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00:04Antiques Roadshow is storming Castle Farms in a friendly way as we visit Charlevoix, Michigan.
00:11I received that from a dear friend. Her husband had passed.
00:14Was her husband's name Ed by any chance?
00:16It was. It was.
00:35Over the decades, Castle Farms has served as a venue of different purposes to different people.
00:41The former farm complex, located near the shores of Lake Charlevoix, started as part of a summer residence when it
00:49was built in 1918.
00:51Since then, it's been a dairy farm, an artist's haven, a rockin' concert venue, a popular wedding destination, and today,
01:00the regal backdrop for Antiques Roadshow.
01:03What treasures coming in today will be treated like royalty? Take a look.
01:09Good. Have fun. Go through the White Arch.
01:12Woo!
01:14So, tell me about your chair.
01:16It was left in the cottage that my parents bought, like, 65 years ago.
01:21Okay. It's really cool. First of all, it's the lion head. It's very decorative. It's also made out of quarter
01:28sawn oak.
01:28I think the green eyes are unbelievable. It's worth probably $300, $400, somewhere in there, anything, give or take.
01:35Okay.
01:38Well, I have an Evelyn Ackerman mosaic that I picked up a few years ago in an antique mall locally.
01:45I paid $100 for it.
01:47Well, I love that this is turned up in Michigan because this has a Michigan origin story.
01:53Does it?
01:53Both Jerome and Evelyn Ackerman were born in Detroit in the 1920s.
01:59Evelyn and Jerome Ackerman were really influential mid-20th century modern artists, and they both studied here in Michigan.
02:08What you have here is one of their glass mosaics that Evelyn started designing in 1955.
02:17Originally, Evelyn did the design and production of these herself, but the orders were coming fast and furious, and it
02:25was just too much for them to keep up with.
02:28So, eventually, they handed off the manufacturer of these to a family of artisans in Mexico City.
02:35Okay.
02:36And that's where this was made.
02:37Okay.
02:38We looked at the original order form from 1958.
02:42So, we know the title of this work is Birds in Cage.
02:47And at the time that this particular mosaic was produced, it was sold for $70 retail or $35 to the
02:57trade.
02:57Okay.
02:58And a lot of what the Ackermans did was selling to the trade.
03:01They sold to interior designers, they sold to architects, and they sold to department stores.
03:08And they're composed of Venetian glass tesserae, pieces that are arranged in this way so that you could create these
03:16types of patterns.
03:17And what Evelyn did is she designed these in, like, a small cartoon sketch, and then she blew them up
03:23to full size,
03:24and she would ship over to Mexico City the original drawing, as well as a color key code, how she
03:31wanted the birds to look,
03:32what was the color of the cage and the background, and they were issued in a few different sort of
03:37color ways.
03:38And they're always on this Masonite backing.
03:40Okay.
03:41Which was great to see.
03:41This is its original wood frame, exactly as it was produced.
03:46The Ackermans' work has been receiving a lot of attention, particularly in the last 10 to 15 years.
03:53Yeah.
03:54In 2005, this panel came up to auction with another panel, a companion piece, you might call it, that also
04:02had birds in it.
04:03Okay.
04:04And in 2005, those two panels sold at auction for $650.
04:11So, about $325 each.
04:14Yeah.
04:14In today's market, if this panel were to come to auction, we would conservatively estimate it between $4,000 and
04:22$6,000.
04:23Oh, my.
04:26I see a lot of their pieces online, and I kind of keep an eye out for their work.
04:33I mean, it doesn't turn up a whole lot.
04:35This is actually a coin bank.
04:37We thought that a cork belonged in here, but it actually is a lid where you can put coins and
04:41save up.
04:42There's ball, anchor hockey, turner glass, all kinds of things.
04:45So, it was really cool to learn about.
04:51These belong to my husband's grandmother and then his parents.
04:56And when they sold their home, we were divvying up stuff, and we were lucky enough to get, this is
05:02one of a pair of andirons and fireplace tools.
05:07She made up a lot of stories, so we are not quite sure where they're from.
05:12I love golf.
05:15I've played since I was a kid.
05:17This locket was given to the architect of the Eisenhower cabin at Augusta National.
05:24The picture was given by Dwight Eisenhower to all the individuals that donated money for the construction of the cabin.
05:34I bought the locket on an online auction in 2014, and I believe it was a little over $2,000.
05:42The picture I really do not remember. I don't know where I bought it or honestly what I paid for
05:48it.
05:48This locket, for golf fans, they'll instantly recognize the map and flag logo.
05:55Augusta National Golf Club was founded in 1931 by the Grand Slam winning golfer of 1930, Bobby Jones, and his
06:03partner, Clifford Roberts.
06:05Now, let's fast forward to 1952. That year, they decided to create and give out lockets in the form of
06:13the map and flag logo to the winners,
06:16and it's almost the certificate of membership into the Masters Club. You get one when you win the first time.
06:23This is a locket that was designed after the lockets that were given out to the Masters winners.
06:29Dwight D. Eisenhower started playing golf in the 1920s.
06:33He became infatuated with it. It was one of his favorite hobbies.
06:36In 1948, he was brought down to Augusta by one of their members, Bill Robinson, loved the club, became a
06:43member.
06:43He becomes President Eisenhower in 1952.
06:47They realize that they have to build a special cabin for him so he can have privacy when he goes
06:55back to Augusta National Golf Club every year.
06:57They hired H. Lowry Stull.
07:00Okay.
07:01And his firm, Stull and Ebe, had six months to build this cabin. Now, it's not a cabin as we
07:07can see here. It's a three-story, seven-room structure.
07:10Really nice house.
07:11And they built a basement for the Secret Service.
07:14Okay.
