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Antiques Roadshow - Season 30 (US) - Episode 10: Castle Farms, Hour 1
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00:03¡Suscríbete al canal!
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01:00And today, the regal backdrop for Antiques Roadshow.
01:03What treasures coming in today will be treated like royalty?
01:06Take a look.
01:10Good.
01:10Have fun.
01:11Go through the White Arch.
01:12Woo!
01:12Let's do it.
01:14So, tell me about your chair.
01:16It was left in the cottage that my parents bought, like, 65 years ago.
01:21Okay.
01:22It's really cool.
01:23First of all, it's the lion head.
01:25It's very decorative.
01:26It's also made out of quarter sawn oak.
01:28I think the green eyes are unbelievable.
01:31It's worth probably 300, 400 bucks, somewhere in there.
01:34You think, give or take it?
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.
02:05And 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.
02:22But the orders were coming fast and furious.
02:25And it was 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.
02:48And at the time that this particular mosaic was produced, it was sold for $70 retail or $35 to the
02:57trade.
02:58Okay.
02:58And a lot of what the Ackermans did was selling to the trade.
03:01They sold to interior designers.
03:03They sold to architects.
03:05And 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.
03:21And then she blew them up to full size.
03:24And she would ship over to Mexico City the original drawing as well as a color key code, how she
03:30wanted the birds to look, what was the color of the cage and the background.
03:34And they were issued in a few different sort of color 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.
04:15In 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,
05:01this is one 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.
05:13I 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.
05:45I don't know where I bought it or, honestly, what I paid for it.
05:48This locket, for golf fans, they'll instantly recognize the map and flag logo.
05:54The Augusta National Golf Club was founded in 1931 by the Grand Slam-winning golfer of 1930, Bobby Jones, and
06:03his partner, Clifford Roberts.
06:05Now, let's fast forward to 1952.
06:08That year, they decided to create and give out lockets in the form of the map and flag logo to
06:15the winners.
06:16And it's almost the certificate of membership into the Masters Club.
06:20You 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.
06:42Loved the club, became a member.
06:44He becomes President Eisenhower in 1952.
06:47They realized 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 Stulp.
07:00And his firm, Stulp & Eib, had six months to build this cabin.
07:06Now, it's not a cabin as we can see here.
07:07It'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 Stulp, 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,
07:47and 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.
08:03How do we know that it was Mr. Stulbs?
08:06Well, there's his name engraved right there.
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?
08:21Wow.
08:21That's incredible.
08:24Now, let's get to the locket.
08:25Because it also has the box that does add value, I would put an auction estimate of $25,000 to
08:32$30,000.
08:34God.
08:35Wow.
08:36That's crazy.
08:37I can't wait till my kids hear this.
08:41So they think I'm nuts.
08:44So this will, that is awesome.
08:48Wow.
08:49Okay.
08:49Great.
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 & Roebuck Company,
09:06the original and the best mail-order catalog.
09:10The inspiration for the castle came from Albert and Anna's honeymoon in France,
09:15and they based all of their architecture on French Normandy-style castles.
09:21He wanted to show how successful you could be
09:25if you used all of the farming equipment that was sold in their catalog.
09:28So he built this as a working model dairy farm.
09:33So Albert had 200 head of Holstein-Friesian cattle
09:36and had an award-winning cow.
09:39She set a world record named Marion.
09:42She produced 35,000 pounds of milk in one year
09:46and had to be milked six times a day.
09:49So it was really great that we were the first farm in Michigan
09:51with automated milking machines.
09:55I've got a Super Nintendo Donkey Kong Country competition cartridge.
10:00It starts up in the game, like, right at the first level
10:04and just goes for, I want to say, five, ten minutes
10:07and then just shuts the game off.
10:09I'm assuming that either a friend gave it to me
10:11or I could have bought it
10:14and not known that I accidentally got the competition cartridge.
10:16I love going to flea markets, though,
10:18and I've had, like, a game reseller there
10:20offer me $1,000 for it
10:21and that was probably around 2012,
10:23which made me realize even more so
10:25I should probably hang on to it
10:27because it must be worth a little more than that, at least.
10:29It's a particularly rare and iconic video game.
10:32This was from the Super Nintendo Entertainment System, SNES,
10:36which is a great system.
10:37I grew up playing it.
10:38Yeah.
10:38I loved this game as a kid.
10:40So this was made for competitions.
10:42There were two competitions.
10:44The first one was in 1994.
10:46It was Nintendo Power Fest.
10:47Oh, wow.
10:48And then in 1995, there was a blockbuster championship
10:50and the goal of the competition
10:52was to get the highest score within five minutes.
10:56So then after the competition was done,
10:59some of the copies were sold through...
11:01Nintendo had a magazine, Nintendo Power,
11:03which was two subscribers.
11:05Those subscribers were offered the opportunity
11:07to buy the cartridges
11:08because they didn't need them for the competition anymore.
11:10Oh, okay. Interesting.
11:11So it's not clear how many
11:12or if all of them were sold that way.
11:14Some of the literature suggests
11:16that there were only 2,500 copies
11:18of the competition cartridge made.
11:20Oh, wow.
11:21And very few wound up getting into the market.
11:24A lot of them are in collector hands.
11:25Wow.
