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Antiques Roadshow (US) Season 29 Episode 23
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FunTranscript
00:00If I was this old, I'd be having dings and things like this also.
00:10What?
00:11Oh my gosh, okay.
00:13My dad always said, be careful with it.
00:16Now I know why.
00:30Roadshow was on the hunt for treasure in the American Southwest in 2009, discovering cherished
00:42heirlooms and valuable gems.
00:44You must be kidding.
00:45No.
00:46Oh my God.
00:48Have the values of these prized possessions gone up, down, or stayed put?
00:53Find out now in Vintage Phoenix Hour 2.
00:57It was given to me by a friend.
00:59He's from the Seattle area.
01:01He was in a little shop, and there was a bunch of rolled up posters in a bin.
01:06And he just liked it, probably paid a few dollars for it, and that's really all I know.
01:10So you're asking me to appraise a gift?
01:12I am.
01:13So maybe I could cause some friction between you and your friend, depending on how the appraisal goes?
01:17Actually, he's a very dear friend and a co-worker, and when I was going to bring it, I told him if it was worth much, I'd split it with him.
01:24That actually sounds very funny.
01:25So I'm saying this on camera.
01:27The obvious thing is it's advertising TWA flights to New York City.
01:31The artist signs his name David, his full name is actually David Klein.
01:34Okay.
01:35And David Klein was a very prolific artist who worked for TWA.
01:38Oh.
01:39This is one of the more recognizable and one of the more popular images that he designed.
01:44Really?
01:45And in my opinion, it is one of the greatest graphic depictions of Times Square.
01:49It's a geometric, abstract, almost kaleidoscopic view of this great bustling intersection.
01:57He captures all of the energy, he captures all of the excitement, he captures all of the movement.
02:02It was done in 1956.
02:04It is part silkscreen and part photolithographed.
02:08The bright colors have been put on through a silkscreen process.
02:10Okay.
02:11And everything else has been printed via a lithographic process.
02:14One of the other great things about the poster is the plane that's on top.
02:18The plane is the TWA Lockheed Constellation, known as the Connie.
02:23They were considered great airplanes.
02:25Okay.
02:26You see it was a propeller plane, there's the propellers on it.
02:27Right.
02:28And with these planes, TWA was able to initiate full service to Europe.
02:33Now, I'm not the only one who likes this poster.
02:35The company liked it so much that they continued to reuse it in subsequent years.
02:40But there's one way that we can tell that this is the original printing and not a later printing.
02:45And that is the airplane itself.
02:48Because shortly after 1956, propeller planes were phased out and jet planes were phased in.
02:55So subsequent printings of this poster don't show the detailed constellation.
02:59Oh.
03:00They show the silhouette of a jet plane actually leaving a vapor trail behind it as it goes across.
03:05Oh, my goodness.
03:07Not only was the company very fond of this poster, but this poster is also in the permanent collection
03:12of the Museum of Modern Art in New York, MoMA.
03:15Really?
03:16So really, the poster has a lot of fans.
03:17So it was a gift.
03:18It was a gift.
03:19And I don't want to cause a rift between you and your friend.
03:21You couldn't.
03:22But at auction, I would estimate this piece between $2,500 and $3,500.
03:29Oh, my gosh.
03:31You're...
03:32Oh, he's going to be so thrilled.
03:34And we have you on camera saying you would split the price with him.
03:37Yes.
03:38I told him I would.
03:40My uncle had a storage room, and he moved out east, and he was looking to just get rid
04:00of everything in there.
04:01And so my brother and I decided to take it, and instead of, you know, getting a few bucks
04:06for the whole lot, we would go through it and see what was in there.
04:09Uh-huh.
04:10And we've run across quite a few things, and we ran across a box with some dolls in it.
04:15And as far as what I know about them, I'm about to learn, I guess.
04:19Okay.
04:20I chose two dolls out of the lot just so we could compare the two.
04:25Both of these dolls were made at about the same time, early 20th century, about 1900 to 1910.
04:32The doll in white was made by a company called Armand Marseille, and it sounds like a French
04:38name, but he's a German manufacturer, probably the most prolific doll manufacturer in Germany
04:45of the time.
04:46They made these what we call dolly face dolls, and they have sleep eyes and open mouth with
04:55teeth showing, and those were all the bells and whistles that people wanted.
04:59This is a great example.
05:01It's got all of its original clothes, original wig.
05:04Thousands and thousands and thousands of this type of doll were made in Germany.
05:08Okay.
05:09About the same time, one of the companies called Kammer and Reinhardt wanted to make some character
05:17dolls, something that was a little different than the dolly face doll.
05:21Uh-huh.
05:22So they started making this type of doll, and you'll notice it has painted eyes.
05:27It has a mouth with painted teeth.
05:30People still wanted to buy the doll with the sleep eyes and the open mouth.
05:35The dolls like the doll in black did not sell.
05:38Therefore, it made that doll extremely rare.
05:41Okay.
05:42The artist that designed this doll worked for Kammer and Reinhardt.
05:46He had a little tiff with that company.
05:50He moved to the Simon Halbig company in Germany and made this series of dolls.
05:56This particular doll doesn't really have a name, but it's referred to by the number.
06:01It's a Simon Halbig 151 or 151.
06:05The doll in white made by Armand Marseille is a number 390.
06:10They're both style numbers for the particular doll.
06:13Okay.
06:14The doll in white on today's market retail would sell for about $450 to $550.
06:23Wow.
06:24The doll in black is going to sell retail from between $10,000 and $12,000.
06:31Whoa.
