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00:00Roadshow found the sweetest treasures in the Peach State when we visited the Georgia State
00:09Railroad Museum.
00:10I've got a basketball signed by the 92 Dream Team.
00:14I see why people cry on Roadshow.
00:30The Georgia State Railroad Museum is more than a whistle stop for Antiques Roadshow today.
00:42We've set up at the former Savannah Repair Shops, where steam-powered trains once chugged
00:47in for maintenance.
00:50Completed in 1855 for the Central Railroad and Banking Company, the site was transformed
00:56into a museum over a century later and has been managed by the Coastal Heritage Society
01:01since 1990.
01:03Check out the treasures that made our experts stop in their tracks.
01:16My mother bought it for me when I was a child in like 1951 or 1952.
01:22It's probably 73 years old.
01:31This is my grandmother's copy of Gone with the Wind.
01:33She was born in 1900 and she was friends with Margaret Mitchell.
01:37They were childhood friends, grew up in Atlanta.
01:39And so when the book came out, she bought it new.
01:42I guess she asked Margaret Mitchell to sign it for her and she did.
01:45So it's an autographed copy by the author.
01:47Let's take a look, because it's not just Margaret Mitchell in here signing.
01:52We've got Margaret Mitchell inscribing to your grandma?
01:55Yes.
01:56After about six months, she was so swamped, she refused to sign anymore, which is good
02:01for us on the collecting side of things.
02:04And then over here, we have some Hollywood greats.
02:08We have the movie stars' names, the ones who were living who went to the centennial premiere,
02:12which was in 1961.
02:15So we have the autographs of Olivia de Havilland and Vivian Lee, who won the Academy Award,
02:21and David Selznick, who also won the Academy Award as producer of the movie.
02:25They played the movie for the centennial of the beginning of the Civil War, so 1961.
02:30There are some very interesting points about this book.
02:34Points are ways that we determine the edition of a book.
02:38And Forgone With The Wind is very popular, went into second edition almost immediately.
02:44And the way we can tell is this copyright date.
02:47This one says May 1936.
02:49And that means, for sure, 100 percent first edition.
02:53Right.
02:54So that's important for value.
02:56There are more signatures.
02:57Yes.
02:58So on that page, it looks like my grandparents went out to a Confederate veteran's home and
03:04met with some very old Confederate veterans who signed the book as kind of a representation
03:10of what the book was about.
03:12I think they thought it was important to document these people.
03:15And then here, there are signatures of people that were formerly enslaved that were still
03:20living.
03:21Yes.
03:22I think my grandfather dated both of those two pages, like 1939, 1940.
03:27So just a couple years after the book and a year after the movie.
03:30The signatures in the back really speak to the epic nature of the story itself and, of
03:36course, the time period that it's trying to cover.
03:39The fact that there are people that fought in the Civil War on the Confederate side and
03:43people that were formerly enslaved.
03:46Writing their names in here, it's just sort of a testament to what an important work this
03:51was.
03:52It was a big story for the city of Atlanta.
03:55The other thing is this photo, which is fabulous because it's got Margaret Mitchell.
04:01Which one is she in that photo?
04:02Yeah.
04:03She's in the front and the center.
04:05That's a picture when my grandmother and great-grandmother and great-uncles were on a
04:09house party out in the country with Margaret Mitchell.
04:12And we think that's maybe her first husband before they were married.
04:16It's a 1920 photograph.
04:17That's so early.
04:18So they were 20 years old.
04:19And she's wearing pants.
04:21I read that her skirt caught fire when she was little and her mom was so afraid that
04:25she dressed her in pants and they called her Jimmy.
04:28Interesting.
04:29Which is just the cutest thing.
04:32Have you ever thought about value of a signed first edition of Gone with the Wind?
04:36We've thought about it.
04:37We were guessing $1,000 if we're happy if it's that or more.
04:40Well, all of the special features of your grandmother's copy, an auction estimate would
04:45be $20,000 to $30,000 for your little book.
04:51That's fantastic.
04:52If I would have been happy with $1,000, I'm 20 to 30 times happier.
04:56I like that.
05:03It's kind of a long story, but it was in a house and I rescued it from what it turned
05:07out a couple of weeks later to be certain doom.
05:10And to be honest, for all the research I've tried to do, I really can't figure out what
05:15it is.
05:16I don't know if it's a game or if it's something for writing.
05:19I'm not really sure.
05:21The most interesting thing about it is it never happened since the 1976 Winter Olympics.
05:29They were supposed to be in Denver, Colorado, but the city defunded it.
05:33That's about the extent I think it was Helsinki, but that might be totally wrong.
05:37So I just kind of wanted to get a little bit more info, and I thought it was pretty neat.
05:46I've got a basketball signed by the 92 Dream Team.
05:50My father-in-law immigrated to the States.
05:52He's Dutch.
05:54And he did that in the early 90s.
05:56And he's been telling me that he has a basketball signed by Michael Jordan and the Dream Team,
06:02and I never believed it.
06:04Basically, I told him that we were going to the roadshow because we're big fans.
06:07And here it is.
06:08It's been in his attic since then.
06:10He just said he got it as a gift from a friend when he moved here.
06:13Hey, that's a pretty good gift.
06:15Yeah.
06:16This is a basketball signed by the 1992 Dream Team from the 92 Summer Olympics in Barcelona.