07:15So, because they finished on time and in such a great manner, Bobby Jones, Clifford Roberts, and the Eisenhowers wanted
07:24to gift something special to Stull, the architect, and to the interior designer, Edith Hill.
07:30What could be more special than this locket?
07:34Sure.
07:34So, they went to this jeweler, October of 53, and had lockets made for both of them.
07:41Okay.
07:41So, you see the map and flag logo, and then you open it up, and look, there is the cabin,
07:46and there are the engraved signatures of Mamie and Ike.
07:53And then you open this, and now you see the signatures of Cliff Roberts and Bobby Jones, and you see
07:59the portraits of Mamie and Ike.
08:01Right.
08:02Now, we flip it around. How do we know that it was Mr. Stulbs? Well, there's his name engraved right
08:08there.
08:08Sure.
08:08The photo, which we did examine, we're not professional authenticators, but we believe the signatures to be authentic.
08:15So, this photo, I would put an auction estimate of $2,000 to $3,000 on it.
08:20Really? Wow. That's incredible.
08:24Now, let's get to the locket. Because it also has the box that does add value, I would put an
08:29auction estimate of $25,000 to $30,000.
08:34God. Wow. That's crazy.
08:37I can't wait till my kids hear this. So, they think I'm nuts. So, this will, that is awesome.
08:48Wow. Okay. Great.
08:55Castle Farms was originally part of a 1,500-acre estate owned by the Loeb family.
09:02Albert Loeb was the acting president of the Sears and Roebuck Company, the original and the best mail order catalog.
09:10The inspiration for the castle came from Albert and Anna's honeymoon in France, and they based all of their architecture
09:18on French Normandy-style castles.
09:21He wanted to show how successful you could be if you used all of the farming equipment that was sold
09:27in their catalog.
09:28So, he built this as a working model dairy farm. So, Albert had 200 head of Holstein-Friesian cattle and
09:37had an award-winning cow.
09:39She set a world record. Named Marion, she produced 35,000 pounds of milk in one year and had to
09:47be milked six times a day.
09:48So, it was really great that we were the first farm in Michigan with automated milking machines.
09:56I've got a Super Nintendo Donkey Kong Country competition cartridge. It starts up in the game, like, right at the
10:03first level and just goes for, I want to say, five, ten minutes and then just shuts the game off.
10:08I'm assuming that either a friend gave it to me or I could have bought it and not known that
10:14I accidentally got the competition cartridge.
10:16I love going to flea markets, though, and I've had, like, a game reseller there offer me $1,000 for
10:21it, and that was probably around 2012, which made me realize even more so I should probably hang on to
10:26it.
10:27Because it must be worth a little more than that, at least.
10:29It's a particularly rare and iconic video game. This was from the Super Nintendo Entertainment System, SNES, which is a
10:36great system. I grew up playing it.
10:37Yeah.
10:38I loved this game as a kid. So, this was made for competitions. There were two competitions. The first one
10:44was in 1994. It was Nintendo Power Fest.
10:47Oh, wow.
10:48And then, in 1995, there was a blockbuster championship, and the goal of the competition was to get the highest
10:54score within five minutes.
10:56So, then, after the competition was done, some of the copies were sold through... Nintendo had a magazine, Nintendo Power,
11:03which was two subscribers.
11:04Those subscribers were offered the opportunity to buy the cartridges because they didn't need them for the competition anymore.
11:10Oh, okay. Interesting.
11:11So, I don't... It's not clear how many or if all of them were sold that way.
11:14Mm-hmm.
11:15Some of the literature suggests that there were only 2,500 copies of the competition cartridge made.
11:20Oh, wow.
11:21And very few wound up getting into the market. A lot of them are in collector hands.
11:25Wow.
11:25As you can see, this cartridge has Hollywood Video stickers on it.
11:29Mm-hmm.
11:29Which is interesting, and I wasn't able to find any record of the competitions being done at Hollywood Video.
11:35The 1995 competition was a blockbuster competition.
11:39A major competitor, or the major competitor, of Hollywood Video.
11:42Yeah.
11:42I see there's writing on it.
11:44Yeah, that's my initials. Just, at some point, my brother and I, friends, trying to keep games separate.
11:49And by then, I had already had this one just inexplicably in my possession for a while.
11:53So, I was like, it's mine.
11:54These sell not frequently.
11:56Okay.
11:57Conservatively, at auction, I would estimate it between $2,000 and $4,000.
12:02Oh, right on.
12:02And it could be more.
12:03One recently, a graded copy.
12:05That didn't have the initials, the Sharpie, the label on the top, which was added.
12:11Okay.
12:11And it didn't have the slight damage to the back sticker.
12:14That sold for $5,500.
12:16Oh, wow.
12:16Geez Louise.
12:17I would keep it as is.
12:18You could always submit it for grading.
12:20But with the writing on it, they probably would give you some kind of qualification on the grade.
12:25I gotcha.
12:25Okay, cool.
12:26Well, thank you so much.
12:31I don't know that much about it.
12:33I know that it was purchased in, I think, the early 90s from a charity auction for a private school.
12:40And it was given to me by my best friend.
12:42It was her mother's.
12:44And she was just like another mother to me, so it's very special to me.
12:47It feels like it's marble.
12:49It's very, very heavy.
12:56They were acquired by my grandmother in maybe the 1940s or early 50s in the Southwest.
13:06She wintered in Tucson, Arizona.
13:09These are really wonderful paintings.
13:11These are coming out of New Mexico.
13:13There are eight northern pueblos.
13:15This is all along the Rio Grande Valley.
13:17So this would be right north of Santa Fe by maybe 20 miles.
13:21Oh, for heaven's sakes.
13:23Yeah, it's called San Ildefonso Pueblo.
13:25And these were probably done in the, you know, late 20s, early 30s.
13:33These paintings were done by Tonita Pena, who often signed her name Kwa'a.
