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00:04ANTIQUES ROAD SHOW IS DISCOVERING THE TREASURES OF THE PINE TREE STATE AT COASTAL MAINE BOTANICAL GARDENS.
00:10I can probably only count about five examples that I know of.
00:12Whoa!
00:15You got me.
00:37COASTAL MAINE BOTANICAL GARDENS, WHERE ROAD SHOW IS SET UP TODAY, OFFICIALLY OPENED IN 2007 AFTER A GRASSROOTS EFFORT LED
00:45BY VISIONARY LOCAL CITIZENS SAW AN OPPORTUNITY TO HIGHLIGHT THE BIODIVERSITY OF THEIR COASTAL HABITAT.
00:55325 ACRES OF LAND IS NOW DEDICATED TO THE WILD AND WONDERFUL RANGE OF PLANT LIFE IN THE REGION, INCLUDING
01:0219 ACRES OF CULTIVATED GARDENS.
01:07AS YOU CAN SEE, ROAD SHOW HAS CULTIVATED A GROWING INTEREST IN THE TREASURES OF MAINE.
01:13HE WAS GIVEN TO MY FATHER IN 1910 ON MY FATHER'S FIRST BIRTHDAY.
01:18HE IS AN EARLY STIFF MOHAIR BEAR.
01:21HE ALSO HAS A MECHANISM INSIDE.
01:22HE DOES.
01:23THE MECHANISM IS STILL WORKING.
01:24I CAN HEAR IT WINDING UP IN THERE.
01:26NORMALLY, HE WOULD SUMMERSUCT, BUT HE'S HAD A HARD DAY GETTING HERE IN THE RAIN.
01:31YES, HE HAS.
01:31IF HE WAS JUST A TEDDY BEAR, I WOULD PUT HIM AT ABOUT $900 TO $1,500.
01:37AS THE SUMMERSUCT BEAR, YOU'RE AT THE $15 TO PROBABLY $3,000.
01:42OKAY?
01:42A LOT OF THESE GUYS AT THIS AGE DON'T WORK.
01:48MY SISTER AND I RECENTLY INHERITED SOME JEWELRY FROM MY MOM.
01:51HER GRANDPARENTS AND GREAT GRANDPARENTS HAD A LOT OF JEWELRY.
01:56THIS PIECE JUST KIND OF CAUGHT MY EYE.
01:58I THOUGHT IT WAS DIFFERENT.
01:59WHERE WERE THEY FROM?
02:00ORIGINALLY FROM ENGLAND, BUT THEN LIVED IN MANHATTAN.
02:02I LOVE THE DESIGN OF THIS.
02:04IT'S JUST SO BEAUTIFULLY PERFECT.
02:07IT'S LIKE A NORTH STAR, THE SHAPE.
02:09IT'S VERY SIMPLE.
02:10IT'S PLATINUM.
02:12IT HAS OLD EUROPEAN-CUT DIAMONDS.
02:16WHAT YOU NOTICE ABOUT IT MOST ARE WHAT?
02:18THE PINK PEARLS.
02:20PINK.
02:20AND WHAT ELSE?
02:21AND THE BLUE.
02:22AND THE BLUE.
02:22AND THE WHITE.
02:23THESE ARE NATURAL PEARLS.
02:25OKAY.
02:25THIS IS TRULY A GEMSTONE OF THE SEA.
02:28MOST LIKELY FROM PLACES LIKE THE PERSIAN GULF.
02:31NATURAL PEARLS IN WHITE, THE BIGGER THEY GET, THE MORE EXPENSIVE THEY ARE.
02:36BUT THEY'RE A LITTLE MORE COMMON.
02:38AND I LOVE THE FACT THAT THEY'RE HERE.
02:40BUT TWO MATCH PINK ONES?
02:42WOW.
02:43AND THAT'S NATURE.
02:44AT ITS BEST.
02:45AND I GUARANTEE YOU THEY DIDN'T FIND TWO MATCH PINK ONES TOGETHER.
02:49IT MAY HAVE BEEN YEARS BEFORE SOMEBODY MATHED THOSE UP.
02:52AND THEN THE ONE IN THE MIDDLE.
02:53YOU KNOW YOU SEE A LOT OF BLACK ONES.
02:55YOU SEE ONES THAT ARE DARK.
02:57THEY'RE GRAY.
02:58WE'RE OUT HERE AND IT'S NOT EVEN SUNNY OUT.
03:00AND YOU SEE THE BLUE HUES?
03:02I MEAN IT'S FABULOUS.
03:03AND THEN WE TURN IT AROUND.
03:05AND THERE'S A PIN.
03:06SO THIS WOULD HAVE BEEN ONE AS A PIN, WHICH WAS VERY COMMON BACK THEN.
03:09YOU PULL THE PIN OUT.
03:11AND THIS BAIL FLIPS UP.
03:13THIS IS SO YOU CAN SLAM WHAT MOST LIKELY WOULD HAVE BEEN A THIN PLATINUM CHAIN.
03:18YOU CAN SEE THE CUPS, HOW THEY TOOK THE TIME.
03:22PROBABLY AN EXTRA DAY IN PRODUCTION OR TWO TO SIT THERE AND ENGRAVE THEM.
03:26FOR SOMETHING THAT ALMOST NOBODY'S GOING TO SEE.
03:28IT'S PROBABLY AROUND 1920.
03:31OKAY.
03:31YET IT'S SO CONTEMPORARY.
03:32I LOVE THAT.
03:33WHEN JEWELRY IS KIND OF EVERGREENED AND IT'S JUST, IT'S ALWAYS RIGHT.
03:36I REALLY TRULY THOUGHT THAT THIS PIECE WOULD HAVE A SIGNATURE.
03:40IT'S THAT FABULOUS.
03:41NO IDEA WHO.
03:42NO IDEA WHO MADE IT.
03:44NATURAL PEARLS, BEING WHAT THEY ARE, ARE WORTH MORE THAN REGULAR CULTURE PEARLS.
03:48IN THESE YOUES, THEY'RE KIND OF SPECIAL.
03:51THE CENTER PEARL, THAT BEAUTIFUL BLUISH SILVERY GRAY, IS 7.5 MILLIMETERS.
03:57THAT'S A NICE SIZE.
03:58THE AUCTION PRICE TODAY WOULD PROBABLY BE $10,000 TO $15,000.
04:05THAT'S PRETTY GOOD.
04:08YEAH, WOW.
04:09A LITTLE BIT MORE THAN I THOUGHT.
04:12I THOUGHT NOTHING, BUT YEAH, THAT'S AMAZING.
04:14A RETAIL PRICE WOULD PROBABLY BE ALL OF $25,000.
04:21WOW, THAT'S AMAZING.
04:23YOU AND YOUR SISTER ARE GOING TO HAVE TO SHARE IT.
04:24WE'RE GOING TO HAVE TO FIGHT OVER IT.
04:25YOU'RE GOING TO FIGHT OVER IT.
04:26I SAID SHARE, NOT FIGHT.
04:27WE'LL SHARE IT.
04:28WE'LL TAKE TURNS.
04:30WE RENOVATED A FAMILY HOME A COUPLE OF YEARS AGO AND ACTUALLY FOUND THIS IN THE ROOF
04:36ROOFING.
04:37WE COULD SEE IT THROUGH THE ROOFING.
04:39AND WE STRIPED THE ROOF JUST TO GET THIS OUT.
04:42THERE WAS A DANCE HALL IN OUR HOME, AND SO THEY HAD A LOT OF ADVERTISING MEMORABILIA THERE.
04:47THIS IS A VINTAGE ALPENSTOCK.
04:51IT'S MADE BY A COMPANY IN ITALY CALLED STUBAI.
04:54YOU CAN SEE THE HEIGHT OF THIS, WHICH MADE IT A LOT EASIER TO TRAVERSE THE ROCKS AND THE GLACIERS.
05:02AND IF YOU HAD TO, YOU COULD SIT ON IT TO REST YOURSELF WHEN YOU'RE ON A STEEP INCLINE.
05:09I'M SURE IT HAS A LOT OF HISTORY TO IT AND BEEN IN A LOT OF MOUNTAINS, JUST LIKE ME.
05:17I BROUGHT IN AN UNCLE SAM DOOR STOP.
05:20IT'S REALLY HEAVY.
05:21AND IT SAYS FOR THE OPEN DOOR POLICY, WHICH I'M NOT SURE WHAT THAT WAS, BUT IT WAS MY GRANDMOTHER'S.
05:27AND IT'S BEEN HANDED DOWN FOR GENERATIONS, AND NOW IT'S MINE.
05:31AND I WAS ALWAYS TOLD, DON'T GET RID OF UNCLE SAM. HE'S REALLY IMPORTANT. HE'S A REALLY UNIQUE PIECE.
05:37AND I DON'T KNOW REALLY MUCH ABOUT HIM.
05:39SO WHAT WE HAVE IS A CAST IRON DOOR STOP, A FIGURAL DOOR STOP, CREATED TO HOLD A DOOR OPEN.
05:46IT'S HAND PAINTED.
05:47IT'S CIRCA 1910 TO 1920.
05:50AMERICAN MADE, BUT WE DON'T KNOW EXACTLY WHERE.
05:53MOST LIKELY NEW ENGLAND OR POSSIBLY THE MIDWEST.
05:55THAT'S WHERE A LOT OF THE CAST IRON FOUNDERIES WHO WOULD MAKE SAT IRONS, DOORSTOPS, AND TOY NOVELTIES WERE LOCATED.
06:02THE BASE HERE, IT'S REALLY CUT, IT'S A NICE PLAY ON WORDS FOR THE OPEN DOOR.