06:22This ball would have been made available at the 1992 Tournament of the Americas in Portland, Oregon.
06:27It was a qualifying tournament before the Summer Olympics in Barcelona.
06:31It's a limited edition.
06:33200 of these were made available.
06:34When it comes to the Dream Team, Michael Jordan, Scottie Pippen, Larry Bird, Clyde Drexler, David Robinson, Charles Barkley.
06:42I mean, it is, as a nerd, it's like the Avengers of basketball assembling on the court.
06:49The Dream Team, they're literally, when you talk about domination, they were straight steamrolling the competition.
06:56Average of 44-point lead for every game in the final gold medal game versus Croatia.
07:02I remember the score being 117 to 85.
07:05So even in the end, it was just total annihilation.
07:09They were incredible.
07:11And being in the 92 Olympics, this was the first time FIBA, International Basketball Federation, allowed for players from the NBA competing in the Olympics.
07:20When it comes to a package, this being a known addition, you really can't get any better.
07:25In terms of marketing as an auctioneer, this is a slam dunk for collectors today.
07:30Conservatively, at auction, you would easily see this ball in the $30,000 to $40,000 range.
07:40That's amazing.
07:41What a gift, right?
07:42Yeah, what a gift.
07:43The Central Railroad and Banking Company became the Central of Georgia Railway Company in 1895.
08:00The railroad was really critical to Savannah and to Georgia.
08:03It was developed in order to transport the goods from the interior of the state from farms and plantations to the port.
08:11Savannah is a port city.
08:13And so then those goods would go on a ship and be transported across the ocean or to other parts of the country.
08:19In 1963, the Central of Georgia ultimately closed the repair facility and it was left vacant for many years and these properties really fell into disrepair.
08:30And so when the property was being demolished for the very valuable Savannah gray brick and scrap metal that was here, the city of Savannah stepped in and halted demolition.
08:41And we're able to save it and we've operated this property as a museum ever since.
08:51I brought a wristwatch my dad gave me in high school that has a slide rule around the outside when I was taking trigonometry.
09:02He was a Methodist preacher and couldn't afford good things.
09:06So he gave you quite a gift?
09:08He did.
09:09Have you worn it or used it since?
09:11Not so much.
09:12Okay.
09:13It's made by Juvenia, a very fine Swiss watchmaking company.
09:17They were founded in 1860.
09:19This particular model is called the Arithmo.
09:22Comes from the word arithmetic.
09:25They introduced this in 1945.
09:28It's in a stainless steel case.
09:30It's a 17 joule automatic self winding movement.
09:35This was a calculator.
09:38This company, Juvenia, they proclaimed theirs to be the best.
09:43Solid, nice construction.
09:46The rotating bezel.
09:48So you can do your calculations by moving it around.
09:52Currently, it's not moving.
09:54It's not working.
09:55It's probably gummed up, which is very common with these watches.
09:58It happens.
09:59And a cleaning and an overhauling, it'll be working just fine again.
10:03This watch today, retail, this will sell for between $7,000 to $8,000.
10:11Wow.
10:12It's priceless to me because my dad gave it to me, but that's wonderful to know.
10:19And I made an A in three, so it helped.
10:24I guess it worked.
10:25It did its job, didn't it?
10:26It did its job.
10:28So this is what I believe might be an animation cell from Disney's masterpiece, Fantasia.
10:35I picked it up in an antique and bookstore in Philadelphia, where we're from.
10:40And it was the shabby little store, had great, wonderful treasures.
10:43I picked up so much stuff over the years.
10:45And I thought this was just a sketch, and then I took it home, open it up, and it's translucent.
10:49It's on a translucent film, which looked like a good design, so we'll see.
10:54Yeah, we're just happy to be here.
10:55We love it.
10:56Fantasia's my favorite movie, so I know this guy's Chernabog from The Night on Bald Mountain.
11:01So me and my mom were yard-sailing one day, and we were on one side of the highway,
11:07and she saw the lamb across four lanes of traffic, and we did maybe a little bit of a dangerous
11:12U-turn, and we jumped out of the car, and the guy told us it was $5.
11:17So, yeah, we took it home.
11:20So I would say that this is a sheep designed by Hans Peter Kraft, and he has an apt last
11:28name, since this is a wonderful piece of Kraft work.
11:31Oh, wow.
11:32It was made in Germany, and it is done with this wonderful wool, boiled wool, and all of
11:41the legs are original in their ash, wood, with his ears in leather and those glass eyes.
11:50He's so alert.
11:53It's a spirited, wonderful, fun object.
11:56Well, you can see these, really, in a retail setting in the $4,000 range.
12:01Oh, wow.
12:02Yeah.
12:03You might just try to get his tail attached so you don't lose his tail, because that's
12:07important.
12:08Okay.
12:09This muzzle is a little dirty, and that's good.
12:11So, lovely, wonderful $5 yard sale find.
12:15Absolutely.
12:16Thank you so much.
12:18I brought in a cast iron mechanical bank.
12:21I got it in western New York.
12:23A friend of mine, who's an antique dealer, he borrowed money from me, and we were making
12:27a business investment into a friend of his.
12:30And a few months later, his friend died, and so did the business.
12:33He's kind of felt guilty a little bit about it, so once in a while he'll give me a few items.
12:37So what can you tell me about the bank itself?
12:38Well, it's a shooting bank.
12:40It'll shoot a penny from the rifle into the tree.
