♪ ♪ CORAL PEÑA:
Ready to party with treasures that'll make you shout
with glee? I can hardly believe that! APPRAISER:
Yeah. (laughing):
My mom is going to freak out. APPRAISER:
You're gonna be having
piña coladas with your friends? Yes, we are! (laughing) PEÑA:
It's "Antiques Roadshow:
Let's Celebrate!" ♪ ♪ ANNOUNCER:
Now, the people who make
"Antiques Roadshow" possible. ANNOUNCER:
On an American Cruise Lines
journey along the legendary
Mississippi River, travelers explore
Civil War battlefields and historic riverside towns. Aboard our fleet
of American riverboats, you can experience
local culture and cuisine and discover the music and
history of the mighty Mississippi. American Cruise Lines. Proud sponsor
of "Antiques Roadshow." APPRAISER:
All right, well,
I gotta tell you, when you brought this
to my table, I felt like
Yankee Doodle Dandy. I was,
I was literally blown away. PEÑA:
There is a great sense of joy
connected to so many of the treasures
we've seen on "Roadshow," objects that are a point
of pride. MAN:
I wear it
on very special occasions, and I thought today would be
a very festive day to wear it. PEÑA:
That bring back delightful
memories. I brought this print, uh, done
by Munakata Shiko. He felt very grateful for everybody
who participated in the party. PEÑA:
And those with
unexpected triumphs. (chuckling) Are you kidding me? Whoo! All righty. That is, uh,
more than I expected. PEÑA:
We've got a trove of treasures
to celebrate, starting with an object
worthy of a toast. WOMAN:
I think it's a candle box. APPRAISER: Okay. I bought it recently. At a shop or something? At an antique mall. The asking price was $35, and I got a ten percent
discount, so I paid $31.50. It is, in fact,
a candle box. We have a painted box
with a sliding top. So here on the side,
we have this wonderful, really explosive
basket of flowers. It is this really creative
American floral motif that's coming
out of somebody's, in, mind, right? Mm-hmm, right. In the 19th century. (chuckles) Okay? Okay. That folk appeal, that, that raw combination
of colors... Mm-hmm. ...makes it powerful. Mm-hmm. As folk art. Mm-hmm. On the top is
the same basket, of course. But it's covered with dust
because... Mm-hmm. ...dust settles
on a horizontal surface. Uh-huh. It's a sliding top, and that's
typical of candle boxes. Mm-hmm. And the thing is,
at this point in the early,
in the 19th century, this box made about 1830 to 1845, right? Mm-hmm. In that period. They were still using tallow. It was made of animal fat. Mm-hmm. And mice,
those little critters, mice... Oh! ...really loved to get at that
animal fat. So they had to be in a box
somewhere where it's sealed up, and a sliding top actually
sealed it. I didn't know that! Oh, that's great! Yeah, isn't that cool? I've seen candle boxes
with, uh, the corners chewed, with holes in it. Oh, mm-hmm. If we turn it around
and see the end of it, I love this color here. This one, single flower
coming up, and you have the yellow band
around it, right? And the interesting thing
I thought, I found this fascinating, is that that backside
is not painted. You're right. We don't think that
that was ever painted. I mean, when... Mm-hmm. You can see on the,
if we go to the other end, that this board, this exact
board has paint on it. Uh-huh. It's not a replaced board. But the one thing is that
it makes sense, uh, as, like, why bother? That's up on the wall. Yeah. What's powerful
about folk art is that it's un,
by untrained artists. Mm-hmm. It has the appeal,
the brightness, and this would
brighten up a room. What do you think
it's worth? I mean, you paid
$31.50. Mm-hmm. Uh... Will you double
your money? $400. That's a good guess. But I'd multiply that by ten. Yeah. Oh, oh, my gosh! Yeah, yeah, yeah, yeah. (laughs) Yeah. (laughs):
Oh, my gosh! I know! (both laughing) Wow! You're gonna be having piña
coladas with your friends? Yes, we are!
(laughing) Tonight? So an auction estimate
on this, on this painted Pennsylvania
box, would be $3,000 to $4,000. Oh, that's wonderful! And a, on a... On a good day, it could bring,
it could bring $5,000. That's fantastic! MAN:
When I was a kid,
I would go down to a store in Pullman, Washington,
and buy candy and comics, and my mom knew this, of course. And so one day, I'm at work, and she calls me
and says, "I'm down at the auction,"
and they were selling stuff that people had left
in storage units too long, and she said there
were two boxes of comics, and did I want to, um, have her
bid on them? And I said, "Sure,"
and so she brought them home, and in the box were these
two comics. And, um,
about five months ago, she calls me and I had a whole
bunch of stuff in their attic, and she said she needed me
to come and take them out of the attic because, um, they were taking up
too much space and they were consolidating
stuff. Now, do you have any idea what she paid for the, uh, box
of comics at auction? Yeah, she paid $24
for the box. Oh, only one box. Only... But then you said there
were two up for auction. There were two boxes, and she looked
in the other one, and there were some toys on the
top, but comics underneath. Mm-hmm. And this one was filled
with comics, so she bid on that one. Which, to this day,
I kind of wonder what might have been in the
other box. (both laugh) Well, you brought in a
tremendous collection of comics. But I chose only two. Yeah. We have "The Avengers" #1 from September of 1963. Wow. And "Avengers" #2
from November of 1963. So the reason I chose these two comics
is because right now, the Avengers are very big
in the public consciousness. Right... Yeah. In 2015, Marvel Comics
released their latest movie, "Avengers: Age of Ultron." Yes. And you've got, coming out in his first movie
very soon. I heard about this! Ant-Man. Ant-Man-- I mean, these are some of the most
iconic Marvel superheroes. It is written by Stan Lee,
the art by Jack Kirby, with just some,
creators of such amazing, amazing characters,
stuff we both grew up with, and grew to love. And then we've got
"Avengers" #2, and it introduces a new
character, the Space Phantom,
which, unfortunately, I don't think anyone really
knows about anymore.