06:05THE OPEN DOOR WAS A POLITICAL POLICY WITH THE SUPERPOWERS OR THE POWERS THAT BE AT AROUND THE 1899-1900,
06:11RELATIVE TO TRADE AND TARIFF INTERACTIONS IN CHINA.
06:15UNCLE SAM, OBVIOUSLY THIS PROUD, DAPPER FIGURE HERE, REPRESENTED THE UNITED STATES.
06:20WE WERE THE ONES THAT SUGGESTED THIS POLICY OF THE OPEN DOOR IN CHINA AT THE TIME.
06:25WE'LL TURN IT AROUND TO SHOW THE BACK HALF HERE.
06:27SO THIS IS THE FLAT SIDE THAT WOULD BE AGAINST THE DOOR.
06:30NOW WHEN I FIRST SAW IT, IT STRUCK ME BECAUSE OF THE OVERALL CONDITION, WHICH IS EXCEPTIONAL.
06:34THESE TURN UP UNPAINTED SOMETIMES, BUT FINDING ONE THAT'S PAINTED, AUTHENTIC PAINT, IS QUITE RARE.
06:42OH, WHY IS THAT?
06:44I CAN PROBABLY ONLY COUNT ABOUT FIVE EXAMPLES THAT I KNOW OF.
06:47WHICH WOULD PROBABLY MAKE THIS THE SECOND RAREST DOORSTOP IN EXISTENCE.
06:52OH, STOP IT. SERIOUSLY?
06:54SERIOUSLY.
06:56THE THINGS WE'LL LOOK FOR...
06:57OH, MY GOSH.
06:58OKAY.
06:58THE THINGS WE'LL LOOK FOR IS THE CRAZING IN THE PAINT.
07:01IT'S ALMOST LIKE AN ALLIGATORING OR CRACKLING IN THE PAINT.
07:03WE CAN SEE IT HERE.
07:04THAT'S A GOOD SIGN.
07:05THAT SHOWS OLD PAINT.
07:06ONE OF THE TOOLS THAT WE USE WHEN DETERMINING IF THE PAINT IS ORIGINAL IS A SHORTWAVE BLACKLIGHT UV.
07:12SO IT GOES INTO THE SPECTRUM.
07:14IT'S HARD TO SEE AN OPEN LIGHT HERE, BUT THE WAY THIS LIGHT IS EXACTLY WHAT WE WANT TO SEE.
07:17NOTHING'S REALLY JUMPING OUT TO SUGGEST THAT THE PAINT IS TAMPERED WITH OR HAS BEEN MODIFIED, RESTORED, ET CETERA.
07:24WHEN I BROUGHT IT UP HERE, I DID CHIP A LITTLE PAINT OFF OF IT.
07:27OKAY.
07:28AND IT CAME OFF REALLY EASILY.
07:29WE DEFINITELY WANT TO AVOID ANY MORE CHIPS.
07:32ACTUALLY, THE RULE OF MY HOUSEHOLD GROWING UP WAS TREAT EVERY CHIP LIKE IT'S A THOUSAND DOLLARS.
07:38OKAY.
07:38THE OTHER RULE OF THUMB THAT WE'VE USED IS THAT THE MONEY IS IN THE FACE, AND HIS FACE
07:42IS IN GREAT SHAPE.
07:43A CONSERVATIVE AUCTION ESTIMATE WOULD BE FROM $10,000 TO $15,000.
07:48Mmm.
07:49WOW.
07:50OKAY.
07:51AND THE...
07:52GO UNCLE SAM.
07:54AND THE TOP PRICE ACTUALLY EXCEEDED $20,000 ON ONE THAT SOLD AT AUCTION 4.
07:59OH, MY GOSH.
07:59WOW.
08:00WOW.
08:01THANK YOU SO MUCH.
08:02THAT'S...
08:02I CAN'T EVEN BELIEVE THAT.
08:04WOW.
08:11THE CHILDREN'S GARDEN IS A REALLY MAGICAL PLACE WHERE KIDS CAN ENGAGE ALL OF THEIR SENSES.
08:16THE GARDEN IS THEMED AROUND STORY BOOKS WRITTEN BY MAIN AUTHORS AND ILLUSTRATORS.
08:20WHEN YOU ENTER THE GARDEN, YOU'RE GREETED BY A GROUP OF SPOUTING WHALES.
08:23THOSE ARE FEATURES FROM DOWN TO THE SEA WITH MR.
08:26MCGEE BY AUTHOR AND ILLUSTRATOR CHRIS VAN DUESEN.
08:29WE HAVE STONEWALL DRAGONS FROM THE BOOK THE STONEWALL DRAGON.
08:33HERE THE DRAGON HEADS ARE COMING OUT OF A REALLY BEAUTIFULLY PLANTED GARDEN SPACE BRINGING THAT STORY BOOK TO LIFE.
08:39OVER ON BLUEBERRY ISLAND WE HAVE THE LITTLE BEAR THAT'S FROM THE BOOK BLUEBERRIES FOR SELL BY ROBERT McCLOSKEY.
08:45AND THE SCULPTOR IS NANCY SCHONE.
08:48PEOPLE MIGHT BE FAMILIAR WITH HER WORK IN THE BOSTON COMMON.
08:50SHE BROUGHT TO LIFE ANOTHER ONE OF ROBERT McCLOSKEY'S BOOKS, MAKE WAY FOR DUCKLINGS.
08:55KIDS GROWING UP HERE CAN SEE THE STORY BOOKS THAT THEY READ ABOUT THEIR LANDSCAPE.
09:00AND THEN PEOPLE VISITING FROM AWAY ARE ABLE TO HAVE A TASTE OF WHAT IT WOULD BE LIKE TO GO
09:05ON AN ADVENTURE HERE IN MAIN,
09:07ALL THROUGHOUT THIS CHILDREN'S GARDEN.
09:12MY FATHER IS TURNING 92 THIS YEAR.
09:14HE HAS HAD THIS FAUSE SINCE HE WAS A KID.
09:17AND THE STORY TELLS IS THAT HIS AUNT CAME TO THIS COUNTRY FROM ORIELAND
09:20AND GOT A JOB AS A HOUSEKEEPER IN ONE OF THE NORTH SHORE LONG ISLAND ESTATES.
09:25AND SHE BROUGHT IT HOME FROM THE ESTATE.
09:27WE ASSUME IT WAS A GIFT.
09:29AND THAT'S BACK IN THE EARLY 1900S.
09:30WE KNOW IT SAYS TIFFANY ON THE BOTTOM.
09:33AND IT'S BEEN IN THE CLOSET FOR 40 YEARS.
09:35YOU GO ONLINE, YOU SEE A LOT OF FAKE TIFFANY.
09:37WE FOUND A LOT OF VASES THAT LOOK LIKE IT, BUT THEY'RE NOT TIFFANY.
09:41SO WE'RE NOT SURE.
09:42I'M GLAD YOU BROUGHT THE VASES IN BECAUSE IT IS INDEED A...
09:45OH, THANK YOU.
09:47IT'S A TIFFANY PAPERWEIGHT GLASS VASES.
09:51OKAY.
09:51BUT NOT ONLY IS IT A TIFFANY PAPERWEIGHT GLASS VASES, BUT IT'S ACTUALLY A REACTIVE PAPERWEIGHT GLASS VASES.
09:57SO IT'S A LITTLE MORE OF A COMPLICATED TECHNIQUE INVOLVED TO MAKE IT APPEAR THIS WAY.
10:03THIS WAS A TECHNIQUE THAT WAS DEVELOPED AROUND 1910, 1911.
10:08THE COLOR CAN BE DIFFERENT WHETHER IT HAS TRANSMITTED LIGHT OR REFLECTED LIGHT ON THE PIECE.
10:14OKAY.
10:14BUT IF WE LOOK AT IT, AND TODAY WE'RE LOOKING AT IT MORE WITH REFLECTED LIGHT, IT LOOKS ONE WAY.
10:21RIGHT.
10:22IF WE TOOK THAT LIGHT AWAY, THE COLORS WOULD COMPLETELY CHANGE.
10:26REALLY?
10:26THE PAPERWEIGHTS THEMSELVES WERE FIRST DEVELOPED, AND IT WAS LIKE A VERY MAJOR INNOVATION AT THE TIFFANY GLASSWORKS.
10:34THEY STARTED TO MAKE PAPERWEIGHT GLASS JUST AROUND 1900.
10:38THIS WOULD HAVE BEEN MADE IN CORONA QUEENS.
10:41THE TECHNIQUE WAS THE SAME TYPE THAT YOU WOULD USE ON MAKING AN ACTUAL PAPERWEIGHT, IN THAT YOU WOULD HAVE
10:47HOT CASE GLASS,
10:49AND THEN YOU'D PUT A TRANSPARENT LAYER OF GLASS ON TOP.
10:52AND AS A RESULT OF THAT, THE DECORATION THAT'S TRAPPED IN BETWEEN IT, SO IT HAS A MUCH MORE THREE
10:58-DIMENSIONAL EFFECT.
11:00THIS IS LEAVES AND VINES, AND YOU CAN SEE TRACES OF SOME TYPE OF FLOWER.
11:06I LOVE THE BLUE, IT'S GORGEOUS, AND THE SWIRLING EFFECT IN THE BACKGROUND.
11:11THERE ARE A FEW IMPERFECTIONS.
11:13THERE'S SOME BLISTERS, AND THEN ON ONE SIDE THERE IS A BLISTER, AND WE CALL IT LIKE A BURST BUBBLE.
11:20OH, THAT'S FROM MANUFACTURING?
11:22YES.
11:22OKAY.
11:22NOW, THAT WILL AFFECT THE VALUE, NEVERTHELESS.
11:26I WOULD PUT A RETAIL VALUE OF $10,000 TO $15,000.
11:29REALLY? OKAY.