11:26As you can see,
11:26this cartridge has Hollywood Video stickers on it,
11:29which is interesting,
11:30and I wasn't able to find any record
11:32of the competitions being done at Hollywood Video.
11:34The 1995 competition was a blockbuster competition,
11:39a major competitor or the major competitor
11:41of Hollywood Video.
11:42I see there's writing on it.
11:44Yeah, that's my initials.
11:45Just at some point,
11:46my brother and I and friends
11:48trying to keep games separate,
11:49and by then I had already had this one
11:51just 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,
11:59I 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,
12:05but that didn't have the initials,
12:08the Sharpie,
12:09the label on the top,
12:10which was added,
12:11and it didn't have the slight damage
12:13to the back sticker.
12:14That sold for $5,500.
12:16Oh, wow.
12:16Jeez Louise.
12:17I would keep it as is.
12:18You could always submit it for grading,
12:20but with the writing on it,
12:21they probably would give you
12:22some 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
12:35in, I think, the early 90s
12:37from 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,
12:46so it's very special to me.
12:48It feels like it's marble.
12:49It's very, very heavy.
12:56They were acquired by my grandmother
12:58in maybe the 1940s or early 50s
13:04in 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
13:20by maybe 20 miles.
13:21Oh, for heaven's sakes.
13:23Yeah, it's called San Ildefonso Pueblo,
13:25and these were probably done
13:28in the late 20s, early 30s.
13:33These paintings were done by Jonita Pena,
13:35who 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,
14:03which is a basket dance.
14:05Look at the details that we have in the baskets.
14:08Look at the necklaces.
14:10There's coral, and there's shell and turquoise,
14:12but also there's great greenery.
14:14Over here in this painting closer to you,
14:16we've got two hunters and two attendants,
14:20singers and a drummer.
14:21And then we've got this as a deer dancer,
14:23which is part of an animal dance.
14:26But I love all of the details,
14:28and that's what she was really known for,
14:31was she was very specific.
14:33These are ceremonies that are autumnal
14:36and about harvest.
14:38They're about hunting,
14:39and 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,
14:50and we were going to put the other,
14:51which were much smaller, in a garage sale.
14:54And my daughter said,
14:56Oh, 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.
15:09Yeah.
15:09We did not think that they were maybe valuable.
15:13We just loved them.
15:14I'll start with this one closer to the basket dance.
15:17So this particular painting,
15:19if it were coming up for sale in a retail situation,
15:25would be worth about $4,500.
15:28Oh, my word.
15:29Yeah.
15:30That's a real surprise.
15:32Yeah.
15:33Yeah.
15:33Oh, my goodness.
15:33So the one closer to you,
15:35maybe just a little less,
15:36maybe around $3,800.
15:40Yeah.
15:41Yeah.
15:41This smaller one is going to be worth around $1,600.
15:45That's beautiful.
15:46Thank you.
15:48That's a surprise.
15:49They may have been sold for $20.
15:52Oh.
15:52$15 at the time.
15:57Oh.
15:58This 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
16:15and 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,
16:29but it's always just been stored either in their basement or in my basement.
16:34Country of origin.
16:35Chinese.
16:36And very, very overtly Chinese.
16:38But in terms of the date,
16:40this is where it's really interesting.
16:43If they were to identify this border, for example,
16:481900, not so far off,
16:51but the majority of this so-called tapestry or textile, 18th century.
16:57So this is quite, quite old.
17:00And this would date, I would say,
17:02likely the last quarter of the 18th century, 1775.
17:06It has this lovely horizontal shape,
17:09but it didn't begin its life this way.
17:11This textile that you have,
17:14very symmetrical with these seams that sort of separate four panels.
17:19This was originally a robe,
17:22a garment, mind you,
17:24that not just had these four dragons,
17:26but would have had five others too.
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,
17:39but it also has some Buddhist iconography on it.
17:43So this may have been a priest's robe done in the imperial style.
17:47In the 18th century,
17:49the emperors specifically were devout Buddhists.
17:52So Buddhist iconography and imperial iconography
17:55really sort of came together.
17:57It's a roiling sea with mountains that come out of it.
18:01The mountains are the earth.
18:02And then finally, this realm in which the dragons fly,
18:08this is the heavens, the celestial realm.
18:10Furthermore, though,
18:11these creatures right here,
18:13which somewhat resemble butterflies,
18:15these are actually bats.
18:17And bats only have the significance
18:19that they do here in Chinese.
18:21Why?
18:22Because the word in Chinese for bat,
18:25fu,
18:26is also the word for prosperity.
18:28Even the clouds,
18:30the shape of the clouds,
18:31are reminiscent of a particular fungus
18:33called the lingji fungus,
18:35which bestows immortality.
18:37So everything in this has meaning,
18:39it's auspicious,
18:41and it is, in some respects,
18:44associated with the divine.
18:46So this is an altar frontal.
18:48So in a shrine or in a Buddhist temple,
18:50they would repurpose these robe panels
18:55to go into the front of an altar.
18:57There is a strong market right now
18:59for Chinese textiles.
19:01And this is driven by Chinese interest.
19:03I think that this particular textile
19:05would have an auction value
19:06from $4,000 to $6,000.
19:09Oh, my goodness.
19:14I'm speechless.
19:18You know, I think about it
19:20just being stored in the pole barn.
