- 9 hours ago
Antiques Roadshow - Season 30 (US) - Episode 08: Coastal Maine Botanical Gardens, Hour 2
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06:32que es excepcional.
06:34Estas turnen up un-painted sometimes
06:36pero finding one that's painted
06:38authentic paint
06:40es quite rare.
06:42Oh, why is that?
06:44I can probably only count about five examples
06:46that I know of, which would probably make this
06:48the second rarest doorstop
06:51in existence. Oh, stop it.
06:53Seriously?
06:54Seriously.
06:56The things we'll look for
06:59is the crazing in the paint.
07:01It's almost like an alligatoring or a crackling
07:03in the paint. We can see it here.
07:04That's a good sign. That shows old paint.
07:06One of the tools that we use when determining
07:09if the paint is original is a
07:10shortwave blacklight UV.
07:12So it goes into the spectrum. It's hard to see an open
07:15light here, but the way this lights is exactly what
07:17we want to see. Nothing's really jumping out
07:19to suggest that the paint is
07:20tampered with or has been modified,
07:23restored, etc.
07:24When I brought it up here, I did chip a little paint
07:27off of it, and it came off
07:29really easily. We definitely want to avoid
07:31any more chips. Actually,
07:33the rule in my household growing up was
07:34treat every chip like it's $1,000.
07:37Okay.
07:38The other rule of thumb that we've used is that the money is
07:40in the face, and his face is
07:42in great shape. A
07:45conservative auction estimate would be
07:46from $10,000 to $15,000.
07:49Wow. Okay.
07:52Go Uncle Sam.
07:54And the top price actually exceeded $20,000
07:57on one that sold it all to before.
07:59Oh my gosh. Wow.
08:00Wow. Thank you so much. That's...
08:02I can't even believe that. Wow.
08:11The children's garden is a really magical place where kids can engage all of their senses.
08:16The garden is themed around storybooks written by main authors and illustrators.
08:20When you enter the garden, you're greeted by a group of spouting whales.
08:23Those are features from Down to the Sea with Mr. McGee by author and illustrator Chris Van Dusen.
08:29We have Stonewall Dragons from the book The Stonewall Dragon.
08:33Here, the dragon heads are coming out of a really beautifully planted garden space,
08:37bringing that storybook to life.
08:38Over on Blueberry Island, we have the little bear that's from the book Blueberries for Sell by Robert McCloskey.
08:45And the sculptor is Nancy Schoen. People might be familiar with her work in the Boston Common.
08:50She brought to life another one of Robert McCloskey's books, Make Way for Ducklings.
08:55Kids growing up here can see the storybooks that they read about their landscape.
09:00And then people visiting from away are able to have a taste of what it would be like to go
09:05on an adventure here in Maine,
09:07all throughout this children's garden.
09:12My father's turning 92 this year.
09:14He has had his vase since he was a kid.
09:17And the story he tells is that his aunt came to this country from Ireland
09:20and got a job as a housekeeper in one of the North Shore Long Island estates.
09:25And she brought it home from the estate.
09:27We assume it was a gift.
09:28And that's back in the early 1900s.
09:30We know it says Tiffany on the bottom.
09:33And it's been in the closet for 40 years.
09:35You go online, you see a lot of fake Tiffany.
09:37We found a lot of vases that look like it, but they're not Tiffany.
09:41So we're not sure.
09:42I'm glad you brought the vase in because it is indeed a...
09:45Oh, thank you.
09:47It's a Tiffany paperweight glass vase.
09:50Okay.
09:51But not only is it a Tiffany paperweight glass vase, but it's actually a reactive paperweight glass vase.
09:57So it's a little more of a complicated technique involved to make it appear this way.
10:03This was a technique that was developed around 1910, 1911.
10:08The color can be different whether it has transmitted light or reflected light on the piece.
10:14Okay.
10:14But if we look at it, and today we're looking at it more with reflected light, it looks one way.
10:21Right.
10:22If we took that light away, the colors would completely change.
10:26The paperweights themselves were first developed, and it was like a very major innovation at Tiffany Glassworks.
10:34They started to make paperweight glass just around 1900.
10:38This would have been made in Corona Queens.
10:41The technique was the same type that you would use on making an actual paperweight in that you would have
10:47hot case glass,
10:49and then you'd put a transparent layer of glass on top.
10:52And as a result of that, the decoration that's trapped in between it.
10:56Right.
10:57So it has a much more three-dimensional effect.
11:00This is leaves and vines, and you can see traces of some type of flower.
11:06I love the blue is gorgeous, and the swirling effect in the background.
11:11There are a few imperfections.
11:13Right, yes.
11:13There's some blisters, and then on one side there is a blister, and we call it like a burst bubble.
11:20Oh, that's from manufacturing?
11:21Yes.
11:22Okay.
11:22Now, that will affect the value, nevertheless.
11:25I would put a retail value of $10,000 to $15,000.
11:29Really?
11:29Okay.
11:30Very nice.
11:31Take it out of the closet?
11:33For insurance, maybe $20,000.
11:41I found it in a barn in Winthrop, Maine, in 1988.
11:46It was my great aunt's barn.