11:30VERY NICE.
11:31LET'S TAKE IT OUT OF THE CLOSET.
11:33FOR INSURANCE, MAYBE $20,000.
11:37OKAY.
11:41I FOUND IT IN A BARN IN WINTHROP, MAINE, IN 1988.
11:46IT WAS MY GREAT-AUNT'S BARN.
11:48I'D NEVER SEEN ANYTHING LIKE IT, AND I JUST FELL IN LOVE WITH IT.
11:51I'VE BEEN USING IT EVERY DAY, EVER SINCE.
11:54IT'S KIND OF LIKE A JIGSAW PUZZLE.
11:55I JUST THINK IT'S A REALLY SPECIAL PIECE.
11:57PEOPLE REFER TO IT AS ADIRONDAC FURNITURE.
12:01MADE THROUGHOUT NEW ENGLAND IN THE MID-ATLANTIC AND THE MOUNTAINESS REGIONS.
12:05THERE BECAME A BIG MARKET FOR IT WHEN PEOPLE FROM URBAN AREAS STARTED GETTING THEIR LODGES.
12:11SO THEY WOULD WANT RUSTIC FURNITURE IN THEIR LODGES.
12:14AND THERE JUST CAME THIS LOCAL CRAFT BOOM,
12:18WHICH WAS PART OF A MOVEMENT IN THE UNITED STATES IN THE LATE 19TH CENTURY.
12:23YOU PROBABLY HEARD OF ARTS AND CRAFT STYLE,
12:26BUT THERE WAS ALSO A BIG REVIVAL IN HOME CRAFTS.
12:29AND THE TEMPLATE FOR THESE WAS MAKING SOMETHING DECORATIVE OUT OF WHAT WAS AVAILABLE.
12:36AND SOME PEOPLE REFER TO IT AS TWIG FURNITURE.
12:39THIS IS PROBABLY LAUREL OR SOMETHING LIKE IT THAT'S HAD THE BARK TAKEN OFF OF IT.
12:44AND THEN THESE OTHER PIECES ARE LITTLE HALF PIECES THAT THEY CUT IN IT,
12:48LIKE YOU SAY, ALMOST IN A JIGSAW PUZZLE.
12:50THIS IS SOME KIND OF WILLOW OR SOME KIND OF LARGER VINE THAT GROWS.
12:55AND YOU CAN TELL BY LOOKING AT THE NAILS THAT IT WAS DONE AFTER 1880.
13:00THIS KIND OF FURNITURE WAS REALLY POPULAR IN THE LATE 1800S UP THROUGH REALLY THE 1920S.
13:08I'VE SEEN LOTS OF PIECES OF TWIG FURNITURE OR ADIRONDEC STYLE,
13:13AND NORMALLY IT'S JUST BROWN.
13:16BUT THIS ONE IS SO COOL BECAUSE IT'S VERY GRAPHIC.
13:21DID YOU HAVE A PICTURE?
13:23I DO.
13:24THE PICTURE WAS TAKEN IN DANVERS, MASSACHUSETTS,
13:27IT'S IN THE HOME OF MY GREAT-AUNT'S GREAT-AUNT,
13:31AND IT SHOWS THE TABLE IN THEIR LIVING ROOM,
13:34AND ON THE BACK IT HAS THE LOCATION AND THE DATE.
13:39PUTNAMVILLE.
13:40PUTNAMVILLE.
13:40YEAH, WHICH IS A SECTION...
13:421899.
13:42UH-HUH.
13:43YEAH.
13:44THAT FITS RIGHT IN WITH WHERE I THINK IT MIGHT HAVE BEEN MADE.
13:47I THINK A RETAIL PRICE FOR A FOLK ART SHOW WOULD PROBABLY BE AROUND $6,500.
13:53WOW.
13:56THAT'S GREAT FOR A BARN FIND.
13:59LET'S SAY YOU GOT ANYTHING ELSE FROM THE BARN?
14:02A BUNCH OF CHICKEN COOPS.
14:06MY UNCLE WAS A DIVER, AND WHEN HE RETIRED, IT WAS GIVEN TO HIM AS A GIFT.
14:11SO I DON'T REALLY KNOW WHAT YEAR IT WAS WHEN IT WAS ACTUALLY USED.
14:16AND I CAN JUST TELL YOU IT'S VERY HEAVY.
14:24I BOUGHT IT AT AN ONLINE AUCTION FOR $100.
14:27I GOT IT BROKEN, AND I TOOK IT ALL APART AND FIXED IT.
14:33AND I'M LOOKING AT THE HALLMARKS INSIDE.
14:36IT WAS MADE IN ENGLAND, LONDON, ENGLAND, IN 1799.
14:40AND THEN IT CAME TO MASSACHUSETTS.
14:43SO I'D LIKE TO KNOW HOW MUCH THE THING'S WORTH,
14:46BECAUSE IT'S GOT SOME HALLMARKS THAT SAY IT WAS TRACED BACK TO THE ROYAL FAMILY.
14:51SO I'M NOT SURE WHAT THAT ADDS TO THE VALUE.
14:59I BROUGHT A MIAMI DOLPHINS RETIRED NUMBERS FOOTBALL.
15:04I BOUGHT IT AT A SECOND-HAND SHOP HERE IN MAINE.
15:07HOW MUCH DID YOU PAY?
15:0910 BUCKS.
15:10NOW WHEN YOU CAME TO THE SHOW TODAY, YOU COULDN'T HAVE KNOWN THAT YOU WERE GOING TO VISIT A DIEHARD
15:15MIAMI DOLPHINS FAN.
15:17AND HERE I AM STANDING NEXT TO A DIEHARD PATRIONS FAN.
15:20CORRECT.
15:20GREAT JUSTICE POSITION.
15:22WHO'S SHOWN OUT HERE?
15:23THE 12 IS BOB GREASY, THE 13 IS DAN MARINO, AND THE 39 IS LARRY ZONKA.
15:30ALL THREE HALL OF FAMERS.
15:31THEY'VE HAD A LOT OF GREAT PLAYERS.
15:32BUT TO THIS DAY, THE ONLY THREE NUMBERS THAT HAVE BEEN RETIRED HAVE BEEN GREASY, MARINO, AND ZONKA.
15:36OF COURSE, GREASY AND ZONKA HELPED MIAMI TO THE FIRST AND ONLY UNDEFEATED SEASON IN NFL HISTORY IN 1972.
15:44THE DOLPHINS ENTERED THE AFL, THE AMERICAN FOOTBALL LEAGUE IN 1966.
15:48SIX YEARS LATER, THEY WON.
15:50ONE THAT YOU'RE FOLLOWING.
15:51OF COURSE, THE DOLPHINS HAVE HAD MANY HALL OF FAMERS, INCLUDING A COACH.
15:55THESE THREE STAND OUT.
15:57MARINO, PROLIFIC PASSER.
15:58BOB GREASY HELPED HELM TWO OF THE BETTER TEAMS IN NFL HISTORY TO WIN THE SUPER BOWL IN 72 AND
16:04AGAIN
16:04IN 73.
16:05LARRY ZONKA, OF COURSE, REVERED AS ONE OF THE BEST RUNNING BACKS IN FOOTBALL HISTORY.
16:08FULLBACK RUNNING BACK.
16:09IT'S A SPECIALTY BALL.
16:11IT WAS PAINTED TO REFLECT DOLPHINS' COLORS.
16:15IT'S A DOLPHINS' SUVENIR.
16:16WE CAN'T KNOW HOW MANY OF THESE WERE MADE.
16:18ALL THREE, GREASY, MARINO, AND ZONKA, EACH APPEARED TO HAVE USED BLACK SHARPIE.
16:23WHAT IS YOUR THOUGHTS ON THE VALUE?
16:25HAVE YOU GIVEN ANY THOUGHT?
16:26YOU BOUGHT IT FOR 10 BUCKS.
16:27I'M NOT REALLY SURE.
16:28I'VE NEVER SEEN ANYTHING WHERE ALL THREE WERE ON THE SAME PIECE.
16:32THAT'S WHAT STANDS OUT.
16:33YOU DON'T SEE ALL THREE.
16:34YOU SEE GREASY AND ZONKA, THEY WERE TEAMMATES.
16:37MARINO, NOT SO MUCH.
16:39AT AUCTION, YOU'RE LOOKING AT A PIECE THAT MAYBE HASN'T BEEN SOLD.
16:42THAT MAYBE DOESN'T HAVE A REFERENCE POINT.
16:45BUT WHEN WE LOOK AT HOW DOLPHINS' MATERIAL TENDS TO PLAY, AND AGAIN, REGIONS MATTER.
16:50SO MIAMI MIGHT DO A LITTLE BETTER THAN, LET'S SAY, NEW ENGLAND.
16:54WE THINK THAT AT AUCTION THIS PIECE WOULD SELL FOR ABOUT $2,500 TO $3,000.
16:59OKAY?
17:00YOU COULD INSURE IT FOR CONSIDABLY MORE.
17:02YOU COULD INSURE IT FOR ABOUT $5,000.
17:05OKAY?
17:05WHOA.
17:07WHOA.
17:08WHOA.
17:09OKAY.
17:12WOW.
17:13I THINK I'M JUST BECOMING A DOLPHINS FAN.
17:20MY MOTHER-IN-LAW IS A BIG COLLECTOR OF A WHOLE BUNCH OF DIFFERENT THINGS.
17:24PEZ IS ONE OF THEM.
17:24SHE GIFTED THIS TO MY HUSBAND AND I A FEW YEARS AGO.
17:28SHE BOUGHT IT ABOUT 30 YEARS AGO.
17:31IT'S A COMBINATION SET OF CIRCUS AND DISNEY, 24 DIFFERENT DISPENSERS.