19:24Well, I'm a collector of lanterns,
19:27and I found this about 20 years ago
19:30at a stay sale.
19:32And from the limited research
19:34that I could find about it,
19:35it was, I believe,
19:36made in Ohio Brass Works in Ohio.
19:40And it was one of the very first
19:41pneumatic 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,
19:52and I just thought it was pretty.
19:54And I'm hoping we find out
19:55something about it today
19:56because I have no idea about it.
19:58It was $4.
20:01So four or more, I'll be happy.
20:06Well, this is a Tiffany, maybe, right?
20:09A diver's helmet, I think.
20:12Okay.
20:13That's all I know.
20:14I bought it in 1974
20:18from an antique friend of mine,
20:20an 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?
20:37Is it really a Tiffany?
20:40The good news is, yes,
20:41it is a Tiffany Studios lamp.
20:44I don't see your signature on it.
20:45Because it would have been on the base plate
20:47and it's missing.
20:49Oh.
20:49Oh, yes.
20:50Oh, okay.
20:51So this is actually a diver's lantern,
20:54not a diver's helmet.
20:55Oh, okay.
20:56It's had kind of a hard life, sir.
20:58It has?
20:59Yes.
20:59The handle's a little worn.
21:03You can see that some of the letting,
21:05it's not patinated.
21:07It's painted and some of the paintings come off.
21:11And the switch is replaced.
21:13Oh, gosh.
21:14Oh, gosh.
21:15Oh, no.
21:16But it's still a Tiffany lamp.
21:17Yes, it is.
21:18Okay, good.
21:18And 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.
21:31If we had the base plate,
21:33we'd be able to narrow that down to a specific date.
21:35But it's missing and it can't be replaced.
21:38So that's why we're 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
21:50and knowing that it's had a hard life
21:52and knowing that there's some damage to it
21:55and knowing that it's kind of rough.
21:57At retail today,
22:00$25,000 to $30,000.
22:03Holy Toledo.
22:04Wow.
22:07No.
22:08My ex-wife is going to know about you.
22:13Oh, my gosh.
22:14$25,000 to $30,000.
22:16Wow.
22:17I never thought it'd be worth that much money.
22:25Wait till I tell my buddy who I bought this from.
22:28Well, thank you very much.
22:30I appreciate it.
22:31I'm going to enjoy happy hour tonight.
22:33I can tell you that.
22:36In, like, 1989,
22:38I was working at a government facility
22:41in Lexington, Kentucky.
22:43They were getting ready to do a bunch of renovations.
22:45I kept seeing all these dumpsters,
22:47and I saw some stuff, lamps and things.
22:50I thought it was pretty nice.
22:51So I asked my boss,
22:52where is that stuff all going?
22:54He says, to the dump.
22:55I said, well, if there's anything in there
22:57that 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
23:03and looked around a little bit.
23:05This was kind of hanging kind of precariously
23:08out of one of the dumpsters.
23:10Okay.
23:10And I picked it up and looked at it,
23:11and 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,
23:20off and on for a number of years,
23:22and we enjoy it.
23:23The building started in the early 30s
23:26as a federal reformatory for drug users.
23:30Okay.
23:30And then later on in its life,
23:33the federal prisons moved in there.
23:35Gotcha.
23:36Okay.
23:36And when I was there,
23:36it was just a minimum security,
23:38so there was no fences or anything like that.
23:40But then due to demands,
23:42they decided they were going to put fences up.
23:44And so that started the renovation,
23:47opening up walls and pushing things back.
23:49And I think it's kind of sad
23:52that they didn't want this in a prison.
23:54I think this could cheer up a prison.
23:55That's what I think the whole purpose was,
23:57I think, originally,
23:58because it is kind of a happy scene,
24:00and it could have worked very well there.
24:03Yeah, absolutely.
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
24:15and pencil on paper.
24:17Ethel Spears was born in 1903,
24:19and she died in 1974.
24:22She initially trained
24:24at the School of the Art Institute of Chicago
24:25in tapestry and textiles.
24:28As I understand it,
24:28she finished her training
24:29and then decided,
24:30no, I don't want to do that,
24:31and then moved over to paintings.
24:33And she studied with a modernist muralist,
24:36a guy named John Norton.
24:38From there, she went to Woodstock,
24:40the art colony there,
24:41a few years in New York,
24:43and then back to Chicago, actually,
24:45to the School of the Art Institute
24:46where she became a teacher,
24:47and that was in 1937.
24:49Before that,
24:50she was doing some work for the government,
24:52and I think this work would have been done
24:53right around that time,
24:54right around the mid-30s.
24:56She was an artist
24:57that 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,
25:06she started an enameling program there in 1953,
25:10and it seems pretty clear
25:12that she got lead poisoning
25:15through that work,
25:16inadequate ventilation.
25:18But there were some great things
25:19at the Art Institute as well.
25:21She met her partner, Kathleen Blackshear,
25:23who's another fairly well-known artist
25:26there at the Art Institute.
25:28This picture has sort of signature elements
25:30of 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,
25:39there'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,
25:47I would think this would be worth
25:49in 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.
26:05Well, my name is Linda Mueller,
26:07and I like to say that the castle owns me.
26:14Sometimes the castle will kind of hint
26:17that it needs something,
26:19and I do my best to put it in.