11:48I'd never seen anything like it, and I just fell in love with it.
11:51I've been using it every day, ever since.
11:54It's kind of like a jigsaw puzzle.
11:55I just think it's a really special piece.
11:58People refer to it as Adirondack furniture, made throughout New England, in the Mid-Atlantic,
12:04in the mountainous regions.
12:05There became a big market for it when people from urban areas started getting their lodges.
12:11So they would want rustic furniture in their lodges.
12:14And there just came this local craft boom, which was part of a movement in the United States in the
12:22late 19th century.
12:23You've probably heard of arts and crafts style, but there was also a big revival in home crafts.
12:29And the template for these was making something decorative out of what was available.
12:36And some people refer to it as twig furniture.
12:38This is probably laurel or something like it that's had the bark taken off of it.
12:44And then these other pieces are little half pieces that they cut in it, like you say, almost in a
12:49jigsaw puzzle.
12:50This is some kind of willow or some kind of larger vine that grows.
12:54And you can tell by looking at the nails that it was done after 1880.
13:00This kind of furniture was really popular in the late 1800s up through, really, the 1920s.
13:08I've seen lots of pieces of twig furniture or Adirondack style, and normally it's just brown.
13:16But this one is so cool because it's very graphic.
13:21Did you have a picture?
13:23I do.
13:24The picture was taken in Danvers, Massachusetts, in the home of my great aunt's great aunt's.
13:31And it shows the table in their living room.
13:34And on the back, it has the location and the date.
13:39Putnamville.
13:40Putnamville.
13:40Yeah, which is a section.
13:421899.
13:42Well, that fits right in with where I think it might have been made.
13:47I think a retail price for a folk art show would probably be around $6,500.
13:53Wow.
13:56That's great for a barn find.
13:59Let's see.
14:00You got anything else from the barn?
14:02A bunch of chicken coops.
14:07My uncle was a diver, and when he retired, it was given to him as a gift.
14:11So I don't really know what year it was when it was actually used.
14:16I can just tell you it's very heavy.
14:24I bought it at an online auction for $100.
14:27I got it broken, and I took it all apart and fixed it.
14:34And I'm looking at the hallmarks inside.
14:36It was made in England, London, England in 1799, and then it came to Massachusetts.
14:42So I'd like to know how much the thing's worth, because it's got some hallmarks that say it was traced
14:49back to the royal family.
14:51So I'm not sure what that adds to the value.
14:59I brought a Miami Dolphins retired numbers football.
15:04I bought it at a secondhand shop here in Maine.
15:08How much did you pay?
15:09$10.
15:10Now, when you came to the show today, you couldn't have known that you were going to visit a diehard
15:15Miami Dolphins fan.
15:17And here I am standing next to a diehard Patriots fan.
15:20Correct.
15:20Great juxtaposition.
15:22Mm-hmm.
15:22Who's shown out here?
15:23The 12 is Bob Greasy, the 13 is Dan Marino, and the 39 is Larry Zonka.
15:30All three Hall of Famers, they've had a lot of great players.
15:32But to this day, the only three numbers that have been retired have been Greasy, Marino, and Zonka.
15:36Of course, Greasy and Zonka helped Miami to the first and only undefeated season in NFL history in 1972.
15:44The Dolphins entered the AFL, the American Football League, in 1966.
15:48Six years later, they won.
15:50One that you're following.
15:51Of course, the Dolphins have had many Hall of Famers, including a coach.
15:55These three stand out.
15:57Marino, prolific passer.
15:58Bob Greasy helped helm two of the better teams in NFL history to win the Super Bowl in 72 and
16:04again in 73.
16:04Larry Zonka, of course, revered as one of the best running backs in football history, fullback running back.
16:09It's a specialty ball.
16:11It was painted to reflect Dolphins colors.
16:15It's a Dolphins souvenir.
16:16We can't know how many of these were made.
16:18All three, Greasy, Marino, and Zonka, each appeared to have used black Sharpie.
16:23What is your thoughts on the value?
16:25Have you given any thought?
16:26You bought it for 10 bucks.
16:27I'm not really sure.
16:28I've never seen anything where all three were on the same piece.
16:32That's what stands out.
16:33You don't see all three.
16:34You see Greasy and Zonka, they were teammates.
16:37Marino, not so much.
16:39At auction, you're looking at a piece that maybe hasn't been sold, that maybe doesn't have a reference point.
16:44But when we look at how Dolphins' material tends to play, and again, regions matter, so Miami might do a
16:51little better than, let's say, New England.
16:54We think that at auction, this piece would sell for about $2,500 to $3,000.
16:58Okay?
17:00You could insure it for considerably more.
17:02You can insure it for about $5,000.
17:03Whoa.
17:04Okay?
17:05Wow.
17:13I think I'm just becoming a Dolphins fan.
17:20My mother-in-law is a big collector of a whole bunch of different things.
17:24Pez is one of them.
17:25She gifted this to my husband and I a few years ago.
17:28She bought it about 30 years ago.
17:30It's a combination set of Circus and Disney, 24 different dispensers.
17:37Pez as a candy and a brand is as iconic as it gets.