06:32They did a series, they called the 100 series, and there are other dolls in that series that
06:39are worth even more than this, but you've got a spectacular doll.
06:42Great.
06:44This was in the family, and they're among the affluential New England families.
06:52On my great-grandmother's side, they're from the steel manufacturing and mining, and on
06:57my great-grandfather's side, a great-great-uncle developed the steam engine.
07:02Wow.
07:03That's great stuff.
07:04The chain is all made out of platinum wire with natural pearls.
07:09Natural meaning, man did not help them, pearls that you see every day are usually cultured.
07:14Wow.
07:15I didn't realize they were pearls.
07:16And then it's accented with these little rose diamond panels.
07:20It's a beautiful, exquisite chain from the Edwardian period around 1910, 1915.
07:25A chain like that could have been used to hang reading lists, so it could be used for other
07:30things.
07:31It drops down to a beautiful rose-cut diamond bale.
07:34Uh-huh.
07:35And then we have this beautiful piece of enamel here.
07:38A lot of people look at this, and they think it's glass.
07:40What it is, in fact, is carved rock crystal.
07:44Most likely, this would have been carved in an Idar-Oberstein, Germany.
07:48Then we move in, and there's a little bezel of rose diamonds.
07:53And then we come to the enamel.
07:54This is French enamel.
07:56And what's really neat is, when we flip it over, is it's a ladies' pendant watch.
08:05Yes.
08:06These two pearls, this one here and this one over here, are natural pearls.
08:11This one is also the stem to set and to wind the watch.
08:15I wondered about that, but I haven't had the courage to mess with it.
08:18You didn't try it yet.
08:19I haven't tried it.
08:20I can't repeat the classical enamel theme and the rose diamonds.
08:23But you can see, just so tastefully placed, a little watch right at the bottom.
08:29And the watch inside is made in Switzerland.
08:31If you had to go buy this in a retail environment, I'm very confident in saying this would probably be priced around $25,000.
08:38Wow.
08:39Wow.
08:40That's amazing.
08:41It's the first accurate account of serpents or snakes in India.
08:59And it's written by this fellow, Patrick Russell, who is a Scottish naturalist and surgeon in India.
09:05It's such a beautifully produced book.
09:07It's gone from being a scientific reference work to being a work of art.
09:11Okay.
09:12I would estimate this at auction between $3,000 to $5,000.
09:15Really?
09:16Really?
09:17Yeah.
09:18And I would expect it to do very, very well.
09:19Really?
09:23I've inherited it from my great-grandmother.
09:25It is a leniho pala oa from Hawaii.
09:28It is a symbol of rank and royalty.
09:31It's made of braided human hair and whale bone.
09:34These Hawaiian hooks were generally made out of a sperm whale tooth.
09:38Now, the sperm whales would just be washed up, and that was a pretty rare occurrence.
09:41So anything wonderful like that would only go to the royalty.
09:45And they were small, and sometimes even out of wood and stone in the beginning.
09:50They became more common with the advent of the Europeans, especially with trading.
09:55And we started to see walrus tusks and sperm whale teeth coming from the whalers.
10:01And this one is a walrus tusk.
10:04The braided hair necklace is a little worse for wear, but they're very delicate.
10:09And you've done the wonderful thing by putting it in a frame.
10:12It really is an icon of Pacific art.
10:14I'd be comfortable putting an insurance value of about $20,000 on it.
10:18Next one.
10:19I got this in 1982 or 1983.
10:36I had just purchased a home, and a friend of mine had gone to England to visit Henry Moore's studio.
10:44He said, I'd like to give you a house gift.
10:47And I said, geez, that's a little extravagant, isn't it?
10:50He said, well, I only paid $300 each for them, so feel free to pick whichever one you want.
10:55And this is the one I picked, and I've had it in my home ever since.
10:59The fun part is that it came right out of Henry Moore's studio.
11:03Right out of his studio, yes.
11:05Now, Henry Moore is rather an important artist.
11:08He was noted in England for having brought modernism to Great Britain.
11:15He made monumental sculptures, huge ones that are today out in front of many museums.
11:21This is solid bronze.
11:24It is hand cast.
11:26And the important part of this is that Henry Moore, he did not do the foundry part of the making of it,
11:33but he did the hand finishing of it.
11:35I see.
11:36And so his hand actually touched this piece.
11:38Touched it?
11:39So he did the, what is that, a patina?
11:41He did that?
11:42He did the whole patina and the finishing of it.
11:44It's just a small little piece, 6.3 inches I think we measured.
11:49And this is called half figure round head.
11:53And I think when you came in, you said...
11:55I told you round head, half figure.
11:57I didn't know.
11:58In fact, I don't know which is the front or the back.
12:00I kind of think this is the front, because usually the artist will sign them on the back.
12:06I see.
12:07Now, this is Mark Moore, and then it has the NOAC foundry mark, and it says it's number 9 of 9.
12:16This is probably going to be worth $15,000 to $20,000.
12:20What?
12:21Yep.
12:22It's worth about $15,000 to $20,000.
12:23You've got to be kidding me.
12:24And at auction, it could do a little more than double that.
12:29You never know.
12:30My God.
12:31But it's a wonderful piece.
12:32Now, what do you think of that?
12:33I thought, first of all, I love the piece.
12:35Secondly, I thought it was maybe worth $800, $900.
12:40It is absolutely correct.
12:43I am flabbergasted.
12:44It's got all the right markings on it.
12:46That's really wonderful.
12:47You are very lucky to have a Henry Moore that's real in your home.
12:51Well, it's going to stay in my home.
12:53Good.