26:21Even when it was a wreck,
26:23it was beautiful,
26:24and I loved the stone.
26:27I'm just crazy about stone.
26:30When the former farm
26:31came up for auction in 2001,
26:34it was in rough shape,
26:35but the opportunity for Linda
26:37and her husband Richard
26:38to own the castle
26:39was too good to pass up.
26:41We all thought it was just
26:43the neatest property,
26:45but we worked with
26:47the State Historic Preservation Office
26:50to make sure that we were doing it
26:52by the book.
26:53I even had original building plans
26:57that came from the Loeb family.
27:00The big barn had been dirt and sky,
27:03and it took two years to complete that.
27:07I had planned to take 10 years
27:11to restore the property,
27:14and we got it done in five years.
27:18I brought today three dollars
27:20that belonged to my grandmother.
27:21I know they were important to her
27:23because she always kept them
27:24boxed up in her hope chest.
27:26Never let my dad
27:27or his brother play with them.
27:29They didn't even bring them out
27:30to display them.
27:31We only actually just recently
27:33found them about three months ago,
27:35getting out my dad's office.
27:36I know that they're from
27:37the Blondie comic strip,
27:39and it's Dagwood, Blondie,
27:41and Baby Dumpling.
27:43The dolls relate with
27:45the comic strip Blondie
27:47that came out in 1930 as Blondie,
27:50and she wasn't married at the time.
27:52Oh.
27:53And she was dating other guys,
27:55and the public didn't really
27:57just love that.
27:58So she met and married Dagwood,
28:01and of course, when you get married
28:03and love someone,
28:05Baby Dumpling will come along.
28:07Right.
28:07They were made in 1935
28:09by Knickerbocker.
28:11They're made of composition,
28:13which is a wood and glue recipe
28:15that molds really well.
28:16They're this great middle-class,
28:20average family
28:22where Blondie's sort of the one
28:24that anchors the whole family.
28:26She's the one that kind of glues
28:27the other two crazy kids together.
28:30Right.
28:30They have hand-painted faces.
28:33They have molded hair,
28:34and of course, Dagwood and Baby Dumpling
28:36have to have the exaggerated ears
28:38like they did in the comic strip.
28:40These dolls were sold as a group.
28:43They've always been together
28:44since day one.
28:46So that adds extra value
28:48for that originality.
28:50All original costumes,
28:52everything about them
28:53is glossy and nearly new-looking.
28:56So I would say
28:58that a retail value for these dolls
29:00would be somewhere
29:01between $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
29:21was that into music,
29:22and she gifted it to me.
29:25It went from under her bed
29:27to under my bed
29:29and really hasn't been seen
29:30a whole lot.
29:31Was her husband's name Ed
29:33by any chance?
29:33It was.
29:34It was.
29:35It was his pride and joy.
29:37He took really good care of it,
29:39as with the amplifier.
29:40What you have here
29:41is a 1968 Gibson EB2D
29:44electric bass guitar.
29:46This is the bass version
29:48of Gibson's famous
29:49semi-hollow-body guitar,
29:50the ES-335.
29:51This was actually made
29:52in Kalamazoo, Michigan.
29:54We have a 30.5-inch
29:56scale-length mahogany neck.
29:57We have thin-line construction.
29:59Two pickups,
29:59which is great
30:00because the original models
30:02only had one
30:03in the neck position.
30:04A lot of players found it
30:05kind of muddy,
30:06kind of woolly,
30:07impossible to get
30:08a bright tone out of,
30:09which is why we have
30:10the second pickup
30:10near the bridge.
30:11Gives some much-needed
30:12clarity to the instrument.
30:14This is such a cool instrument,
30:16and the fact that it has
30:17a nameplate on it
30:18really tickles me.
30:19It's in one of my favorite
30:21Gibson custom colors
30:22known as sparkling burgundy,
30:23which you can see
30:24originally was a very deep red,
30:26but because of UV rays,
30:28sun exposure,
30:28all of that,
30:29the red dye in the finish
30:30as well as the clear coat
30:32have both aged.
30:33So we've got this kind
30:34of orange copper thing
30:35going on that I love.
30:37And it doesn't hurt
30:38the value at all.
30:39Some people prefer
30:39a redder instrument.
30:41Some people prefer it
30:42to look orange
30:43or even gold
30:44when they get
30:44a lot of sunlight.
30:45Now the amp you have here
30:47is an Ampeg B18N Portaflex.
30:49It was made in New Jersey
30:50in 1966.
30:52All tube,
30:5318-inch speaker,
30:54and a very cool flip top
30:56where the amp lives
30:57inside the cabinet
30:58for storage
30:58until you're ready to play.
30:59You flip the top over,
31:01lock it down,
31:01plug it in,
31:02and you're ready to go.
31:03For this instrument,
31:04at retail,
31:05you're looking at
31:06between $4,000 and $6,000
31:08for this instrument
31:09in its color and condition.
31:11You also have
31:11the original case.
31:12What a great gift.
31:13Yeah.
31:14The amp at retail,
31:16we are looking at
31:17about $2,000 to $2,500.
31:19Okay.
31:21Wow.
31:22It's one of my favorite
31:23things about guitars
31:24that they age like this.
31:25we both love copper.
31:27Yeah, yeah.
31:28We're big copper fans.