Yeah. One thing about comic books
that you, that really changes the value
on them, is condition. Now, these aren't in what we
would consider mint condition. Right. Far from it. Yeah. You've got creases
by the staples, you, you've got a section here
that is completely folded back. Right. You've got what we call
a rolled cover, which means the cover
is slightly offset. Especially on this one,
it's particularly bad. Do you have any idea what
the value might be on them? I honestly really don't. At auction,
in what we would consider unprofessionally-graded
condition, this would sell for around $450 to $550. Really? Wow! That's really cool. But "Avengers" #1, we estimate,
in this condition, it would probably sell,
at auction, for between $4,000
and $6,000. No way, you are kidding me! In that condition? Wow,
my mom is going to freak out! (laughs) I cannot believe that she kept
them all these years. She's totally not going
to believe this story. Seriously, wow! (laughing):
Oh, my God, that is
unbelievable! That is amazing! (laughs):
I don't even want to touch them
now! (both laughing) Mom, you did good! (both laughing) WOMAN:
I brought this print, uh, done
by Munakata Shiko. He's from Japan, but at the time, he was in
New York, and then visited my husband's home, because
he had an open home. My husband was the professor
at the University of New York, in, in the Asian studies
department. And he felt very grateful
that my husband invited him. So he did this as a demonstration
for everybody who participated in the party. Wonderful. So that was actually done
in your husband's home? Is that correct? Yes, indeed. Did he carve
the block there? Yes. As a demonstration. Yes, and he, um, Mr. Munakata wanted to show
everybody how it's done, how he did the work. Well, that was fabulous. That must have been very
exciting, because, as you know, he worked in
a very rough and, and, uh, aggressive manner. And often used the ends
of boxes, very rough wood, like orange crates, and then he would use chisels. That's right. And as you know, he would
just work frantically. Yeah. And I notice here that not only
is it signed by Munakata, but it's also dated, 1959
and July 27. Very, very strong
impression. It does, as you notice,
have a little bit of foxing. It has gotten a little bit of foxing marks here. Yes. Which can be restored. And I think it would be a piece that would be, uh, uh, more
valuable and would be worth getting
restored. I see. Um, do you have any idea of what this might
be valued at? Oh, I have no idea. But it's just a, Munakata Shiko
is so famous in Japan that I was delighted to find it. Well, I don't,
I don't blame you for being excited, it's a,
it's a wonderful piece. I would say
in a retail market that a, a piece like this
would be in the range
of $6,000 to $7,000. Wow, it's hard to believe! No, Munakata
is very famous, as you say, and very,
very collectible artist. Yeah. And, uh, it's a wonderful piece
and a great story. Oh! We really appreciate
you sharing that with us today. Oh, you're welcome. the name of the horse, we know,
is Baden. MAN:
I think it's a winner today--
what do you think? I think it's a winner today. How could we go wrong at
Churchill Downs with a horse bridle, right? ♪ ♪ WOMAN:
Well, it was my Great-Great-
Great-Aunt Libby's doll, and I know that she was from
New York. My great-grandmother always
treasured this doll, and she entered her in the
Mississippi State Fair in 1938, and won oldest doll award. Very interesting doll. It's an early papier-mâché. She dates from anywhere from
about 1820 to 1860. A lot of times,
the dolls are very faded, and you can see what nice, high
color she has on her cheeks. She also has
a wonderful outfit on. She would be between about
$750 and $1,000 at a retail antique doll
show today. Oh, wow! ♪ ♪ WOMAN:
Well, my friend Kim, uh,
inherited her Great-Aunt Harriet's estate,
and I helped her go through it. We, we sold some of it,
and I helped her, helped her sell it,
and I helped her ship it out, and she told me
I could pick something. And so I, I asked her
for this. Do you have any idea
on this? No, well, I think
it's Italian. You know, it's, it's got, um, "Italian" written on the back of
it, yeah, yeah, so... You're one for one--
it is definitely Italian. And this is actually a, it's sort of an homage piece
to a very important era in Italian art,
the Renaissance era, and this was made in the
latter half of the 1800s. Probably around 1880 or so. And it's in an era called
the Renaissance Revival. Now, this is a big,
super-showy piece, and it has this really
interesting, uh, way that it's actually held
together here. Mm-hmm, yes, yes. With the... The pencils, yes. This is the greatest
make-do wire ever. It's, like, "Yeah, we're going
to use a pencil to do this." Yeah. There's that nice label there. No marks on the back
that you can see. But not surprising. And it's very typical of Italian
pottery from this time period. Oh. Any idea what it's worth? No, we, we don't have a clue. We don't have a clue, so... At auction, you would
expect this to bring around $1,800 to $2,000. Oh, really? That's...
