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Antiques Roadshow Us S30E04
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00:00Roadshow found the sweetest treasures in the Peach State when we visited the Georgia State
00:09Railroad Museum. I've got a basketball signed by the 92 Dream Team. I see why people cry on Roadshow.
00:30The Georgia State Railroad Museum is more than a whistle stop for Antiques Roadshow today.
00:42We've set up at the former Savannah Repair Shops, where steam-powered trains once chugged in for
00:48maintenance. Completed in 1855 for the Central Railroad and Banking Company, the site was
00:55transformed into a museum over a century later and has been managed by the Coastal Heritage Society
01:01since 1990. Check out the treasures that made our experts stop in their tracks.
01:15My mother bought it for me when I was a child in like 1951 or 52. It's probably 73 years old.
01:25This is my grandmother's copy of Gone with the Wind. She was born in 1900 and she was friends
01:36with Margaret Mitchell. They were childhood friends, grew up in Atlanta. And so when the book came out,
01:41she bought it new. I guess she asked Margaret Mitchell to sign it for her and she did. So
01:45it's an autographed copy by the author. Let's take a look because it's not just Margaret Mitchell in here
01:50signing. We've got Margaret Mitchell inscribing to your grandma. Yes. After about six months,
01:57she was so swamped, she refused to sign anymore, which is good for us on the collecting side of
02:03things. And then over here, we have some Hollywood greats. We have the movie stars' names, the ones who
02:10are living who went to the centennial premiere, which was in 1961. So we have the autographs of Olivia de
02:17Havilland and Vivian Lee, who won the Academy Award and David Selznick, who also won the Academy
02:23Award as producer of the movie. They played the movie for the centennial of the beginning of the
02:28Civil War. So 1961. There are some very interesting points about this book. Points are ways that we
02:35determine the edition of a book. And for Gone with the Wind is very popular, went into second edition
02:42almost immediately. And the way we can tell is this copyright date. This one says May 1936. And that
02:49means for sure, 100 percent first edition. So that that has that's important for value. There are more
02:56signatures. Yes. So on that page, it looks like my grandparents went out to a Confederate veterans home
03:03and met with some very old Confederate veterans who signed the book as kind of a representation of what
03:10the book was about. I think they thought it was important to document these people. And then here,
03:16there are signatures of people that were formerly enslaved that were still living. I think my
03:21grandfather dated both of those two pages, like 1939, 1940. So just a couple years after the book
03:29and a year after the movie. The signatures in the back really speak to the epic nature of the story
03:35itself. And of course, the time period that it's trying to cover. The fact that there are people that
03:40fought in the Civil War on the Confederate side and people that were formerly enslaved. Writing their
03:46names in here, it's just sort of a testament to what an important work this was. It was a big story for
03:53the city of Atlanta. The other thing is this photo, which is fabulous because it's got Margaret Mitchell.
04:01Which one is she in that photo? Yeah, she's in the front and the center. That's a picture when my
04:06grandmother and great-grandmother and great-uncles were on a house party out in the country with
04:12Margaret Mitchell. And we think that's maybe her first husband before they were married. It's a 1920
04:16photograph. So they were 20 years old. And she's wearing pants. I read that her skirt caught fire
04:23when she was little and her mom was so afraid that she dressed her in pants and they called her Jimmy.
04:28Interesting. Which is just the cutest thing. Have you ever thought about value of a signed first
04:34edition of Gone with the Wind? We've thought about it. We were guessing $1,000 if we're happy if it's
04:39that or more. Well, all of those special features of your grandmother's copy, an auction estimate would
04:46be $20,000 to $30,000 for your little book. That's fantastic. If I would have been happy with $1,000,
04:53I'm 20 to 30 times happier. I like that.
05:03It's kind of a long story, but it was in a house and I rescued it from what it turned out a couple
05:08weeks later to be certain doom. And to be honest, for all the research I've tried to do, I really can't
05:15figure out what it is. I don't know if it's a game or if it's something for writing. I'm not really sure.
05:25The most interesting thing about it is it never happened. So it's the 1976 Winter Olympics. They
05:29were supposed to be in Denver, Colorado, but the city defunded it. That's about the extent I think
05:35it was Helsinki, but that might be totally wrong. So I just kind of wanted to get a little bit more
05:39info and I thought it was pretty neat.
05:46I've got a basketball signed by the 92 Dream Team. My father-in-law immigrated to the States.
05:52He's Dutch. And he did that in the early 90s. And he's been telling me that he has a basketball signed
05:59by Michael Jordan and the Dream Team. And I never believed it. Last week, I told him that we were
06:04going to the roadshow because we're big fans. And here it is. It's been in his attic since then.
06:10He just said he got it as a gift from a friend when he moved here. Hey, that's a pretty good gift.
06:15Yeah. This is a basketball signed by the 1992 Dream Team from the 92 Summer Olympics in Barcelona.
06:22This ball would have been made available at the 1992 Tournament of the Americas in Portland, Oregon.