12:44First, you cock the holder back.
12:47You slip a penny on there, and see how the head went down.
12:51Now you hit the toe.
12:53What did you find when you looked it up?
12:55The J.E. Stevens Creedmoor Bank.
12:58Creedmoor Bank.
12:59Okay.
13:00How about the age of the bank?
13:01Do you have any idea?
13:02Well, the original ones came out in 1877, as I am aware.
13:05Okay.
13:06But then they made reproductions after that.
13:08Sure.
13:09The entire basis of the design of a mechanical bank was to make saving money fun for children.
13:15That way they wanted to save the money.
13:17So by introducing a movement, it created a toy, an action.
13:21Your research was spot on.
13:23The Creedmoor Bank was made by a Connecticut company, J.E. Stevens, and we see it quite often.
13:27It's a fairly common bank, a very popular bank.
13:301877, 1880, that's the time frame we see that bank and associate with that bank.
13:36However, there are slight differences between this bank and the Creedmoor Bank we normally see.
13:40They did make a few variations of this style shooting bank with the figure wearing a different hat,
13:46and then right here on the front is a base plate.
13:50That's often where we'll see Creedmoor Bank, the new Creedmoor Bank, Volunteer is another name.
13:56I'm happy that yours is blank.
13:59And even though your paint is very thick, a bit drab in color, I believe the paint to be completely original.
14:06Oh, nice.
14:07The casting is also a little crude, a little more crude than I'd expect from the American cast iron manufacturers.
14:12This one, instead, is a cast iron mechanical bank, but made in Europe, either in Germany or in Austria.
14:20This bank was a few years later, circa 1890.
14:23This is actually much, much rarer than a Creedmoor Bank by J.E. Stevens.
14:27Oh, wow.
14:28It's a much better, much better example here.
14:30I'll turn it around so we can see the back side of the bank as well.
14:33Another characteristic which is different is the color of his uniform itself.
14:37It's almost in a reverse painted colors.
14:39We have a red robe, and he has white pants.
14:42Normally, we'll see a gray, red, and blue, but in a different configuration than that which he's wearing.
14:48Now, this bank is quite dirty.
14:50I do believe it will clean up very nicely with a little time and energy.
14:56But you have to be careful what you're doing.
14:58You don't want to disrupt the original paint.
15:00Now, a normal J.E. Stevens Creedmoor, there are thousands of them out there.
15:04Of course, condition is king, but you can pick up a Creedmoor Bank around $300 to $500 range.
15:10When it comes to the variations, they're much scarcer and hard to come by.
15:15The paint on this example is quite chipped and worn.
15:18However, it's authentic, and I would value this with an auction estimate of $1,000 to $1,500.
15:25Well, that's good news. That's awesome.
15:27Yeah, it's cool.
15:36My husband is a retired surgeon.
15:38He had a patient who gave it to him at the end of her life.
15:43He had taken care of her for many years, and it was a thank you from her to me for all the hours that he had spent with her in the hospital and making house calls.
15:54And when was that?
15:56Hmm, 2019.
15:58She said that her husband had had it made for her.
16:02The bracelet is made by Jean Schlumberger by Tiffany & Company.
16:06It's in 18 karat gold, some full-cut diamonds, and cultured pearls.
16:12It is made in New York, and it came in this Tiffany box that is original to the bracelet.
16:19It's stamped 18K with the maker's mark on the clasp.
16:23He was from France.
16:24He began working for Tiffany in the 1950s and created this amazing sort of latticework bracelet.
16:31His main goal was to have natural motifs and naturalistic, organic designs.
16:37It was just a beautiful sort of way of approaching jewelry.
16:41The name of the bracelet is Heliodor, or Gift of the Sun.
16:46It's actually articulated all in the center.
16:49These little pearls, everything sort of rocks back and forth.
16:52Right.
16:53Some rock back and forth a little faster than the others.
16:56But depending on what you're doing, whether you're sitting or dancing, they might just jiggle a little bit more.
17:02The design would have come out of approximately the late 50s, 60s.
17:07I believe the style was reinstated.
17:10But it's hard today to really ascertain the exact date as to when this particular bracelet was made.
17:16It would require a little bit more research.
17:18These are iconic bracelets.
17:20At auction, conservative value would be between $20,000 and $30,000.
17:25Wow.
17:26And people covet his jewelry designs.
17:28Wow.
17:29So it's quite a collectible piece.
17:30It is beautiful.
17:31Thank you so much.
17:33A roundhouse is a building where locomotives are maintained and repaired.
17:40The turntable behind me is essentially the heart of a roundhouse.
17:44Without a functioning turntable, you can't get the locomotives in and out of the roundhouse.
17:48So why a roundhouse?
17:50It's the most efficient way to house and repair and maintain a large fleet of steam locomotives.
17:57So this turntable had to be expanded twice in its history.
18:01The original turntable is only 50 feet long.
18:04It was also manually operated.
18:06What that meant was the steam locomotive had to be centered on the table and perfectly balanced.
18:11Each end of the turntable had a handle that stuck out and you would have a couple of men on each end that would push on that handle.
18:18And they could actually turn the locomotive manually.
18:21Later, the turntable was steam powered, air powered, and now it's electrically powered.
18:28That's a pickle jar that originated in Dahlonega, Georgia.
18:38At one point, it was used to serve the Yankee soldiers pickles at the end of the Civil War.