(laughs) Well, Kim, we're gonna have
to have a party. (laughs) WOMAN:
In, golly, I guess it was 1963,
I was, uh, uh... I did my junior year
in Madrid, Spain. APPRAISER: Mm-hmm. And I lived right close to the Joaquín Sorolla Museum
in Madrid. Mm-hmm. Later, I moved to Cambridge
with my first husband, whom I met in Spain. It was about 1965, 1966. And we found some of
Jane Peterson's work, and he purchased
several of the harbor scenes. And I pur, I just
fell in love with this. Mm-hmm. Because it reminded me of
Joaquín Sorolla. Oh, how wonderful. You know, the, the light
and the, Spain, and... And so I just fell in love with
her, and I've lived with her
for, golly, almost 50 years. Oh, my goodness. It's fascinating
that you talk about Sorolla, because actually,
Peterson went to Spain and studied with Sorolla,
and they became great friends. He also introduced her
to Louis Comfort Tiffany, and she painted Tiffany's
gardens on Long Island,
and she and Tiffany traveled around together. So she was quite
a colorful artist. I mean, she came from
more modest beginnings, and from Elgin, Illinois, and studied in New York. And then of course,
like most artists who wanted to advance
or to study more, she would go abroad. So other than Spain,
she also went to Paris, and she lived
around the corner from Gertrude
and Leo Stein. Ah, yeah. And they in turn
introduced her to Picasso and Cézanne
and Matisse. She started out painting
in more somber tones and more
impressionistically. But once she got to know them,
she became much bolder in color. And was painting a more
expressionist mode. And she was quite,
quite something. She was a single woman tromping
through the Middle East, and Italy, and France,
and, and all over. So she was very much ahead
of her time. There is a label that
indicates that this was exhibited with the Allied Artists
of America in New York. Yes, yeah. And the exhibition was held in 1929. Oh. So this obviously
was painted... For... ...around that time,
or at least prior to. And, of course,
the label on the back also tells us the title,
and it's called "The Answer,"
and it's very mysterious. I guess she's perhaps writing
an answer to someone. Almost looks like
her beads have broken. They do, they do, it looks like
the chain is broken. I was wondering
if she was so pensive, that maybe she was writing
a Dear John letter, or maybe she had received
a dear... What, whoever,
her name is. Whatever. (laughs) Yeah, exactly, exactly. I know,
I, I love the title, and it's very mysterious. It's really in very nice
condition. It's oil on canvas and it's not
lined, which we like to see. You said you purchased
it unframed, did you not? Yes. As I recall,
I paid $150 for it. $150. Her work is very popular. It's also
a very period piece, and it's very colorful
and brilliant, and so for
all those reasons, I think it's very desirable
in the marketplace, and I think that a gallery
in New York would be asking $300,000. Where's a chair? (laughing) Now I need that chair! Oh, I'm so excited! Well, it,
I just have always loved it. I mean,
it really spoke to me. WOMAN:
Harry Bertoia made those pins, and I think there were some
of the very first that he made. My sister worked in the dorms
where he stayed at Cranbrook. He gave her one and then he knew
that she had two sisters. So three of us got the brooches, and I have those two. APPRAISER:
Do you remember
about what year this was that you received them? Oh, dear, I must have been
in my teens. I bet I must have been about
16 years old. Okay. Late '30s, I would say so. I understand your family had
an interesting association with Cranbrook, as well. Correct. Mr. Booth owned Cranbrook. When he first married
Ellen Scripps, they lived in Detroit. Then he came to Bloomfield Hills
and bought Cranbrook and built his home. It was a dairy farm
when he bought it, and then he had to have it
landscaped, and that's when my dad went
to work for him. And actually, our family
was the first family that had children
that grew on Cranbrook. Who grew up
on Cranbrook. So we were known as the second family of
Cranbrook. Oh, wonderful. Yes. Well, a little bit about the
brooches, they are by Bertoia. He was born in 1915. He came here to the
United States when he was 15 years old, and came to Detroit. He enrolled in school in Detroit
and that's where he first started to learn
metalsmithing. And his early work,
he was making jewelry. He was awarded a scholarship
in 1937, and that's when he came
to Cranbrook. And in 1939, he opened up
the metal studio at Cranbrook. When we look at the work,
everything is handmade. There's no solder, everything
is done by either rivets or pins or tension fitting. And this is very much
in keeping with the aesthetic of what we call modernist
jewelry from this period. And also, when you look
at the design motifs that these pieces have, the forged wire,
the spiral motifs, this speaks very much of
Bertoia's aesthetic that we will see him develop
in the furniture that he later designs. And so these pieces
are very early. He only made jewelry
for a few years before going into other areas. During the war years,
metal was being rationed. So the metal studio actually
was not open very long once World War II happened. And so he then got into
graphic design, and then he went into sculpture
after the war. So his jewelry work is really
quite rare and highly, highly
collectible by people who like Bertoia's sculptures
and design work. I would suggest writing
down the family history and provenance of the pieces,
since they're not signed. If these just showed up in a box of jewelry at
a yard sale, most people wouldn't know what
they were. If these were to come up
in a auction house that has maybe modernist
furniture, Bertoia sculpture, these as an addition
to a Bertoia collection, each of these pieces, alone,
would bring somewhere between $20,000 to $30,000. (whispers): Wow. So we have a total of $40,000 to
$60,000 as an auction estimate. And now that you said there's
a third one out there, I would probably say it's around
the same value, as well. (whispers):
Oh, my God. That's how rare these are. (aloud):
Well, Hallelujah. And how collectible. It was worth the trip! It was so nice meeting you,
Peter! Likewise, I can't believe
that these came in. Oh, my God. And such a wonderful story. I really appreciate your sharing
that with us, Rose. Well, Hallelujah. What a joy-- well,
wait till I tell my other daughter-in-law
about that other one. Oh, my God, I... Hey, I'm going to go home
and celebrate. There, you should. Thank you, dear heart, I appreciate it. You're very welcome. Thank you for coming. Oh, my goodness! Never, never did I dream that. And do you know how many years
I had these in a drawer? Oh, I'm sure. Oh, and... And you know when they were
buying silver? I was going to sell them for
silver, and then I thought,
thought again, and I kept them--
hallelujah, am I glad I did. Good, good day. Thank you. Thank you, Jesus, I tell you,
I did the right thing, You did
the right thing, Oh, Peter, you made my day. Well, I'm glad,
I'm glad. WOMAN:
It's been in our family
since about 1970. We bought it in
Rhode Island. Didn't even realize
it was a Picasso until about five years ago. I have to admit...