06:27It was a qualifying tournament before the Summer Olympics in Barcelona. It's a limited edition.
06:33200 of these were made available. When it comes to the Dream Team, Michael Jordan,
06:37Scottie Pippen, Larry Bird, Clyde Drexler, David Robinson, Charles Barkley. I mean, it is,
06:43as a nerd, it's like the Avengers of basketball assembling on the court. The Dream Team,
06:49they're literally, when you talk about domination, they were straight steamrolling the competition.
06:56Average of 44-point lead for every game. In the final gold medal game versus Croatia,
07:02I remember the score of being 117 to 85. So even in the end, it was just total annihilation. They
07:09were incredible. And being in the 92 Olympics, this was the first time FIBA International Basketball
07:15Federation allowed for players from the NBA competing in the Olympics. When it comes to a package,
07:21this being a known addition, you really can't get any better. In terms of marketing as an auctioneer,
07:27this is a slam dunk for collectors today. Conservatively, at auction,
07:32you would easily see this ball in the $30,000 to $40,000 range.
07:40That's amazing. What a gift, right? Yeah, what a gift.
07:43The Central Railroad and Banking Company became the Central of Georgia Railway Company in 1895.
07:59The railroad was really critical to Savannah and to Georgia. It was developed in order to transport the
08:06goods from the interior of the state from farms and plantations to the port. Savannah is a port city.
08:13And so then those goods would go on a ship and be transported across the ocean or to other parts
08:18of the country. In 1963, the Central of Georgia ultimately closed the repair facility and it was
08:25left vacant for many years and these properties really fell into disrepair. And so when the property
08:31was being demolished for the very valuable Savannah gray brick and scrap metal that was here, the city of
08:38Savannah stepped in and halted demolition. And we're able to save it. And we've operated this property
08:44as a museum ever since.
08:45I brought a wristwatch my dad gave me in high school that has a slide rule around the outside
08:58of the city of Savannah when I was taking trigonometry. He was a Methodist preacher and couldn't afford
09:05good things.
09:06So he gave you quite a gift?
09:08He did.
09:09Have you worn it or used it since?
09:09Have you worn it or used it since?
09:10Not so much.
09:11Okay.
09:12It's made by Juvenia, a very fine Swiss watchmaking company. They were founded in 1860.
09:19This particular model is called the Arithmo, comes from the word arithmetic.
09:24They introduced this in 1945. It's in a stainless steel case. It's a 17-joule automatic self-winding
09:34movement. This was a calculator. This company, Juvenia, they proclaimed theirs to be the best.
09:43Solid, nice construction, the rotating bezel. So you can do your calculations by moving it around.
09:52Currently, it's not moving. It's not working. It's probably gummed up, which is very common with
09:57these watches. It happens. And a cleaning and an overhauling, it'll be working just fine again.
10:03This watch today, retail, this will sell for between $7,000 to $8,000.
10:11Wow.
10:12Dollars.
10:13It's priceless to me because my dad gave it to me, but that's wonderful to know.
10:19Wow. And I made an A in the trick, so it helped.
10:23I guess it worked. It did its job, didn't it?
10:26It did its job.
10:29So this is what I believe might be an animation cell from Disney's masterpiece, Fantasia.
10:35I picked it up in an antique and bookstore in Philadelphia, where we're from.
10:40And it was the shabby little store, had great, wonderful treasures. I picked up so much stuff
10:44over the years. And I thought this was just a sketch. And then I took it home, open it up,
10:48and it's translucent. It's on a translucent film, which looked like a good design. So we'll see.
10:54Yeah, we're just happy to be here. We love it. Fantasia is my favorite movie. So I know this guy's
10:59turnabog from the night on Bald Mountain. So me and my mom were yard sailing one day,
11:05and we were on one side of the highway. And she saw the lamb across four lanes of traffic. And we did
11:11maybe a little bit of a dangerous U-turn. And we jumped out of the car, and the guy told us it was
11:16$5. So yeah, we took it home. So I would say that this is a sheep designed by Hans Peter Kraft.
11:26And he has an apt last name, since this is a wonderful piece of craft work.