17:41The candy was first introduced in 1927, marketed as a breath mint for adults.
17:46The first Pez dispenser we ever see was released to the public in 1949.
17:51And the original Pez dispenser was nothing like you see here.
17:54This, we fast forward to 1970 here.
17:57And this is the Circus series, Circus display.
18:00It's not a full display of all circus, as you do have some Disney characters mixed in.
18:05The box itself is in exceptional shape.
18:07The colors on it are absolutely vibrant.
18:10I would say conservatively at auction, we would estimate this at $4,000 to $6,000 today.
18:16Wow.
18:17That's pretty amazing.
18:19I have a very generous mother-in-law.
18:23It belonged to my mother, who died about four years ago.
18:26She lived in Tokyo for a long time and she started a great collection of Asian art.
18:31She would have acquired it sometime in the late 1940s, early 1950s.
18:37Perhaps part of the occupational forces in Japan at that time?
18:39Probably.
18:40My father was in the Marines and she worked for the State Department.
18:44I'm not terribly surprised to find that this came from Japan.
18:48It's not originally from Japan, as it is in fact Chinese.
18:53Oh.
18:54But it's a Chinese Buddhist bronze.
18:57Oh.
18:57And these were treasured not just in China, but by the Japanese as well.
19:01So a great inspiration to Japanese metalsmiths and bronze smiths are these Chinese bronzes.
19:09This figure is a specific bodhisattva in the Buddhist tradition.
19:13And this is Guan Yin.
19:16Guan Yin, one could say, is the Buddhist mother of mercy.
19:20Okay.
19:20And a very, very popular figure in Chinese Buddhism.
19:24Guan Yin has a bearing that is very serene, protective.
19:29Guan Yin bestows peace and mercy and understanding.
19:34And so it's very inspirational to those who would have an image of Guan Yin in the particular shrine
19:39or in the temple that they would visit.
19:41She would have been holding, I believe, a lotus flower.
19:44Ah, where were they?
19:45So right now she's holding a lotus stem.
19:47There are traces, you may notice, of a little bit of gold.
19:51You have to imagine this completely gilt from top to bottom.
19:56You're kidding.
19:57Unfortunately, no, not at all.
19:58The way the gilding is applied, and it's best shown in the back, it's actually a gilt lacquer.
20:04And lacquer degrades.
20:06Lacquer dries out, it flakes away.
20:08So we can see here, this is a nice little piece of how bright.
20:13You can see the gold hasn't tarnished, but the lacquer has largely flaked away.
20:17So it's a gilt lacquer on top of the bronze.
20:20This is from the Ming dynasty.
20:22This is the second to the last dynastic period in Chinese history.
20:27Specifically, I'd say this dates from around 1600 to 1650 or so.
20:33Maybe even the late 1500s.
20:35Very distinctive.
20:36Very Ming.
20:37One of the reasons I can date this as Ming is the size of the head.
20:40The proportions are such that I think Ming.
20:43Another technique that I look on the underside, this red color.
20:47This comes all the way back from the casting process.
20:50We're looking at this and we're seeing evidence of how it came out of the foundry.
20:54This is red clay.
20:56There was a clay core that was put into this cavity to keep the integrity of the bronze as it
21:02was fired.
21:03And that red clay never goes away.
21:06That is really cool.
21:09In today's auction market, I think this would have perhaps a conservative auction value of $7,000 to $10,000.
21:16Wow.
21:18Wow.
21:21My mother would be so excited if she was here.
21:25And I'm also very certain that's not what she paid for it.
21:29It's quite a souvenir.
21:33At Coastal Maine Botanical Gardens, there's an organic connection between art and nature.
21:39One of my favorites is a piece called The Basin that is down in the Viome meditation garden by David
21:45Holmes.
21:45It's this huge piece of Ellsworth Schist that was opened up and then smoothed out and it has water in
21:52it.
21:52Another piece that's really beautiful is by a Wabanaki Wolostige artist, Shane Pearlie Dutcher.
21:59It's these giant oversized fiddleheads that are made in the traditional Wabanaki basket weaving tradition, but out of metal.
22:07We have a stainless steel sculpture called Flock of Birds by George Sherwood that twirls when the wind is blowing
22:13and catches the light.
22:15It's quite beautiful.
22:16Most of the art that we have here is by Maine and regional artists, so they have a connection to
22:22the place.
22:25As far as I know, this is a model 1777, second model brown best that came from Dover, New Hampshire,
22:34with the pouch.
22:36And as far as I know, it's pretty much untouched.
22:40How'd you get it?
22:41I saw it hanging on the wall of an older couple, friends of mine, and the pouch was given to
22:48me first, and then I purchased the firearm later on.
22:51Nice. So it all came from the same place.
22:53That's correct.
22:54So let's talk about the pouch first.
22:56It's actually called a cartridge box.
22:58The British called their over-the-shoulder box of pouch, and then what was worn around the waist, a cartridge
23:03box.
23:03Here we weren't that particular.
23:05You see them named all sorts of things.
23:07Cartridge boxes, cartouche boxes, they have all different names for them.
23:10Let's take a look inside.
23:12We can see it has 24 holes.