13:38That was her Indian given name.
13:40She was born in 1893 and she died in 1949.
13:45She's one of the earliest Native American women painters.
13:50Prior to this, people were predominantly working on pottery.
13:54They're doing textiles.
13:55And so this is sort of a new industry.
13:58These are watercolors.
13:59The condition is fantastic.
14:01This is actually a ritual dance to the pueblos, which is a basket dance.
14:05Look at the details that we have in the baskets.
14:08Look at the necklaces.
14:09There's coral and there's shell and turquoise, but also these great greenery.
14:14Over here in this painting closer to you, we've got two hunters and two attendants, singers and a drummer.
14:21And then we've got this is a deer dancer, which is part of an animal dance.
14:26But I love all of the details.
14:28And that's what she was really known for, was she was very specific.
14:33These are ceremonies that are autumnal and about harvest.
14:38They're about hunting and they're about sustaining life within that village.
14:43I have six more of these paintings.
14:47My husband and I chose these three to keep and we were going to put the other, which were much
14:52smaller, in a garage sale.
14:54And my daughter said, oh, mom, don't do that.
14:59Yeah.
15:00She said, I love those.
15:02And I said, well, do you want them?
15:03And she said, yes.
15:04And so they're hers.
15:05She saved them from a garage sale.
15:06She saved them from the garage sale.
15:08Oh, I love this.
15:09Yes.
15:09Yeah.
15:09We did not think that they were maybe valuable.
15:13We just loved them.
15:14Yeah.
15:14I'll start with this one closer to the basket dance.
15:17Mm-hmm.
15:17So this particular painting, if it were coming up for sale in a retail situation, would be worth about $4
15:27,500.
15:28Oh, my word.
15:29Yeah.
15:31That's a real surprise.
15:32Yeah.
15:33Yeah.
15:33Oh, my goodness.
15:33So the one closer to you, maybe just a little less, maybe around $3,800.
15:40Yeah.
15:41Yeah.
15:41This smaller one is going to be worth around $1,600.
15:45That's beautiful.
15:48That's a surprise.
15:49They may have been sold for $20, $15 at the time.
15:57This is a silk tapestry.
16:00It was given to my dad by a client of his back in the early 50s, I believe.
16:08Okay.
16:08My mother took it to an appraisal.
16:11She was told that it was probably circa $1,900 and that it was worth around $700.
16:18How long ago did you have it appraised for $700?
16:21I think it was somewhere in the neighborhood of 20 years or so.
16:26It went from my folks to me, but it's always just been stored either in their basement or in my
16:33basement.
16:34Country of origin.
16:36Chinese.
16:36And very, very overtly Chinese.
16:38But in terms of the date, this is where it's really interesting.
16:43If they were to identify this border, for example, 1900, not so far off.
16:51But the majority of this so-called tapestry or textile, 18th century.
16:57Oh.
16:58So this is quite, quite old.
17:00And this would date, I would say, likely the last quarter of the 18th century, 1775.
17:06It has this lovely horizontal shape, but it didn't begin its life this way.
17:12This textile that you have, very symmetrical with these seams that sort of separate four panels.
17:19This was originally a robe.
17:22A garment, mind you, that not just had these four dragons, but would have had five others, too.
17:28Wow.
17:28Five dragons are elsewhere.
17:30Who knows?
17:31Hopefully still in existence.
17:32But this is the configuration that has nine dragons in all.
17:36It would have been in the style of an imperial court robe, but it also has some Buddhist iconography on
17:43it.
17:43So this may have been a priest's robe done in the imperial style.
17:46In the 18th century, the emperors specifically were devout Buddhists.
17:52So Buddhist iconography and imperial iconography really sort of came together.
17:57It's a roiling sea with mountains that come out of it.
18:01The mountains are the earth.
18:03And then finally, this realm in which the dragons fly, this is the heavens, the celestial realm.
18:09Furthermore, though, these creatures right here, which somewhat resemble butterflies, these are actually bats.
18:17And bats only have the significance that they do here in Chinese.
18:21Why?
18:22Because the word in Chinese for bat, fu, is also the word for prosperity.
18:28Even the clouds, the shape of the clouds are reminiscent of a particular fungus called the lingji fungus, which bestows
18:35immortality.
18:36So everything in this has meaning, it's auspicious, and it is in some respects associated with the divine.
18:45So this is an altar frontal.
18:48So in a shrine or in a Buddhist temple, they would repurpose these robe panels to go into the front
18:56of an altar.
18:57There is a strong market right now for Chinese textiles.
19:01And this is driven by Chinese interest.
19:02I think that this particular textile would have an auction value from $4,000 to $6,000.
19:09Oh, my goodness.
19:14I'm speechless.
19:18You know, I think about it just being stored in the pole barn.
19:24Well, I'm a collector of lanterns, and I found this about 20 years ago at a stay sale.
19:32And from the limited research that I could find about it, it was, I believe, made in Ohio Brass Works
19:39in Ohio.
19:40And it was one of the very first pneumatic pump-up type lanterns.
19:44I think I only paid $20 for it back then.
19:48Um, I don't really know too much about it.
19:50I picked it up at a local Salvation Army store, and I just thought it was pretty.
19:54And, uh, I'm hoping we find out something about it today, because I have no idea about it.
19:58It was $4.
20:01So, four or more, I'll be happy.
20:06Well, this is a, um, Tiffany, maybe, right?
20:10A diver's helmet, I think.
20:12Okay.
20:13That's all I know.
20:14I bought it in 1974 from an antique friend of mine, an antique dealer.
20:21And he never told me what it was, really.
20:24He just, I bought it.
20:26It's a great nightlight.
20:27Yeah?
20:28Yeah.
20:28How much did you pay for it?