12:54I'm really surprised at the value, though.
12:56That really, really is good.
12:58Well, my great-grandfather was friends with George Lukes.
13:10They grew up in Pottsville, Pennsylvania.
13:12And George Lukes actually gave it to my great-grandfather.
13:15And it's been passed from my grandmother to my father and then to myself.
13:18Your grandmother, was she from the East or did she move out here?
13:21Yeah, she was from Pennsylvania.
13:22And she actually went through a little bit of a rough time and lost everything.
13:26This was one of the one things she held on to.
13:28Well, George Lukes was quite a character.
13:31George really liked carousing around quite a bit.
13:34And he was born in Williamsport, Pennsylvania, which is in coal country.
13:38Lukes goes on to Philadelphia to study at the Pennsylvania Academy.
13:42And, of course, he goes to Europe like a lot of the other artists did at the time.
13:46And then he comes back to Philadelphia and works for a newspaper as an illustrator.
13:52He even goes for a while to Cuba for the Spanish-American War and is a war artist over there.
13:58Coming back to Philadelphia, he meets a group of other artists.
14:01And they were all newspaper illustrators, but they also were painters.
14:06And they were very rebellious against the prettiness of American Impressionism.
14:11So what they ended up doing was to create their own group.
14:15They were called the Eight because there were eight of them.
14:17And they were also nicknamed the Ashcan School because they liked to paint the back alleys
14:22of the city and people hanging wash and the plight or the day-to-day routine of everyday Americans.
14:29Lukes' forte, for the most part, was portraiture.
14:32And he painted street urchins and beggar women, rag pickers and basically working-class people.
14:39And he didn't do as many scenes as some of the other artists in the group.
14:43This is a watercolor heightened with a little bit of gouache.
14:46And gouache is sort of the more opaque pigment that you see here.
14:50And most of these were done in the 1920s or so.
14:54We see probably half as many Lukes' that are fake as are real.
14:59And so there are ways in which we try to authenticate the works by Lukes.
15:03There is no real expert on the artists.
15:06So usually we're left to our own devices.
15:08But in terms of the watercolors, he normally signs in a very bold red.
15:13I have seen watercolors on occasion with little black wimpy signatures,
15:17and they're not by him.
15:19The bold density of the watercolor and the brushwork, very characteristic.
15:25And, of course, in your case, it's ironclad provenance,
15:29because it came directly from the artist to your family.
15:32So that's really exciting.
15:34Lukes actually died in New York in 1933 as a result of a barroom brawl.
15:40He was actually found in a doorstep dead one night.
15:45Lukes is one of the most desirable artists.
15:48If this were sold in a gallery, let's say in New York City,
15:52it would probably sell in the range of $75,000.
15:56Oh, my gosh.
15:57Okay.
15:59My dad always said, be careful with it.
16:01Now I know why.
16:03Wow.
16:05My father bought them. He collected Royal Worcester.
16:21And then when my mother passed on, this was one of my picks from her collection,
16:27because they were on the night table by her bed.
16:30If she had them on her night table, they meant a lot to her, and they must have been good.
16:36They're made of porcelain, and even though they are rather overtly Japanese in their style,
16:42they're English-made. They were made by Royal Worcester.
16:45And Royal Worcester is an old-established English porcelain company.
16:50Royal Worcester is currently in the process of going out of business after over 250 years of continuous operation.
16:58So it's quite sad.
16:59When these were made by Royal Worcester, they were at a high point in their history in terms of success commercially,
17:07and also in terms of quality of manufacture.
17:10There's really no one else that it's likely to be except for Royal Worcester.
17:15But we can confirm that by turning over one of them, and you'll see there's a little printed mark on the bottom.
17:22It's kind of a round hole mark, and underneath the round is a number 7-3.
17:28And that's the date, 1873.
17:31Right in the middle of the reign of Queen Victoria, one of the fashions in 1873,
17:37not just in England, but also in this country, was what we call Japonisme.
17:41And Japonisme is a French word to describe the Western interpretation of Japanese art and design.
17:50And the art of Japan was somewhat unknown to most Westerners.
17:55It wasn't until just a few years earlier in the late 1860s that the first exhibitions of Japanese art and artistry
18:04had been held in London and Paris.
18:07The shape of them is a traditional Asian form we call a moon flask shape.
18:12But the front panels are decorated to simulate carved and stained ivory, which is a Japanese technique.
18:20And the main ground of the vases is this speckled gilt finish over a deep blue ground that simulates Japanese lacquer.
18:29And both vases have this fabulous flying crane device on the back.
18:35This has all been done in porcelain. They've got great condition.
18:39I love the form of them. I love the scale of them.
18:42They're just the right sort of size to sit on and decorate a mantelpiece.
18:47I talked with a couple of my colleagues and we felt that the auction estimate would be at least $10,000
18:54and maybe as much as $14,000 or $15,000.
18:58Okay. Thank you. That means a lot to me.
19:16I was at an auction in Missouri in the early 70s.
19:22They had the hall tree and I thought I would like it.
19:26My husband was standing in the back row and I could hear him say,
19:31who in the world would bid on that one?
19:35And it was me.
19:37One of the things I love about this hall tree is the fact that the back is open.
19:44Most of the time they have a big mirror on them.
19:48In America, the hall tree was introduced a little bit later than it was in England.
19:55Did you know that this was English?
19:57No.
19:58Most people would look at something like this and assume that it would be later in the 19th century,
20:04like the 1870s or the 1880s.
20:08But this is actually before 1850.
20:11Oh, it is.
20:12Yeah, it's probably 1830s or 40s.