23:15One of the tins is missing, but these would be to hold the cartridges in place and protect them.
23:20And by the number of cartridges and the form of the box, it's probably post-Revolutionary War to the beginning
23:25of the 19th century.
23:26Let's go to the gun now.
23:28What we've got, as you mentioned, is a British pattern 1777 shortland musket in really wonderful condition.
23:35And it's great because it's regimentally marked, which we all like to see.
23:39On the top of the barrel, we've got 65 regiment, 65 RGT.
23:47And then on the wrist, we've got the brass wrist plate here with F34 for the rack number for the
23:52company, company F, and the number of the man.
23:55So we can definitely tell it's a pattern 1777 based upon the shortened sear spring lock.
24:01A little bit different than the pattern 1769 of earlier times.
24:04And the caulk is a little bit different than the earlier pattern.
24:08One of the great things that it has, too, is an original whisk.
24:12It's missing the pick, and the whisk would have been used to clean out the pan between shots.
24:16These guns were built by various makers.
24:19They were people who would make the barrels, the brass parts, the locks, and then they would put it all
24:24together.
24:24It's original brown, hasn't been cleaned.
24:26The bayonet is cool in its own right.
24:29Probably not issued with the gun itself, but it's marked LI and a rack number.
24:33The LI would be for the light infantry company of whatever regiment it was from.
24:37And when they're marked with LI for light infantry, they're a little more collectible than the regular bayonets with a
24:43rack number or without.
24:45What would you pay for it?
24:46$400.
24:47$400 for the whole group?
24:48That's correct.
24:49Right now, Revolutionary War stuff is fairly hot.
24:53But we would put an auction estimate on all of it in the $10,000 to $15,000 range.
24:58Definitely way more than what you paid for it.
25:01Well, thank you very much.
25:01Well, thank you for bringing it in.
25:06Back in 1943, my dad was in the 95th Infantry Division.
25:11They did some desert training, and he had a Saturday off.
25:14They went to the Universal Studios and sat down, and all these different movie stars went through, saw that they
25:20were military personnel, and offered to sign the menu.
25:24Personally, I just love old menus. That's something I used to collect, because I think they're kind of fun.
25:28When you start looking at the prices on stuff, it makes you want to cry, obviously.
25:32But the other cool thing about this, because it is wartime, we have the flags up here, and one of
25:37my favorite things is the daily specials.
25:39On Monday, it's let's buy bonds. And on Tuesday, are you buying war bonds?
25:44And on Wednesday, you can imagine this continues, which there's obviously quite an effort to buy war bonds to support
25:49the troops.
25:50Now, during the war, Hollywood, that was one of the ways they supported it. They had the Hollywood Canteen, they
25:54would invite soldiers.
25:55And what's interesting to me about this is, for a long time, Universal Commissary allowed people from the public to
26:02come in and eat.
26:02And it was called Dine with the Stars. So they advertised you could come in, but they actually stopped that.
26:07They probably opened it up just for service members.
26:09Probably, yeah.
26:10And this is from November 13, 1943.
26:13And it's signed by a whole host of famous people.
26:15It is.
26:15I think the highlight on the front is probably Donald O'Connor. But the back of it is actually my
26:19favorite, because we have a huge, beautiful Olivia de Havilland signature.
26:24We have a really nice Betty Davis, Janet Gaynor. So you have some of these leading ladies, which I'm sure
26:28for him at the time about to ship out would have been quite a highlight.
26:32The fold marks don't matter. I think everybody fold these up and put them in their pocket, and you have
26:36it nicely framed.
26:37At auction, it's about a $600 to $800 menu.
26:39Okay, great. Thank you very much.
26:47This is my mother's juquette record player that she had as a child.
26:53It lights up, and it has, you know, the folding cover on it. And it's made to look like a
27:00jukebox.
27:03In 1988, my partner and I bought an elementary school built in 1909.
27:08These were in the auditorium on pedestals. This is probably 300 pounds, and he's probably 150 pounds.
27:17That's why I'm here.
27:19I used to put them in my car on the president's weekend, drive them around in a convertible.
27:27I brought a painting that was my grandfather's, and it hangs in my bedroom.
27:31My grandfather always put some information about whatever he had.
27:36So, on the back here, it says, Mr. Kaus, who painted this picture, told me that it was the portrait
27:42of a Klinket Indian of the Columbia River region by the name of Solale.
27:48And it was painted around 1900.
27:49The painting is an oil on canvas by Edgar Irving Kaus. He was a painter born in Michigan. He was
27:58born in 1866 and died in 1936.
28:01He was classically trained. He studied in Chicago, New York, and in France. And about 1897 to about 1901, he
28:10moved to Oregon to be with his wife's family for a little bit.
28:13And that's where he painted the Northwest Coast tribes, specifically the Klickitat, which is when this would have been painted.
28:22So, your grandfather was right, circa 1900.
28:25Kaus is really famous for his scenes in Taos, New Mexico.
28:29He was one of the founding artists and first president of the Taos Artists Society.
28:35Do you have any idea what this could be worth?
28:38I don't. No idea.
28:41Do you want to take a guess?
28:42$5,000?