17:37PEZ AS A CANDY AND A BRAND IS AS ICONIC AS IT GETS.
17:41THE CANDY WAS FIRST INTRODUCED IN 1927, MARKETED AS A BREATHMENT FOR ADULTS.
17:46THE FIRST PEZ DISPENSER WE EVER SEE WAS RELEASED TO THE PUBLIC IN 1949.
17:51AND THE ORIGINAL PEZ DISPENSER WAS NOTHING LIKE YOU SEE HERE.
17:55THIS, WE FAST FORWARD TO 1970 HERE.
17:58AND THIS IS THE CIRCUS SERIES, CIRCUS DISPLAY.
18:00IT'S NOT A FULL DISPLAY OF ALL CIRCUS, AS YOU DO HAVE SOME DISNEY CHARACTERS MIXED IN.
18:05THE BOX ITSELF IS IN EXCEPTIONAL SHAPE.
18:07THE COLORS ON IT ARE ABSOLUTELY VIBRANT.
18:10I WOULD SAY CONSERVATIVELY AT AUCTION, WE WOULD ESTIMATE THIS AT $4,000 TO $6,000 TODAY.
18:16WOW.
18:17THAT'S PRETTY AMAZING.
18:19I HAVE A VERY GENEROUS MOTHER-IN-LAW.
18:23IT BLANKED TO MY MOTHER, WHO DIED ABOUT FOUR YEARS AGO.
18:26SHE LIVED IN TOKYO FOR A LONG TIME, AND SHE STARTED A GREAT COLLECTION OF ASIAN ART.
18:31SHE WOULD HAVE ACQUIRED IT SOMETIME IN THE LATE 1940S, EARLY 1950S.
18:37PERHAPS PART OF THE OCCUPATIONAL FORCES IN JAPAN AT THAT TIME?
18:39PROBABLY.
18:40MY FATHER WAS IN THE MARINES, AND SHE WORKED FOR THE STATE DEPARTMENT.
18:44I'M NOT TERRIBLY SURPRISED TO FIND THAT THIS CAME FROM JAPAN.
18:48IT'S NOT ORIGINALLY FROM JAPAN, AS IT IS, IN FACT, CHINESE.
18:54BUT IT'S A CHINESE-BUDDHIST BRONZE.
18:57AND THESE WERE TREASURED NOT JUST IN CHINA, BUT BY THE JAPANESE AS WELL.
19:01SO A GREAT INSPIRATION TO JAPANESE METAL SMITHS AND BRONZE SMITHS ARE THESE CHINESE BRONZES.
19:09THIS FIGURE IS A SPECIFIC BODHASATVA IN THE BUDDHIST TRADITION.
19:14AND THIS IS GUAN YIN.
19:16GUAN YIN, ONE COULD SAY, IS THE BUDDHIST MOTHER OF MERCY.
19:20AND A VERY, VERY POPULAR FIGURE IN CHINESE BUDDHISM.
19:24GUAN YIN HAS A BEARING THAT IS VERY SERENE, PROTECTIVE.
19:28GUAN YIN BESTOWS PEACE AND MERCY AND UNDERSTANDING, AND SO IT'S VERY INSPIRATIONAL TO THOSE
19:36WHO WOULD HAVE AN IMAGE OF GUAN YIN IN THE PARTICULAR SHRINE OR IN THE TEMPLE THAT THEY WOULD VISIT.
19:41SHE WOULD HAVE BEEN HOLDING, I BELIEVE, A LOTUS FLOWER.
19:44SO RIGHT NOW SHE'S HOLDING A LOTUS STEM.
19:47THERE ARE TRACES, YOU MAY NOTICE, OF A LITTLE BIT OF GOLD.
19:51YOU HAVE TO IMAGINE THIS, COMPLETELY GILT FROM TOP TO BOTTOM.
19:56YOU'RE KIDDING.
19:57UNFORTUNATELY, NO, NOT AT ALL.
19:58THE WAY THE GILDING IS APPLIED, AND IT'S BEST SHOWN IN THE BACK, IT'S ACTUALLY A GILT LACQUER.
20:04AND LACQUER DEGRADES, LACQUER DRYS OUT, IT FLAKES AWAY.
20:08SO WE CAN SEE HERE, THIS IS A NICE LITTLE PIECE OF HOW BRIGHT, YOU CAN SEE THE GOLD HASN'T
20:14TARNISHED,
20:15BUT THE LACQUER HAS LARGELY FLAKED AWAY.
20:17SO IT'S A GILT LACQUER ON TOP OF THE BRONZE.
20:20THIS IS FROM THE MING DYNASTY.
20:23THIS IS THE SECOND TO THE LAST DYNASTIC PERIOD IN CHINESE HISTORY.
20:27SPECIFICALLY, I'D SAY THIS DATES FROM AROUND 1600 TO 1650 OR SO.
20:33MAYBE EVEN THE LATE 1500S.
20:35VERY DISTINCTIVE, VERY MING.
20:37ONE OF THE REASONS I CAN DATE THIS AS MING IS THE SIZE OF THE HEAD.
20:40THE PROPORTIONS ARE SUCH THAT I THINK MING.
20:43ANOTHER TECHNIQUE THAT I LOOK ON THE UNDERSIDE, THIS RED COLOR.
20:47THIS COMES ALL THE WAY BACK FROM THE CASTING PROCESS.
20:50WE'RE LOOKING AT THIS AND WE'RE SEEING EVIDENCE OF HOW IT CAME OUT OF THE FOUNDRY.
20:54THIS IS RED CLAY.
20:56THERE WAS A CLAY CORE THAT WAS PUT INTO THIS CAVITY TO KEEP THE INTEGRITY OF THE BRONZE.
21:02FASTING.
21:02AS IT WAS FIRED.
21:03AND THAT RED CLAY NEVER GOES AWAY.
21:06THAT IS REALLY COOL.
21:09IN TODAY'S AUCTION MARKET, I THINK THIS WOULD HAVE PERHAPS A CONSERVATIVE AUCTION VALUE OF $7,000 TO $10,000.
21:15WOW.
21:18WOW.
21:22MY MOTHER WOULD BE SO EXCITED IF SHE WAS HERE.
21:25AND I'M ALSO VERY CERTAIN THAT'S NOT WHAT SHE PAID FOR IT.
21:29IT'S QUITE A SOUVENIR.
21:33AT COASTAL MAINE BOTANICAL GARDENS, THERE'S AN ORGANIC CONNECTION BETWEEN ART AND NATURE.
21:39ONE OF MY FAVORITES IS A PIECE CALLED THE BASIN THAT IS DOWN IN THE VIO MEDITATION GARDEN BY DAVID
21:45HOLMES.
21:45IT'S THIS HUGE PIECE OF ELSWORTH SCHIST THAT WAS OPENED UP AND THEN SMOOTHED OUT AND IT HAS WATER IN
21:52IT.
21:53ANOTHER PIECE THAT'S REALLY BEAUTIFUL IS BY A WABANAKI WOLOSTAGE ARTIST, SHANE PERLEY DUTCHER.
21:59IT'S THESE GIANT OVERSIZED FIDDLE HEADS THAT ARE MADE IN THE TRADITIONAL WABANAKI BASKET WEAVING TRADITION BUT OUT OF METAL.
22:07WE HAVE A STAINLESS STEEL SCULPTURE CALLED FLOCK OF BIRDS BY GEORGE SHERWOOD THAT TWIRLS WHEN THE WIND IS BLOWING
22:13AND CATCHES THE LIGHT.
22:15IT'S QUITE BEAUTIFUL.
22:16MOST OF THE ART THAT WE HAVE HERE IS BY MAIN AND REGIONAL ARTISTS SO THEY HAVE A CONNECTION TO
22:22THE PLACE.
22:25AS FAR AS I KNOW THIS IS A MODEL 1777.
22:30SECOND MODEL BROWN BESS THAT CAME FROM DOVER, NEW HAMPSHIRE WITH THE POACH AND AS FAR AS I KNOW IT'S
22:38PRETTY MUCH UNTOUCHED.
22:40HOW'D YOU GET IT?
22:41I SAW IT HANGING ON THE WALL OF AN OLDER COUPLE, FRIENDS OF MINE, AND THE POACH WAS GIVEN TO
22:48ME FIRST AND THEN I PURCHASED THE FIREARAM LATER ON.
22:51SO IT ALL CAME FROM THE SAME PLACE.
22:53THAT'S CORRECT.
22:54SO LET'S TALK ABOUT THE POACH FIRST.
22:56IT'S ACTUALLY CALLED A CARTRIDGE BOX.
22:58THE BRITISH CALLED THEIR OVER THE SHOULDER BOX A POACH AND THEN WHAT WAS WORN AROUND THE WAIST A CARTRIDGE
23:03BOX.
23:03HERE WE WEREN'T THAT PARTICULAR.
23:05YOU SEE THEM NAMED ALL SORTS OF THINGS.
23:07CARTRIDGE BOXES, CARTUCHE BOXES.
23:09THEY HAVE ALL DIFFERENT NAMES FOR THEM.
23:10LET'S TAKE A LOOK INSIDE.
23:12WE CAN SEE IT HAS 24 HOLES.
23:15ONE OF THE TINS IS MISSING.
23:17BUT THESE WOULD BE TO HOLD THE CARTRIDGES IN PLACE AND PROTECT THEM.
23:20AND BY THE NUMBER OF CARTRIDGES AND THE FORM OF THE BOX, IT'S PROBABLY POST REVOLUTIONARY WAR TO THE BEGINNING
23:25OF THE 19TH CENTURY.
23:26LET'S GO TO THE GUN NOW.
23:28WHAT WE'VE GOT, AS YOU MENTIONED, IS A BRITISH PATTERN 1777 SHORT LAND MUSKET IN REALLY WONDERFUL CONDITION.