31:30These are,
31:31I think,
31:31military goggles
31:32from my grandfather.
31:34My grandfather served
31:35in World War II
31:35in the Navy.
31:36You can change
31:37the, like,
31:38brightness, dimness
31:39when you turn the knob.
31:41The elastic's
31:42a little worn out.
31:48Well,
31:48I have a
31:49Sean Connery
31:50action figure
31:51from Dr. No
31:52with a number
31:54of accessories
31:54that I'm sure
31:55are not appropriate
31:56for children.
31:57So,
31:58this was actually
31:59from my grandmother
32:01who is a giant
32:01James Bond fan.
32:03I know she got it
32:03as a gift from my dad
32:04who's over in line
32:05who's probably
32:06so jealous right now.
32:08He gave it to her
32:09as a gift,
32:09and, uh,
32:10but I'm not sure when.
32:17So, I got this
32:18from my mom
32:19who got it
32:19from my great-grandfather.
32:21My great-grandfather
32:22was a master carpenter
32:24for Euclid Beach Park,
32:26which is a now-closed
32:28amusement park
32:29on the east side
32:29of Cleveland.
32:30And he was leaving work
32:33and found it
32:33in the trash.
32:34He decided
32:35to take it home.
32:35He had two daughters,
32:36so he thought
32:37they might like it.
32:38It's from Philadelphia
32:39Toboggan Company.
32:40They made
32:41small ones to sell,
32:43and that's what
32:44they would bring
32:44to sell the carousel.
32:46And when did he work
32:46at the amusement park?
32:47I believe 1936
32:49or 38
32:50to the 1940s?
32:52It was made
32:53by the Philadelphia
32:54Toboggan Company.
32:55It's a company
32:55that specialized
32:56in the production
32:57of carousels
32:59as well as
33:00roller coasters.
33:01So, with the company
33:02being founded
33:02in 1904
33:03and your great-grandfather
33:05working at the park
33:06by the sort of
33:08late 1930s,
33:09we can obviously
33:10very safely date this
33:11to perhaps the 1920s,
33:13early 30s.
33:14They were known
33:15for their very detailed,
33:17very lifelike figures
33:18that they made.
33:19And I agree with you.
33:21This is almost certainly
33:23a salesman's model
33:24to show both the style
33:27of figures that they made
33:28for carousels,
33:29but also the quality
33:31of their work.
33:31It's constructed
33:32of carved and painted wood.
33:34It has glass eyes.
33:36I love the fact
33:36that it has a complete array
33:40of very lifelike details,
33:42including the teeth
33:43and tongue in the mouth.
33:44Very nicely carved
33:46and painted.
33:47The saddle has all
33:48of the tooling marks
33:50in black there
33:51that you would see
33:51on a full-size real saddle.
33:54And, of course,
33:56the saddle blanket
33:57being red
33:57with a yellow striping.
33:59And then the gold-painted
34:00trim at the bottom
34:01representing fringe.
34:03And I also really appreciate
34:05the fact that
34:06at the back corner
34:08of the saddle blanket,
34:09you have carved there
34:10the PTC
34:11for Philadelphia Toboggan Company.
34:14There's a little bit
34:16of very nice restoration to it.
34:19The artist captured
34:20the muscle structures,
34:22the hooves,
34:22took great care
34:23to very carefully repair
34:26the top of the ear there
34:27and as well as
34:28the rear hoof
34:29and joint in the leg there.
34:31And I actually really
34:32personally like the fact
34:33that they didn't repaint
34:35those restored areas.
34:36It's restored to show
34:38the form
34:38and the elegance
34:40of the piece
34:40but not trying to hide
34:41the fact that
34:42it is a restoration.
34:44Carousel horses
34:45are quite collectible.
34:47Okay.
34:48But they're very large.
34:49Something like this
34:50being a small version
34:52of that
34:52as a salesman model
34:54we think
34:55would likely appeal
34:56more so
34:57to collectors
34:58than a full-size horse
35:00because think about it.
35:01If you had a full-size
35:02carousel horse,
35:03where are you going
35:03to put it in your house?
35:05If it were to be
35:06offered in an auction
35:07setting
35:08I would suggest
35:09an auction estimate
35:10of between
35:11$4,000 and $6,000
35:12for it.
35:14Okay.
35:14That's more than I thought.
35:15I think a very fair
35:17insurance valuation
35:18for it would be
35:19about $8,000.
35:21Okay.
35:23Well, I wasn't
35:25really expecting
35:25to come.
35:26I ended up
35:27volunteering to
35:28drive my brother over
35:30and so
35:30as I was coming
35:32out the door
35:32my wife said
35:33take Charlie with you.
35:35Tell me the story
35:36behind Charlie.
35:37Well, Charlie
35:38is from my wife's
35:39childhood home
35:40along with a number
35:41of posters
35:42that were glued
35:43to drywall
35:44at one time.
35:45This was among those
35:46and of course
35:47during remodeling
35:48we needed to save
35:49some things
35:49and this came
35:50off the wall.
35:51How did this come
35:52to be in the house
35:52in the first place?
35:53My wife's brother
35:54traveled a lot
35:55and picked these up
35:57picked up posters
35:58when he traveled.
35:59And my other question
36:00is how did it end up
36:01stuck on drywall?