11:31Oh, wow. It was made in Germany. And it is done with this wonderful wool, boiled wool. And
11:41all of the legs are original in their ash, a wood, with his ears in leather and those glass eyes. He's so
11:51alert. It's a spirited, wonderful, fun object. Well, you can see these really in a retail setting
12:00in the $4,000 range. Oh, wow. Yeah. You might just try to get his tail attached so you don't lose his
12:06tail, because that's important. Okay. This muzzle is a little dirty, and that's good. So lovely,
12:12wonderful $5 yard sale find. Absolutely. Thank you so much. I brought in a cast iron mechanical
12:20bank. I got it in Western New York. A friend of mine, who's an antique dealer, he borrowed money from
12:26me. Okay. And we were making a business investment into a friend of his. And a few months later,
12:31his friend died, and so did the business. He's kind of felt guilty a little bit about it. So once in
12:36a while, he'll give me a few items. So what can you tell me about the bank itself? Well, it's a shooting
12:40bank. It'll shoot a penny from the rifle into the tree. First, you cock the holder back. You slip a
12:48penny on there and see how the head went down. Now you hit the toe. What did you find when you looked
12:55it up? The J.E. Stevens Creedmoor. Creedmoor Bank. Okay. How about the age of the bank? Do you have any
13:02idea? Well, the original ones came out in 1877, as I am aware. Okay. But then they made reproductions
13:07after that. Sure. The entire basis of the design of a mechanical bank was to make saving money fun
13:14for children. That way they wanted to save the money. So by introducing a movement, it created a
13:19toy, an action. Your research was spot on. The Creedmoor Bank was made by a Connecticut company,
13:25J.E. Stevens. And we see it quite often. It's a fairly common bank, a very popular bank. 1877,
13:311880, that's the time frame we see that bank and associate with that bank. However,
13:36there are slight differences between this bank and the Creedmoor Bank we normally see. They did make
13:40a few variations of this style shooting bank with the figure wearing a different hat. And then right
13:46here on the front is a base plate. That's often where we'll see Creedmoor Bank, the new Creedmoor Bank,
13:54Volunteer is another name. I'm happy that yours is blank. And even though your paint is very thick,
14:02a bit drab in color, I believe the paint to be completely original. Oh, nice. The casting is also
14:07a little crude, a little more crude than I'd expect from the American cast iron manufacturers.
14:12This one instead is a cast iron mechanical bank, but made in Europe, either in Germany or in Austria.
14:19This bank was a few years later, circa 1890. This is actually much, much rarer than a Creedmoor Bank
14:26by Janie Stevens. Oh, wow. Yes. Much better. Much better example here. I'll turn it around so we can
14:31see the back side of the bank as well. Another characteristic which is different is the color
14:35of his uniform itself. It's almost in a reverse painted colors. We have a red robe and he has white
14:41pants. Normally we'll see a gray, red, and blue, but in a different configuration than that which he's
14:47wearing. Now this bank is quite dirty. I do believe it will clean up very nicely with a little time and
14:55energy. But you have to be careful what you're doing. You don't want to disrupt the original paint.
14:59Now a normal Janie Stevens Creedmoor, there are thousands of them out there. Of course, condition
15:04is king, but you can pick up a Creedmoor Bank around $300 to $500 range. When it comes to the variations,
15:12they're much scarcer and hard to come by. The paint on this example is quite chipped and
15:17worn. However, it's authentic and I would value this with an auction estimate of $1,000 to $1,500.
15:25Well, that's good news. That's awesome. Yeah, it's cool.
15:36My husband is a retired surgeon. He had a patient who gave it to him at the end of her life. He had
15:43taken care of her for many years and it was a thank you from her to me for all the hours that he had
15:51spent with her in the hospital and making house calls. And when was that?
15:572019. She said that her husband had had it made for her. The bracelet is made by Jean Schlumberger,
16:05by Tiffany and Company. It's in 18-karat gold, some full-cut diamonds and cultured pearls. It is
16:13made in New York and it came in this Tiffany box that is original to the bracelet. It's stamped 18K
16:20with the maker's mark on the clasp. He was from France. He began working for Tiffany in the 1950s and
16:27created this amazing sort of latticework bracelet. His main goal was to have natural motifs and
16:34naturalistic organic designs. It was just a beautiful sort of way of approaching jewelry. The
16:41name of the bracelet is Heliodor or Gift of the Sun. It's actually articulated all in the center. These
16:49little pearls, everything sort of rocks back and forth. Right. Some rock back and forth a little faster
16:55than the others. But depending on what you're doing, whether you're sitting or dancing, they might
17:00just jiggle a little bit more. The design would have come out of approximately the late 50s, 60s.
17:07I believe the style was reinstated, but it's hard today to really ascertain the exact date as to when
17:14this particular bracelet was made. It would require a little bit more research. These are iconic bracelets.
17:20At auction, conservative value would be between $20,000 and $30,000. Wow.
17:26And people covet his jewelry designs. Wow. So it's quite a collectible piece. It is beautiful.
17:31Thank you so much. A roundhouse is a building where locomotives are maintained and repaired.
17:40The turntable behind me is essentially the heart of a roundhouse. Without a functioning turntable,
17:45you can't get the locomotives in and out of the roundhouse. So why a roundhouse? It's the most
17:50efficient way to house and repair and maintain a large fleet of steam locomotives. So this turntable
17:58had to be expanded twice in its history. The original turntable is only 50 feet long. It was also
18:05manually operated. What that meant was the steam locomotive had to be centered on the table and
18:09perfectly balanced. Each end of the turntable had a handle that stuck out and you would have a couple of
18:15men on each end that would push on that handle. They could actually turn the locomotive manually.
18:22Later, the turntable was steam powered, air powered, and now it's electrically powered.