20:30Uh, about $1,100.
20:32Okay.
20:32Do you think that was a good deal?
20:34Yep.
20:34Yeah?
20:35All right.
20:35So, what would you like to know from me today?
20:38Is it really a Tiffany?
20:40The good news is, yes.
20:42It is a Tiffany Studios lamp.
20:44I don't see a signature on it.
20:45Because it would have been on the base plate, and it's missing.
20:48Oh.
20:49Oh, yes.
20:51Oh, okay.
20:51So, this is actually a diver's lantern.
20:54Not a diver's helmet.
20:55Not, okay.
20:56It's had kind of a hard life, sir.
20:58It has?
20:59Yes.
20:59The handle's a little worn.
21:02You can see that some of the leading, it's not patinated.
21:07Mm-hmm.
21:07It's painted, and some of the paintings come off.
21:10Okay.
21:10And the switch is replaced.
21:13Oh, God.
21:14Oh, gosh.
21:14Oh, no.
21:15But it's still a Tiffany lamp.
21:17Yes, it is.
21:18Okay, good.
21:19And it's an early Tiffany lamp.
21:21And it's one that everybody's looking for.
21:24Oh, great.
21:25So, we would date this to be circa 1900 to 1910.
21:30Okay.
21:30If we had the base plate, we'd be able to narrow that down to a specific date.
21:35Mm-hmm.
21:36But it's missing, and it can't be replaced.
21:38So, that's why we've given a little bit of a range.
21:41Have you seen these before?
21:42I have seen one before.
21:44With the base plate?
21:45With the base plate.
21:48So, looking at this piece, and knowing that it's had a hard life, and knowing that there's
21:53some damage to it, and knowing that it's kind of rough, at retail today, $25,000 to $30,000.
22:03Holy Toledo.
22:05Wow.
22:07No.
22:09My ex-wife is going to know about you.
22:13Oh, my gosh.
22:14$25,000 to $30,000.
22:16Wow.
22:18I never, okay.
22:21I never thought it would be worth that much money.
22:25Wait till I tell my buddy who I bought this from.
22:28I'll be done.
22:29Well, thank you very much.
22:30I appreciate it.
22:31I'm going to enjoy happy hour tonight, I can tell you that.
22:36In, like, 1989, I was working at a government facility in Lexington, Kentucky.
22:43They were getting ready to do a bunch of renovations.
22:45I kept seeing all these dumpsters, and I saw some stuffed lamps and things I thought was pretty nice.
22:51So I asked my boss, where is that stuff all going?
22:54He says, to the dump.
22:55I said, well, if there's anything in there that I would like, could I have it?
22:59He said, well, sure.
23:00Tomorrow it's going to the landfill.
23:01Okay.
23:02So after work, I went out and looked around a little bit.
23:05This was kind of hanging kind of precariously out of one of the dumpsters.
23:10Okay.
23:10And I picked it up and looked at it, and I said, well, this is kind of interesting.
23:13I took it home and cleaned the glass off.
23:16It had a lot of smoke and nicotine on it.
23:18So it's been hanging in our house off and on for a number of years, and we enjoy it.
23:23The building started in the early 30s as a federal reformatory for drug users.
23:30Okay.
23:31And then later on in its life, the federal prisons moved in there.
23:35Gotcha.
23:36Okay.
23:36And when I was there, it was just a minimum security, so there was no fences or anything like that.
23:40But then due to demands, they decided they were going to put fences up.
23:44And so that started the renovation, opening up walls and pushing things back.
23:51I think it's kind of sad that they didn't want this in a prison.
23:54I think this could cheer up a prison.
23:55Yeah.
23:55That's what I think the whole purpose was, I think, originally.
23:58Because it is kind of a happy scene, and it could have worked very well there.
24:02Yeah.
24:03Absolutely.
24:04This work is by Ethel Spears.
24:06It's signed here, lower right.
24:09You can see it's very tiny.
24:10And it is watercolor and gouache and pencil on paper.
24:17Ethel Spears was born in 1903, and she died in 1974.
24:22She initially trained at the School of the Art Institute of Chicago in tapestry and textiles.
24:28As I understand it, she finished her training and then decided, no, I don't want to do that.
24:31And then moved over to paintings, and she studied with a modernist muralist, a guy named John Norton.
24:37From there, she went to Woodstock, the art colony there, a few years in New York.
24:43And then back to Chicago, actually, to the School of the Art Institute where she became a teacher.
24:47And that was in 1937.
24:49Before that, she was doing some work for the government.
24:52And I think this work would have been done right around that time.
24:54Okay.
24:55Right around the mid-30s.
24:56She was an artist that worked in a lot of different mediums.
25:00Tragically, I think that ultimately led to her death.
25:02While she was at the School of the Art Institute, she started an enameling program there in 1953.
25:10And it seems pretty clear that she got lead poisoning through that work, inadequate ventilation.
25:18But there were some great things at the Art Institute as well.
25:21She met her partner, Kathleen Blackshear, who's another fairly well-known artist there at the Art Institute.
25:28This picture has sort of signature elements of Ethel's work.
25:32It's very dense.
25:33There's a lot of figures in it.
25:35They tend to all be doing fun things.
25:38And even where there's not figures, there's a real density of decoration.
25:42There's no part of it that's lazy.
25:43It looks like this is the original frame, too.
25:46At auction, I would think this would be worth in the realm of $4,000 to $6,000.
25:51Oh, interesting.
25:52Yeah.
25:54You're not kidding.
25:58Well, not bad for picking it out of a dumpster.
26:00Straight out of the dumpster.
26:01Yeah.
26:05Well, my name is Linda Mueller, and I like to say that the castle owns me.
26:14Sometimes the castle will kind of hint that it needs something, and I do my best to put it in.
26:21Even when it was a wreck, it was beautiful.