36:02He did that
36:03to a lot of posters
36:05things from
36:06Fillmore East
36:07and Fillmore West
36:08and concert posters
36:09ended up just
36:11glued to the wall.
36:12And how did you
36:13get it off
36:14the drywall?
36:15Drywall knife
36:16and careful lifting
36:18so yeah
36:20there is a little
36:21hole that we think
36:22is from drywall
36:24nail pop
36:25which drywall does.
36:26Is it still
36:27mounted on the drywall?
36:28No it's on the paper
36:30just on the paper
36:31itself.
36:33So City Lights
36:34was a Charlie Chaplin
36:37film in 1931
36:38and it was four years
36:39after the silent
36:40movie industry
36:41became the sound
36:42movie industry
36:43and Charlie Chaplin
36:44stubbornly
36:45and defiantly
36:46and rather proudly
36:47decided he didn't
36:48want to do
36:49a sound movie.
36:50He wanted to keep up
36:51with the silent movie
36:52tradition that had
36:53been so kind to him
36:54and that he had
36:54dominated.
36:55And so this movie
36:56done in 1931
36:57even though sound
36:58technology existed
36:59was still done silently
37:01that's a pretty
37:02extraordinary
37:03and a pretty bold
37:04step indeed.
37:06Charlie Chaplin
37:07himself was an
37:08iconic image
37:09in the film industry
37:10he was the
37:11biggest star.
37:13My news to you
37:14on this particular
37:15beautiful sunny
37:16afternoon is that
37:17this is an
37:18original lithograph
37:19from 1931
37:21advertising the movie
37:22when it came out
37:23in Chaplin's time.
37:24Wow.
37:25That's really amazing.
37:28The colors are
37:28beautiful.
37:30The colors are
37:31beautiful.
37:31There's something else
37:32about this condition
37:33wise which we can't
37:34quite see because of
37:34the frame.
37:35The poster had a
37:36larger blank area
37:37at the top
37:38originally for text
37:40of the theaters it was
37:41in.
37:42There also would have
37:42been a margin at the
37:43bottom.
37:44So I don't know if you
37:46remember when it was
37:46framed.
37:47Those are not there.
37:48They have been
37:49trimmed off.
37:49So you have a poster
37:51that is an original
37:54lithograph from 1931
37:56that has by all
37:58accounts seen better
38:01days.
38:01Yes.
38:01With posters like
38:03this they can be
38:04restored.
38:05In this condition
38:06were to come up for
38:07auction it would sell
38:08for between $3,000 and
38:09$4,000.
38:10All right.
38:11All right.
38:12Wonderful.
38:13That's nice to know.
38:15Well, in perfect
38:16condition this most
38:18recently sold for
38:19almost $7,000.
38:23Because of Castle
38:24Farm's earliest
38:25connection to Sears
38:26and Roebuck there's a
38:27small building dedicated
38:28to materials found in
38:30the retail giant's
38:31mail order catalogs.
38:32The focus of the
38:34collection is on items
38:35from the time when
38:36these castle-like
38:37barns were built
38:38around 1918.
38:40If there was anything
38:41you wanted from tools
38:44to food, houses,
38:47you could buy a house,
38:48you could buy a barn,
38:49you just looked in
38:52the Sears catalog and
38:53they would send it to
38:54you.
38:55One smaller example,
38:57this gong bell toy.
38:59A bear in a blue
39:00sweater standing atop
39:02a wheeled platform.
39:04When the toy moved,
39:05the bear hit the
39:06silver bell.
39:07The price for this
39:08entertaining piece?
39:10Just 50 cents.
39:13In 1967, we were on a
39:15family trip, my parents,
39:17my sister, and my
39:18brother, and it was to
39:19Washington, D.C.
39:21primarily, but then we
39:22did a little side trip
39:23to Monticello, and back
39:26then it had an antique
39:28slash thrift shop, and my
39:31mother fell in love with
39:32this face, and so my father
39:36bought it for her.
39:37And it's been a treasure.
39:39It's been in a China
39:40cabinet in my dining room
39:41in my home, the top shelf
39:43center.
39:44So I see it every day.
39:45When we bought the vase,
39:47and the tag is still on the
39:48bottom, it was $40 in 1967.
39:52The mark on the bottom,
39:54you can see the initials
39:55KPM.
39:56Right.
39:57KPM stands for the King's
39:59Porcelain Manufacturing.
40:01I'm translating from
40:02German.
40:02Okay.
40:03In Berlin.
40:04Then the Orban cross above
40:05that, and further on is the
40:08scepter, which is another
40:10typical KPM mark.
40:11Okay.
40:11The other labels are from
40:13the gift shop at Monticello.
40:15So KPM is known for a few
40:17things.
40:18Beautiful portraits, plaques,
40:21of mythological figures,
40:24biblical figures, beautiful
40:25for women with long flowing
40:26hair.
40:27Okay.
40:27They also made vases.
40:28Okay.
40:29They were kind of over the
40:29top, very Victorian kind of
40:31stuff.
40:32Okay.
40:32So then something unusual
40:33happens at KPM in 1908,
40:37when a young man named Theo
40:39Schmus-Baudis became the
40:41artistic director.
40:42Okay.
40:42And I think Theo said,
40:44hey, we've been doing kind
40:46of Victorian stuff for years.