18:43When it was over, soldiers left, and my great-great-grandmother wound up marrying one of them and took off with him.
18:50Oh, my goodness.
18:53How was the family feeling about that?
18:55I'm sure it all worked out for the best because here I am.
18:58So how do you know that the Union Army ate pickles out of this?
19:04There was a document in there that was written by my great-great-grandmother.
19:08She detailed what took place at the Mint City as it was known as Dahlonega.
19:14The first thing I look at when I look at a piece of glass like this, I look at the coloration and what it is,
19:23but I also look all around all four sides to make sure that there's not any broken places in it.
19:32But, you know, the kicker on this is to look up under the bottom and see if it has wear.
19:41Yeah, there is some.
19:42Look right there. You see all that wear?
19:45Right.
19:46This bottle was molded and it was made in a factory.
19:50There's no way to know for sure which factory made it, but I'm 99% sure that it's an American bottle.
19:56This is the size bottle that would have sat on the countertop in a country store in the 1860s or 70s.
20:02Right.
20:03If you look at the pattern, it's called Cathedral, but it goes right along with the Gothic style of decorative arts
20:11that was real popular in America and England in the 1840s and the 1850s.
20:17And the color is called Light Aqua.
20:20But the thing that really makes this neat is that story.
20:24So if we went out of here today, we could probably find one of these bottles for sale retail for $300 or $400.
20:32But I think with that story, to somebody who values that history, it's probably more like a $1,000 bottle.
20:39I would have thought if I walked into an antique store, it would be $40 or $50.
20:44And that would have been my thought.
20:47Well, we can add a zero at least.
20:49Well, that's good news.
20:51It is an enamel by Alexander Fisher that was purchased by my husband's grandfather in 1926.
21:10You brought this wonderful enamel plaque set in its original architectural bronze frame.
21:18He did sign the plaque and dated it 1901.
21:22He is an Englishman born in 1864.
21:28He died in 1936.
21:31And he was a master of the enameling technique.
21:37Fisher won a scholarship to attend the National Art Training School in London, where he studied in the mid-1880s.
21:45And part of that then became a traveling scholarship to go on and study enameling in France and Italy.
21:51But I think it was with the French masters that he really developed the techniques that he brought back to both create works with and to teach others about.
21:59After his studies in the mid-1880s, he came back to London and established his own studio where he both created enamel and taught enameling.
22:10This form of enameling is painted enamel.
22:13And the depiction comes from the verse from Genesis.
22:17Under it, the sons of God saw the daughters of men that they were fair.
22:22It's a magnificent, magnificent example of his work.
22:25And you have this letter from Fisher, dated 1926, in which he writes how special this work is.
22:35P.S. I am so glad the enamel is a pleasure to you.
22:40It was a great effort as a piece of enamel.
22:43There's nothing like it in the world.
22:46While we know there are other Fisher enamels out there, that says something, that he said that a hundred years ago.
22:52Despite the very minor condition issues, it's a magnificent item.
22:56This truly is a museum-quality work of art.
22:59Do you have an idea of what it cost originally?
23:04We don't have a receipt, but we were told he paid $8,000 for it.
23:09And in about what year?
23:101926, when the letter was written.
23:13Well, that would have been a lot of money back then.
23:16But that's appropriate because, again, at the time, he was an important creator of these things.
23:21This should be insured for $100,000.
23:25Woo!
23:26That's quite a bit, yeah.
23:29Wow.
23:30I guess we better up the insurance a little bit.
23:35Wow.
23:37Well, this is a letter written to my wife's foster uncle in 1957 when Kennedy did the commencement speech at the University of Georgia.
23:48He didn't get to talk to him when he came there, but he wrote him a letter and said he was sorry he missed him.
23:54And they discussed what they did in World War II.
24:02Well, I do a lot of thrifting and estate sales, and I just, this is from a home in Williamsburg, Virginia.
24:11An old lady, her mom, it was her mom's, and she, her mom passed, and that's pretty much all I really know about it is that it was her mom's.
24:21It was probably about $80.
24:26Christmas of 1978, my mother and dad decided that instead of giving us a bunch of stuff that wouldn't last, they would give us some art.
24:36And so these four squares are a sculpture from Carl Andre.
24:41And of course, when they gave them to me, I had no idea who Carl Andre was.
24:47I took him back to college with me.
24:49I took him to graduate school after that.
24:51When I tried to explain it to my fraternity brothers or friends, they said it looked like drink coasters to me.
24:58And they have been used as drink coasters.
25:02Came back, moved back to Savannah, got married, had four children, and I sort of forgot about it.
25:07And then, last year, I read in the New York Times that he died, and so I remembered that I had him.
25:13So they are by Carl Andre. He was the leading minimalist artist.
25:17Right.
25:18And we're showing him this way, but let's show the way it's really supposed to look.
25:22I have the receipt, but I don't have it with me.
25:26The picture with the receipt has a picture of it arranged like that.
25:30So I've assumed that that's the way it was meant to be.
25:33His work is meant to be flat on the ground.
25:36Right.
25:37The larger works can be 10, 15 feet square.
25:40He felt that people should be able to walk on them.
25:43Wow.
25:44This minimalist movement was a reaction against abstract expressionism,
25:48and the idea was to reduce art to the most simple, basic forms.
25:52He was very prominent.
25:54He had exhibitions in major museums, the Guggenheim, the Tate.