(chuckles) ...that it hung over the stove
in the kitchen, and all of our kids loved the
smiley face, and no one's perfect,
so it didn't bother me that there was a chip here. Five years ago,
we went into a gallery and saw not an oval, but a circular plate with pretty much
the same facial features, but not the circles
around here. And I said, "Oh, we have a plate pretty similar
to that." I said, "It's over the stove,"
and the guy sort of gasped and said, "Over your stove?" And I said, "Yeah, I have
a plate collection." He said,
"Do you know what you have?" And I said,
"No, not really." He opened a book,
and he said, "Is yours sort of
like this? The oval one?"
And I said, "Yeah." He said, "Do you know what
it's worth?" And I said, "Maybe $50,
maybe $100? I don't think we paid
any more than that." He said, "My dear,
it's increased. I think you have maybe
$1,000." And the guy said,
"Do me a favor, and take it off
the wall above the stove." So it had layers--
I hate to say it-- of grease. Well, I can only imagine the amount of grease that must
have been on it over the kitchen--
it's just one of those things, you bought it because
you liked it. Oh, yeah, oh, yeah. And you've enjoyed it because
of the decoration. The actual name for this
particular dish is "Face in an Oval." Picasso did a lot of these, uh,
special editions for the Madoura Studio
in the south of France. Okay, all right. He actually did 633 different
objects that were taken, and they made
special editions for. Okay. Some are jugs,
some are figures, and some are dishes
of different shapes. Now, you did mention
that there was a little bit of enamel loss there. Yes... And we do see that pretty regularly
on some of these pieces that have high relief. Yes. But otherwise, it's in quite
remarkable condition. What's really important
to note... Okay. ...for this is that
in this particular issue-- and by the way,
this was done in 1955. Oh. This tells us that they made
100 of them. Okay. And this is
number 23 of 100. Although this is 23 of 100, there's no guarantee
that they actually got around to making the full 100
in the series. Okay. Here we have
the Madoura name. Right, okay. And here,
which is also important, is that this is from
an original print by Picasso. Mm-hmm. Now, Picasso
had a relationship with the Madoura Studio
for about 24 years. So you can imagine the amount
of product.. Oh, yeah. ...that came from this. Oh, yeah. This is a really,
really nice example, and I have to tell you something
about the Picasso market. In the last four or five years,
it's skyrocketed. It's just taken off
tremendously. So you're snickering in
advance-- this is good. So what do you think
it's worth today? I haven't a clue. You haven't a clue? Would you be surprised that an auction value
in today's market, probably
on the conservative side, would be in the range
of $10,000 to $15,000? Mm!
(chuckling) I love you, too. That's fabulous.
(laughs) That's fabulous? Yes, it's really
a wonderful example. There's really
no explanation. Oh, no. Trends change
in the antique business. Yes, yes, yes. And what's changed in this,
over the last few years, is that Picasso has just
skyrocketed. WOMAN:
I went to an
antique consignment store, and I found this. I was attracted to this. I check it, and I did not
buy it, I left. A week after, I came back, and I got it. My problem only is, I don't know
how to read Chinese. So I talked to
at least seven people. They says, "Oh"--
that's all they can say. This is modeled on an old Chinese bronze form... Okay. ...that was made
as a food vessel for a wealthy official
to be buried with him when he died. Oh, my God! So that he would have food
in the afterlife. Okay. Now, this original form, called a Fu bronze... Uh-huh. ...was made between the
seventh century B.C.... Was it? ...and the third century
B.C. Now, this piece is
a later copy. Okay. This is what the inscription
tells you on the cover here. It also has
other information that I have not been able
to translate yet. Oh. But it actually even has the
name of the vessel that it imitated
as part of the inscription. My goodness. The date says "made in the
12th year of the reign
of the Emperor Tongzhi," which translates to 1873. What did you pay for it? I paid $25 plus tax. $25 plus tax. Yes, yes. This, five years ago,
would have brought very little. Uh-huh. But now with
the Chinese market... Yes. ...in the big boom
that it's in... Mm-hmm. ...this piece
on the current market would carry a pre-sale
estimate of $7,000 to $10,000. You're kidding! You're kidding,
I can hardly believe that! Yes. Oh, my God! For a $25 investment? $25 investment. You did a great job. Oh, thank you! APPRAISER:
This is sort of
the premier example of what a great cocktail shaker
should look like. I think you might
have overpaid at two dollars Oh, my gosh. (laughing) We sell them
for about $3,000 to $5,000. (gasps):
No! Uh-huh! Oh, I didn't know that. WOMAN:
I've inherited it from my
great-grandmother. It is a lei niho palaoa
from Hawaii. It's made of braided human hair
and whale bone. APPRAISER:
These Hawaiian hooks were generally made out of
a sperm whale tooth. Now, the sperm whales would just
be washed up, and that was a pretty rare
occurrence. So anything wonderful like that
would only go to the royalty. They became more common with the
advent of the Europeans, especially with trading. And this one
is a walrus tusk. Oh. You've done a wonderful thing
by putting it in a frame. It really is an icon
of Pacific art. I'd be comfortable putting
an insurance value of about Excellent. $20,000 on it. WOMAN:
I got this clown
from my grandmother. Well, it was made by the Noritake Company. And Noritake's in Japan, and they're really known
for making sets of china. But between World War I
and World War II, they made a whole
line of things for the boudoir, like powder boxes,