23:35AND IT'S GREAT BECAUSE IT'S REGIMENTALLY MARKED, WHICH WE ALL LIKE TO SEE,
23:38ON THE TOP OF THE BARREL, WE'VE GOT 65 REGIMENT, 65 RGT.
23:47AND THEN ON THE WRIST, WE'VE GOT THE BRASS WRIST PLATE HERE WITH F34 FOR THE RACK NUMBER FOR
23:52THE COMPANY, COMPANY F, AND THE NUMBER OF THE MAN.
23:55SO WE CAN DEFINITELY TELL IT'S A PATTERN 1777 BASED UPON THE SHORT AND SEAR SPRING LOCK.
24:01A LITTLE BIT DIFFERENT THAN THE PATTERN 1769 OF EARLIER TIMES.
24:04AND THE COCK IS A LITTLE BIT DIFFERENT THAN THE EARLIER PATTERN.
24:07ONE OF THE GREAT THINGS THAT IT HAS, TOO, IS AN ORIGINAL WISK.
24:12IT'S MISSING THE PICK, AND THE WISK WOULD HAVE BEEN USED TO CLEAN OUT THE PAN BETWEEN SHOTS.
24:16THESE GUNS WERE BUILT BY VARIOUS MAKERS.
24:19THEY WERE PEOPLE WHO WOULD MAKE THE BARRELS, THE BRASS PARTS, THE LOCKS, AND THEN THEY WOULD PUT IT ALL
24:24TOGETHER.
24:24IT'S ORIGINAL BROWN, HASN'T BEEN CLEANED.
24:26THE BAYONET IS COOL IN ITS OWN RIGHT.
24:29PROBABLY NOT ISSUED WITH THE GUN ITSELF, BUT IT'S MARKED LI AND RACK NUMBER.
24:34THE LI WOULD BE FOR THE LIGHT INFANTRY COMPANY OF WHATEVER REGIMENT IT WAS FROM.
24:38AND WHEN THEY'RE MARKED WITH LI FOR LIGHT INFANTRY, THEY'RE A LITTLE MORE COLLECTIBLE THAN THE RIGULAR BAYONETTS WITH A
24:43RACK NUMBER OR WITHOUT.
24:45WHAT WOULD YOU PAY FOR IT?
24:46$400.
24:47$400 FOR THE WHOLE GROUP?
24:48THAT'S CORRECT.
24:49RIGHT NOW, REVOLUTIONARY WAR STUFF IS FAIRLY HOT, BUT WE WOULD PUT AN AUCTION ESTIMATE ON ALL OF IT IN
24:56THE $10,000 TO $15,000 RANGE.
24:58DEFINITELY MORE THAN WHAT YOU PAID FOR IT.
25:01WELL, THANK YOU VERY MUCH.
25:02WELL, THANK YOU FOR BRINGING IT IN.
25:06BACK IN 1943, MY DAD WAS IN THE 95th INFANTRY DIVISION.
25:11THEY DID SOME DESERT TRAINING, AND HE HAD A SATURDAY OFF.
25:14THEY WENT TO THE UNIVERSAL STUDIOS AND SAT DOWN, AND ALL THESE DIFFERENT MOVIE STARS WENT THROUGH, SAW THAT THEY
25:20WERE MILITARY PERSONNEL, AND OFFERED TO SIGN THE MENU.
25:24I PERSONALLY, I JUST LOVE OLD MENUS.
25:26THAT'S SOMETHING I USED TO COLLECT, BECAUSE I THINK THEY'RE KIND OF FUN.
25:28WHEN YOU START LOOKING AT THE PRICES ON STUFF, IT MAKES YOU WANT TO CRY, OBVIOUSLY.
25:32BUT THE OTHER COOL THING ABOUT THIS, BECAUSE IT IS WAR TIME, WE HAVE THE FLAGS UP HERE.
25:36AND ONE OF MY FAVORITE THINGS IS THE DAILY SPECIALS.
25:39ON MONDAY, IT'S LET'S BUY BONDS.
25:41AND ON TUESDAY, ARE YOU BUYING WAR BONDS?
25:44AND ON WEDNESDAY, YOU CAN IMAGINE THIS CONTINUES, WHICH THERE'S OBVIOUSLY QUITE AN EFFORT TO BUY WAR BONDS TO SUPPORT
25:49THE TROOPS.
25:50NOW, DURING THE WAR, HOLLYWOOD, THAT WAS ONE OF THE WAYS THEY SUPPORTED IT.
25:53THEY HAD THE HOLLYWOOD CANTEEN, THEY WOULD INVITE SOLDIERS.
25:55AND WHAT'S INTERESTING TO ME ABOUT THIS IS, FOR A LONG TIME, UNIVERSAL COMMISSARY ALLOWED PEOPLE FROM THE PUBLIC TO
26:02COME IN AND EAT.
26:02AND IT WAS CALLED, DINE WITH THE STARS.
26:04RIGHT.
26:04SO THEY ADVERTISED YOU COULD COME IN.
26:06BUT THEY ACTUALLY STOPPED THAT.
26:07THEY PROBABLY OPENED IT UP JUST FOR SERVICE MEMBERS.
26:09PROBABLY, YEAH.
26:10AND THIS IS FROM NOVEMBER 13, 1943.
26:13AND IT'S SIGNED BY A WHOLE HOST OF FAMOUS PEOPLE.
26:15IT IS.
26:15I THINK THE HIGHLIGHT ON THE FRONT IS PROBABLY DONALD O'CONNOR.
26:17BUT THE BACK OF IT IS ACTUALLY MY FAVORITE, BECAUSE WE HAVE A HUGE, BEAUTIFUL OLIVIA DE HAVILAND SIGNATURE.
26:24WE HAVE A REALLY NICE BETTY DAVIS, JANET GAINER.
26:26SO YOU HAVE SOME OF THESE LEADING LADIES, WHICH I'M SURE FOR HIM AT THE TIME ABOUT TO SHIP OUT
26:30WOULD HAVE BEEN QUITE A HIGHLIGHT.
26:32THE FOLD MARKS DON'T MATTER.
26:33I THINK EVERYBODY FOLD THESE UP AND PUT THEM IN THEIR POCKET AND YOU HAVE IT NICELY FRAMED.
26:37AT AUCTION, IT'S ABOUT A $600 TO $800 MENU.
26:40OKAY. GREAT. THANK YOU VERY MUCH.
26:48THIS IS MY MOTHER'S JUKE-ET, A RECORD PLAYER THAT SHE HAD AS A CHILD.
26:53IT LIGHTS UP AND IT HAS, YOU KNOW, THE FOLDING COVER ON IT.
26:59AND IT'S MADE TO LOOK LIKE A JUKE BOX.
27:03IN 1988, MY PARTNER AND I BOUGHT AN ELEMENTARY SCHOOL BUILT IN 1909.
27:09THESE WERE IN THE AUDITORIUM ON PEDDESCOLS.
27:12THIS IS PROBABLY 300 POUNDS AND HE'S PROBABLY 150 POUNDS.
27:17THAT'S WHY I'M HERE.
27:19I USED TO PUT THEM IN MY CAR ON PRESIDENT'S WEEKEND, DRIVE THEM AROUND IN THE CONVERTIBLE.
27:27I BROUGHT UP PAINTING THAT WAS MY GRANDFATHER'S AND IT HANGS IN MY BEDROOM.
27:31MY GRANDFATHER ALWAYS PUT SOME INFORMATION ABOUT WHATEVER HE HAD.
27:36SO ON THE BACK HERE IT SAYS,
27:39MR. KAUS, WHO PAINTED THIS PICTURE, TOLD ME THAT IT WAS THE PORTRACT OF A CLINKET INDIAN OF THE COLUMBIA
27:45RIVER REGION BY THE NAME OF SOLALI.
27:48AND IT WAS PAINTED AROUND 1900.
27:50THE PAINTING IS AN OIL ON CANVAS BY EDGAR IRVING KAUSE.
27:54HE WAS A PAINTER BORN IN MICHIGAN.
27:57HE WAS BORN IN 1866 AND DIED IN 1936.
28:01HE WAS CLASSICALLY TRAINED.
28:02HE STUDIED IN CHICAGO, NEW YORK, AND IN FRANCE.
28:07AND ABOUT 1897 TO ABOUT 1901, HE MOVED TO OREGON TO BE WITH HIS WIFE'S FAMILY FOR A LITTLE BIT.
28:13AND THAT'S WHERE HE PAINTED THE NORTHWEST COAST TRIBES, SPECIFICALLY THE CLICKETAT, WHICH IS WHEN THIS WOULD HAVE BEEN PAINTED.
28:22SO YOUR GRANDFATHER WAS RIGHT, CIRCLE 1900.
28:25KAUS IS REALLY FAMOUS FOR HIS SCENES IN TAOS, NEW MEXICO.
28:29HE WAS ONE OF THE FOUNDING ARTISTS AND FIRST PRESIDENT OF THE TAOS ARTISTS SOCIETY.
28:35DO YOU HAVE ANY IDEA WHAT THIS COULD BE WORTH?
28:38I DON'T.
28:40NO IDEA.
28:41DO YOU WANT TO TAKE A GUESS?
28:425,000?
28:43IF THIS WERE TO COME TO AUCTION, I WOULD EXPECT IT TO BRING IN THE 10 TO 15 THOUSAND DOLLAR
28:50RANGE.
28:55THAT'S UNBELIEVABLE.
28:57THANK YOU.
28:59I WOULD INSURE IT IN THE 20 TO 25 THOUSAND DOLLAR RANGE.
29:03THANK YOU.
29:06I BROUGHT IN MID-CENTURY MODERN FURNITURE THAT I INHERITED FROM MY UNCLE.