18:34That's a pickle jar that originated in Dahlonega, Georgia. At one point, it was used to serve the
18:40Yankee soldiers' pickles at the end of the Civil War. When it was over, the soldiers left and my
18:46great-great-grandmother wound up marrying one of them and took off with him. Oh my goodness.
18:53How was the family feeling about that? I'm sure it all worked out for the best because here I am.
18:57So how do you know that the Union Army ate pickles out of this? There was a document in there that was
19:06written by my great-great-grandmother. She detailed what took place at the Mint City as it was known
19:13as Dahlonega. The first thing I look at when I look at a piece of glass like this,
19:18I look at the coloration and what it is, but I also look all around all four sides to make sure that
19:28there's not any broken places in it. But you know, the kicker on this is to look up under the bottom
19:37and see if it has wear. Yeah, there is some. Look right there.
19:43You see all that wear? Right. This bottle was molded and it was made in a factory.
19:50There's no way to know for sure which factory made it, but I'm 99% sure that it's an American
19:56bottle. This is the size bottle that would have sat on the countertop in a country store in the 1860s
20:01or 70s. Right. If you look at the pattern, it's called
20:06Cathedral, but it goes right along with the Gothic style of decorative arts that was real popular in
20:13America and England in the 1840s and the 1850s. And the color is called light aqua. But the thing
20:20that really makes this neat is that story. So if we went out of here today, we could probably find
20:28one of these bottles for sale retail for three or four hundred dollars. But I think with that story,
20:34to somebody who values that history, it's probably more like a thousand dollar bottle.
20:39I would have thought if I walked into an antique store, it would be 40 or 50.
20:44And that would have been my thought. Well, we can add a zero at least.
20:48Well, that's good news.
20:58It is an enamel by Alexander Fisher that was purchased by my husband's grandfather in 1926.
21:10You brought this wonderful enamel plaque set in its original architectural bronze frame.
21:17He did sign the plaque and dated it 1901. He is an Englishman born in 1864. He died in 1936.
21:31And he was a master of the enameling technique. Fisher won a scholarship to attend the National
21:39Art Training School in London, where he studied in the mid-1880s. And part of that then became a
21:47traveling scholarship to go on and study enameling in France and Italy. But I think it was with the
21:52French masters that he really developed the techniques that he brought back to both create
21:57works with and to teach others about. After his studies in the mid-1880s, he came back to London
22:04and established his own studio where he both created enamel and taught enameling. This form of enameling is
22:12painted enamel. And the depiction comes from the verse from Genesis. Under it,
22:18the sons of God saw the daughters of men that they were fair. It's a magnificent, magnificent example of
22:25his work. And you have this letter from Fisher, dated 1926, in which he writes how special this work is.
22:34P.S. I am so glad the enamel is a pleasure to you. It was a great effort as a piece of enamel. There's
22:44nothing like it in the world. While we know there are other Fisher enamels out there, that says something
22:50that he said that a hundred years ago. Despite the very minor condition issues, it's a magnificent item.
22:56This truly is a museum-quality work of art. Do you have an idea of what it would cost originally?
23:04We don't have a receipt, but we were told he paid $8,000 for it.
23:09And in about what year? 1926, when the letter was written.
23:13Well, that would have been a lot of money back then, but that's appropriate because,
23:17again, at the time he was an important creator of these things. This should be insured for $100,000.
23:24Woo! That's quite a bit, yeah. Wow. I guess better up the insurance a little bit. Wow.
23:37Well, this is a letter written to my wife's foster uncle in 1957 when Kennedy did the commencement
23:46speech at the University of Georgia. He didn't get to talk to him when he came there,
23:50but he wrote him a letter and said he was sorry he missed him and they discussed what they did in World War II.
24:02Well, I do a lot of thrifting and estate sales and I just, this is from a home in Williamsburg, Virginia.
24:10An old lady, her mom, it was her mom's and she, her mom passed and that's pretty much all I really
24:18know about it is that it was her mom's. It was probably about $80.
24:26Christmas of 1978, my mother and dad decided that instead of giving us a bunch of stuff that
24:33wouldn't last, wouldn't last, they would give us some art. And so these four squares are a sculpture
24:40from Carl Andre. And of course, when they gave them to me, I had no idea who Carl Andre was.
24:48I took him back to college with me. I took him to graduate school after that. When I tried to explain
24:52it to my fraternity brothers or friends, they said it looked like drink coasters to me. And they have
24:59been used as, as drink coasters. Came back, moved back to Savannah, got married, had four children.
25:06And I sort of forgot about it. And then last year I read in the New York Times that he, that he died.
25:11And so I remembered that I had them. So they are by Carl Andre. He was the leading minimalist artist.
25:18And we're showing him this way, but let's show the way it's really supposed to look.
25:23I have the receipt, but I don't have it with me. The picture with the receipt has a picture of it.
25:29Arrange like that. So I've assumed that that's the way it was meant to be.
25:33His work is meant to be flat on the ground. Right.
25:37The larger works can be 10, 15 feet square. He felt that people should be able to walk on them.