dresser trays, perfume bottles, and I think this is
part of that. And they were made in a very
severely Art Deco style, with these incredible,
bright colors. Lots of clowns. They did lots of these
very exotic Art Deco clowns, and this is part of that line. This particular piece
would sell for between $500 and $800. Dang, cool! WOMAN:
My grandfather bought it
in Wewoka, Oklahoma, from his doctor. And then when he passed away,
in 1968, my grandmother wanted to throw the painting away. And my mother said,
"No, I want to keep it," and so she did. And six years ago, then,
she gave it to me. Mm-hmm. I did have it restored
and then properly framed. I think I spent about
$3,000, $3,500. So you invested
some money in this. Yes, I have. And why did you do that? Because I did an online search
for the artist and about had a heart attack
when I realized that this was a painting
of, of some significance, both historically
and artistically. What did you find out? That the artist,
Ernest Spybuck, was a Shawnee from Oklahoma and that his works of art were
in museums around the country. I love Ernest Spybuck. He wasn't a trained artist,
but he had a way of capturing life around him. Now, do you know the title
on this by heart? No, I don't. So I would have to read it
from the bottom. (chuckling): Right. It says "Wild Ride,
Green Corn Dance, Kickapoo Indians,
and Shawnee." And it's signed by Spybuck. They would gather to celebrate
that the corn was green. The green, it was edible
for them. So it was a gathering
of celebration. The painting's mixed media. There's pencil, watercolor... Mm-hmm. Maybe a little ink. He was just amazing, and his ability to paint
what he saw, his documentation of daily life,
are just treasured. There are works
in the Smithsonian. He was commissioned to do
some murals for the government in different buildings,
mostly in Oklahoma. He was born in 1883
and died in 1949. I was wondering about
what year you thought that this might have been
painted. Around the 1920s. There's a fair amount
of his works around, but you rarely see them
coming to market. And if you were to offer
this piece at auction today, it would sell
for about $35,000. Oh, my! So... That's much more than
what I expected to hear. Our house burned down, we built a new house,
and our friends gave us a housewarming party. And our dear friends
brought us this object. And how have you been
displaying it in your home? Well,
it comes in three pieces, so we bolted them together
in the back and hung it as a mirror, because I thought
it belonged on a table. But we didn't have a table
big enough. Your instinct was right. This was made for a table. It's what we call a plateau. Oh! This has all of the
spectacular qualities that you hope to find
in such a piece. It was used for putting
a whole array of fruits and, and ceramic figures. There are wheels... Yes. ...on the bottom of the piece. Yes. So it could in fact be moved on the tabletop. I see. And they are
the original wheels. These elements, for example, these anthemions,
these were bronze cast pieces, and the surface was applied
by fire gilding, which was mercury and gold
mixed together, and then heated up. And the gilding would adhere... Stay. ...to the bronze mounts. Oh. They don't do it anymore because it's rather
dangerous to do it. My goodness. Now, plateaus
are so rare, we would give this
an auction estimate of $50,000
to $70,000. Oh, my gosh, John. (laughing):
Oh, my gosh, John. No! (laughing):
No! Oh, you give me shivers. I was the essence
of dining in Paris. Only the elite,
perhaps even a royal family, would have had such a
spectacular piece. And I know it came to you
from your friend. Yes. And, uh... She's going to faint. Well, when she sees the show, she'll be in for a surprise, but you may have a good story
for her. (laughing):
I'll have to call her
before that and tell her she's rich. (laughs) I have a dear friend who saw
a show a couple of years ago. And there was a bowl
of this shape and size with a nature theme
to it. And she called me and said, "I think your bowl might be
by the same person." I had never ever turned it over
to look at the bottom of it. And it's very heavy. So we hung up the phone,
and I turned it over, and indeed it was
a Frackelton bowl. It was in my
grandparents' home, they were married in 1902... Uh-huh. ...went to my father,
and, uh, then to me. Well, Susan Frackelton
was in Milwaukee, Wisconsin, and a very important figure
in Arts and Crafts. Before then, men were primarily
the ones involved in the arts. And Arts and Crafts
really got women into the decorative arts
and designing pieces such as this one. Uh, it's a wedding bowl,
and it says here, "Love is the
sweet wine of life." And in the middle,
it has the initials of the people who were married
and the date 1902. The decoration on the inside
is reinforced with clusters of grapes on the outside, so it's a punch bowl or a wine
bowl. And very beautiful piece. Uh, also, it's very well marked. If you look underneath it, we'll see that Susan Frackelton
is incised S and then her full last name,
Frackelton, underneath it. And she's also
put the date 1902 on the bottom, as well. So you've not had this
piece appraised. You have no idea of value. Never. Never. It's really hard, because you'll see
a piece of Frackelton once every three or four years
if you look for it all the time. Consequently, it's a little
difficult to evaluate. Easily, easily $20,000
to $30,000 piece of pottery on a bad day. And possibly, if the right
museum got involved, $25,000, $35,000, so... No. Yeah, really. Um... (chuckles) Oh, my. (sighs) Thank you so much. My pleasure. Thank you. Thank you. It's great to see it. Could you say that
one more time? $20,000 to $30,000. Minimum. Minimum. Oh... And, the right museum, $25,000 to $35,000. Maybe a little more. (sighs) Wow. (laughs) Me without my handkerchief.