25:57He's quite controversial in his personal life.
26:00I read a little bit about that in the Times.
26:03Right.
26:04Carl's wife was Ana Mandieta, and she was a very prominent Cuban artist.
26:09She was well known for her Earth Body series.
26:12His wife died, and he was tried for secondary murder.
26:17And he was acquitted.
26:19But many, many people in the art world felt that he was guilty.
26:25And as a result, every time he showed after that, this was in the 1980s,
26:29there would be huge protests saying that he really was guilty.
26:34He went off to Europe, he stopped showing, and his career was really in decline.
26:40Do you know who your father bought it from?
26:43After I got more interested in it, I found out that the art director had introduced him to a friend of his, Angela Westwater, in New York.
26:51And she was a very prominent art dealer at that time.
26:54Right.
26:55Right.
26:56So it has a really great provenance.
26:58And I understand you have all the materials.
27:01We do.
27:02And I can't remember how much he might have paid for them.
27:06If I had to guess, I'd probably say maybe $2,000 or $3,000.
27:09His work is very desirable, very, very collectible.
27:13I think an insurance valuation would be in the $10,000 range.
27:17Probably shouldn't use them as drink coasters anymore.
27:21Unless it's a really fine wine.
27:27This I actually ended up finding at a rag house.
27:30And it had a piece of paper in the pocket.
27:33And it has a stamp here from Marseille.
27:35And I ended up looking everything up.
27:37Amazingly found a lot of information.
27:40It was made for the archers in a parade for a town in France's tricentennial.
27:46And I actually found a video of the guys marching in it.
27:49So I have a great story.
27:50It's beautiful and it fits me like a glove.
27:54She wears it around the house.
27:55I do wear it around the house.
28:00This is an Andy Warhol collection of prints.
28:04My grandmother met Andy at one of his exhibits in Sacramento, California.
28:11And had him sign the front of this collection for my mother, Catherine.
28:17And that's about all I know.
28:19Mm-hmm.
28:20I'm nervous.
28:23Well, so Andy Warhol is one of the most desirable American artists.
28:27Not just for the 20th century, I think overall.
28:30This is one of the most iconic groups that Andy Warhol put together later in his career.
28:36It's called Andy Warhol Myths.
28:40So in this case, it was really terrific that he signed the cover of this group as well as the image of Howdy Doody.
28:50What I thought the most striking image actually is that Andy Warhol included himself in the group of portraits.
28:58You get the shadow on the wall and him sort of looking into the picture.
29:03Mm-hmm.
29:04These are essentially postcards and the group was an advertisement for large poster-sized lithographs that numbered and signed.
29:16This was done in 1981 and then unfortunately he passed away in 1987.
29:21It was a collaboration between Warhol and his gallerist, Feldman, who was the publisher of the cards as well as the lithographs.
29:33Have you ever had them appraised?
29:34No.
29:35They've been sitting in storage in my mother's house.
29:39Mm-hmm.
29:40And I've only heard about them.
29:42Okay.
29:43This is like the longest I've spent time with them and seeing them and looking at them.
29:48Uh-huh.
29:49At auction, I would place an estimate of about $2,000 to $3,000 on this group of products.
29:55Okay.
29:56Great.
29:58Thank you for bringing me those.
29:59Oh, yes.
30:05I brought in a brooch that could also be worn on a pendant.
30:10I've had it for approximately four years and it was given to me by my former fiancé.
30:18He passed away about two years ago.
30:21It belonged to his mother.
30:24Now, he was 95 when he passed away and so you can imagine how long this has been with her.
30:33So I was thrilled to have it.
30:36When the jewelry moves, when you're walking, when you're dancing.
30:39Oh, yes.
30:40It's scintillating and catching the light.
30:42I love the use of the baguettes, kind of ribbon-like.
30:46And then you have marquees, cut stones, you have pear-shaped stones, and it's all set in platinum.
30:54Most people who come in to see me in my regular everyday life and they have this brooch or something like this,
31:02they always come in and they tell me I have a piece of Van Cleef and R. Pels jewelry.
31:07And if you turn around and you look at the back, it looks like it says Van Cleef.
31:14It's signed Van Cleef.
31:16This is his full name.
31:18George Bud Van Cleef.
31:22He was a jeweler from the same state that I come from, New Jersey.
31:26Okay.
31:27He was born in Union City in the early 1920s.
31:31He had an office in New York in a manufacturing facility at 609 Fifth Avenue.
31:38And he was in the business for 50 years.
31:42Oh, that's a long time.
31:43And he made a lot of fabulous jewelry like this.
31:45Obviously.
31:46I think this was probably made in the early 1960s.
31:50You can find comparable things like this for sale and they're around $40,000 to replace this today.
31:59It's a beautiful price.
32:00Yeah.
32:01I mean, look, if it was at auction, I would probably put it in for $12,000 to $18,000.
32:08I see.
32:09If it was Van Cleef.
32:10Oh, I know.
32:11It'd probably be $60,000 to $80,000 for an auction estimate.
32:16Yes.
32:17Retail would be $100,000 and over.
32:18But you still...
32:19It's not.
32:20It's not, but it's still fabulous.
32:21It is.
32:22It looks very Hollywood.
32:24Okay.
32:25What we have here is the 1964 Crucinelli 702V.
32:30It was made by the Crucinelli company in Italy.
32:33And they were most famous for actually making accordions.