25:43Wow.
25:43This minimalist movement, it was a reaction against abstract expressionism. And the idea was to
25:49reduce art to the most simple, basic forms. He was very prominent. He had exhibitions in major
25:55museums, the Guggenheim, the Tate. He's quite controversial in his personal life.
26:00I read a little bit about that in the, in the, in the Times.
26:03Right. Carl's wife was Ana Mendieta, and she was a very prominent Cuban artist.
26:09She was well known for her Earthbody series. His wife died, and he was tried for secondary murder.
26:16And he was acquitted. But many, many people in the art world felt that he was guilty. And as a result,
26:26every time he showed after that, this was in the 1980s, there would be huge protests saying that
26:32he really was guilty. He went off to Europe, he stopped showing, and his career was really in
26:40decline. Do you know who your father bought it from?
26:43After I got more interested in it, I found out that the art director had introduced him
26:48to a friend of his, Angela Westwater in, in New York.
26:51And she was a very prominent art dealer at that time. So, uh, it has that really great provenance.
26:58And I understand you have some, you have all the material.
27:01I, we, we do. And, and I can't remember how much he might have paid for them.
27:06If I had to guess, I'd probably say maybe two or three thousand dollars.
27:09Yeah. His work is very desirable, very, very collectible.
27:13I think an insurance valuation would be in the $10,000 range.
27:16So, probably shouldn't use them as drink coasters anymore.
27:19Unless it's a really fine wine.
27:22This, I actually ended up finding at a rag house. And it had a piece of paper in the pocket.
27:33And it has a stamp here from Marseille. And I ended up looking everything up.
27:37Amazingly found a lot of information. It was made for the archers in a parade for
27:43a town in France's tricentennial. And I actually found a video of the guys marching in it.
27:49So, I have a great story. It's beautiful. And it fits me like a glove. So.
27:54She wears it around the house. I do wear it around the house.
27:59This is an Andy Warhol collection of prints.
28:05My grandmother met Andy at one of his exhibits in Sacramento, California.
28:11And had him sign the front of this collection for my mother, Catherine.
28:16And that's about all I know. I'm nervous.
28:23So, Andy Warhol is one of the most desirable American artists. Not just for the 20th century,
28:29I think overall. This is one of the most iconic groups that Andy Warhol put together later in his
28:35career. It's called Andy Warhol Myths. So, in this case, it is really terrific that he signed the cover of
28:45this group as well as the image of Howdy Doody. What I thought the most striking image actually
28:54is that Andy Warhol included himself in the group of portraits. You get the shadow on the wall and him
29:01sort of looking into the picture. These are essentially postcards. And the group was an
29:09advertisement for large poster-sized lithographs that numbered and signed. This was done in 1981.
29:18And then, unfortunately, he passed away in 1987. It was a collaboration between Warhol and his
29:25gallerist, Feldman, who was the publisher of the cards as well as the lithographs.
29:32Have you ever had them appraised? No. They've been sitting in storage in my mother's house.
29:39And I've only heard about them. This is like the longest I've spent time with them and seeing them
29:47and looking at them. Uh-huh. At auction, I would place an estimate of about two to three thousand
29:53dollars on this group of cards. Okay. Great. Thank you. Thank you for bringing me this. Oh, yes.
30:04I brought in a brooch that could also be worn on a pendant. I've had it for approximately four years,
30:13and it was given to me by my former fiancé. He passed away about two years ago. It belonged to
30:22his mother. Now, he was 95 when he passed away, and so you can imagine how long this has been
30:32with her. So I was thrilled to have it. When the jewelry moves, when you're walking, when you're dancing,
30:38Oh, yes. It's scintillating and catching the light. I love the use of the baguettes,
30:45kind of ribbon-like. And then you have marquees, cut stones. You have pear-shaped stones.
30:52And it's all set in platinum. Most people who come in to see me in my regular everyday life,
30:59and they have this brooch or something like this, they always come in and they tell me I have a piece
31:05of Van Cleef and Arpel's jewelry. And if you turn around and you look at the back,
31:12it looks like it says Van Cleef. It's signed Van Cleef. This is his full name. George Bud Van Cleef.
31:22He was a jeweler from the same state that I come from, New Jersey. He was born in Union City
31:28in the early 1920s. He had an office in New York in a manufacturing facility, 609 Fifth Avenue.
31:38And he was in the business for 50 years. Oh, that's a long time. And he made a lot of fabulous
31:44jewelry like this. Obviously. I think this was probably made in the early 1960s. You can find
31:51comparable things like this for sale. And they're around $40,000 to replace this today.
31:59It's a beautiful price. Yeah. I mean, look, if it was at auction,
32:03Yeah. I would probably put it in for $12,000 to $18,000. I see.
32:09If it was Van Cleef. Oh, I know. It'd probably be $60,000 to $80,000 for an auction estimate.
32:16Retail be a hundred and over. But you still- It's not.
32:20It's not, but it's still fabulous. It is. It looks very Hollywood.