26:24And I loved the stone.
26:27I'm just crazy about stone.
26:30When the former farm came up for auction in 2001, it was in rough shape, but the opportunity for Linda
26:37and her husband Richard to own the castle was too good to pass up.
26:41We all thought it was just the neatest property, but we worked with the State Historic Preservation Office to make
26:50sure that we were doing it by the book.
26:53I even had original building plans that came from the Loeb family.
27:00The big barn had been dirt and sky, and it took two years to complete that.
27:07I had planned to take 10 years to restore the property, and we got it done in five years.
27:18I brought today three dolls that belonged to my grandmother.
27:21I know they were important to her because she always kept them boxed up in her hope chest.
27:26Never let my dad or his brother play with them.
27:29They didn't even bring them out to display them.
27:31We only actually just recently found them about three months ago, getting out my dad's office.
27:36I know that they're from the Blondie comic strip, and it's Dagwood, Blondie, and Baby Dumpling.
27:43The dolls relate with the comic strip, Blondie, that came out in 1930 as Blondie, and she wasn't married at
27:52the time.
27:52Oh.
27:53And she was dating other guys, and the public didn't really just love that.
27:58So she met and married Dagwood, and of course, when you get married and love someone, Baby Dumpling will come
28:06along.
28:07Right.
28:07They were made in 1935 by Knickerbocker.
28:11They're made of composition, which is a wood and glue recipe that molds really well.
28:17They're this great middle-class average family where Blondie's sort of the one that anchors the whole family.
28:26She's the one that kind of glues the other two crazy kids together.
28:30Right.
28:30They have hand-painted faces.
28:33They have molded hair, and of course, Dagwood and Baby Dumpling have to have the exaggerated ears like they did
28:39in the comic strip.
28:40These dolls were sold as a group.
28:43They've always been together since day one.
28:45So that adds extra value for that originality.
28:50All original costumes, everything about them is glossy and nearly new-looking.
28:56So I would say that a retail value for these dolls would be somewhere between $1,500 and $2,000
29:04for the group.
29:07Wonderful.
29:15I received that from a dear friend.
29:17Her husband had passed.
29:19No one in her family was that into music, and she gifted it to me.
29:25It went from under her bed to under my bed and really hasn't been seen a whole lot.
29:31Was her husband's name Ed by any chance?
29:33It was.
29:34It was.
29:35It was his pride and joy.
29:37He took really good care of it, as with the amplifier.
29:40What you have here is a 1968 Gibson EB2D electric bass guitar.
29:46This is the bass version of Gibson's famous semi hollow body guitar, the ES-335.
29:52This was actually made in Kalamazoo, Michigan.
29:54We have a 30.5-inch scale-length mahogany neck.
29:57We have thin-line construction.
29:59Two pickups, which is great because the original models only had one in the neck position.
30:04A lot of players found it kind of muddy, kind of woolly, impossible to get a bright tone out of,
30:09which is why we have the second pickup near the bridge.
30:11It gives some much needed clarity to the instrument.
30:14This is such a cool instrument.
30:16And the fact that it has a nameplate on it really tickles me.
30:19It's in one of my favorite Gibson custom colors known as sparkling burgundy, which you can see originally was a
30:25very deep red.
30:26But because of UV rays, sun exposure, all of that, the red dye in the finish, as well as the
30:31clear coat, have both aged.
30:33So we've got this kind of orange copper thing going on that I love.
30:37And it doesn't hurt the value at all.
30:39Some people prefer a redder instrument.
30:41Some people prefer it to look orange or even gold when they get a lot of sunlight.
30:45Now the amp you have here is an Ampeg B18N Portaflex.
30:49It was made in New Jersey in 1966.
30:52All tube, 18-inch speaker, and a very cool flip top where the amp lives inside the cabinet for storage
30:58until you're ready to play.
30:59You flip the top over, lock it down, plug it in, and you're ready to go.
31:03For this instrument at retail, you're looking at between $4,000 and $6,000 for this instrument in its color
31:10and condition.
31:11You also have the original case.
31:12What a great gift.
31:13Yeah.
31:14The amp at retail, we are looking at about $2,000 to $2,500.
31:19Okay.
31:21Wow.
31:22It's one of my favorite things about guitars, that they age like this.
31:25Well, clearly, we both love copper.
31:27Yeah, yeah.
31:28We're big copper fans.
31:30These are, I think, military goggles from my grandfather.
31:33My grandfather served in World War II in the Navy.
31:36You can change the, like, brightness, dimness when you turn the knob.
31:41The elastic's a little worn out.
31:47Well, I have a Sean Connery action figure from Dr. No with a number of accessories that I'm sure are
31:55not appropriate for children.
31:58So, this was actually from my grandmother, who is a giant James Bond fan.
32:03I know she got it as a gift from my dad, who's over in line, who's probably so jealous right
32:07now.
32:08He gave it to her as a gift, and, uh, but I'm not sure when.
32:17So, I got this from my mom, who got it from my great-grandfather.
32:21My great-grandfather was a master carpenter for Euclid Beach Park, which is a now-closed amusement park in the
32:29east side of Cleveland.
32:30Mm-hmm.
32:30And he was leaving work and found it in the trash.
32:34He decided to take it home.
32:35He had two daughters, so he thought they might like it.
32:38It's from Philadelphia Toboggan Company.
32:40They made small ones to sell, and that's what they would bring to sell the carousel.
32:46And when did he work at the amusement park?
32:47I believe 1936 or 38 to the 1940s.
32:52It was made by the Philadelphia Toboggan Company.
32:55It's a company that specialized in the production of carousels, as well as roller coasters.
33:01So, with the company being founded in 1904, and your great-grandfather working at the park by the sort of
33:08late 1930s,
33:09we can obviously very safely date this to perhaps the 1920s, early 30s.