(sniffles) WOMAN:
My mother-in-law,
she's a Tiffany collector, and she allowed me
to pick some pieces out of her collection
as a gift. So these were two of
the pieces that I picked. But she has a, a very wide
variety of, uh, Tiffany pieces in her collection. So these are two of the three
or four that you picked? Yes. You have Tiffany, which you do know. Well, this particular piece
is more of a commercial-made piece. Okay. They made more of them. But all Tiffany is extremely
wonderful and valuable. This is an iridescent
favrile piece, with the vine and leaf pattern. And on the bottom, we have
an M suffix, which tells us that
this was made in 1915. Then we have here
a calyx style. And that's the shape
of the piece. And it's also Tiffany. The suffix on the bottom
is an A. And that is for 1903. This particular piece is more of an art piece. They made not many of them. I mean, they're out there,
but not many of them. Now, what did she tell you
about value? She found it in a garage sale. She didn't tell me how much
she paid for it. But she said that the owners
didn't know what they had. So when she saw it,
she quickly scooped it up. And she gave you some little
idea of what she normally pays? I think she said around $200. $200. Well, this particular piece would be $6,000. (laughing):
What? Nice gift. Wow. The calyx piece would be $7,500. And those are retail values. Whoa!
(laughs) Oh, my goodness. It is very festive. Yes. It is. That's why you liked it,
right? Yes. Yes. They've got the dragon festivals
going on, and they're all on parade,
these little boys. So it's a, a symbol of wealth
and good fortune for the new year. WOMAN: Oh, good.
MAN: Ah. Which is very good. WOMAN:
That's great. Yeah. It's great.
How much did you buy it for? $200. For $200. At an auction, yeah. Well, you didn't do
too bad. I guess not. Oh, good, I hope. So today, this lovely Chinese ginger jar would be worth about
$400 to $600. WOMAN: That's great. MAN: Fabulous. Yeah. Thank you very much. We're happy. (laughs) We like the dragon on it,
with the dragon. (laughing) It brings us
good luck. Well, my mother claims
it's a mold for these dolls that used to be used
during celebrations in Mexico. What they'd do is, they'd
cover these with papier-mâché. Mm-hmm. And they'd paint them all up. Gotcha. And they did-- at fiestas,
everybody's throwing them up in the air with firecrackers
and blowing them up. Cool. And they still make 'em today. Do you know about this? BOY:
Uh, no. This is from
Central Mexico. You know what a molcajete is? I do. You do. Yes. Yeah. You know a grinder? Yeah. Well, this is, like, for spices,
you know, it's... Oh, cool. ...not one of those
big grindstones, but it's like
a ceremonial one. You know, this is, like, 1,800 years
to 2,000 years old. Oh! Okay. And, uh, it's, it's
hard to believe that things this old
aren't worth more money, but $150,
something like that. Oh, that's great. That's probably worth
about $50. Cool. It's just cool stuff. Thank you. Well, thanks for coming in. MAN:
I brought in two, uh, cabinet
photos, I believe, or cabinet cards, they're
called... APPRAISER:
Yeah. ...of, uh, Hilda Clark. I purchased them on an online auction
near my hometown. Uh-huh. Hilda Clark,
boy, she's a beauty, isn't she? She was a Victorian
music hall sensation. She was born around 1872. And so these,
you know, she looks to be maybe
23, 24 years old here. She signed both of
the cabinet cards with an inscription
to friends of hers who were in vaudeville. What's most important
about Hilda Clark, though, is, she was hired by
the Coca-Cola Company to be one of the very first
Coca-Cola girls. Wow. And so on account of that,
the Coca-Cola collectors just, you know,
anything to do with Hilda Clark they're avid, avid fans
and collectors of. And how much did you
pay for these? I gave $190 for them. Because they're in
really great shape, they're good early images around
the time that she was with Coca-Cola, I would think the value
at auction would be around $1,000 each. Wow.
(laughs) Happy birthday to me.