29:12MY AUNT SAID THAT HE GOT THEM IN THE 1950'S, 60'S, SOMETHING LIKE THAT.
29:17THIS DESK IS KNOWN AS MODEL 1560.
29:20IT WAS DESIGNED BY PAUL MCCOBB.
29:22THIS IS FROM HIS PLANNER GROUP THAT HE DESIGNED FOR THE MASSACHUSETTS-BASED COMPANY OF WINCHENDON.
29:27AND THE PLANNER GROUP IN THE 1950'S WAS SAID TO BE THE BEST-SELLING MID-CENTURY MODERN DESIGN OF THE
29:35PERIOD.
29:36THIS IS A DCM CHAIR PRODUCED BY CHARLES AND RAY EAMES.
29:41THEY WERE A HUSBAND AND WIFE TEAM.
29:43WHENEVER WE LOOK AT THESE EAMES CHAIRS, WE'RE ALWAYS TRYING TO DISCERN, IS THIS FROM THE EARLIEST PERIOD OF MANUFACTURE?
29:521945-1946 IS WHEN THEY FIRST PRODUCED THIS FOR THE EVANS PRODUCT COMPANY.
29:57AND THEN IN 1947, PRODUCTION WAS TAKEN OVER BY THE HERMAN MILLER COMPANY.
30:02ON THE EARLY PRODUCTION THAT WERE DONE FOR THE EVANS PRODUCT COMPANY,
30:06WHERE THE CHROMED METAL ELEMENT MEETS THE RUBBER SHOCK MOUNT, THOSE ARE CIRCULAR.
30:11HERE, THEY'RE IN AN OVAL SHAPE.
30:13THE RUBBER SHOCK MOUNT ALSO HAS FOUR HOLES.
30:15THAT ALSO LETS US KNOW THAT IT'S NOT THE EARLIEST PERIOD, BUT IT'S PERHAPS ONE OR TWO GENERATIONS THEREAFTER.
30:26ALSO, THESE HAVE WHAT ARE CALLED BOOT GLIDES.
30:29SO THAT HELPS US DATE IT BETWEEN 1954 AND 1960.
30:33OH, OKAY.
30:34HAS ANYONE EVER ADJUSTED THIS BACK?
30:36THE BACK HAS BEEN REATTACHED.
30:39IT'S ACTUALLY UPSIDE DOWN.
30:41IS IT UPSIDE DOWN?
30:42IT'S UPSIDE DOWN.
30:43OH, MY GOODNESS.
30:44IT'S A PRETTY EASY FIX, SO THERE'S NO HARM THERE.
30:47IF THESE WERE TO COME UP TO AUCTION, WE WOULD EXPECT THE DESK TO SELL BETWEEN $600 AND $800.
30:54OKAY.
30:55AND WE WOULD EXPECT THE CHAIR TO SELL AT AUCTION BETWEEN $700 AND $900.
31:00OKAY.
31:01THAT'S GREAT.
31:08THEY'RE BEADS THAT MY AUNT GAVE ME 20, 30 YEARS AGO.
31:13SHE GREW UP IN THE MIAMI AREA.
31:15I'M GUESSING SHE GOT THEM FROM HER PARENTS.
31:18AND I KNOW NOTHING ABOUT THEM.
31:19IT'S REALLY JUST A COMPLETE MYSTERY.
31:24ABOUT 50, 60 YEARS AGO, I BOUGHT A HOUSE IN BROOKLYN, MAINE.
31:28IT WAS AN ANTIQUE VICTORIAN.
31:30THE HOUSE WAS SELECTED TO BE USED IN THE FILM PET CEMETERY.
31:35THEY WANTED TO ACTUALLY DISMANTLE THE SIDEWALLS OF THE HOUSE.
31:39I WOULDN'T LET THEM DO THAT.
31:41SO THEY BASICALLY RECREATED THE WHOLE FRONT HALF OF THE HOUSE AT THE ARMORY IN VANGOR
31:47TO USE AS THE MOVIE SET BECAUSE I HAD A COPY OF THE BOOK.
31:51I GOT STEPHEN KING AND PROBABLY MOST OF THE CAST TO SIGN UP FOR ME.
31:56I DON'T OWN THE HOUSE ANYMORE.
31:58IT WAS GREAT FUN, GREAT TO BE PART OF IT.
32:02THIS PAINTING BELONGED TO MY GRANDPARENTS, AND I INHERITED IT.
32:08MY GRANDMOTHER'S BROTHER WAS VERY GOOD FRIENDS WITH SHELDON PARSONS,
32:13AND SO MY GRANDPARENTS WENT TO VISIT SANTA FE AND MET SHELDON PARSONS,
32:19AND MY GRANDMOTHER WAS TAKEN WITH THIS ARTWORK.
32:21SHE DID NOT BUY THIS PAINTING THERE.
32:24SHE PURCHASED IT FROM HIM THROUGH CORRESPONENCE,
32:28AND HE MAILED IT TO HER IN PENNSYLVANIA.
32:31DO YOU KNOW HOW MUCH SHE PAID FOR IT?
32:33I HAVE NO IDEA.
32:34SHE ACTUALLY BOUGHT THREE THROUGH THE YEARS.
32:37MY SISTER ALSO HAS ONE THAT'S SMALLER, AND MY COUSIN ALSO HAS ONE.
32:43YOU MENTIONED THERE WAS CORRESPONDENCE, AND YOU HAVE THAT CORRESPONDENCE, RIGHT?
32:47I DO, YEAH.
32:48AND THAT REALLY IS THE FORM OF SEVERAL LETTERS AND WHAT WE HAVE IN FRONT OF US,
32:51WHICH IS IN THE ARTIST'S OWN HANDWRITING.
32:53THIS DESCRIBES THE PAINTING, WHAT INSPIRED IT.
32:56HE DESCRIBES WHERE IT IS, AND IT'S 25 MILES NORTHWEST OF SANTA FE,
33:01AND THAT IT WAS PAINTED ON OCTOBER 1940.
33:05SHELDON PARSONS WAS BORN IN 1866, AND HE DIED IN 1943.
33:10PARSONS ACTUALLY WAS A KNOWN PORTRAIT PAINTER IN NEW YORK.
33:13OH.
33:14AND SOME OF HIS PORTRAITS WERE OF FAMOUS PEOPLE LIKE SUSAN B. ANTHONY,
33:19AND PRESIDENT MCKINLEY, FOR EXAMPLE.
33:21I HAD NO IDEA.
33:22SADLY, HIS WIFE PASSED AWAY IN 1912 AND 1913.
33:26HAVING BEEN DIAGNOSED WITH TUBERCULOSIS, HE MOVED TO SANTA FE.
33:29THAT IS WHY.
33:30AND ONCE HE GETS THERE, HE STARTS PAINTING THESE TYPES OF SCENES.
33:33HE STUDIED IT AT THE NATIONAL ACADEMY OF DESIGN, SO HE'S GOT A GREAT BACKGROUND.
33:37HE WAS A MEMBER OF THE SANTA FE ART COLONY,
33:39AND HE BECAME THE FIRST DIRECTOR OF THE NEW MEXICO MUSEUM OF ART.
33:45THIS PARTICULAR PAINTING IS AN OIL ON BOARD, AND IT'S NOT SIGNED OR DATED,
33:49WHICH EMPHASIZES THE IMPORTANCE OF YOU HAVING KEPT THOSE CORRESPONENCES.
33:54FOR RETAIL PURPOSES, IT'S PROBABLY A $10,000 PAINTING.
33:58WOW.
34:00THAT'S TERRIFIC NEWS.
34:10I BROUGHT A RUG THAT HAS BEEN IN MY FAMILY FOR MANY YEARS.
34:14FAMILY LORE HAS IT THAT IT WAS THE SECOND PLACE WINNER IN THE WORLD'S FAIR, 1939-1940.
34:21WE DON'T HAVE A RIBBON FOR THAT, SECOND PLACE, BUT WE DO HAVE A BLUE RIBBON FROM MACEY'S,
34:26WHERE SHE WON FIRST PRIZE TO GET INTO THE WORLD'S FAIR.
34:29WAS THIS A RELATIVE WHO MADE THIS?
34:31YES, IT WAS MY GREAT-AUNT JESSE TEED, WHO I GUESS WAS KNOWN FOR HER WORK.
34:37AND DO YOU KNOW MUCH ABOUT THE TECHNIQUE THAT JESSE TEED WAS USING IN MAKING THE RUG?
34:41I ONLY KNOW FROM AN ARTICLE THAT SHE WROTE ABOUT HER WORK.
34:45SHE TALKED ABOUT HOW SHE USED QUARTER-INCH STRIPS OF WOOL.
34:49THAT WAS THE BEST, SHE SAID.
34:50IT MAKES A LIGHTWEIGHT RUG AND VERY STURDY.
34:54SHE TALKED ABOUT THE BURLAP THAT SHE WOULD USE FROM THE FLOWER SACKS.
34:57THE TECHNIQUE IS CALLED A HOOKED RUG.
34:59IT'S WHERE THEY TAKE THE THIN WOOL FABRIC STRIPS AND WITH A HOOK,
35:04PUNCH THEM THROUGH THE SURFACE AND PULL THEM BACK THROUGH TO FORM THE CARPET'S PILE.
35:08OKAY.
35:08USUALLY WHEN ONE THINKS ABOUT AMERICAN HOOKED RUGS, YOU THINK ABOUT FOLK ART.
35:12AND THIS IS ABOUT AS FAR FROM FOLK ART AS YOU CAN GET.
35:15JESSE TEED WAS FROM UNUNDIA, NEW YORK, WHICH IS NEAR BINGHAMTON.
35:20IT'S SORT OF RURAL SOUTH CENTRAL NEW YORK.