20:14And the reason that I knew that was the overall design, the quality of the carving.
20:21Yeah.
20:22If you look at those toes.
20:23Yes.
20:24And those feet, you know right off the bat that those are hand carved.
20:29The whole leg is hand carved as well as these little foliate decorations right above the
20:36knees.
20:37Uh-huh.
20:38You have these great places to put your umbrella when you come in so it doesn't drip on the
20:42floor.
20:43The marble top, which is I would assume probably original.
20:47It's got a little bit of wear on it.
20:49Yeah, it's original.
20:50And you've got a drawer here.
20:51Yes.
20:52That you can put your gloves in.
20:55Uh-huh.
20:56And one of the characteristics of this that made it English, besides the overall look,
21:01was the fact that the secondary wood is very thin compared to what we did in America.
21:06Right.
21:07And also, it's mahogany.
21:09And in America, we would have used a much softer wood for the secondary wood.
21:14The primary wood on this is walnut.
21:17It's got a few places where it's been repaired.
21:20Yes.
21:21On the pat rack.
21:22Over the move.
21:23We've moved it several times.
21:25Well, you know what?
21:26That doesn't matter.
21:27It's more important that it's the original hooks.
21:30Well, if I was this old, I'd be having dings and things like this also.
21:37What did you pay for it when you got it at the auction?
21:40About $350.
21:41In my opinion, a good insurance value for this would be $5,000.
21:46Okay.
21:47That sounds good.
21:48And if you were to put it in an auction, you'd want to estimate it $2,000 to $3,000.
21:52Yeah.
21:53But I think it could take off up there towards that insurance value.
21:56So get it insured for about $5,000.
21:58Yeah.
21:59Okay.
22:00That sounds good.
22:01That sounds good.
22:02That sounds good.
22:03Oh, man.
22:04Yeah.
22:05Yeah.
22:06Yeah.
22:07Well, it's what we call a salesman sample, and obviously it's a plow.
22:10Well, it's what we call a salesman's sample, and obviously it's a plow.
22:18And it's a really complex plow and a really very, very fine model.
22:23What can be done here is you're changing the pitch depending on the terrain, if he's working
22:29on a hillside or whatever.
22:31I think at auction, I would estimate this in the $8,000 to $10,000 range.
22:35Wow.
22:36That's a lot more than I thought.
22:39This is a photo of your grandfather working in his shop, and he was a platinum jeweler.
22:49Yes, he was.
22:50Now, tell us about this great piece.
22:51My grandfather made this platinum glove for my grandmother right after they got married.
22:57Where's the other one?
22:58Well, you know, I don't know.
23:00My mother, this is all I found that my mother had when I was a young child.
23:05She showed it to me, and she only had one at the time.
23:08So I'm thinking in the 1920s, maybe they wore two, maybe they wore one.
23:13We had a Michael Jackson then?
23:15Maybe.
23:16I don't know.
23:17I just want to let you know that, Rufo, this is not a glove.
23:22Oh, it's not a glove?
23:24Not a glove.
23:25What is that?
23:26It's a purse.
23:27It's a purse.
23:29And it's damaged up here where the string, the drawstring, and it goes like that.
23:34My goodness.
23:35And they would put a colored handkerchief on the inside and change the color all the
23:39time.
23:40Wow.
23:41Very interesting.
23:42Now, I'm going to sadly tell you the other thing.
23:44Oh, no.
23:45It's not platinum.
23:46Oh, no.
23:47It is cut steel.
23:49Cut steel?
23:50It's made in Germany.
23:53It could have been done in Austria, but in that area.
23:56Right.
23:571920s.
23:58The flappers wore this down here for a purse.
24:02This is all woven, and the women do this.
24:04So your grandfather never made it.
24:06My goodness.
24:07Now, what the condition is, cut steel today is very nice, and it does sell.
24:12It's worth about $350.
24:14Fantastic.
24:15If this was platinum, we're talking $10,000 to $15,000.
24:21Wow.
24:30Our grandpa made experimental prototype parachutes at Wright-Patterson Air Force Base for about
24:3433 years, and in the process of that, he got to meet the people who made the spacesuits.
24:40So he made some hot mats out of scraps of material from the early spacesuits.
24:45Now, what about these parachutes?
24:47He made experimental parachutes.
24:49This is a parachute made to bring down a rocket, and this is from the Mercury missions.
24:53This is the prototype that they learned it wouldn't work, and they had to completely redesign
24:58the parachutes for bringing down space capsules.
25:00But they tested these in the wind tunnels, and got the design right with these before making
25:05a big one.
25:06This one, you'll notice there's no openings in this.
25:08If you're going to land a parachute on Mars, you have to capture as much of the atmosphere
25:12as possible, so there's no openings in that.
25:15That's the one that was made to land on Mars.
25:17These parachutes, they just don't come up.
25:19You just don't tend to see them.
25:21So at auction, per parachute, looking at about $2,500 to $3,000 per parachute.
25:27Per parachute.
25:28As far as the pot handles go, maybe $30 or $40 for the set.
25:32Yeah, that's what I figured.
25:35It came from my grandmother's estate in Colorado Springs.
25:50It was passed down to my father.
25:53It was about the only thing that he got from her estate.
25:56I've had it approximately eight years since my father passed away.
26:00I looked up Charles Craig.
26:02I believe he was born in Ohio, 1846, somewhere around there.
26:06He traveled to the west and was a 50-year resident of Colorado Springs, where he painted Indian
26:13tribes.
26:14And my grandmother probably bought it directly from him.