(laughs) Wow. (laughing):
Yeah. Happy birthday. Yeah. MAN:
I made the hat because of
the pieces of jewelry that I had inherited
from an aunt, and some of them are
Eisenberg originals. Some are Kramer. One, uh, set is done by
Lavender, which was an assistant to Chanel. I had no way of exhibiting them. And I wanted to wear them
and show them so that people
that collected jewelry would be fascinated by it. I wear it on
very special occasions and I thought today would be
a very festive day to wear it. (laughing):
And I really didn't want the hat
appraised, but... No, I, I had to... Just ended up that way. I had to look at it closely. I actually wanted to show
the viewers a little bit. I'm gonna turn you slightly
so they can see. This is by Eisenberg,
and it's an Eisenberg original, which is quite valuable
and collectible. And then in the back here,
we've got some bird pins. Most of this, of course,
is paste jewelry. You're really in the tradition of great hat designers. I'm going to say that
what you're wearing on your head is probably worth somewhere
around $1,500 to $2,000. Really? Yes. Do you think that's
sufficient for all the work and years of collecting? (laughs) I can't believe it! No, I, I think
it's, uh, it's great, and I hope you enjoy
wearing the hat. Thank you. I do. Thank you. Do you know anything about
James P. Johnson? No, I don't. Just what I was able to research
from a book, several books, that came with this collection. We acquired this,
my husband and I, through a storage auction
that we attended one day. We were basically bidding on
was some badly needed furniture that we were looking for. And you end up with furniture... Yes. ...and a magnificent
collection... Yes. ...of one of the greatest
musical geniuses to ever live. Yes. Apparently. Can I just tell you a little bit about
James P. Johnson? Yes, please. James P. Johnson is known as
the Father of Stride Piano. Mm-hmm. And that comes from a term when
they used to play shout piano or rent party piano music
to raise money, uh, in Harlem. Mm-hmm. He taught the late
Fats Waller. Mm-hmm. He played with Sidney Bechet, with Ethel Waters,
with Bessie Smith, with Duke Ellington, and even composed a symphony
with Langston Hughes. Right. This is a
magnificent collection that includes his
1955 obituary, a lovely four-album set
of his 78 records, uh, some sheet music, and his
very stylish hat right here. Because, as I understand,
he was a natty dresser, um, and sheet music that
James P. Johnson did himself. He performed with all of
the musical giants, but yet his name
is still unknown today. Right. It's a crime, because this man
is that important. Yes. Here's his 1921 Conservatory of Music Art
diploma from New York and his Victrola. Mm-hmm. Do you have any idea
what this could be worth? I have no idea at all. You have no idea? No idea.
I'm not into jazz music. I have no idea. After I tell you, you're gonna be into
jazz music. I have to say this to you. I was about to lose my shoes... Yes! ...when I saw this. (laughs) There are contracts,
there are letters, there's sheet music,
there's, you name it. Mm-hmm, mm-hmm. This is worth about $12,000 to $15,000. Oh, my gosh. But I, I have to say that this
is what it would be worth on the open market. On the open market. Because it's
Black memorabilia, it's music Americana, and it's just
an outstanding story. It's fantastic. I found it in my parents' garage about five years ago tucked away behind
a bunch of boxes. At first, I had no idea
what it was, but it seemed
relatively significant. So I pulled it out,
and lo and behold, my father would tell me,
"Oh, that's the Dalí." Apparently, uh, my, my uncle
owned an art gallery in Chicago back in the day, and I, my
father either gave him a loan or invested in the gallery
a while back, and this was repayment
of the debt or a thank you
for the investment. Did your dad have any idea
what, what it was? I mean, aside from a Dalí. He did. He did. Not aside from knowing that
it was a Dalí. I think he just
liked the way it looked. I'm not even sure if he got
to pick exactly what he got. But other than that, that,
that's all he's told me and that's all I know. It's sat in my basement
ever since. It's not in
the best condition, so, uh... Is this how you found it? Yes. Yeah. I, I sprayed some Windex
on the glass this morning before I brought it in. Maybe wiped a few cobwebs off. Nice, uh, nice work. But that's it. All right, so it's a lithograph
by Salvador Dalí. Okay. He signed it down here
in pencil. Mm-hmm. And you can see down here
it's a limited edition of 150. Pencil number there. Yes. Okay. He made this lithograph
in 1965. The lithograph's title is
"Drawers of Memory." It's based on
an earlier sculpture, as well as an earlier
painting... Okay. ...that he had made in 1936. Wow. Okay. The sculpture is
now very well-known. It's called the
"Venus de Milo With Drawers." So it's the famous
Greek sculpture. Yeah. He made a replica of that and
put drawers on the statue. Okay. Fascinating. And he was,
thi, this was in 1936, and he was very influenced
by Sigmund Freud. Mm. And Dalí once said that
the only difference between the ancient Greek
norm of the human body and then the body post-Freud
was that Freud had made the body full of secret drawers. Very interesting. So, this lithograph is based on
those two earlier works. Mm-hmm. The painting,
now in a German collection. Okay. The statue, the "Venus de Milo
With Drawers," in the Art Institute of Chicago
from 1936. Oh, okay. This is in reverse
of the painting. The lithograph was published
by Sidney Lucas... Mm-hmm. ...who had a gallery
in New York, and worked very closely
with Dalí in the mid-1960s. Oh, really. Okay. Condition on it, it's a little
buckled at the edges. Yeah, I noticed that. I'd probably remat that. Okay.
Is that all it would take? Yeah, it's probably just
slipped in the matting. I see. And so it's buckled up
like that. All in all, it looks like
it's in great condition to me. Really? Wow. Okay. And it's one of Dalí's
largest lithographs. Mm-hmm. And it's a very
well-known image. Oh. Okay. There are a lot
of forgeries of his work. Oh, really? We all know that. That's pretty,
that's pretty... I didn't know that. Except for you. Apparently I'm out. Toward the end of his career, publishers making copies
of his work... Mm-hmm. ...putting signatures on,
forging the signatures... Yeah. ...forging the works. Lots of red flags
with Dalí's work. But this is surely genuine. Oh...
