♪ ♪ I love stoneware. You know, my twin brother
and I collected it when we were 12 years old. (chuckling):
Oh, my goodness. It stays in the house. I want to show how
the mechanism works. Whee! (laughs) ♪ ♪ CORAL PEÑA:
In 2007, "Roadshow" visited
San Antonio, where our experts were delighted with the treasures brought in,
both big... Things, uh, got a little
out of hand, so I went and rented
a U-Haul trailer. (chuckling): Oh, dear. PEÑA:
...and small. They're carved
walnut shells. PEÑA:
Have the value of these
and other cherished items held up or hit a new low? Find out in "Vintage San
Antonio," hour one. In 1944, Meeker, Oklahoma,
hometown of Carl Hubbell, decided to have a
baseball team, and we didn't have any money,
enough money to buy a uniform, so, uh, the doctor there, Dr., the only doctor in town,
got in touch with Carl in New York, and he
sent us a dozen uniforms, you know,
the Giants' practice uniform. And we used those
for three years. And Carl Hubbell, the great, uh,
New York Giants pitcher, Hall of Fame pitcher... The left-handed,
best of all time, the screwball master. The screwball man, right. And we have an
actual picture of him here. That's Carl Hubbell. Mm-hmm. So he's the gentleman
who procured these for your team,
his hometown. Yes, sir. Very cool. And you received
this particular jersey with this nametag
right here, "Lombardi." And that's Ernie Lombardi, the catcher,
the Hall of Famer, as well. "The Schnozz." "The Schnozz," right. The big catcher. He was a big guy. He was kind of a lumbering
line drive hitter, a great hitter. He didn't run very fast,
but, but boy, he could hit and hit hard. That's right. And, uh, he made a great career
for himself, and, uh, eventually made it
all the way to Cooperstown. Yeah, he was slower
than cold molasses. He had to... (laughing) (laughing):
He had to hit it,
hit the fence to get to first base, yeah. That's right. He actually joined
the Giants in 1943, and Carl Hubbell's
last year... Was '43. ...was '43. So we can guesstimate
that this jersey is 1943, Ernie Lombardi's
first season with the Giants. Here we have
a, a baseball card with Ernie wearing a very similar
uniform. Heck, it might be
the same one. It could be. Possibly. It, it shows the zipper. Very similar. Yeah, yup, it's,
it's very similar. And here you are wearing the jersey
right here. (laughing):
That's it. This jersey,
considering its age, is in pretty remarkable
condition. And the colors really pop
and the stitching is amazing. I mean,
we're really impressed by the way this has survived all these years. There's some condition issues,
but all in all, I mean, for a flannel jersey
from this time period, it's really nice. It's a rare jersey. It's certainly
a desirable jersey, 'cause it's the New York Giants,
very collectible. It's a Hall of Famer,
Ernie Lombardi. At auction, I'd be very
comfortable estimating this jersey
at $10,000 to $15,000. So...
(laughing) It's a, it's a
heck of a piece. (laughing):
You're kidding me. Yeah, it's a great uniform
just to get. Good gosh. ANNOUNCER:
Now the people who make
"Antiques Roadshow" possible. ANNOUNCER:
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with American Cruise Lines, travelers experience the
maritime heritage and culture of the Maine coast and New England islands. Our fleet of small cruise ships explore American landscapes, seaside villages, and historic harbors, where you can experience
local customs and cuisine. American Cruise Lines. Proud sponsor
of "Antiques Roadshow." MAN:
I found these in
a flea market in Beijing. APPRAISER:
And you got some
other things there, too, didn't you? Yes, that's right. And I told you about those. (chuckling):
Yes, uh, you sure did. Didn't, didn't turn out
too well with those pieces. No, they didn't,
but we enjoyed them. Quite frankly, I was a little
dismissive when you showed me the things until I saw these, because this is one of the few
examples where I've ever seen something coming out
of China these days where it was actually old. Oh, great. Yeah, they're
late 19th century. Maybe as late as
the 1920s. Mm-hmm. They're carved
walnut shells. They're
magnificently carved. Beautiful, swirling dragons
all over them. The other thing
that's even tougher with that is to get the polish on them. Because basically, you're using
techniques that you would use in stone carving,
because it's just, it's too difficult a material
to work with. Is the nut
actually still inside? They removed it from
one side. Oh, really? Yeah, yeah,
they've removed it. So they've been
separated and put... No, no, they just cut a slot in
one side and then worked it out. Oh, my gosh. Yeah. Amazing-- so they're hollow,
then. Yup, yup. Wow. How much did you pay for them? I think I paid about $40 for them. That's really
surprising, because it seems that when
anything is real in Beijing, the price is just sky-high and bears
little resemblance to reality. But when it comes to these,
I think you got a real bargain. Great. Well, I'd imagine these
would sell at auction for probably $1,000
apiece. Oh, my!