26:17Craig was indeed from Ohio when he was a very young man, less than 20, he actually traveled
26:23west and spent about four years living with various Indian tribes, sketching and learning
26:29about their culture.
26:30He was very, very, very fascinated by them and he was something of an adventurer to do
26:34that.
26:35He apparently decided he needed more formal artistic training because he returned east and he studied
26:39at several of the more well-known academies, but did ultimately go back to the west.
26:45He was in New Mexico for a time.
26:49He spent most of his career in Colorado Springs and he's very typical of one particular branch
26:56of the American painting school of the southwest because he was quite interested in ethnographic
27:02accuracy.
27:03I'd like to find out if we know who this Indian chief is.
27:07The other thing is there's a few white spots on there.
27:10Are those damaged to the canvas or is it paint spackle from my mother?
27:15Well, truthfully, I was going to ask you if you knew what those were because they are
27:19a little distracting.
27:20I'm not absolutely sure what that is.
27:23My advice to you, because it's such a beautiful painting and it's otherwise in excellent condition,
27:28would be to consult with a painting conservator and just ask them to look at those and figure
27:32out what's going on.
27:33I'm pretty confident they can be eliminated easily.
27:36As far as the identity of this fellow is concerned, I had a really interesting consultation with
27:43two of my colleagues.
27:44Craig is most closely identified with the youths of southwestern Colorado where he spent a lot
27:50of time.
27:51So I thought, logical to think you'd start there.
27:54Apparently not.
27:55My colleagues tell me that this war bonnet is typical of the Plains tribes and probably
28:02the Sioux.
28:03Further, that the paint he's wearing on his face is not identifiable paint but what we
28:09would call personal paint.
28:11He's probably an idealized figure as opposed to a specific individual.
28:17Okay.
28:18So in my experience, and they've confirmed this for me too, if you're dealing with a
28:21portrait of a very specific person, they're often inscribed with the name on the back.
28:27As far as the date that this painting might have been done, it's difficult to say because
28:31he did have a 50-year career in Colorado Springs and his subject matter was consistent.
28:37And he died I believe in 1930 or somewhere around there when he was quite an elderly fellow.
28:42So I think he could have painted this any time from 1900 into the 20s certainly.
28:48I think a very fair auction estimate on this painting would be between $5,000 and $7,000.
28:55That might be a little conservative but I think it's fair.
28:58Okay, that's wonderful.
29:12This boat has been in our family for quite a few years.
29:16My great grandfather worked for Dent Hardware in Allentown, Pennsylvania.
29:21Okay.
29:22He, I've been told, made this boat and several other toys while working at Dent Hardware
29:30and he gave this to my grandfather.
29:33Well Dent Hardware actually started in 1894.
29:37They were a foundry and started in Newark, New Jersey but shortly after that moved to
29:42Fullerton, Pennsylvania which is right near Allentown.
29:45Oh, okay.
29:46So the factory was actually in Fullerton.
29:49What time period would he have brought this home?
29:51My mother recalls it coming into her home when she was a little girl in the 30s.
29:57It's the Battleship New York.
29:59It reflected a real battleship from that time.
30:01It's made of cast iron.
30:03Not to be a toy for the water, it's actually a floor toy, like a pull toy.
30:09And you can see that by its sheer size, it's a large piece of cast iron.
30:15I mean this is a heavy boat.
30:16If a child got creative and thought, well let's put it in the water and see what happens,
30:20it's going to sink right to the bottom.
30:22So this is a great large oversized toy for a cast iron manufacturer.
30:28Now the typical New York battleship is painted.
30:32And this toy obviously is not painted, it's plated.
30:36We call this copper flash.
30:39Now this is something that they did a lot on some of the other toys they made, but you
30:43don't see it very often on the battleship.
30:46There's so many pieces to it.
30:48These masks remove, all these guns, which by the way are nickel plated cast iron, they
30:54remove.
30:55And also we have the anchors up there, there's two of them.
30:58And we're showing one that has a little damage.
31:01To show action, it had an off-center front wheel.
31:06It doesn't work very well because it hasn't been cooperating with us, but I'm going to push
31:09it and show you.
31:10You'll watch the front end drop down and it simulates water.
31:13Yes.
31:14A retail price would be in the area of $4,000 to $5,000.
31:18Really?
31:19Yeah.
31:20Oh, that's exciting.
31:22Some of these boats have sold for more painted.
31:24There's a possibility that if the right collectors really felt that this was superior in rarity
31:30and finish, it might bring more.
31:32But it's hard to say because I've never really seen a copper flash version sell to the market.
31:38So I think it's a good conservative estimate.
31:41I'm just thrilled.
31:42My first tour in the Navy, I was the ensign.
31:59I went to my first command.
32:01The building we were in, they were renovating.
32:03So they called us and said, you have some trash here, come get rid of it.
32:06I sent my sailors over to throw the stuff away.
32:10They saw this flag, it says women on it.
32:13I'm a woman.
32:14So they brought it to me and I carted around for the rest of my 26 years in the Navy.
32:19I know women were in the Navy in 1917.
32:23There were 600.
32:25A year later, there was 11,000 women.
32:27And they did yeoman jobs, which is clerical work.
32:30Clerks and accountants and things like that.
32:32Absolutely.
32:33You mentioned in 1917, which is interesting because at the time the Secretary of the Navy saw the
32:39term yeoman and said, it doesn't just mean man.
32:41And they needed every able-bodied person they could.
32:43Correct.
32:44So they brought the women in to do yeoman's work, which a lot of folks don't know that
32:49women were there during the First World War.