28:43If this were to come to auction, I would expect it to bring in the $10,000 to $15,000
28:50range.
28:54That's unbelievable.
28:56Thank you.
28:59I would insure it in the $20,000 to $25,000 range.
29:03Thank you.
29:07I brought in mid-century modern furniture that I inherited from my uncle. My aunt said that he got them
29:14in the 1950s, 60s, something like that.
29:16This desk is known as Model 1560. It was designed by Paul McCobb. This is from his planner group that
29:24he designed for the Massachusetts-based company of Winchenden.
29:27And the planner group in the 1950s was said to be the best-selling mid-century modern design of the
29:35period.
29:36This is a DCM chair produced by Charles and Ray Eames.
29:40They were a husband and wife team. Whenever we look at these early Eames chairs, we're always trying to discern,
29:47is this from the earliest period of manufacture?
29:521945-1946 is when they first produced this for the Evans product company.
29:57And then in 1947, production was taken over by the Herman Miller company.
30:02On the early production that were done for the Evans product company, where the chromed metal element meets the rubber
30:09shock mount, those are circular.
30:11Here, they're in an oval shape.
30:13The rubber shock mount also has four holes. That also lets us know that it's not the earliest period, but
30:21it's perhaps one or two generations thereafter.
30:26Also, these have what are called boot glides. So that helps us date it between 1954 and 1960.
30:33Oh, okay.
30:34Has anyone ever adjusted this back?
30:36The back has been reattached.
30:39It's actually upside down.
30:41Is it upside down?
30:42It's upside down.
30:43Oh my goodness.
30:44It's a pretty easy fix, so there's no harm there.
30:47If these were to come up to auction, we would expect the desk to sell between $600 and $800.
30:54Okay.
30:54And we would expect the chair to sell at auction between $700 and $900.
31:00Okay.
31:01That's great.
31:08They're beads that my aunt gave me 20, 30 years ago.
31:13She grew up in the Miami area.
31:15I'm guessing she got them from her parents, and I know nothing about them.
31:19It's really just a complete mystery.
31:24About 50, 60 years ago, I bought a house in Brooklyn, Maine.
31:28It was an antique Victorian.
31:30The house was selected to be used in the film Pet Sematary.
31:35They wanted to actually dismantle the side walls of the house.
31:39I wouldn't let them do that.
31:41So they basically recreated the whole front half of the house at the armory in Bangor to use as the
31:48movie set.
31:48Because I had a copy of the book, I got Stephen King and probably most of the cast to sign
31:55it for me.
31:55I don't own the house anymore.
31:57It was great fun.
31:59Great to be part of it.
32:02This painting belonged to my grandparents, and I inherited it.
32:08My grandmother's brother was very good friends with Sheldon Parsons,
32:13and so my grandparents went to visit Santa Fe and met Sheldon Parsons,
32:19and my grandmother was taken with this artwork.
32:21She did not buy this painting there.
32:24She purchased it from him through correspondence, and he mailed it to her in Pennsylvania.
32:31Do you know how much she paid for it?
32:33I have no idea.
32:34She actually bought three through the years.
32:37My sister also has one that's smaller, and my cousin also has one.
32:43You mentioned there was correspondence, and you have that correspondence, right?
32:47I do, yeah.
32:47And that really is the form of several letters and what we have in front of us,
32:51which is in the artist's own handwriting.
32:54This describes the painting, what inspired it.
32:56He describes where it is, and it's 25 miles northwest of Santa Fe,
33:01and that it was painted on October 1940.
33:05Sheldon Parsons was born in 1866, and he died in 1943.
33:10Parsons actually was a known portrait painter in New York.
33:13Oh.
33:14And some of his portraits were of famous people like Susan B. Anthony and President McKinley, for example.
33:21I had no idea.
33:22Sadly, his wife passed away in 1912.
33:25In 1913, having been diagnosed with tuberculosis, he moved to Santa Fe.
33:29That is wild.
33:30And once he gets there, he starts painting these types of scenes.
33:33He studied it at the National Academy of Design, so he's got a great background.
33:37He was a member of the Santa Fe Art Colony, and he became the first director of the New Mexico
33:43Museum of Art.
33:44This particular painting is an oil on board, and it's not signed or dated,
33:49which emphasizes the importance of you having kept those correspondences.
33:54For retail purposes, it's probably a $10,000 painting.
33:58Wow!
34:00That's terrific news!
34:09I brought a rug that has been in my family for many years.
34:14Family lore has it that it was the second place winner in the World's Fair, 1939-1940.
34:21We don't have a ribbon for that, second place, but we do have a blue ribbon from Macy's,
34:26where she won first prize to get into the World's Fair.
34:29Was this a relative who made this?
34:31Yes, it was my great-aunt Jessie Teed, who I guess was known for her work.
34:37And do you know much about the technique that Jessie Teed was using in making the rug?
34:42I only know from an article that she wrote about her work.
34:45She talked about how she used quarter-inch strips of wool.
34:49That was the best, she said. It makes a lightweight rug and very sturdy.
34:54She talked about the burlap that she would use from the flower sacks.
34:57The technique is called a hooked rug.