33:14They were known for their very detailed, very lifelike figures that they made.
33:19And I agree with you.
33:21This is almost certainly a salesman's model to show both the style of figures that they made for carousels,
33:29but also the quality of their work.
33:31It's constructed of carved and painted wood.
33:34It has glass eyes.
33:36I love the fact that it has a complete array of very lifelike details, including the teeth and tongue in
33:44the mouth.
33:44Very nicely carved and painted.
33:47The saddle has all of the tooling marks in black there that you would see on a full-size real
33:53saddle.
33:54And, of course, the saddle blanket being red with the yellow striping.
33:59And then the gold-painted trim at the bottom representing fringe.
34:03And I also really appreciate the fact that at the back corner of the saddle blanket you have carved there
34:10the PTC for Philadelphia Toboggan Company.
34:14There's a little bit of very nice restoration to it.
34:19The artist captured the muscle structures, the hooves, took great care to very carefully repair the top of the ear
34:27there,
34:27and as well as the rear hoof and joint in the leg there.
34:31And I actually really personally like the fact that they didn't repaint those restored areas.
34:36It's restored to show the form and the elegance of the piece, but not trying to hide the fact that
34:42it is a restoration.
34:44Carousel horses are quite collectible.
34:47Okay.
34:48But they're very large.
34:49Something like this, being a small version of that as a salesman model, we think would likely appeal more so
34:57to collectors than a full-size horse.
34:59Because think about it, if you had a full-size carousel horse, where are you going to put it in
35:04your house?
35:05If it were to be offered in an auction setting, I would suggest an auction estimate of between $4,000
35:12and $6,000.
35:13Oh, wow.
35:14Okay.
35:14That's more than I thought.
35:15I think a very fair insurance valuation for it would be about $8,000.
35:20Okay.
35:23Well, I wasn't really expecting to come.
35:26I ended up volunteering to drive my brother over.
35:30And so, as I was coming out the door, my wife said, take Charlie with you.
35:35Tell me the story behind Charlie.
35:37Well, Charlie is from my wife's childhood home, along with a number of posters that were glued to drywall at
35:44one time.
35:44This was among those.
35:46And, of course, during remodeling, we needed to save some things, and this came off the wall.
35:51How did this come to be in the house in the first place?
35:53My wife's brother traveled a lot and picked up posters when he traveled.
35:59And my other question is, how did it end up stuck on drywall?
36:02He did that to a lot of posters.
36:05Things from Fillmore East and Fillmore West and concert posters ended up just glued to the wall.
36:12And how did you get it off the drywall?
36:15Drywall knife and careful lifting.
36:18So, yeah.
36:20There is a little hole that we think is from drywall nail pop, which drywall does.
36:26Is it still mounted on the drywall?
36:28No, it's on the paper.
36:30Just on the paper itself.
36:33So, City Lights was a Charlie Chaplin film in 1931.
36:38And it was four years after the silent movie industry became the sound movie industry.
36:43And Charlie Chaplin stubbornly and defiantly and rather proudly decided he didn't want to do a sound movie.
36:50He wanted to keep up with the silent movie tradition that had been so kind to him and that he
36:54had dominated.
36:55And so this movie done in 1931, even though sound technology existed, was still done silently.
37:02That's a pretty extraordinary and a pretty bold step indeed.
37:06Charlie Chaplin himself was an iconic image in the film industry.
37:11He was the biggest star.
37:13My news to you on this particular beautiful sunny afternoon is that this is an original lithograph from 1931 advertising
37:21the movie when it came out in Chaplin's time.
37:24Wow.
37:26That's really amazing.
37:28The colors are beautiful.
37:29Yeah.
37:30The colors are beautiful.
37:31There's something else about this condition-wise, which we can't quite see because of the frame.
37:35The poster had a larger blank area at the top originally for text of the theaters it was in.
37:41Yeah.
37:42And there also would have been a margin at the bottom.
37:44So it's, I don't know if you remember when it was framed.
37:47Yes, those are not there.
37:48So they have been trimmed off.
37:49Yeah.
37:49So you have a poster that is an original lithograph from 1931 that has, by all accounts, seen better days.
38:01Yes.
38:01With posters like this, they can be restored.
38:04In this condition, were it to come up for auction, it would sell for between $3,000 and $4,000.
38:10All right.
38:11All right.
38:12Wonderful.
38:13That's nice to know.
38:15Well, in perfect condition, this most recently sold for almost $7,000.
38:23Because of Castle Farm's earliest connection to Sears and Roebuck, there's a small building dedicated to materials found in the
38:30retail giants' mail order catalogs.
38:32The focus of the collection is on items from the time when these castle-like barns were built, around 1918.
38:40If there was anything you wanted, from tools to food, houses, you could buy a house, you could buy a
38:49barn, you just looked in the Sears catalog and they would send it to you.
38:55One smaller example, this gong bell toy.
38:59A bear in a blue sweater standing atop a wheeled platform.
39:03When the toy moved, the bear hit the silver bell.
39:07The price for this entertaining piece?
39:10Just 50 cents.
39:13In 1967, we were on a family trip, my parents, my sister, and my brother.
39:18And it was to Washington D.C. primarily.
39:21But then we did a little side trip to Monticello.
39:25And back then it had an antique slash thrift shop.
39:30And my mother fell in love with this vase.
39:33And so my father bought it for her.
39:37And been a treasure.
39:39It's been in a china cabinet in my dining room in my home, the top shelf center.
39:43So I see it every day.
39:45When we bought the vase, and the tag is still on the bottom, it was $40 in 1967.
39:52The mark on the bottom, you can see the initials KPM.
39:56Right.
39:57KPM stands for the King's Porcelain Manufacturing.
40:01I'm translating from German.