32:50That's right.
32:51And this is a First World War period flag.
32:53It's silk with hand-painted emblems on it.
32:57Okay.
32:58The first naval district was Portsmouth, New Hampshire, later Boston.
33:02It started in Portsmouth in 1903, went to Boston about mid-40s.
33:07The great thing about this flag is that it shows the kind of patriotic nature that the
33:12women must have had at the time in order to really gear them up to be a part of the
33:16service.
33:17In the center, we have the U.S. Naval insignia, which is still in use today on officers' cap
33:21badges, the eagle over the shield, over the crossed anchors.
33:25Now, I couldn't find out too much about the women's battalion either, but we still know
33:29that the women were in service during the First World War, and they did do a lot of yeoman's
33:33work.
33:34And they had been done by the women themselves as something that they wanted to use to inspire
33:40the rest of the women in the battalion.
33:41And maybe they had it on base as an unofficial flag.
33:44Is it something that a museum, a Navy museum or women in the military museum might be interested
33:51in having?
33:52If you think you're going to keep it, it's worthy of conservation.
33:55If you're going to donate it, the best thing to do is really let the institution decide how
34:00to handle the conservation.
34:01Okay.
34:02Because it's going to need to be cleaned.
34:03You're going to need to address these issues where it's starting to split because the weight
34:08of the banner itself is pulling it apart.
34:10So, it depends on what you want to do, but there's no doubt that interest in women in
34:16the service has grown over the years.
34:18There will be many institutions that would love to have this banner.
34:21In this condition, I would say it's around $1,500, maybe $2,500.
34:24Okay.
34:25Fixed up would certainly enhance the value, but that would be a costly undertaking.
34:30So, you really have to decide, do I want to own it or do I want to give it to somebody
34:33who could display it?
34:34Do I want to own it or do I want to own it or do I want to own it?
34:39This pot came from an estate, some very wealthy people back east, and it ended up with my mother,
34:45is how it happened.
34:46She was married to one of the heirs of the estate, and then he inherited the pot, and it just sat in her house.
34:56Do you know about the potter Maria Martinez at San Ildefonso Pueblo in New Mexico, the black pottery?
35:03She is the famous potter in the American Indian world.
35:07Maria Martinez started making pots around the turn of the century, 1900, 1910, and everybody
35:15thinks that all the pottery from San Ildefonso is black on black.
35:20This is a San Ildefonso pot from the 19th century.
35:24It kind of has a gray background, sort of a grayish color, and it has these incredible
35:30birds on it that go all the way around it, and these abstract designs.
35:35The color's real soft, the slip on it's a little bit weak almost.
35:41It's a very soft sort of look and color to it.
35:44Now we turned it over, and in very weak letters here, it says San Ildefonso, and then there's
35:53a name underneath it, Montoya.
35:56Maria learned to make pots from lots of people.
36:00This pot was made by Florentino Montoya, one of her teachers.
36:07Montoya's wife's name was Martina Vigil, and Vigil and Montoya started making pots at San
36:14Ildefonso probably about 1875.
36:18So this is probably, because of the gray slip on the background, one of the earlier San Ildefonso
36:24pots that anybody's seen that is identifiable.
36:28The fact that it's signed is remarkable.
36:32This is a pre-Maria pot that traces the whole tradition that went to her in the gray art pots
36:39that she did in the 20th century.
36:41Now you had an appraisal that was done in the 80s, and it was like $1,250.
36:50We've only seen one or two of these pots ever come up for sale.
36:53They're extremely rare.
36:54We've never seen a signed one come up for sale.
36:57On a bad day in a nice gallery, $25,000 for this pot.
37:05It could go double that, could go $40,000 or $50,000.
37:10It's a great thing.
37:11It is a very great piece of art.
37:12Thank you for coming.
37:13Thank you for telling me that.
37:15That's just great news.
37:16What you've brought us today is the teacher's edition of Dick and Jane.
37:34We've got, of course, the gigantic star of the series, along with his companion, Jane.
37:42We don't want to forget their ever-faithful dog Spot.
37:47These giant editions from the 1940s to the 60s routinely sell in the $500 to $600 range.
37:54Well, that's good, because my mom has another one, so that's cool.
38:00Well, I was looking about 40 years ago for some art to put up at our first apartment.
38:10My wife and I were married, and we decided we would like to get something original instead
38:14of a print.
38:15Okay.
38:16And I happened upon these in a garage shop in Lakewood, Ohio.
38:18Okay.
38:19About what did you pay for each one?
38:21Well, they were 50 cents a piece.
38:2250 cents a piece.
38:23Yes, sir.
38:24I think you did fine.
38:25You have two 19th-century etchings by well-listed artists and one 18th-century etching.
38:30The 18th-century one is by an artist by the name of Canaletto, major 18th-century Italian
38:35painter, did a small number of etchings.
38:37Rough value, probably somewhere in the neighborhood, is $750, and a very nice piece for 50 cents.
38:43Yes.
38:44Samuel Palmer, early 19th-century, mid-19th-century English painter and printmaker.
38:49General values on his pieces is in a similar ballpark, $750 to $1,000.
38:56And the last one is by Seymour Hayden.
38:58The etching value is probably somewhere in the $300 to $400 range.
39:01Thank you very much.
39:16It was given to me by my aunt, who was 93 years old when she gave it to me.
39:20And she had received it from her aunt when she was probably in her mid-20s in Ohio.
39:26What you have here is a really exciting piece of Roseville pottery.
39:30It's an experimental piece of Roseville pottery.
39:34And for people who collect Roseville, experimental is great.