(exhales) You've never had a value. No. I'm, have no idea. What's your guess? What do you think it's worth? Well, I've heard of Dalí
before, so I know it's gotta be worth
something, but... Yeah, he's, he's
a household name. I really don't know the,
how much difference in value a print would be versus a,
the original. I would hope, like, a $1,000 to
$2,000 or something like that? Well, only 150 of these were
made. Okay. So it's, it's fairly scarce,
from 1965. Uh-huh. Mm-hmm. I would put a replacement value
on this at $30,000. (laughing):
What? (chuckles) Are you kidding me? (laughs) Whoo! All righty! That is, uh,
more than I expected. Well, congratulations. It's a great print and, uh,
take good care of it. Yeah, um, I think I'll, I think
I'll put a new mat on it. Thank, thank your
parents for it. Uh, yes, I will,
I will do that, as well. My, my dad might want to
take it back now. (laughing):
I'm not sure. Wow. Suddenly taking on a lot
more beauty, you know? Very appreciative now. I like it more and more. I know, right? It's not going back
in the basement. (laughs) WOMAN:
It's a mobile
by Alexander Calder. And Calder gave it to my aunt. My aunt and uncle were having
a cocktail party, and Calder was visiting
friends of theirs who were invited to the party, so they took Calder along. And my aunt was very creative,
and among other things, she had done a needlepoint
pillow of one of Calder's works. And he was astounded. He'd never seen one
like that before. And so she gave it to him. And a couple of days later,
somebody appeared at the doorway and he had given her
this mobile as a thank you
for the pillow. You've owned this for a while,
since 1985, I believe. Yeah. And, um, you had it,
a slight restoration to it in 1986. Some of the colors were, uh,
touched up a little bit. Yeah. And clearly that's going to have
an effect on the value
to a certain degree. Yeah. This was originally given
to your aunt in 1958. Yes. But this probably,
as far as the actual date of construction, dates a little bit earlier
than 1958. Oh, yes. I think it's, early '40s
was a guess. Alexander Calder essentially
invented the art form, uh, known as a mobile. Right. And it became very iconic
of 1950s modern art. And I think the late '50s
sort of marks a turning point where he begins to concentrate
more on larger installations. It's made on very thin wire,
and then these are usually either aluminum or an anodized
weather-resistant material... Yeah. ...that it's slipped in and then
very delicately soldered. And you can see in here where all of
the knots and joints all put in in a very balancing
kind of format. He always liked the use of
primary colors. This back one is a little bit
more of an orange, and some of the other
appraisers on the set thought this might be a little
bit unusual for a color. We should mention the
Alexander Calder Foundation... Yes. ...which is, major element in both identifying the work
of, uh, Alexander Calder, authenticating it. And I believe that you had sent
some documentation. We've sent the documentation,
and a transparency, and they just said they would
need to look at it in person. And we haven't gone to New York
to do that. Calder Association is,
uh, like any foundation, is set up so that an artist's
work are not diluted. And that's why they're very
diligent about keeping up to make sure that things
are authenticated. So if that they are sold, that
they do have that authenticity. I know that earlier,
back in the late '80s or '90s, you had an approximate value
of what it was worth? The man who restored it said at least $30,000. It, it's gained a little bit in value
since then. We worked on the values
to somewhat of a, a consensus, and it still needs
to be validated. Based upon that,
a fair auction value, the range is somewhere between $400,000 and $600,000. How much? $400,000 to $600,000
at auction as somewhat of a
wholesale price. Right now,
Alexander Calder's market is extremely hot. And in a good retail setting,
it would not be at all inconceivable that this
very small, wonderful piece of art could probably
break $1 million. Oh, my God. Not bad for a pillow. Oh! My problem is, I've got
one mobile and two children. (both laughing) Thank you. I'm sure your husband,
who's watching off camera, will be equally, uh, equally
happy with the good news. (laughs):
Oh, I think so. That's great. PEÑA:
Coming up: is this
the best party favor ever? He was at a party, is what
I'm told. And 100 of these passes
were given out. PEÑA:
Don't go away. There's more to celebrate
right after this. This pass was given to my,
originally was a friend of my father's. He was a professional football and a professional baseball
player. APPRAISER: Mm-hmm. And in the '30s, he was
at a party, is what I'm told. And 100 of these passes
were given out and they were given out
by George M. Cohan to these baseball players. And he was guaranteed a lifetime
entrance to Comiskey Park. And, uh, that's what I know. Mm-hmm. All right, well,
I gotta tell you, when you brought this
to my table, I felt like
Yankee Doodle Dandy. I was, I was literally
blown away. What we have here is a gold pass. Gold passes are extremely rare. As you said, it's for the American League. It's a lifetime pass. But what's fascinating
about this pass is who it was issued to. Mm-hmm. It was issued to
George M. Cohan, the greatest Broadway
impresario, the, the composer of
"Grand Old Flag," and of "Over There." And, uh, most importantly, one of the biggest
baseball fans of his time. This pass is from
the early 1910s, I would say. And it's issued by
Charles Comiskey, who is the owner of
the White Sox. Mm-hmm. It's phenomenal. (laughing):
I mean, it's incredible. Various kinds of passes
were produced back then, including paper passes, silver passes, brass passes. But to get a gold pass,
you had to be really, really important. What makes this
even more special is, you have
the original pouch, the original carrying case,
with the gold inlay here that talks about
who it was given to. It's just, it's just a
wonderful, wonderful piece. You ready for this? Yeah. I think $10,000 to $15,000,
without question. Perhaps more at auction. Oh, man. And it is just,
it is just so interesting. A similar pass,
a little bit earlier... Mm-hmm? ...um, issued to John L.
Sullivan, went for upwards of $20,000. Wow. So, I mean, it is
a wonderful item. Congratulations, Gil. Oh, that's great news,
thanks. Thank you. All right. PEÑA:
Thanks for watching this special
episode of "Antiques Roadshow." Follow @RoadshowPBS and watch us
anytime at pbs.org/antiques or on the PBS Video app. See you next time
on "Antiques Roadshow." ♪ ♪