35:00It's where they take the thin wool fabric strips and, with a hook, punch them through the surface
35:05and pull them back through to form the carpet's pile.
35:08Okay.
35:08Usually when one thinks about American hooked rugs, you think about folk art, and this is about as far from
35:13folk art as you can get.
35:15Jessie Teed was from Unundia, New York, which is near Binghamton.
35:20It's sort of rural south-central New York.
35:23Yes.
35:24And it's a pretty sophisticated design for kind of rural New York at the time.
35:28She's taking these Zodiac figures.
35:31It's very, very much in an Art Deco design layout.
35:35Oh.
35:35And then in the center, you can see this incredible sailing ship in turbulent, topsy-turvy seas.
35:41And I don't know if you've noticed it, but she signed it JMT, Hidden Amongst the Waves, which I think
35:47is just such a great little touch.
35:49It is, and I did not know that until your crew hung the rug up and I saw it.
35:54She also dated it, which is very difficult to see and hear because it blends in with the waves, but
35:59it's 1932 and is able to find reference to a 1946 diary written by Nellie Carr, where she's talking about
36:09that Nellie Carr is talking about her grandmother going to live with Jessie and her family because Jessie was busy
36:15making her rugs and her rug designs and needed help with the house.
36:19Oh, I did not know that.
36:20Yeah, which really indicates to me that she was approaching this as a profession and really couldn't be a homemaker
36:27anymore because she was busy designing and hooking these rugs.
36:30Right.
36:30Have you ever had it appraised?
36:31I had it appraised a few years ago. The gentleman said it was worth about $2,000 for insurance value.
36:37In a retail setting today, this rug would be $8,000.
36:42Really?
36:43Yeah.
36:44Oh.
36:46Wow.
36:47For insurance, I would keep it around that same $8,000 mark.
36:50Okay, I will.
36:52It's just a beautiful, striking, eye-catching design that would have great appeal to a lot of different people.
36:59Wow.
37:00It's my grandmother's ring. She called it the cauliflower ring. She bought it in the 80s. And this ring, she
37:08would visit every month to pay off.
37:12She would do monthly layaway installments. And she never really got to get the ring until five years before she
37:18died.
37:19One of the few last payments that she made, she went in and they said, you know what, just take
37:25the ring. We don't want it anymore.
37:27So she...
37:28She just...
37:29They gave her the ring.
37:30They gave her the ring.
37:30I looked at the diamonds. They're gorgeous. This ring must have been expensive.
37:35I think so.
37:36When she bought it, do you know what she paid?
37:38We think it was $10,000, but I think her total payments were maybe $8,000.
37:44You know what?
37:44I'm not sure.
37:45She paid the right price because today, you know what it's worth?
37:48I don't know. I feel like you're going to tell me.
37:50$8,000?
37:52$8,000.
37:53That's what it's worth.
37:54That's great. I'm excited to hear that.
38:03I brought a painting by Inez Walker. I was at an estate sale. She had a collection of art that
38:11was very eclectic. This is really what I went for, but I bought about nine pieces. The estate sale company,
38:18this particular one, you know, the more you buy, the better the deal is.
38:22Sure.
38:22I think I paid about $400 for all nine pieces.
38:26Well, you know it's by Inez Walker.
38:28Yes.
38:29And it's signed over in the left-hand column. Did you see that?
38:33I didn't.
38:34It looks like it's part of the design. She is considered an outsider artist. She created her art outside the
38:42mainstream. I like the term self-taught.
38:45Inez Walker was born in 1911 in Sumter, South Carolina. Very tough life. Very tough life. She's an orphan at
38:53a very early age, and she's married by the age of 12 or 13.
38:58Wow.
38:58And comes north into Philadelphia with the Great Migration. And she eventually made her way up into upstate New York,
39:07Fort Byron, and worked in an apple processing plant. Sadly, she kills a man who was abusing her. Sent to
39:16prison. In prison, she starts to draw. She started out drawing the other inmates. She called them the bad girls.
39:24She got out of prison in 1973.
39:27Your piece was made in 1976. It's a drawing, colored pencil, and ink on a piece of paper.
39:34From across the room, you can tell on Inez Walker. The features of her pieces are very, very distinctive. The
39:42faces are big. They're bold. The eyes are typically exaggerated.
39:47And the clothing is typically clothing that she wore herself. She has a fairly large body of work, and she
39:54trades regularly. She died in 1990.
39:56Like so many of these self-taught artists, it really wasn't until after her death that the market started to
40:03take notice of her work. Retail. I would put a value on this of $3,000 to $3,500.
40:11No kidding. No kidding. No. Wow. Tough life. Yeah. Tough life. I appreciate it even more now. Yeah. No, it
40:22is. And these self-taught artists, you know, just...
40:30You got me. It gets me, too. Trust me. Just tough. It's a heartbreaking story. It is. It is heartbreaking.
40:37Yeah, I had no idea.
40:46One native plant that does really well here in Maine is Comptonia peregrina, or sweet fern. It's not a fern,
40:52per se. It's actually a shrub.
40:54And it's got this really lovely fern-like foliage that has a spicy fragrance to it. And it has the
41:01ability to fix its own nitrogen. So it's a great plant for soils that are pretty crummy and have low
41:07nutrition. And it does admirably well in those situations.