39:39Roseville, which was such a large company, started out in Roseville and then moved to Zanesville, Ohio.
39:45Mm-hmm.
39:46Now, when I picked this up, I recognized the feel of it, the clay body, and the line of this blank they did most of their experimental works with, which is called Rosecraft Vintage.
39:59And it was introduced in 1925.
40:01But this decoration here is probably unique.
40:05This glaze color is highly unusual.
40:08And this whole bacchanal scene, which is, by the way, pretty racy, is not on any other pot of theirs.
40:16And the reason they did not produce this piece, it may have been too complicated, too many colors, who knows, or perhaps the dancing naked ladies.
40:29Mm-hmm.
40:30That may have been a problem for some.
40:31Okay.
40:32This one, being experimental, is probably all hand-carved, which you don't see in regular Roseville, which is molded.
40:38Part of the fun thing of finding an experimental piece is when you see, on the bottom, instead of a signature, you see all the glaze numbering.
40:48They very carefully describe where specific glazes will go.
40:54So this is fabulous.
40:56Oh.
40:57There are fewer Roseville collectors today than there used to be 20 years ago.
41:01A very conservative amount at auction is $3,500 to $4,500.
41:08Oh, wow.
41:09A good insurance value, probably in the $5,000 to $6,000 range.
41:15Oh, wonderful.
41:16Oh.
41:22My mother gave me this in the mid-'70s.
41:25I had been living in Africa, and I came back and had no furniture.
41:29She gave it to me as I was trying to furnish a house.
41:32My sister tells me that she gave it to me because it says Joe on there.
41:36Someone gave it to her in Phoenix, and I do not know who gave it to her.
41:41Once I was told that it was from Pennsylvania.
41:44I was also told that the J-O and E-O may be initials of a couple that was getting married
41:51and that it was a marriage.
41:52Exactly.
41:53Exactly.
41:54And obviously the date speaks for itself.
41:56It's a Chippendale, Chester County, Pennsylvania, tall chest.
42:00So Chester County was about 25 miles from Philadelphia.
42:03Right.
42:04So the cabinet makers there were working in roughly a Philadelphia style but doing their own thing.
42:09There are distinctive things that are in Chester County, Pennsylvania about this.
42:13By 1797 there were Anglo settlers from England, there were Welsh settlers, and there were German settlers.
42:20So these pieces have a combination of all three of those immigrants' work.
42:26At the top we have this OG molding, and then J-O and E-O.
42:31The brasses flanking are Chippendale brasses that are original brasses.
42:36We go down and the pair of drawers flanking this wonderful drawer.
42:40This bottom drawer is massive.
42:41Here are these classic Chester County feet with these big spurs here.
42:46These wonderful large OG feet.
42:50And look at the surface on that, the color of the wood.
42:53The thing that I think is really neat about this, that you know about, I know, is this drawer, right?
42:57Right.
42:58And originally this did not have a knob.
43:00That was a decorative panel.
43:02There's no marks around it from where people pulled it.
43:05It looked like a decorative panel.
43:06Oh, okay.
43:07So you unlock this drawer.
43:08You pull it out.
43:09You slip inside.
43:10Right.
43:11Push that hole.
43:12And lo and behold, you open it up.
43:15And here's the spring lock, right here, that held that in.
43:19That was the only way you could get it open, is to open this drawer and go up.
43:22So here, we have a shallow drawer and this really neat hidden drawer.
43:27Now, this poplar on that drawer is over 200 years old.
43:32And it smells like it was cut yesterday.
43:35You can smell that wood.
43:37Doesn't that smell like fresh cut wood?
43:39The wood is walnut, which is a locally grown wood, American black walnut.
43:45And that is hollywood.
43:46It's H-O-L-L-Y.
43:48It's a light wood and they use it because it contrasted with the walnut.
43:51That was really popular in Chester County, which is known for inlaid furniture.
43:56The black, I think it could be an ebony.
43:58This piece, because of all the great things it has, would be estimated conservatively at auction at $20,000 to $30,000 on it.
44:08I mean, and that's a conservative estimate.
44:10Because of all those things, it could bring much more than that.
44:13That's nice.
44:15The photograph is taken around 1890 to 1900 and it's of the jewelry store in Nordmåling, Sweden.
44:36And they moved from Sweden to America?
44:38Yes, they came in two waves.
44:40Did they remain in the jewelry industry or watch and suit?
44:42Oh, absolutely.
44:43All my uncles were watch makers and they worked in the repair shops in Chicago, Illinois.
44:49Well, why don't you go through and explain what you know about the watches then?
44:53The first one over here on the gold chain necklace, that belonged to my grandmother and it looks upside down.
45:00But for the woman who wears it, then she can lift it up and it's in a correct position so she can tell the time.
45:06This pocket watch belonged to my uncle Guston.
45:10And it's a very thin piece, but it fit very easily into a pocket and didn't create too many lumps.
45:18The other watch here belonged to my aunt Ebba and it's made of some kind of a platinum material and it's very much a dress type watch.
45:30It's not an everyday type of watch.
45:32And have you done any research in terms of their value or the makers etc?
45:36Well, I was offered about a thousand dollars for that wrist watch at one time.
45:42These others, I have no idea what they're worth.
45:45Starting with the little ladies watch here, it's Swiss made.
45:48It's in a 14 carat gold case.
45:50Now, although it's hanging upside down like this, it's actually been converted.
45:55And it would have been made with a bow on one side and a clip on the other side.
45:59Made around the 1900-1910 era, one of the very first types of wrist watch.