32:25Okay. What we have here is a 1964 Crucianelli 702V. It was made by the Crucianelli company in
32:32Italy. And they were most famous for actually making accordions. And it's pretty comparable
32:38in appointments to Gibson in the period, though it was much cheaper at the time. And
32:41and that sounds like a million bucks. Um, they said that this guy
32:54was like, they didn't know how somebody could taxidermy this toad. This guy might be worth
33:03at least a hundred dollars, which is blowing my mind. But when I got him at the store,
33:07he was either $24 or $20.
33:13Ribbit. Ribbit.
33:15Ribbit. In 2021, my father-in-law passed away and my husband inherited this artwork. The artist is
33:31Alexis Jean Fournier. And as we went through a collection of things of my in-laws, we also saw
33:38some other pieces that had his name, his picture. And so it really had me interested in digging. And so
33:45I did an ancestry dive. And come to find out, the artist Alexis Jean Fournier was married to my
33:52husband's great aunt, Emma Frick, was his first wife. This is a wonderful oil painting. It's by Alexis
33:59Jean Fournier, as you know. He was born in St. Paul, Minnesota. On July 4th, 1865,
34:06he trained first in Minneapolis. And then, as so many 19th century American artists did,
34:11he went to Paris to train. And he went first to the Académie Julienne. He then traveled around
34:17Paris and northern France. And he was especially interested in the Barbizon painters. And over the
34:241890s and the 1901s, he did a whole series of paintings. He called the series the home and haunts
34:32of the Barbizon masters. And given the architecture and the style, we know that it's clearly something
34:38that would have been painted in France, probably would have been painted in the 1901s as part of
34:44that series. What makes it special is its light. That light is just beautiful, but it's a light that's
34:50more very late 19th century or in early 20th century. And so that's part of the key to knowing
34:56about when it would be dated. It's had a troubled past. It's had some condition issues. Okay. And
35:02you know what? When you're 100 years old, you end up with condition issues. But if you look closely,
35:07you can see there's a fair amount of retouch. If we look up here, you can see sort of some discolored
35:12areas. It's especially obvious here. If we look along the edge, you can see where it's been retouched.
35:18The other thing that's going on, especially with the sky, is the painting is starting to cup. So instead
35:23of lying flat on the canvas, the edges are just starting to cup up. Right now it's pretty stable,
35:30but at some point you will probably lose more paint. Condition affects value. Other than condition,
35:35the thing we tend to harp on is provenance. This was in the artist's family. You can't get better
35:43provenance than that. In its current condition, if it were to be brought up at auction, we'd estimate it
35:49at $20,000 to $30,000. Okay. I would recommend conservation. When everything is properly laid
35:57back down and consolidated, you're probably looking more like $35,000 to $55,000 for an auction estimate.
36:03Okay. Wow. Another integral part of the operation of the repair shops was this 125-foot-tall smokestack.
36:21The smokestack exhausted the smoke and hot gases from the forges in the blacksmith shop,
36:28and also the boiler in the boiler and engine house. It did this through Bernoulli's principle,
36:35which is a movement of air from high pressure to low pressure. So those fires in the forges and in
36:41the boiler create a high pressure system. And at the top of the stack, there's a low pressure system.
36:47The air is cooler, the breeze is blowing, and it sucked that smoke off of those fires and exhausted it
36:53up into the air to keep that out of the shop complex so it was a little bit more comfortable
36:58for people to work here. This was the height of technology in the 1850s when this facility was built.
37:08I brought a belt that I acquired in the 1980s. I really wanted to know more about the belt.
37:15Okay. Where did you buy it? I bought it in a pawn shop.
37:19Really? Yes, I did. And where was that?
37:21In Atlanta. Oh, wow. And what drew you to it?
37:24It reminds me of items that I collect from North Africa.
37:28Well, it is in fact Ottoman, so that means it's from Turkey and more specifically the Caucasus region.
37:35It's silver, silver gilt, also niello worked, which are these beautiful oval panels here picked out in black.
37:44It's also got filigree on it. And each one of these panels is cast and made individually and then
37:50work together with a pin along each one. So it creates a belt shape. And niello work is characteristic
37:55of pieces from this region and from this time. So each one of these has a slightly different
38:01decorative element to it. You have a little foliate motif in a sort of star shape. You also interestingly
38:08have a stylized tugra mark on several of them. And that is the symbol for the Ottoman sultan who lived
38:14in Istanbul. And it is marked behind the buckle in Arabic or script. How much did you pay for it
38:21when you bought it?
38:22When I bought it, I bought it for the weight of silver. So I paid less than a hundred dollars for it.
38:29Interesting. Okay. But I think this is worth much more than the silver content. I think a retail price
38:35for this today should comfortably sit within a thousand to fifteen hundred dollars.
38:40Very good. Thank you. Thank you very much.
38:43I played it when I was in my twenties. I bought it in Miami. It has a repair sticker inside from a Miami
39:03a violin maker, but an even older one dated 1899.