32:36And it's pretty comparable in appointments to Gibson of the period, though it was much cheaper at the time.
32:41And that sounds like a million bucks.
32:43They said that this guy was, like, they didn't know how somebody could taxidermy this toad.
33:01And this guy might be worth at least $100, which is blowing my mind.
33:06But when I got him at the store, he was either $24 or $20.
33:10And it was just my daughter's.
33:13Ribbit.
33:14Ribbit.
33:15Ribbit.
33:24In 2021, my father-in-law passed away and my husband inherited this artwork.
33:30The artist is Alexis Jean Fournier.
33:33And as we went through a collection of things of my in-laws, we also saw some other pieces that had his name, his picture.
33:41And so it really had me interested in digging.
33:44And so I did an ancestry dive.
33:47And come to find out, the artist Alexis Jean Fournier was married to my husband's great aunt, Emma Frick, was his first wife.
33:55This is a wonderful oil painting.
33:58It's by Alexis Jean Fournier, as you know.
34:00He was born in St. Paul, Minnesota.
34:03On July 4th, 1865, he trained first in Minneapolis.
34:07And then, as so many 19th-century American artists did, he went to Paris to train.
34:13And he went first to the Académie Julianne.
34:15He then traveled around Paris and northern France.
34:19And he was especially interested in the Barbizon painters.
34:22And over the 1890s and the 1901s, he did a whole series of paintings.
34:29He called the series the home and haunts of the Barbizon masters.
34:33And given the architecture and the style, we know that it's clearly something that would have been painted in France, probably would have been painted in the 1901s as part of that series.
34:45What makes it special is its light.
34:47That light is just beautiful.
34:49But it's a light that's more very late 19th century or in early 20th century.
34:55And so that's part of the key to knowing about when it would be dated.
34:58It's had a troubled past.
34:59And it's had some condition issues.
35:02And you know what?
35:03When you're 100 years old, you end up with condition issues.
35:06But if you look closely, you can see there's a fair amount of retouch.
35:10If we look up here, you can see sort of some discolored areas.
35:13It's especially obvious here if we look along the edge.
35:16You can see where it's been retouched.
35:18The other thing that's going on, especially with the sky, is the painting is starting to cup.
35:23So instead of lying flat on the canvas, the edges are just starting to cup up.
35:28Right now, it's pretty stable.
35:30But at some point, you will probably lose more paint.
35:33Condition affects value.
35:34Other than condition, the thing we tend to harp on is provenance.
35:39This was in the artist's family.
35:42You can't get better provenance than that.
35:44In its current condition, if it were to be brought up at auction, we'd estimate it at $20,000 to $30,000.
35:50Okay.
35:51I would recommend conservation.
35:54When everything is properly laid back down and consolidated, you're probably looking more like $35,000 to $55,000 for an auction estimate.
36:03Okay, wow.
36:12Another integral part of the operation of the repair shops was this 125-foot-tall smokestack.
36:21The smokestack exhausted the smoke and hot gases from the forges in the blacksmith shop and also the boiler and the boiler and engine house.
36:32It did this through Bernoulli's principle, which is a movement of air from high pressure to low pressure.
36:39So those fires in the forges and in the boiler create a high pressure system.
36:44And at the top of the stack, there's a low pressure system.
36:47The air is cooler.
36:48The breeze is blowing.
36:49And it sucked that smoke off of those fires and exhausted it up into the air to keep that out of the shop complex so it was a little bit more comfortable for people to work here.
36:59This was the height of technology in the 1850s when this facility was built.
37:04I brought a belt that I acquired in the 1980s.
37:13I really wanted to know more about the belt.
37:15Okay.
37:16Where did you buy it?
37:17I bought it in a pawn shop.
37:19Really?
37:19Yes, I did.
37:20And where was that?
37:21In Atlanta.
37:22Oh, wow.
37:22And what drew you to it?
37:24It reminds me of items that I collect from North Africa.
37:28Well, it is in fact Ottoman.
37:30Ottoman.
37:31So that means it's from Turkey and more specifically the Caucasus region.
37:35It's silver, silver gilt, also niello worked, which are these beautiful oval panels here picked out in black.
37:44It's also got filigree on it.
37:45And each one of these panels is cast and made individually and then worked together with a pin along each one.
37:52So it creates a belt shape.
37:54And niello work is characteristic of pieces from this region and from this time.
37:58So each one of these has a slightly different decorative element to it.
38:03You have a little foliate motif in a sort of star shape.
38:06You also, interestingly, have a stylized tugra mark on several of them.
38:11And that is the symbol for the Ottoman sultan who lived in Istanbul.
38:16And it is marked behind the buckle in Arabic or script.
38:20How much did you pay for it when you bought it?
38:22Well, when I bought it, I bought it for the weight of silver.
38:25Ah, okay.
38:26So I paid less than $100 for it.
38:29Interesting.
38:29Okay.
38:30But I think this is worth much more than the silver content.
38:33I think a retail price for this today should comfortably sit within $1,000 to $1,500.
38:40Very good.
38:42You're welcome.
38:42Thank you very much.
38:43I played it when I was in my 20s.
38:55I bought it in Miami.
38:57It has a repair sticker inside from a Miami violin maker.
39:05But an even older one dated 1899.
39:10This is a gramophone.
39:19Mm-hmm.
39:20We picked it up maybe 25 years ago in Ljubljana, Slovenia.