35:23YES.
35:23AND IT'S A PRETTY SOPHISTICATED DESIGN FOR KIND OF RURAL NEW YORK AT THE TIME.
35:28SHE'S TAKING THESE ZODIAC FIGURES.
35:31IT'S VERY, VERY MUCH AN ART DECO DESIGN LAYOUT.
35:35OH.
35:35AND THEN IN THE CENTER, YOU CAN SEE THIS INCREDIBLE SAILING SHIP IN TURVULENT, TOPSY-TURVY SEAS.
35:41AND I DON'T KNOW IF YOU'VE NOTICED IT, BUT SHE SIGNED IT JMT, HIDDEN AMONGST THE WAVES,
35:47WHICH I THINK IS JUST SUCH A GREAT LITTLE TOUCH.
35:49IT IS.
35:49AND I DID NOT KNOW THAT UNTIL YOUR PREW HUNG THE RUG UP AND I SAW IT.
35:54SHE ALSO DATED IT, WHICH IS VERY DIFFICULT TO SEE IN HERE BECAUSE IT BLENDS IN WITH THE WAVES,
35:59BUT IT'S 1932 AND IS ABLE TO FIND REFERENCE TO A 1946 DIARY WRITTEN BY NELLY CARR,
36:08WHERE SHE'S TALKING ABOUT THAT NELLY CARR IS TALKING ABOUT HER GRANDMOTHER GOING TO LIVE WITH JESSE AND HER FAMILY
36:13BECAUSE JESSE WAS BUSY MAKING HER RUGS AND HER RUG DESIGNS AND NEEDED HELP WITH THE HOUSE.
36:19OH, I DID NOT KNOW THAT.
36:21WHICH REALLY INDICATES TO ME THAT SHE WAS APPROACHING THIS AS A PROFESSION AND REALLY COULDN'T BE A HOME MAKER
36:27ANYMORE
36:27BECAUSE SHE WAS BUSY DESIGNING AND HOOKING THESE RUGS.
36:30RIGHT.
36:30HAVE YOU EVER HAD IT APPRAISED?
36:31I HAD IT APPRAISED A FEW YEARS AGO.
36:33THE GENTLEMAN SAID IT WAS WORTH ABOUT $2,000 FOR INSURANCE VALUE.
36:37IN A RETAIL SETTING TODAY, THIS RUG WOULD BE $8,000.
36:42REALLY?
36:43YEAH.
36:45OH.
36:46WOW.
36:46FOR INSURANCE, I WOULD KEEP IT AROUND THAT SAME $8,000 MARK.
36:50OKAY.
36:51I WILL.
36:52IT'S JUST A BEAUTIFUL, STRIKING, EYE-CATCHING DESIGN THAT WOULD HAVE GREAT APPEAL TO A LOT OF
36:58DIFFERENT PEOPLE.
36:59WOW.
37:00IT'S MY GRANDMOTHER'S RING.
37:02SHE CALLED IT THE CAULIFLOWER RING.
37:04SHE BOUGHT IT IN THE 80S.
37:07AND THIS RING, SHE WOULD VISIT EVERY MONTH TO PAY OFF.
37:12SHE WOULD DO MONTHLY LAYAWAY INSTALLMENTS.
37:14AND SHE NEVER REALLY GOT TO GET THE RING UNTIL FIVE YEARS BEFORE SHE DIED.
37:19ONE OF THE FEW LAST PAYMENTS THAT SHE MADE, SHE WENT IN AND THEY SAID,
37:24YOU KNOW WHAT, JUST TAKE THE RING.
37:26WE DON'T WANT IT ANYMORE.
37:27SO SHE...
37:28SHE JUST...
37:29THEY GAVE HER THE RING.
37:30THEY GAVE HER THE RING.
37:30I LOOKED AT THE DIAMONDS.
37:32THEY'RE GORGEOUS.
37:33THIS RING MUST HAVE BEEN EXPENSIVE.
37:35I THINK SO.
37:36WHEN SHE BOUGHT IT.
37:36DO YOU KNOW WHAT SHE PAID?
37:38WE THINK IT WAS 10,000.
37:40BUT I THINK HER TOTAL PAYMENTS WERE MAYBE 8,000.
37:44YOU KNOW WHAT?
37:44I'M NOT SURE.
37:45SHE PAID THE RIGHT PRICE.
37:46BECAUSE TODAY, YOU KNOW WHAT IT'S WORTH?
37:48I DON'T KNOW.
37:48I FEEL LIKE YOU'RE GOING TO TELL ME.
37:508,000.
37:518,000.
37:53THAT'S WHAT IT'S FOR.
37:54THAT'S GREAT.
37:55I'M EXCITED TO HEAR THAT.
38:03I BROUGHT A PAINTING BY INEZ WALKER.
38:06I WAS AT AN ESTATE SALE.
38:08SHE HAD A COLLECTION OF ART THAT WAS VERY ECLECTIC.
38:13THIS IS REALLY WHAT I WENT FOR, BUT I BOUGHT ABOUT 9 PIECES.
38:16THE ESTATE SALE COMPANY, THIS PARTICULAR ONE, YOU KNOW,
38:20THE MORE YOU BUY, THE BETTER THE DEAL IS.
38:22I THINK I PAID ABOUT $400 FOR ALL 9 PIECES.
38:26WELL, YOU KNOW IT'S BY INEZ WALKER.
38:28YES.
38:28AND IT'S SIGNED OVER IN THE LEFT-HAND COLUMN.
38:32DID YOU SEE THAT?
38:33I-I DIDN'T.
38:34IT LOOKS LIKE IT'S PART OF THE DESIGN.
38:36SHE IS CONSIDERED AN OUTSIDER ARTIST.
38:40SHE CREATED HER ART OUTSIDE THE MAINSTREAM.
38:43I LIKE THE TERM SELF-TAWT.
38:45INEZ WALKER WAS BORN IN 1911 IN SUMTER, SOUTH CAROLINA.
38:50VERY TOUGH LIFE.
38:51VERY TOUGH LIFE.
38:52SHE'S AN OFTEN AT A VERY EARLY AGE, AND SHE'S MARRIED BY THE AGE OF 12 OR 13.
38:58WOW.
38:59AND COMES NORTH INTO PHILADELPHIA WITH THE GREAT MIGRATION.
39:03AND SHE EVENTUALLY MADE HER WAY UP INTO UPSTATE NEW YORK.
39:07FORT BYRON, AND WORKED IN AN APPLE PROCESSING PLANT.
39:11SADLY, SHE KILLS A MAN WHO WAS ABUSING HER.
39:15SENT TO PRISON.
39:16IN PRISON, SHE STARTED TO DRAW.
39:20SHE STARTED OUT DRAWING THE OTHER INMATES.
39:23SHE CALLED THEM THE BAD GIRLS.
39:24SHE GOT OUT OF PRISON IN 1973.
39:27YOUR PIECE WAS MADE IN 1976.
39:30IT'S A DRAWING COLORED PENCIL AND INK ON A PIECE OF PAPER.
39:34FROM ACROSS THE ROOM, YOU CAN TELL AN INEZ WALKER.
39:37THE FEATURES OF HER PIECES ARE VERY, VERY DISTINCTIVE.
39:42THE FACES ARE BIG.
39:43THEY'RE BOLD.
39:44THE EYES ARE TYPICALLY EXAGGERATED.
39:47AND THE CLOTHING IS TYPICALLY CLOTHING THAT SHE WORE HERSELF.
39:50SHE HAS A VERY LARGE BODY OF WORK, AND SHE TRADES REGULARLY.
39:55SHE DIED IN 1990.
39:56LIKE SO MANY OF THESE SELF-TAWT ARTISTS, IT REALLY WASN'T UNTIL AFTER HER DEATH
40:01THAT THE MARKET STARTED TO TAKE NOTICE OF HER WORK.
40:05RETAIL.
40:06I WOULD PUT A VALUE ON THIS OF $3,000.
40:09OH, MY GOD.
40:10TO $3,500.
40:12NO KIDDING.
40:13NO.
40:14WOW.
40:16TOUGH LIFE.
40:17YEAH.
40:18TOUGH LIFE.
40:18I APPRECIATE IT EVEN MORE NOW.
40:20YEAH.
40:21NO.
40:21IT IS.
40:23THESE SELF-TAWT ARTISTS, YOU KNOW, JUST...
40:30YOU GOT ME.
40:32IT GETS ME TOO.
40:33TRUST ME.
40:34JUST TOUGH.
40:35IT'S A HEARTBREAKING STORY.
40:36IT IS.
40:36IT IS HEARTBREAKING.
40:37I HAD NO IDEA.
40:38THANK YOU.
40:46ONE NATIVE PLANT THAT DOES REALLY WELL HERE IN MAINE IS COMFTONIA PARAGRINI, OR SWEET FERN.
40:51IT'S NOT A FERN PER SE.
40:53IT'S ACTUALLY A SHRUB.
40:54AND IT'S GOT THIS REALLY LOVELY FERN-LIEF-FOLIARGE THAT HAS A SPICY FRAGRANCE TO IT.
41:00And it has the ability to fix its own nitrogen, so it's a great plant for soils that are pretty
41:06crummy and have low nutrition, and it does admirably well in those situations.
41:11Two of my favorite native perennials in this garden are Christmas fern, as well as our native ginger.
41:18And they're both used here to maintain the stability of the slope.
41:23They spread with rhizomes and keep the soil in place rather than watching to the bottom of the hill.
41:32My husband and I are big readers, and we both come from families that love books, and we have inherited
41:37over the years hundreds of books, maybe thousands.
41:41And it actually got to the point where we had no room for books, so we had to build a
41:46special building, which we call our library.