39:18This is a gramophone. We picked it up maybe 25 years ago in Ljubljana, Slovenia. Okay.
39:25We had just completed a week-long hiking tour of the Slovenian Alps. Wow.
39:31And it was Sunday morning. And they had like a flea market set up with booths and tables along the
39:39river. And this was all polished and shined up and caught the sun and it caught my husband's eye.
39:45And it was going to go home with us. Okay.
39:49We think we paid around a hundred dollars for it, but we're not sure. Right.
39:53And we know that we made the vendor's day because within 10 minutes,
39:57he had folded up shop and went home. And I have to settle a bet between you and your husband?
40:03My husband has always been convinced that it's got to be authentic because it came from Europe.
40:08Right.
40:09I know that there are all kinds of knockoffs that look exactly like this that are worth about a hundred
40:14dollars a piece. So you can settle that for us. Well, I'll try to do my best. So I remember when I
40:21first did the first season of Roadshow, these gramophones would come in and they were always
40:26a big hit. Now the markets have changed since then. And there are also real ones and later productions.
40:32Uh-huh.
40:33I think you're both right. I want to settle this.
40:35Oh, you're a diplomat.
40:36I did not want to offend anyone, but there's a couple of things that I want to point out. First
40:42of all, this label in green, that is a later reproduction of the piece. I would date this in
40:50and around the 1940s. Okay.
40:52The other part of it is the back mounting that's holding up the whole horn is either replaced or a
40:59later production. Okay.
41:01You also have this dog. And tell me the story about this.
41:05Yes. That dog I found at an outlet store in Savannah. This is Sparky. He should have his
41:13head cocked and the sound of my master's voice. Right.
41:17The mold maker thought that the dog was defective because his head was cocked. So he changed the
41:25mold and made all of them with her. So I have a Sparky with his head on straight and he's probably
41:30not worth very much because of that. Well, his name is actually Nipper.
41:34Oh. Not Sparky. Oh.
41:36So it was Nipper and even on the record, you can actually see that he is there with his head
41:41cocked. Right.
41:42And that's Nipper. Also, he has the black spot around his eye, which he shouldn't because that
41:49Nipper never had that. And also the way that this is painted, you can see that there's
41:54the paintbrush. They paint it outside of the lines. So this is the knockoff Nipper. So this is the
42:00knockoff. This is a later production. However, with everything together with the gramophone and the
42:06reproduction Nipper, I would put an auction estimate in the 800 to 1200 price range.
42:11Really? Yes.
42:12Okay. So am I right or is my husband?
42:19That is the question. I think you're both right. Okay.
42:22This painting was bought in Sumner, Georgia. It had an antique shop. My son bought it for 37 bucks.
42:37I don't know anything else about it other than that.
42:40We inherited it from my grandmother and we have a picture of it from the early 1890s
42:55in the home that it was living in at the time in Wisconsin.
43:00It's so nice to have a picture of a clock in its original setting. It really places it time-wise.
43:07My aunt and uncle told me that it had been in the family since the 1800s.
43:13Do you know about its origin at all?
43:15I do not.
43:16Okay. Do you know who made it?
43:18No. Never had it appraised at all.
43:20Okay. Well, this is a figural clock and it was made by the Ansonia Clock Company in New York.
43:27And it really was made to sort of be less expensive than a French clock, but it's still a beautiful thing.
43:34It's one of these clocks that's worth fixing because it'll be a good timekeeper for years to come.
43:39So it's worth putting money into the movement and having it restored. I can see that the movement is
43:43is a little bit grungy or dirty. It hasn't been attended to in a long time.
43:48So it might be time to get that done. A clock like this in a retail situation would probably be priced
43:54anywhere from, oh, $550 to $850. And you got to know that the market's down right now. It used to
44:02be more valuable and I'm sure it will come back. But right now, these figural clocks are a harder
44:07sell to younger generations.
44:09So I actually found it at a thrift store. I think it may be attributed to the artist Frank Stella.
44:16And how much did you pay for it?
44:18$3.99.
44:20So what you have here is a color screen print with pencil marks by Frank Stella, a great post-war abstract
44:29artist. You recognize it right away. A very modern mid-century look. And Frank Stella was a pioneer of
44:36abstraction. In the 1960s, he was one of the first artists to do non-objective painting. And this is
44:44a print version of some of the paintings he did. It's a 1967 screen print called 14 de las Flores.
44:54And it comes from a portfolio called 10. It included 10 works by 10 different artists. Works by Roy
45:00Lichtenstein and Robert Rauschenberg. Really, at the time, the cutting-edge artists. Published by the
45:07Leo Castelli Gallery in New York. And it was published to honor their 10th anniversary. It was printed in
45:14an edition of 200. It's initialed and dated and numbered in the lower right in brown ink. And has the
45:22emboss mark of the printer lower left. The colors are really strong. It's got a great color. It has pop.