40:02Okay.
40:03In Berlin.
40:04Then the Orban Cross above that.
40:06And further on is the Scepter, which is another typical KPM mark.
40:11Okay.
40:11The other labels are from the gift shop at Monticello.
40:16So KPM is known for a few things.
40:19Beautiful portraits, plaques of mythological figures, biblical figures, beautiful women with
40:26long flowing hair.
40:26Okay.
40:27They also made vases.
40:28Okay.
40:28They were kind of over the top.
40:30Very Victorian kind of stuff.
40:32Okay.
40:32So then something unusual happens at KPM in 1908, when a young man named Theo Schmus-Baudes
40:40became the artistic director.
40:42Okay.
40:42And I think Theo said, hey, we've been doing kind of Victorian stuff for years.
40:47Look at what they're doing at Royal Copenhagen, at Rookwood, beautiful high-glazed porcelain
40:55pieces.
40:55With Art Nouveau style decoration.
40:57Oh, so that's where it comes in.
40:59So you see a subtle change coming around that time.
41:01Okay.
41:02Thanks to bodice.
41:04And this is a perfect example of his influence.
41:07I would think this vase dates from around 1910.
41:10I think these are stylized ferns.
41:13Okay.
41:14Little fiddlehead ferns.
41:14Oh, yeah.
41:15And you see all the dots.
41:17Yes.
41:17The porcelain.
41:18It all had to have been done with an eyedropper, probably.
41:21Wow.
41:22Very detailed work.
41:24There are four panels.
41:25Each have the same design on them.
41:27All ferns, I think.
41:28So it's porcelain body with enamel decoration.
41:31Okay.
41:31These pieces are rare.
41:32They still don't show up a lot.
41:34Yes.
41:34I mean, when you unwrap this, I was shocked how pretty it was.
41:37I mean, it's just one of those pieces that grabs you.
41:39It is beautiful.
41:40I think probably an auction value, we're looking at $2,000 to $3,000.
41:45Okay.
41:46That's pretty exciting.
41:47Yeah.
41:48I love it.
41:49She's a beauty.
41:55I grew up with this clock in my grandmother's house.
41:59It was one of the items from my grandmother's house that I remember more than anything.
42:04And the big story that I remember the most with this clock is my mom always used to tell
42:09a story about how it magnifies sunlight.
42:12And so it was on a little end table by one of their couches.
42:17And all of a sudden, the couch started smoking.
42:20So it caught, yeah, the couch at my mom's house on fire.
42:23So now we always need to make sure that we don't have it anywhere near the sunlight.
42:28Yeah.
42:28So it's gotta be in the center of the room, not by a window, so we don't start any more
42:33fires with it.
42:33It's unbelievable.
42:35Yeah.
42:35Do you know what it's called at all?
42:36I don't know anything about it.
42:38I just always loved it.
42:40I've never seen anything like it.
42:41I don't know what it's called now.
42:43It's called a crystal ball club.
42:45Okay.
42:45And there's two reasons why it's exceptional.
42:47First of all, the size.
42:49It's just a little smaller than a volleyball.
42:52This is scaled up 10 times the norm, and I've only seen one other that's this big.
42:58And the second thing is the complications that it has.
43:01It has the calendar, the numerical date, the day of the week, and then the moon phase
43:09at the bottom here.
43:10And all the hands you said are off of it, but they're inside of it.
43:13Right, they're inside it.
43:14Yeah, it got shaken.
43:16And that's a great thing that you have the hands inside of it.
43:19Probably made circa 1890, and it's a French origin.
43:23It was a really nice quality thing.
43:25I would put a value on this clock that burns couches.
43:31Probably about $3,000 in its present condition.
43:34If you put the hands back on it and you get it serviced, I could see it being worth as
43:38much as, say, $4,500.
43:41That's great.
43:42It's going to stay in my living room for the foreseeable future.
43:45I love it.
43:46Maybe put a fire extinguisher next to it.
43:49I believe this is a Puget Sound falling axe from the Pacific Northwest.
43:56This is a Sager chemical.
43:59That was a company that made falling axes.
44:02It was made to take down the large trees.
44:05It's got a 42-inch handle on it.
44:08I got it in trade.
44:09I'm a saw filer.
44:12And I was filing saws for a guy, big saws.
44:15And he said, I don't want to pay you, but I'll give you an axe if you file my saw.
44:19So he said, I can do that.
44:27This belonged to my father.
44:29He was an architect during the 60s and 70s and 80s.
44:34He was very much into mid-century modern.
44:38I remember it first in probably about the mid-60s when my dad acquired it.
44:44Uh-huh.
44:44You remember growing up with it as a kid?
44:46And he pointed that thing up on the shelf?
44:48Oh, yes.
44:48We always looked at it and wondered why it was so strange looking and why he even bothered
44:53to buy it.
44:54We always in the family called it an anteater, but he said it was a polar bear.
45:00He was wrong.
45:01It's an anteater.
45:02All right.
45:04It's made out of ceramic.
45:06Uh-huh.
45:06It is fragile.
45:07It is made out of porcelain.
45:09And it has this wonderful glaze.
45:10And, of course, it has this wonderful form to it.
45:13And it has a conforming base.
45:15The artist is Gordon Newell, born in 1905 in California.
45:18And he went to a number of art schools out in California and eventually became a teacher.
45:23The 1930s, during the Depression, there was something called the WPA, the Works Progress
45:30Administration, which hired artists, painters, sculptors to keep them employed.
45:36And Gordon seemed to be involved with architectural things.
45:39So, you know what kind of commissions he got?
45:42He got post offices.
45:44Oh, I see.
45:45Yeah.
45:46So there'd be like a relief over the entrance of the post office or maybe something inside.
45:50Very interesting commissions.