41:49Maybe three weeks ago, I came to him and I said, my book group has decided we want to read
41:53a portrait of the artist as a young man, and do we have a copy of it anywhere?
41:58By James Joyce.
41:59By James Joyce, and I was sitting in the kitchen, and he comes out of our bedroom and says, yeah,
42:03we do, we have this portrait of the artist.
42:05And he opens it to give it to me, and he goes, huh, look at that, it's signed.
42:10Yeah, so let's open it.
42:12And that was like a huge surprise.
42:15It says someplace in Italy, and it's dated 1928.
42:201920.
42:211920.
42:22Yeah, so it's Trieste in Italy.
42:25Oh, okay, I couldn't read it.
42:26He spent a lot of time in Trieste.
42:28He went in 1905 for the first time.
42:31Oh, okay.
42:31He worked on this book there a lot, too.
42:33Oh, he did.
42:34And he kind of bounced back and forth because of the First World War.
42:37He was kind of a self-exile at first, leaving Ireland.
42:40He got a job teaching English in Trieste, but he loved it.
42:43This is the 13th of February, and this particular stint in Trieste, he was there from the fall of the
42:50previous year, and then in the spring, summer of 1920, he went to Paris and never lived in Trieste again.
42:56Oh, wow.
42:56But that's really helpful because when we're talking about a signed book, we want to know if the signature looks
43:02right, which this does.
43:03Oh, good.
43:04And then the date needs to make sense because usually when people are going to fake things, they're kind of
43:09sloppy.
43:09They're not going to know exactly which month and day he was in what city.
43:14Is this a copy you're reading for your book group?
43:16No.
43:17When I saw that, I went to the library and got a library copy.
43:21And do you have any idea where it came from?
43:23My suspicion is that it's my husband's great aunt who lived in Boston on Beacon Hill and was a friend
43:30of many artists and writers, Eugene O'Neill, people like that.
43:33And she had many, many of our books came through her.
43:36It's one of the earliest editions.
43:38Oh, really?
43:39And people are pretty serious about James Joyce, and he didn't sign a lot of things, and this is very
43:43important because of the age, the 1920s.
43:46Signature, because he's still kind of struggling at that point, which is cool.
43:51He wasn't well known then.
43:52No.
43:52And being so unusual in his style, a lot of people with Victorian sensibilities were kind of horrified at some
43:59of his approaches.
44:00Yes.
44:01Have you ever thought about what the value is?
44:04I would imagine it's $5,000 or $10,000.
44:06It's just sort of off the top of my head.
44:08This is one of the favorite titles of his.
44:11It's nice and early.
44:12It has Trieste.
44:12For auction, I would estimate this at $15,000 to $20,000.
44:18Yeah.
44:19Whoa.
44:20Okay.
44:21That's pretty nice.
44:23I guess I'm not going to read it.
44:25I have a terrible habit of dog-earing, you know, the pages, so I'm glad I didn't read that one
44:30for my book group.
44:31I can't wait to tell my book group about this.
44:34We're meeting tomorrow, and I haven't told them.
44:36That's a great...
44:36I want to give them a shout-out.
44:38Thanks for picking this title.
44:46It belonged to my father.
44:48He learned to play violin in his retirement, and he started collecting violins.
44:53And when he died, he left them all to us, and we have no idea what they are or what
44:58they're worth.
45:01My family had three generations of railroad workers that worked on the Bangor and Aroostook Railroad.
45:06This was one of the lanterns.
45:08Back in the day, they used to, you know, wave it, you know, as they do.
45:12But then as the years went on, they would attach it at the bottom so that they could just turn
45:16it,
45:17depending on what the signal was for the train.
45:24It's a family piece.
45:26The person who generated it was a, um, either fourth or fifth great aunt.
45:34Do you know how old she was when she did the map?
45:37Do you have an idea?
45:38I think she was in her early teens, 13, 14.
45:42It's a manuscript map.
45:44Everything has been done by hand.
45:46And it's called The United States by Eliza Ann Oliver.
45:51She drew the map in March either 24th or 29th.
45:56We can't read her calligraphy there.
45:591823.
46:01So it's very early, and it shows the United States and territories at the time.
46:06It's what's called a schoolgirl map.
46:08It represents a shift in 19th century education for women.
46:13They were educated outside of the home.
46:16Female academies were established.
46:18One of the methods that they used for teaching was maps,
46:22and it was a mnemonic device to teach calligraphy, geography, and penmanship.
46:28Her craft of handwriting, you can see her, she's so talented.
46:32She's using at least three different fonts,
46:34and she has taken a lot of care with river systems.
46:38And also, something I've never seen before is she has rendered topography with little curls.
46:46So she's rendered mountains in three dimensions.
46:49This map is particularly accomplished and would have taken a long time to create.
46:55This is one of the largest examples I've seen of the so-called schoolgirl map craze.
47:01The craze took place from, I would say, the 1810s to about the 1840s,
47:07because by that time, commercially printed maps were available.
47:11So it's just a small window in time when these maps were made.
47:15One other thing I wanted to point out is that Eliza won an award.
47:20She got a city award from Boston.
47:23In a retail setting, I would put a value on it between $5,000 and $7,000.
47:31Very nice.
47:32It's a masterpiece.
47:40I brought in a big plastic bucket filled with first-run issues of the Teenage Mutant Ninja Turtles
47:46from 84 to some stuff in the early 90s.
47:50We could only choose a few items.
47:52What was your dad's connection to Kevin Eastman, the artist for Teenage Mutant Ninja Turtles?
47:55Kevin Eastman worked at what was at the time Johnny's Orweed from 82 to 84.
48:01And my dad came in and took over the business in 83.
48:05Kevin knew all the ins and outs of the business and really helped my dad to open up that year.
48:09They became friends.
48:11And for the printing of the second issue, my dad gave him the loan to help start that out.
48:18So what was Kevin Eastman doing at the restaurant?
48:20He was a waiter using all of his charm to take care of everybody.
48:25Some of his artistic skill came out on the placemats.
48:27He would sometimes write me little notes that said, like, cowabunga.
48:30Teenage Mutant Ninja Turtles was a huge phenomenon, especially in the comic book world.
48:35Kevin Eastman and Perry Lard started a small comic company called Mirage in 1983 and 1984.
48:41Teenage Mutant Ninja Turtles was such a huge blockbuster right out the gate.
48:45It was released in 1984 with the first comic book.
48:48And then it very quickly got licensed into role-playing games and trading cards and TV series.
48:53And later in 1990, it became a movie franchise.
48:55And what you've got here is probably a very early representation of Leonardo written on yellow paper from Kevin Eastman.
49:03You've got a first edition, first printing.
49:05And what I find actually the most interesting piece is the T-shirt.
49:09Each year, they would make a shirt for the staff of the restaurant.
49:12And this year, Kevin Eastman did the art front and back of the Orweed restaurant.
49:18They put together their first couple issues with no budget whatsoever.
49:22They were really kind of starving artists at this point.
49:24So that loan from your dad probably helped them launch in a huge way.
49:28This is one of the earliest depictions I've ever seen, but it's fairly mature in its style.
49:33We've seen some earlier drawings by Kevin Eastman that are a little cruder.
49:37The T-shirt is signed on the back by Kevin Eastman in the art, dated 1984.
49:41I've never seen another one.
49:43So that's pretty exciting.
49:46And the comic is gorgeous.
49:47It's in fairly good condition.
49:49This is the issue number one of Teenage Mutant Ninja Turtles.
49:51And it's also a first printing.
49:53Do you have any idea what the value might be?
49:56$8,000 maybe?
49:57You nailed it.
49:58Around $8,000 to $10,000 in this condition.
50:01I love the shirt.
50:02Yes, it's early art by Kevin Eastman, but it doesn't have a turtle to be seen on it.
50:06If this was to go to auction, I'd put a conservative estimate of around $800, maybe $1,000.
50:13This, on the other hand, is great.
50:15It's a really early depiction.
50:17And the earlier, the better.
50:19If this was to go to auction, we'd put an estimate of $40,000 to $60,000 on it.
50:27Whoa.
50:30Radical, man.
50:32I mean, it can't make up for the memories.
50:34But that's crazy.
50:39And now it's time for the Roadshow Feedback Booth.
50:42We flew up all the way from North Carolina to have my great-grandfather's lapel pin appraised.
50:49And it appraised for $1,400.
50:52And I got a watch face from my great-grandpa appraised.
50:57It's a Hopalong Cassidy watch, which is $75 to $125.
51:03Yes, and even though it was raining, y'all, it was so fun.
51:06Thanks for having us, Antiques Roadshow.
51:07Brought our friends' 1930s Mills slot machine.
51:12The story is it was taken from one of Capone's speakeasies before they broke them up.
51:18Turns out, the appraiser said, it's just heavy and worthless.
51:23This is a painting that I acquired from my neighbor, Shirley.
51:26I thought it'd be a Czech masterpiece.
51:29Turns out, it probably won't cover my hotel tonight.
51:32But I love you, Shirley.
51:33I'm here fulfilling a lifelong dream to be at the Antiques Roadshow with my mom today.
51:38And I brought along my Bare Lithia Water carboy, which the appraiser said was one of the best
51:48carboys he's ever seen.
51:50I brought my baby owl.
51:53I spent $20 on it at an antique sale.
51:55And it's worth $1,500 to $2,000.
51:58We found out that what we brought is worth more to us than to anyone else.
52:03This painting from Eleuthera, the appraiser said that his parents would be prouder of it
52:08than we are.
52:09And the Sugar Bowl from 1890s is worth $4.
52:13But it was worth a million to be here.
52:15Thank you, Antiques Roadshow.
52:17Thanks, y'all.
52:18Thanks for watching.
52:19See you next time on Antiques Roadshow.
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