40:47Look at what they're doing at
40:50Royal Copenhagen, at Rookwood,
40:52beautiful high-glazed porcelain
40:55pieces with Art Nouveau style
40:57decoration.
40:57Oh, so that's where it comes
40:59So you see a subtle change
41:00coming around that time.
41:01Okay.
41:02Thanks to bodice.
41:04And this is a perfect example
41:06of his influence.
41:07I would think this vase dates
41:09from around 1910.
41:10I think these are stylized
41:12ferns.
41:13Okay.
41:14Little fiddlehead ferns.
41:15Oh, yeah.
41:15And you see all the dots.
41:17Yes.
41:17The porcelain.
41:18It all had to have been done
41:20with 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
41:29with enamel decoration.
41:31Okay.
41:31These pieces are rare.
41:32They still don't show up a lot.
41:34I mean, when you unwrap this,
41:35I was shocked how pretty it was.
41:37I mean, it's just one of those
41:38pieces that grabs you.
41:39It is beautiful.
41:40I think probably an auction value,
41:43we're looking at $2,000 to $3,000.
41:45Okay.
41:46That's pretty exciting.
41:47Yeah, I love it.
41:48She's a beauty.
41:55I grew up with this clock
41:57in my grandmother's house.
41:59It was one of the items
42:00from my grandmother's house
42:01that I remember more than anything.
42:04And the big story
42:06that I remember the most
42:07with this clock
42:08is my mom always used to tell a story
42:10about how it magnifies sunlight.
42:12And so it was on there
42:14on a little end table
42:15by one of their couches.
42:17And all of a sudden,
42:18the couch started smoking.
42:20So it caught, yeah,
42:21the couch at my mom's house on fire.
42:24So now we always need to make sure
42:26that we don't have it
42:27anywhere near the sunlight.
42:28So it's got to be
42:29in the center of the room,
42:30not by a window,
42:31so we don't start
42:32any more fires with it.
42:33It's unbelievable.
42:34Yeah.
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 clock.
42:45Okay.
42:45And there's two reasons
42:46why it's exceptional.
42:47First of all, the size.
42:49It's just a little smaller
42:50than a volleyball.
42:52This is scaled up
42:5310 times the norm.
42:54And I've only seen one other
42:57that's this big.
42:57And the second thing
42:59is that the complications
43:00that it has,
43:01it has the calendar,
43:04the numerical date,
43:06the day of the week,
43:07and then the moon phase
43:09at the bottom here.
43:10And all the hands you said
43:12are off of it,
43:12but they're inside of it.
43:13Right, they're inside it.
43:14Yeah, it got shaken.
43:16And that's a great thing
43:17that you have the hands
43:18inside of it.
43:19Probably made circa 1890,
43:21and it's a French origin.
43:23It was a really nice quality thing.
43:25I would put a value
43:26on this clock
43:28that burns couches.
43:31Probably about $3,000
43:32in its present condition.
43:34If you put the hands back on it
43:36and you get it serviced,
43:37I could see it being worth
43:38as much as, say, $4,500.
43:41That's great.
43:42It's going to stay
43:42in my living room
43:43for the foreseeable creature.
43:45I love it.
43:46Maybe put a fire extinguisher.
43:50I believe this is a Puget Sound
43:53felling axe
43:54from the Pacific Northwest.
43:56This is a Sager chemical.
43:59That was a company
44:00that made falling axes.
44:02It was made to take down
44:04the large trees.
44:05It's got a 42-inch handle on it.
44:08I got it in trade.
44:10I'm a saw filer,
44:11and I was filing saws
44:13for a guy, big saws.
44:15And he said,
44:15I don't want to pay you,
44:17but I'll give you an axe
44:18if you file my saw.
44:20So he said,
44:20I could do that.
44:27This belonged to my father.
44:29He was an architect
44:31during the 60s and 70s and 80s.
44:34He was very much
44:36into mid-century modern.
44:38I remember it first
44:40in probably about the mid-60s
44:42when my dad acquired it.
44:44You remember growing up
44:45with it as a kid?
44:46And he pointed that thing
44:48up on the shelf?
44:48Oh, yes.
44:48We always looked at it
44:49and wondered why
44:51it was so strange-looking
44:52and why he even
44:53bothered to buy it.
44:54We always in the family
44:56called it an anteater,
44:57but he said
44:57it was a polar bear.
45:00He was wrong.
45:01It's an anteater.
45:02All right.
45:04It's made out of ceramic.
45:06It is fragile.
45:07It is made out of porcelain
45:09and it has this wonderful glaze
45:10and, of course,
45:11it has this wonderful form to it
45:13and it has a conforming base.
45:15The artist is Gordon Newell,
45:16born in 1905 in California,
45:18and he went to a number
45:20of art schools out in California
45:22and eventually became a teacher.
45:24In the 1930s,
45:25during the Depression,
45:26there was something called
45:28the WPA,
45:29the Works Progress Administration,
45:31which hired artists,
45:33painters, sculptors
45:34to keep them employed.
45:36And Gordon seemed to be involved
45:38with architectural things.
45:40So, you know,
45:40the kind of commissions he got.
45:42He got post offices.
45:44Oh, I see.
45:45Yeah.
45:45So there'd be like a relief
45:47over the entrance of the post office
45:48or maybe something inside.