41:11Two of my favorite native perennials in this garden are Christmas fern, as well as our native ginger. And they're
41:19both used here to maintain the stability of the slope. They spread with rhizomes and keep the soil in place
41:26rather than washing to the bottom of the hill.
41:32My husband and I are big readers, and we both come from families that love books. And we have inherited,
41:37over the years, hundreds of books, maybe thousands.
41:42And it actually got to the point where we had no room for books, so we had to build a
41:46special building, which we call our library.
41:48Maybe three weeks ago, I came to him and I said, my book group has decided we want to read
41:53a portrait of the artist as a young man. And do we have a copy of it anywhere?
41:58By James Joyce. By James Joyce. And I was sitting in the kitchen, and he comes out of our bedroom
42:02and says, yeah, we do. We have this portrait of the artist.
42:05And he opens it to give it to me. And he goes, huh, look at that. It's signed.
42:10Yeah, so let's open it. And that was like a huge surprise.
42:15It says someplace in Italy, and it's dated 1928.
42:211920. 1920. Right, you are.
42:23Yeah, so it's Trieste in Italy.
42:25Oh, okay. I couldn't read it.
42:26He spent a lot of time in Trieste. He went in 1905 for the first time.
42:31Oh, okay.
42:31He worked on this book there a lot, too. Oh, he did.
42:34And he kind of bounced back and forth because of the First World War.
42:37He was kind of a self-exile at first, leaving Ireland. He got a job teaching English in Trieste, but
42:43he loved it.
42:43This is the 13th of February. And this particular stint in Trieste, he was there from the fall of the
42:50previous year.
42:51And then in the spring, summer of 1920, he went to Paris and never lived in Trieste again.
42:56Oh, wow.
42:56But that's really helpful because when we're talking about a signed book, we want to know if the signature looks
43:02right, which this does.
43:04Oh, good.
43:04And then the date needs to make sense because usually when people are going to fake things, they're kind of
43:09sloppy.
43:09They're not going to know exactly which month and day he was in what city. Is this a copy you're
43:15reading for your book group?
43:16No.
43:17When I saw that, I went to the library and got a library copy.
43:21And do you have any idea where it came from?
43:23My suspicion is that it's my husband's great aunt who lived in Boston on Beacon Hill and was a friend
43:30of many artists and writers, Eugene O'Neill, people like that.
43:33And she had many, many of our books came through her.
43:36It's one of the earliest editions.
43:38Oh, really?
43:39And people are pretty serious about James Joyce and he didn't sign a lot of things.
43:43And this is very important because of the age, the 1920 signature, because he's still kind of struggling at that
43:49point, which is cool.
43:50He wasn't well known then.
43:52No. And being so unusual in his style, a lot of people with Victorian sensibilities were kind of horrified at
43:59some of his approaches.
44:00Yes.
44:01Have you ever thought about what the value is?
44:04I would imagine it's $5,000 or $10,000. It's just sort of off the top of my head.
44:08This is one of the favorite titles of his. It's nice and early. It has Trieste.
44:12For auction, I would estimate this at $15,000 to $20,000.
44:17Wow. Yeah. Whoa. Okay. That's pretty nice.
44:23I guess I'm not going to read it. I have a terrible habit of dog-earing, you know, the pages.
44:28So I'm glad I didn't read that one from my book group.
44:31Yeah.
44:32I can't wait to tell my book group about this. We're meeting tomorrow and I haven't told them.
44:36That's great.
44:36I want to give them a shout out. Thanks for picking this title.
44:46It belonged to my father. He learned to play violin in his retirement and he started collecting violins.
44:53And when he died, he left them all to us and we have no idea what they are or what
44:58they're worth.
45:01My family had three generations of railroad workers that worked on the Bangor and Aroostook Railroad.
45:06This was one of the lanterns. Back in the day, they used to, you know, wave it, you know, as
45:11they do.
45:12But then as the years went on, they would attach it at the bottom so that they could just turn
45:16it depending on what the signal was for the train.
45:24It's a family piece. The person who generated it was a, um, either fourth or fifth great aunt.
45:34Do you know how old she was when she did the map? Do you have an idea?
45:38I think she was in her early teens, 13, 14.
45:42It's a manuscript map. Everything has been done by hand and it's called the United States by Eliza Ann Oliver.
45:51She drew the map in March either 24th or 29th. We can't read her calligraphy there. 1823.
46:01So it's very early and it shows the United States and territories at the time.
46:06It's what's called a schoolgirl map.
46:08It represents a shift in 19th century education for women.
46:13They were educated outside of the home. Female academies were established.
46:18One of the methods that they used for teaching was maps and it was a mnemonic device to teach calligraphy,
46:26geography and penmanship.
46:28Her craft of handwriting, you can see her, she's so talented.
46:31She's using at least three different fonts and she has taken a lot of care with river systems.
46:38And also something I've never seen before is she has rendered topography with little curls.
46:46So she's rendered mountains in three dimensions.
46:49This map is particularly accomplished and would have taken a long time to create.