46:04And now when wrist watches were first being made, the manufacturers didn't want to change their manufacturing techniques.
46:10So they simply added this little clip on the reverse side.
46:14I see.
46:15And that way you could strap it to your wrist.
46:18Probably converted in the 1920s by the look of it, it's not made by a known manufacturer.
46:23And realistically today, it's worth its gold value.
46:26Oh really?
46:27It's around a hundred dollar watch.
46:28Really?
46:29Okay.
46:30I'm surprised, but okay.
46:31The men's pocket watch, again in 14 carat gold, again Swiss, made in the 1920s.
46:37Very classic with this style of breguet numerals, as they're called.
46:40The chain also dating to the 1920s, also in 14 carat gold.
46:46It is much slimmer than you normally find.
46:49Again, an unsigned, very nice quality, but not by any manufacturer of a known quality.
46:54It's worth slightly more than its gold value.
46:56You're probably looking at around $300.
46:58Okay.
46:59This is for auction purposes.
47:01For the ladies' wrist watch in the center, it's late 1920s, early 1930s.
47:05Right.
47:06Very typical cocktail watch of the era, retailed by Spalding & Co. in Chicago.
47:11Mm-hmm.
47:12And I'm pleased that you didn't sell it.
47:14This, I think, is a classic case of, if someone offers to buy you something, always ask for
47:19a second opinion.
47:20Right.
47:21Never always necessarily take the first one.
47:22Oh, absolutely.
47:23I agree.
47:24The reason being, it's made by a very well-known Swiss company called Patek Philippe.
47:28Oh, yes.
47:29Patek Philippe, one of the most famous and also one of the highest quality Swiss brands.
47:34It's made in platinum with a platinum band, and the case is also set with diamonds.
47:39Now, the case itself is not signed Patek Philippe, but this was not that uncommon of the era.
47:44They would supply movements to very high quality retail outlets such as Spalding & Co.
47:50And this is a realistic auction value.
47:52It's worth $5,000.
47:53Oh, how nice.
47:55So, I'm very pleased you didn't take the $1,000 offer.
47:57Me too.
47:58Right.
48:09It was a present from my father.
48:14I inherited from him when he passed away.
48:17I always liked Lionel Feininger.
48:20I had a book about him, and I have seen pictures in museums of him, and I was thrilled when I inherited the painting.
48:28I came to this country a long time ago for one year, and my dad visited me, and we went to the Metropolitan Museum of Art, and there was this picture of Lionel Feininger.
48:41He did a lot of churches, and I liked it, and he bought a poster and framed it for me.
48:46That was my first picture I ever owned.
48:48And how did that poster compare to this work?
48:51I liked the poster better because it was a picture of the oil painting.
48:58This is just a sketch.
49:00I like it very much.
49:01Don't get me wrong.
49:02Well, the picture is signed down here, lower left, as we can clearly see, and it's also dated.
49:09This translates to Thursday, the 10th day of February 1921.
49:15And the work is a watercolor.
49:18The title on the back, tell me in German.
49:20It's Silbersterne, which means silver stars in English.
49:25So you can see here that the stars have been reduced to these kind of cross-like or X-like shapes.
49:33In Feinecker's style, he would reduce his subjects to very simple shapes or planes, and then combine them with this linear definition.
49:44Very interesting artist.
49:46He was born in New York in 1871 to parents who were both musicians, and they fully expected him to study music.
49:54But he decided he wanted to study art, and he went off and studied in Paris and Germany.
49:59And in 1919, he was asked to teach at the Bauhaus, which is a very famous school of art, craft, design, very influential in the modernist art world.
50:09And then he had to come back to the States when the Nazis took over Germany.
50:14This really is a wonderful work. The colors are so great.
50:17I love the colors. I love the colors.
50:20He manages to make his works a little bit of realism but a lot of fantasy, and they're just very, very appealing.
50:27I think if this were offered in a retail gallery, it might sell for as much as $75,000.
50:32You must be kidding.
50:33No.
50:34Oh, my God.
50:36It's a lovely example.
50:38Oh, my God. I had no idea.
50:44I said maybe $5,000, $8,000, something like that.
50:47Thank you so much.
50:49And now it's time for the Roadshow Feedback Booth.
51:04We took this painting that's been in the family for a really long time to the Antiques Roadshow today.
51:09We thought we might be able to find out if we were finally going to be able to throw it in the garbage.
51:13And it turns out it's worth $2,500 to $5,000.
51:17Thank you, Antiques Roadshow.
51:18Yeah.
51:19I brought in this picture of Gene Cernan, the last man on the moon, and I was quite surprised.
51:25They appraised it for like $3,000 and going up.
51:28And this picture that I paid $1.54 is worth $200 to $300.
51:32And she'll definitely be dragging me more to garage sales all the time now.
51:36And I got this from my grandmother. It's the only thing I've had from my grandmother.
51:39I thought it might be an antique, but they said it's from the 50s.
51:43I'm from the 50s, so that means neither one of us is an antique, and I guess that's good news.
51:48Brought some of my Bakelite, and I got to meet a lot of the appraisers.
51:53It was awesome.
51:54So my husband at home, they tell me that if I get hit by a bus tomorrow, these should not go in the alley. Thanks.
52:04And our ex-husband's mother gave me this pin.
52:09And our ex-husband gave me this antique hymnal to bring to.
52:14So we came to the Antiques Roadshow together to get them appraised.
52:17Yay, Antiques Roadshow!
52:19Thanks for watching. See you next time on Antiques Roadshow.
52:24Antiques Roadshow!
52:25Antiques Roadshow!
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