45:50Very interesting commissions.
45:52He lived in Carmel, California,
45:54and he exhibited widely other things,
45:56non-WPA pieces.
45:59His work is in a number of collections.
46:01Yeah.
46:02It's something at the White House of his,
46:03and he exhibited at the famous 1939 World's Fair
46:07in New York City.
46:08It's a spectacular piece,
46:09the way it's stylized, simplified,
46:12and I think it captures
46:13the whole spirit of the artist.
46:14This piece was made in the mid-1950s,
46:18probably around 1958.
46:20It'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,
46:27but it could be original
46:28because it's tapered perfectly.
46:30A number of these have come up for auction.
46:33They do very well,
46:34especially because in the last 10, 15 years,
46:37the interest in mid-century modern design
46:39has skyrocketed.
46:41Very, very popular,
46:42especially 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
46:58to $12,000 to $15,000.
47:01Very nice.
47:02So 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.
47:28Yeah, 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
47:43that this picture was in her childhood home.
47:46Well, the artist is John George Brown,
47:49and he was born in Durham, England in 1831.
47:53He had artistic talent early on,
47:55but his parents decided he needed a trade,
47:57so they sent him to be a glass cutter in Edinburgh.
48:00While he was there,
48:01he attended the Royal Scottish Academy
48:04so that he could keep up with his interest in art.
48:07And by the age of 22,
48:08he decided to move to London
48:09and started painting portraits.
48:11But he was enamored with the idea of going to America.
48:14So in 1853, he emigrates,
48:17and he settles in Brooklyn.
48:18And we can see his signature there with the initials N.A.,
48:21which means that he was a member
48:23of the National Academy in New York.
48:25As an artist, he is probably one of the most prominent
48:28genre painters in America in the 19th century.
48:32He actually had the claim of fame
48:34to be at the important 10th Street Studio,
48:37which was a major studio of artists
48:39that included Winslow Homer and Frederick Church
48:42and Albert Bierstadt.
48:44So he was among the best of the best.
48:46He was best known for painting children,
48:49and he was very masterful at it.
48:51Most of his paintings tend to feature little boys,
48:54and they tend to feature street urchins,
48:57boot blacks, and newsboys on the streets of New York.
49:00Often they're immigrant children,
49:02they're wearing tattered clothes,
49:04and 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.
49:16It's a little girl.
49:18And although he did paint girls from time to time,
49:21he 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
49:34and playfulness of childhood here,
49:36which was a very popular topic in the Victorian era.
49:40The painting has a label in the back with the title,
49:43which is Making Houses of Sand.
49:45The composition is quite interesting
49:47because J.G. Brown was just known
49:50for painting very realistic images of the children.
49:54And what makes this a little more interesting
49:55is that in the background,
49:57there 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
50:05and not something we normally see.
50:06The painting is oil on canvas,
50:09and it's in excellent condition.
50:12Because of the subject,
50:13I think that in a gallery in New York in particular,
50:17the painting would sell for $150,000.
50:21Oh, my gosh!
50:22Oh, my gosh!
50:24I had no idea.
50:25I'm going to start crying.
50:26I had no idea.
50:28Thank you.
50:30Oh, my gosh!
50:32It's just stunning.
50:33And when I saw it,
50:35I thought I was just breathtaking.
50:36It's really cute now
50:37because I have one granddaughter.
50:39Oh!
50:40And we live up on the water in northern Michigan,
50:44and she can be the little girl.
50:46Oh, yeah!
50:47Oh, wow!
50:48Wow!
50:50Thank you.
50:50Oh, you're welcome!
50:52Thank you.
50:55And now it's time
50:57for the Rocho Feedback Booth.
50:59And it turns out that our baseball sign by the Yankees,
51:03along with Mickey Mantle,
51:04is actually stamped.
51:05Looks like we're going back to work tomorrow.
51:07We wanted to find out some history
51:09about our scary eggplant baby.
51:12We knew it wasn't too old,
51:13but we found out it's mass-produced,
51:15not worth much.
51:17Our daughter even says
51:19it wasn't worth the quarter we paid for it.
51:21We found out that my grandmother's
51:25silver candy dish
51:26is worth about $1,000 to $2,000.
51:29I brought this ancient pottery
51:30that's actually as old
51:31as I thought it was,
51:33but it's restored.
51:34But we got to find out
51:35that it was actually real
51:37and comes from the era in Nicaragua.
51:40And we're happy to be here 10 years.
51:4210 years married.
51:43So thanks for having us.
51:45Yes.
51:45We both brought in a couple items.
51:47I brought some pocket knives
51:48and a Koopy doll
51:49that I dug up by my chicken coop.
51:51Found out that this is worth
51:53about as much as everything else
51:54buried by it.
51:55And this is about $250.
51:58And I'm just glad to be here
51:59instead of crying in my basement
52:01about not coming to Roadshow today.
52:03Today we brought
52:04our little Fryer Tuck cookie jar
52:06and found out that
52:07even though he's been in our family forever,
52:09he is worth about $13.
52:12So he'll be holding cookies
52:14for the foreseeable future.
52:16But we had a great time.
52:17Thanks, Antiques Roadshow.
52:19Thanks for watching.
52:20See you next time
52:21on Antiques Roadshow.
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