39:25Okay.
39:25We had just completed a week-long hiking tour of the Slovenian Alps.
39:31Wow.
39:31And it was Sunday morning.
39:33And they had like a flea market set up with booths and tables along the river.
39:39And this was all polished and shined up and caught the sun and it caught my husband's eye.
39:46And it was going to go home with us.
39:48Okay.
39:49We think we paid around $100 for it.
39:52But we're not sure.
39:53Right.
39:53And we know that we made the vendor's day because within 10 minutes, he had folded up shop and went home.
39:59And I have to settle a bet between you and your husband?
40:03My husband has always been convinced that it's got to be authentic because it came from Europe.
40:08Right.
40:08I know that there are all kinds of knockoffs that look exactly like this that are worth about $100 a piece.
40:15So you can settle that for us.
40:18Well, I'll try to do my best.
40:20So I remember when I first did the first season of Roadshow, these gramophones would come in and they were always a big hit.
40:26Now, the markets have changed since then.
40:29And there are also real ones and later productions.
40:32Uh-huh.
40:33I think you're both right.
40:34I want to settle this.
40:35Oh, you're a diplomat.
40:36I did not want to offend anyone.
40:40But there's a couple of things that I want to point out.
40:42First of all, this label in green, that is a later reproduction of the piece.
40:48I would date this in and around the 1940s.
40:51Okay.
40:52The other part of it is the back mounting that's holding up the whole horn is either replaced or a later production.
41:00Okay.
41:01You also have this dog.
41:03And tell me the story about this.
41:05That dog I found at an outlet store in Savannah.
41:10This is Sparky.
41:12He should have his head cocked and the sound of my master's voice.
41:16Right.
41:16The mold maker thought that the dog was defective because his head was cocked.
41:23So he changed the mold and made all of them with their...
41:27So I have a Sparky with his head on straight and he's probably not worth very much because of that.
41:32Well, his name is actually Nipper, not Sparky.
41:36Oh.
41:36So it was Nipper.
41:38And even on the record, you can actually see that he is there with his head cocked.
41:42Right.
41:42And that's Nipper.
41:43Also, he has the black spot around his eye, which he shouldn't because that Nipper never had that.
41:51And also the way that this is painted, you can see that there's the paintbrush.
41:55They paint it outside of the lines.
41:56So this is the knockoff Nipper.
41:59So this is the knockoff.
42:00This is a later production.
42:03However, with everything together with the gramophone and the reproduction Nipper,
42:08I would put an auction estimate in the $800 to $1,200 price range.
42:12Really?
42:12Yes.
42:13Okay.
42:14So am I right or is my husband?
42:18That is the question.
42:20I think you're both right.
42:22Okay.
42:28This painting was bought at Insumna, Georgia.
42:33It had an antique shop.
42:34My son bought it for $37.
42:36I don't know anything else about it other than that.
42:40We inherited it from my grandmother, and we have a picture of it from the early 1890s in
42:56the home that it was living in at the time in Wisconsin.
42:59It's so nice to have a picture of a clock in its original setting.
43:04It really places it time-wise.
43:06My aunt and uncle told me that it had been in the family since the 1800s.
43:13Do you know about its origin at all?
43:15I do not.
43:16I do not.
43:17Okay.
43:18Do you know who made it?
43:19No.
43:20I do not.
43:21No.
43:22No.
43:23No.
43:24No.
43:25No.
43:26No.
43:27No.
43:28No.
43:29No.
43:30No.
43:31No.
43:32No.
43:33No.
43:34No.
43:35No.
43:36No.
43:37No.
43:38No.
43:39No.
43:40No.
43:41No.
43:42No.
43:43No.
43:44No.
43:45No.
43:46No.
43:47No.
43:48No.
43:49No.
43:50No.
43:51No.
43:52No.
43:53No.
43:54No.
43:55No.
43:56No.
43:57No.
43:58No.
44:00And you've got to know that the market's down right now.
44:02It used to be more valuable, and I'm sure it will come back,
44:05but right now these figural clocks are a harder sell to younger generations.
44:11I actually found it at a thrift store.
44:13I think it may be attributed to the artist Frank Stella.
44:16And how much did you pay for it?
44:18$3.99.
44:20So what you have here is a color screen print with pencil marks by Frank Stella.
44:27A great post-war abstract artist.
44:30Recognized it right away.
44:31A very modern, mid-century look.
44:34And Frank Stella was a pioneer of abstraction.
44:37In the 1960s, he was one of the first artists to do non-objective painting.
44:43And this is a print version of some of the paintings he did.
44:48It's a 1967 screen print called Fortin de las Flores.
44:53And it comes from a portfolio called Ten.
44:56It included 10 works by 10 different artists.
44:59Works by Roy Lichtenstein and Robert Rauschenberg.
45:04Really, at the time, the cutting-edge artists.
45:06Published by the Leo Castelli Gallery in New York.
45:09And it was published to honor their 10th anniversary.
45:13It was printed in an edition of 200.
45:16It's initialed and dated and numbered in the lower right in brown ink.
45:20And it has the embossed mark of the printer, lower left.
45:24The colors are really strong.
45:26It's got a great color.
45:27It has pop.
45:28And it's on this great graph paper.
45:30So this is a color screen print, which is a print made through screens, individually printing each color.
45:39And they're separated by fine lines that were done by pencil.
45:43Someone would have done that by hand.