45:51He lived in Carmel, California.
45:54And he exhibited widely other things, non-WPA pieces.
45:59His work is in a number of collections, something at the White House of his.
46:03And he exhibited at the famous 1939 World's Fair in New York City.
46:08It's a spectacular piece, the way it's stylized, simplified.
46:12And I think it captures the whole spirit of the artist.
46:15This piece was made in the mid-1950s, probably about 1958.
46:19It's not signed.
46:21And it's also on a very nice wooden base.
46:24Yeah.
46:24I don't know if it was original, but it could be original because it's tapered perfectly.
46:30A number of these have come up for auction.
46:33They do very well, especially because in the last 10, 15 years, the interest in mid-century
46:38modern design has skyrocketed.
46:40Very, very popular, especially among young, new collectors.
46:44One recently sold at auction for $7,500.
46:49Wow.
46:50That's amazing.
46:52An auction estimate would be in that $7,000 to $10,000.
46:55Wow.
46:56An insurance evaluation might be closer to $12,000 to $15,000.
47:01Very nice.
47:01So I'm glad you have it out.
47:03It's a spectacular piece.
47:05Well, thank you very much.
47:06And I'm very surprised and very pleased.
47:09My mom bought it 60 years ago at an antique shop.
47:14I really don't know.
47:16I'm trying to find out what it is.
47:18And it weighs about 40 pounds.
47:20That's all we know.
47:21You ever cook anything on it?
47:23No.
47:25It's been in a box for years.
47:27Yeah, it's in pretty good shape for being...
47:30However old it is, I don't know.
47:33I don't really know anything about the artist.
47:36It was in my parents' home my entire lifetime.
47:40Right.
47:40And I know that my mom used to tell us that this picture was in her childhood home.
47:46Well, the artist is John George Brown, and he was born in Durham, England in 1831.
47:53He had artistic talent early on, but his parents decided he needed a trade.
47:57So they sent him to be a glass cutter in Edinburgh.
48:00While he was there, he attended the Royal Scottish Academy so that he could keep up with his interest in
48:06art.
48:07And by the age of 22, he decided to move to London and started painting portraits.
48:11But he was enamored with the idea of going to America.
48:14So in 1853, he emigrates and he settles in Brooklyn.
48:18And we can see his signature there with the initials N.A., which means that he was a member of
48:23the National Academy in New York.
48:25As an artist, he is probably one of the most prominent genre painters in America in the 19th century.
48:31He actually had the claim of fame to be at the important 10th Street Studio, which was a major studio
48:38of artists that included Winslow Homer and Frederick Church and Albert Bierstadt.
48:44So he was among the best of the best.
48:46Wow.
48:47He was best known for painting children and he was very masterful at it.
48:51Most of his paintings tend to feature little boys and they tend to feature street urchins, boot blacks and newsboys
48:59on the streets of New York.
49:00Often they're immigrant children.
49:02They're wearing tattered clothes and yet they have cheerful smiles.
49:06They often have a dog with them.
49:08So it's a very typical kind of thing.
49:10And he was very prolific as a painter.
49:13The subject here is really more unusual for him.
49:17It's a little girl.
49:18And although he did paint girls from time to time, he did so more readily in the 1860s.
49:24And this painting is probably done circa 1880.
49:28And it, of course, focuses on such a charming child.
49:32And he's really reflecting the innocence and playfulness of childhood here, which was a very popular topic in the Victorian
49:40era.
49:41The painting has a label in the back with the title, which is Making Houses of Sand.
49:45The composition is quite interesting because J.G. Brown was just known for painting very realistic images of the children.
49:53And what makes this a little more interesting is that in the background there are all sorts of figures.
49:59And they're a little bit more abstract.
50:01So I find that really creative in terms of his work and not something we normally see.
50:07The painting is oil on canvas and it's in excellent condition.
50:12Because of the subject, I think that in a gallery in New York in particular, the painting would sell for
50:19$150,000.
50:20Oh, my gosh. Oh, my gosh. I had no idea. I'm going to start crying. I had no idea. Thank
50:28you. Oh, my gosh.
50:32It's just stunning. And when I saw it, I thought I was just breathtaking.
50:36It's really cute now because I have one granddaughter. Oh.
50:40And we live up on the water in northern Michigan and she can be the little girl.
50:46Oh, yeah. Oh, wow. Wow.
50:49Thank you. Oh, you're welcome. Thank you.
50:55And now it's time for the Roadshow Feedback Booth.
50:59And it turns out that our baseball signed by the Yankees along with Mickey Mantle is actually stamped.
51:06Looks like we're going back to work tomorrow.
51:07We wanted to find out some history about our scary eggplant baby.
51:11We knew it wasn't too old, but we found out it's mass produced, not worth much.
51:17Our daughter even says it wasn't worth the quarter we paid for it.
51:21We found out that my grandmother's silver candy dish is worth about $1,000 to $2,000.
51:28I brought this ancient pottery that's actually as old as I thought it was, but it's restored.
51:34But we got to find out that it was actually real and comes from the era in Nicaragua.
51:40And we're happy to be here 10 years, 10 years married.
51:43So thanks for having us.
51:45Yes.
51:45We both brought in a couple items.
51:47I brought some pocket knives and a Koopy doll that I dug up by my chicken coop.
51:51Found out that this is worth about as much as everything else buried by it.
51:55And this is about $250.
51:58And I'm just glad to be here instead of crying in my basement about not coming to Roadshow today.
52:03Today we brought our little Fryer Chuck cookie jar and found out that even though he's been in our family
52:09forever,
52:09he is worth about $13.
52:12So he'll be holding cookies for the foreseeable future.
52:16But we had a great time.
52:17Thanks Antiques Roadshow.
52:19Thanks for watching.
52:20See you next time on Antiques Roadshow.
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