46:55This is one of the largest examples I've seen of the so-called schoolgirl map craze.
47:01The craze took place from I would say the 1810s to about the 1840s.
47:08Because by that time commercially printed maps were available.
47:12So it's just a small window in time when these maps were made.
47:15One other thing I wanted to point out is that Eliza won an award.
47:20She got a city award from Boston.
47:23In a retail setting, I would put a value on it between $5,000 and $7,000.
47:31Very nice.
47:32It's a masterpiece. Thank you.
47:40I brought in a big plastic bucket filled with first run issues of the Teenage Mutant Ninja Turtles.
47:46From 84 to some stuff in the early 90s.
47:50We could only choose a few items.
47:52What was your dad's connection to Kevin Eastman, the artist for Teenage Mutant Ninja Turtles?
47:55Kevin Eastman worked at what was at the time Johnny's Orweed from 82 to 84.
48:01And my dad came in and took over the business in 83.
48:05Kevin knew all the ins and outs of the business and really helped my dad to open up that year.
48:09They became friends.
48:11And for the printing of the second issue, my dad gave him the loan to help start that out.
48:18So what was Kevin Eastman doing at the restaurant?
48:20He was a waiter using all of his charm to take care of everybody.
48:25Some of his artistic skill came out on the placemats.
48:27He would sometimes write me little notes that said, like, cowabunga.
48:31Teenage Mutant Ninja Turtles was a huge phenomenon, especially in the comic book world.
48:35Kevin Eastman and Perry Lard started a small comic company called Mirage in 1983 and 1984.
48:41Teenage Mutant Ninja Turtles was such a huge blockbuster right out the gate.
48:45It was released in 1984 with the first comic book.
48:48And then it very quickly got licensed into role-playing games and trading cards and TV series.
48:53And later in 1990 became a movie franchise.
48:55And what you've got here is probably a very early representation of Leonardo written on yellow paper from Kevin Eastman.
49:03You've got a first edition, first printing.
49:05And what I find actually the most interesting piece is the t-shirt.
49:09Each year, they would make a shirt for the staff of the restaurant.
49:12And this year, Kevin Eastman did the art front and back of the Orweed restaurant.
49:18They put together their first couple issues with no budget whatsoever.
49:22They were really kind of starving artists at this point.
49:24So that loan from your dad probably helped them launch in a huge way.
49:28This is one of the earliest depictions I've ever seen, but it's fairly mature in its style.
49:33We've seen some earlier drawings by Kevin Eastman that are a little cruder.
49:37The t-shirt is signed on the back by Kevin Eastman in the art, dated 1984.
49:41I've never seen another one, so that's pretty exciting.
49:45And the comic is gorgeous.
49:47It's in fairly good condition.
49:49This is the issue number one of Teenage Mutant Ninja Turtles.
49:51And it's also a first printing.
49:53Do you have any idea what the value might be?
49:55$8,000 maybe?
49:57You nailed it.
49:58Around $8,000 to $10,000 in this condition.
50:01I love the shirt.
50:02Yes, it's early art by Kevin Eastman, but it doesn't have a turtle to be seen on it.
50:06If this was to go to auction, I'd put a conservative estimate of around $800, maybe $1,000.
50:13This, on the other hand, is great.
50:15It's a really early depiction.
50:17And the earlier, the better.
50:19If this was to go to auction, we'd put an estimate of $40,000 to $60,000 on it.
50:27Whoa.
50:30Radical, man.
50:32I mean, it can't make up for the memories.
50:34But that's crazy.
50:39And now it's time for the Roadshow Feedback Booth.
50:42We flew up all the way from North Carolina to have my great-grandfather's lapel pin appraised.
50:49And it appraised for $1,400.
50:52And I got a watch face from my great-grandpa appraised.
50:57It's a Hopalong Cassidy watch, which is $75 to $125.
51:03Yes.
51:03And even though it was raining, y'all, it was so fun.
51:06Thanks for having us, Antiques Roadshow.
51:07Yes.
51:07Brought our friends' 1930s Mills slot machine.
51:12The story is, it was taken from one of Capone's speakeasies before they broke them up.
51:18Turns out, the appraiser said, it's just heavy and worthless.
51:23This is a painting that I acquired from my neighbor, Shirley.
51:26I thought it'd be a Czech masterpiece.
51:29Turns out, it probably won't cover my hotel tonight.
51:32But I love you, Shirley.
51:33I'm here fulfilling a lifelong dream to be at the Antiques Roadshow with my mom today.
51:38And I brought along my Bare Lithia Water carboy, which the appraiser said was one of the best
51:48carboys he's ever seen.
51:50I brought my baby owl.
51:53I spent $20 on it at an antique sale.
51:55And it's worth $1,500 to $2,000.
51:58We found out that what we brought is worth more to us than to anyone else.
52:03This painting from Eleuthera, the appraiser said that his parents would be prouder of it than we are.
52:09And the Sugar Bowl from 1890s is worth $4.
52:13But it was worth a million to be here.
52:15Thank you, Antiques Roadshow.
52:17Thanks, y'all.
52:18Thanks for watching.
52:19See you next time on Antiques Roadshow.
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