45:44It's well-documented as a screen print of Frank Stella.
45:48It's in many museum collections, including the Museum of Juan Rock.
45:52Frank Stella rose to prominence in the late 60s in New York.
45:57And this is also from 67.
45:59So this is an early work by him.
46:01So it's really a great example.
46:02This is a Kulik frame.
46:04It's a classic mid-century design frame that was actually pioneered at MoMA.
46:11Kulik was a frame maker.
46:13He was also a painter, but he was a frame maker who pioneered this frame was cutting edge in the 60s.
46:20And quickly adapted by many contemporary artists and galleries.
46:23Do you have any sense of the value?
46:25Somebody had mentioned like $2,000 to $5,000 for Frank Stella.
46:30So if it's more than what I paid for it, then I'm happy.
46:35Well, I think it's in good condition.
46:37We see that for the bright colors.
46:39There's a little dust inside the frame.
46:40It's dirty.
46:42But I'm glad you didn't touch it.
46:43I would estimate it at auction at $5,000 to $7,000.
46:47Nice.
46:48That is wonderful.
46:51I'm thrilled.
46:57We got it at an estate sale a few years ago.
46:59I don't think more than $5.
47:02I have no information about this thing other than it's pretty and I like it.
47:15We inherited it from my mother and it was by far the most expensive piece of art she purchased.
47:21I believe it was 1992 and she paid $16,200.
47:29Okay.
47:30So not nothing.
47:31Not nothing.
47:32Especially for her.
47:33She liked having women artists in her house.
47:38Their artwork anyhow.
47:40And this we knew was a woman from Chile.
47:44And it's something that always got a lot of attention.
47:46And who is the artist?
47:48Olga de Amaral.
47:51Yes.
47:51So Olga de Amaral is a quite well-known fiber artist and actually from Colombia, not Chile.
47:58Oh, really?
47:59And is still living and actively working.
48:02She is 93 years old, still has her Bogota workshop.
48:05This work is signed on the reverse.
48:08So we do have a date, May 1992.
48:11It comes from her series called Lost Images or Imagen Perdida.
48:16That was a series of about 17 works, at least that many are known and some are in museum collections.
48:23Really?
48:23And it was a traveling exhibition at the time that went to several venues throughout the U.S.,
48:30including the All Rich Gallery in San Francisco, where your mother had acquired this.
48:36And where was this piece displayed?
48:38In her bedroom, actually.
48:40And she spent the last years of her life in bed, so it was significant.
48:44It was an important piece for her.
48:47When this came in, I kind of couldn't believe what I was looking at.
48:52I did not think I would get this close to a work by Dam at all.
48:57Get out of here.
48:59This is really exciting.
49:01Really?
49:01And what do you think this material is?
49:05Well, it looks like leather, but I'm sure it isn't.
49:09Exactly.
49:10It's not leather.
49:10It definitely has that look to it.
49:12It's cut strips of linen that she has gessoed, painted, and then gilded.
49:19And before the last gilding, she's also pulled out threads in a weaving process called drawn work.
49:27And so she's cut and drawn these threads out to create little breaks in between each square of gold.
49:35Now, going back to what your mother paid, remind me again?
49:38A $16,200.
49:41Okay, so about $35,000 today.
49:44That's not nothing.
49:46That's a decent price.
49:48Taking into consideration that it does need some conservation, I'm going to be very conservative.
49:54Conservative.
49:55Conservative.
49:56In this condition, untouched, I would say easily, comfortably, an estimate at auction of $150,000 to $250,000.
50:05Yikes.
50:08All right.
50:11That's, it's worth doing the, um, doing the work on it.
50:15Definitely.
50:16I think you wouldn't need to spend more than a few thousand to get it really in tip-top shape.
50:21Would that change the, uh, value?
50:23Oh, yeah.
50:24Again, I'm going to say conservatively, I'd add another $100,000 to that.
50:29$250,000 to $350,000.
50:31I see why people cry on roadshows.
50:33I would insure it for $500,000 because her works have gone for well above that number at auction in recent times.
50:46Oh, my.
50:47They're very sought after.
50:49Thank you very much.
50:50And now, it's time for the Roadshow Feedback Booth.
50:57And this is my grandfather's watch.
50:59It's about 100 years old.
51:02And it's just a family heirloom.
51:05And it wasn't worth much, but it's worth the world to me.
51:09This Charles Lindbergh chair is one of a kind, but this, and heavy to carry, but this ring is worth more than it.
51:16It's $2,000, and it was a lot lighter.
51:18The item we thought was going to be a million-dollar winner for us was about $150, but since I paid a dollar, that's fine.
51:29This was a wonderful 50th anniversary trip.
51:31We appreciate it.
51:32Yes, and I bought this ring watch.
51:35It's worth a couple hundred dollars and found out this was a reproduction.
51:39And I bought this cup, and they told me it's only worth about $12, so we had a great time, though.
51:45Yes.
51:46This is my antique rattan hat, and I asked how to keep it clean, and they said it don't matter because it's only worth $50.
51:54I bought this clock that belonged to my grandfather, and it's worth about $100.
52:03And I brought Tom.
52:05He's priceless.
52:07We wanted to come to the Antiques Roadshow for a long time, and we brought these timepieces, and we had the time of our lives.
52:16Thank you, Antiques Roadshow.
52:18Thanks for watching. See you next time on Antiques Roadshow.
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