45:29And it's on this great graph paper. So this is a color screen print, which is a print made through
45:36screens, individually printing each color. And they're separated by fine lines that were done
45:42by pencil. Someone would have done that by hand. It's well documented as a screen print of Frank Stella.
45:48It's in many museum collections, including the Museum of Long Rock. Frank Stella rose to prominence in the
45:55late 60s in New York. And this is also from 67. So this is an early work by him. So it's really a
46:02great example. This is a Kulik frame. It's a classic mid-century design frame that was actually
46:09pioneered at MoMA. Kulik was a frame maker. He was also a painter, but he was a frame maker who
46:15pioneered this. This frame was cutting edge in the 60s and quickly adapted by many contemporary
46:22artists and galleries. Do you have any sense of the value? Somebody had mentioned like $2,000 to $5,000
46:29for Frank Stella. So if it's more than what I paid for it, then I'm happy.
46:34Well, I think it's in good condition. We see that for the bright colors.
46:39There's a little dust inside the frame, but I'm glad you didn't touch it. I would estimate it at
46:44auction at $5,000 to $7,000. Nice. That is wonderful. I'm thrilled.
46:52We got it at an estate sale a few years ago. I don't think more than five bucks.
47:02I have no information about this thing other than it's pretty and I like it.
47:15We inherited it from my mother and it was by far the most expensive piece of art she purchased.
47:22I believe it was 1992 and she paid $16,200. Okay, so not nothing.
47:31Not nothing, especially for her. She liked having women artists in her house, their artwork anyhow.
47:39And this we knew was a woman from Chile and it's something that always got a lot of attention.
47:47And who is the artist? Olga de Amaral.
47:49Olga de Amaral. Yes, so Olga de Amaral is a quite well-known fiber artist and actually from Colombia,
47:57not Chile. Oh, really?
47:59And is still living and actively working. She is 93 years old, still has her Bogota workshop.
48:06This work is signed on the reverse, so we do have a date, May 1992. It comes from her series called
48:13Lost Images or Imagen Perdida. That was a series of about 17 works, at least that many are known,
48:21and some are in museum collections. Really?
48:23And it was a traveling exhibition at the time that went to several venues throughout the U.S.,
48:30including the Allrich Gallery in San Francisco, where your mother had acquired this.
48:36And where was this piece displayed? In her bedroom, actually. And she spent the last years of her life
48:42in bed, so it was significant. It was an important piece for her. When this came in,
48:50I kind of couldn't believe what I was looking at. I did not think I would get this close to a work by
48:56dam at all. Get out of here. Thank you. This is really exciting. Really? And what do you think this
49:03this material is? Well, it looks like leather, but I'm sure it isn't, so. Exactly. It's not leather.
49:10It definitely has that look to it. It's cut strips of linen that she has gessoed, painted, and then
49:18gilded. And before the last gilding, she's also pulled out threads in a weaving process called
49:26drawn work. And so she's cut and drawn these threads out to create little breaks in between
49:32each square of gold. Now, going back to what your mother paid, remind me again?
49:38A $16,200. Okay, so about $35,000 today. That's not nothing. That's a decent price.
49:49Taking into consideration that it does need some conservation, I'm going to be very conservative.
49:54Conservative. Conservative.
49:56In this condition, untouched, I would say easily, comfortably,
50:02an estimate at auction of $150,000 to $250,000. Yikes. All right.
50:11That's, it's worth doing the, doing the work on it. Definitely. I think you wouldn't need to spend
50:17more than a few thousand to get it really in tip top shape. Would that change the value? Oh yeah. Again,
50:24I'm going to say conservatively, I'd add another $100,000 to that. $250,000 to $350,000.
50:31I see why people cry on Roadshow.
50:37I would insure it for $500,000. Because her works have gone for well above that number at auction in
50:45recent times. Oh my. They're very sought after. Thank you. Thank you very much.
50:53And now, it's time for the Roadshow Feedback Booth. And this is my grandfather's watch. It's about 100
51:00years old. And it's just a family heirloom. And it wasn't worth much, but it's worth the world to me.
51:10This Charles Lindbergh chair is one of a kind, but this, and heavy to carry. But this ring is worth
51:15more than it. It's $2,000 and it was a lot lighter. The item we thought was going to be a million dollar
51:22winner for us was about $150. But since I paid a dollar, that's fine. This was a wonderful 50th
51:30anniversary trip. We appreciate it. Yes. And I bought this ring watch. It's worth a couple hundred
51:36dollars and found out this was a reproduction. And I bought this cup and they told me it's only
51:42worth about $12. So, we had a great time though. Yes. This is my antique rattan hat. And I asked how
51:50to keep it clean. And they said, it don't matter because it's only worth $50.
51:54I bought this clock that belonged to my grandfather and it's worth about a hundred dollars.
52:03And I brought Tom. He's priceless.
52:05We've wanted to come to the Antiques Roadshow for a long time.
52:11And we brought these time pieces. And we had the time of our lives. Thank you, Antiques Roadshow.
52:18Thanks for watching. See you next time on Antiques Roadshow.
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