39That's it.
51:39That's the final screw.
51:40That's the final screw.
51:41Can we flip it over?
51:42We can flip it over.
51:43Oh, okay.
51:44Yeah.
51:45So in one scoop, up she goes.
51:49And just tilt it down.
51:51Okay.
51:52Yeah, no problem at all.
51:54All controlled.
51:54I'm very, very nervous.
52:02Yeah.
52:05Okay, Dom.
52:06Moment of truth.
52:07This is it.
52:08This is it.
52:08All this work?
52:09Yeah.
52:10Come on, let's do it.
52:11Go for it.
52:12Go on.
52:12You do the honours.
52:13Let's go up and just down here at our feet.
52:21Now, the paper protected the art.
52:30Okay, so we do have a small amount of fracturing, but it's still there.
52:36This was original.
52:37So there's just a little bit more in there, but we can fix that.
52:40That is incredible.
52:42It's there.
52:43It's a high-five moment.
52:44Hey, come here.
52:44Well done.
52:47Brilliant.
52:47Good man.
52:48That is brilliant.
52:49Well done.
52:50Rich's next task is to wrap the fragile artworks left behind by the Polish servicemen
52:56and deliver them back to Neon Museum, with Dom following soon after.
53:04I'm heading back to the museum to see Annie, and Rich, I think, is already there
53:08with the paintings consolidated, secured, mounted,
53:12and they are going on display in the museum for the local community to actually see and enjoy
53:18for the first time.
53:19It's quite a big day.
53:20When Dom first arrived at Neon Museum, the paintings were part of the wall, at risk of destruction
53:30from building work.
53:32They were removed for restoration, and now, on their return...
53:37Oh, wow.
53:37Hello, everyone.
53:38Hello.
53:38Good to see you all.
53:41Half the town here.
53:42There's quite a welcome committee.
53:45All the museum volunteers couldn't resist coming to see the graffiti, now it's out of the attic.
53:50I'm so glad.
53:51Why does it mean so much to everybody?
53:53I think this is such a precious piece of history, not just for the museum, but for the whole
53:58of Neon.
53:59It feels like a secret that we can finally share.
54:02Are you nervous at all about what you're going to see?
54:05I don't know how many pieces they came out the wall in, so I've got no idea whether you're
54:11going to show me an artwork or a jigsaw.
54:13Yeah.
54:14A dustpan and brush was involved at one point.
54:18Well, Rich, are you ready to do the honours?
54:20I'm ready.
54:21Are you ready?
54:21I am.
54:22Everyone ready to see them?
54:23Yes!
54:24Yeah?
54:25Come with them, Rich.
54:26OK, let's do this.
54:28Hang on.
54:28Slowly, slowly.
54:30Wow.
54:31Oh, my goodness.
54:34That's beautiful.
54:36I didn't think this could happen.
54:39Did I?
54:40I have to admit.
54:41I was close a couple of times myself.
54:43Yeah, this one?
54:44This one was not compliant.
54:47Yeah.
54:48It's absolutely amazing.
54:50It tells a story in itself, doesn't it?
54:53It's absolutely stunning.
54:55I can't believe it.
54:57She's gorgeous.
54:59She is.
55:00Yeah.
55:00How does it feel, then, to have these down here in the museum?
55:03It's beautiful, and to see them as complete as they are, I wasn't expecting to see this
55:09much.
55:09Well, whilst you're all here, you're more than welcome to come and have a closer look.
55:13Come in.
55:14Just don't touch anything.
55:15Yeah, eyes, eyes, eyes.
55:16Hands behind your back.
55:17That's it.
55:17Very much an important part of our local history.
55:24I was first really aware of these in 2003, when I was the museum manager.
55:31We had a visit from one of the Polish soldiers who was actually billeted here, but he was thrilled
55:36to bits to see that the sketches were still there on the walls.
55:40I'm so proud of the conservation team on getting this artwork out of the attic after 80 years.
55:49I think Rich has done an absolutely phenomenal job.
55:52And I can't wait to share this with both the local and the international community, because
55:56I know there's a lot of people in Poland with descendants who have been soldiers in Scotland
56:01who have shown interest in this artwork and who really care about it.
56:05Oh, that's just a special moment, isn't it?
56:09And to see how much it mattered to the community and to the museum creator was just what you want.
56:16Getting the chance to work with somebody like Rich is an amazing experience.
56:20I'm so lucky to be able to come out here and spend so much time working with somebody that
56:25has such a clear passion for what they do.
56:27And for Rich, I know that this meant a lot because it's local to him.
56:32He grew up here.
56:33It's even more special for him to be able to create a little bit of the history that's now in the museum.
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