(laughs) Yeah. I had no idea. $1,000 apiece? Yup. Now, I got this vase
from my mother when we built our home. Okay. She gave it to me,
but before then, I can remember it
as long as I've lived that it was on my
grandmother's front porch. My grandmother gave it to my
mother when she built her home. So Mother passed that
on to us, and it's been on
my front porch for at least 18 years. And then one day, a friend who has a little
antique shop came by, and before she got in the front door,
she turned and looked, and she said, "Why is that
on your front porch?" And I said, "Because that's
where it belongs." It had umbrellas in it,
it had canes in it. All the old folks kept it on their front porch. And she said,
"You bring that in. That is a Teco." And I did not know, had never heard of
Teco pottery. And she said,
"I'm sure it's a Teco. Let me see if it's
signed or what." So we carefully turned it over,
and it was Teco. So I did bring it
in the house and kept umbrellas in it,
and canes, and so forth. And I am curious if I need to put it
back on the porch. Put it back on the porch. (laughs) Okay, I think we can solve
that question. All right. You don't know where
your grandmother got it. No. My family is from Maryland. Okay. And I'm pretty sure
she bought it in Baltimore. Well, it is Teco. Made around Chicago, but sold at a lot of
different places. Particularly interesting
to collectors are large pieces like this. We know that Frank Lloyd Wright
used a lot of Teco in, in some of his installations. Teco being
a, a uniformly green piece. What's nice about this is the size, and the strap
handles, which are applied. Typically, Teco is molded. These are
hand-applied handles. And the piece is in
nice condition with the exception of
some chips around the base. Yes. That doesn't help. But when you get Teco as big as this,
those don't matter as much. Roughly what had you thought
it to be worth? This friend said
that she thought it could be from
$6,000 to $8,000. Okay,
well, I think at auction... Uh-huh. ...a vase like this would sell
between $15,000 and $20,000. (laughing):
Oh, my goodness. It stays in the house.
(laughs) It's gonna stay
in the house? It's gonna stay in the house. I think that's
an excellent idea. (laughs) Oh, my g... How much? Between $15,000
and $20,000. $15,000 and $20,000. At auction, mm-hmm. MAN:
They're, uh,
some family antiques. I'm the third generation
to have them. I had a couple of aunts
that lived in Beverly Hills that, uh, once they passed on, their antiques came
to my family. And any idea where they bought
them or how they acquired them? No, no, I sure don't. No, no. Well, what you have
is a wonderful pair of Tiffany Studios
candlesticks. This particular model we call
the Cobra Sticks, because this part here
sort of looks like a cobra. Yes, sir. And they're probably
from about 1910. They're part
of the Art Nouveau period. Okay. Uh, they're very clearly
marked on the bottom here-- "Tiffany Studios." And then there's
a little number here, a four-digit model number. Uh, Tiffany, of course,
was well-known for, eh, stained glass lamps
and the glasswork. But a very large part of
their business was metalwork-- candlesticks
and desk sets. Okay. And the pair you have
are very nice. Uh, they have this
gold finish. Uh, unfortunately, the condition
is a little rough. You see this color here... Sure. ...when, in fact,
it should look like this. Okay. And this surface
really is gone here. So there's not really much
that you can do with it. You can clean it with a,
like, a damp cloth and then you could put
a little paste wax on it. Clear paste wax. Okay. But you, there's nothing you can
do to get back this, uh... Sure. ...gold finish. Sure, okay. Um, again,
very, very nice quality. It's nice that
you have the pair. People always like
pairs of candlesticks. A pair like this in this
condition would sell probably for about $4,000. Okay. In better condition, they'd
probably about, be about $6,000. Okay. Okay? Super. My husband inherited it
from, uh, his father. Um, his father got it from a very good
friend of his that lived in Albuquerque
that was a dentist. We're not sure if
Raymond Jonson was a patient of his
and they traded out services, or if he actually
bought the painting. What I've always been
fascinated by is that his abstraction
was so early. In the late '30s,
he founded the Transcendental
Painting Group in New Mexico. I would value this piece
at between $30,000 and $50,000. Wow. Okay. That's great.
(laughs) That's a, uh, catalogue of,
uh, theatrical, uh, posters that was given me, uh, by a friend when I was
about 15 years old. APPRAISER:
And it is filled
with hundreds of really wonderful
illustrations. This is a great example
of a circus poster. And you get here a poster,
for instance, for "Little Red Riding Hood." I would think at
conservative value, even though the condition
isn't that great, but because of the striking
images and the wonderful printing,
this book would probably be estimated at auction
at about $6,000 to $8,000. Wow. APPRAISER:
It's extremely rare. I consulted with
a couple of colleagues. None of us have ever seen
anything like it. WOMAN:
This was given to my
great-grandmother by some young ladies that she
taught Sunday School to. And it was either upon
their graduation or her retirement. She referred to them
as her nine obstacles to getting to Heaven. And they gave it to her, and it says, um, "From your nine obstacles." (chuckles) It's a biscuit
or cracker jar. It is signed here
on the bottom with a crown and a
C and an M. So that's for
Crown Milano. It was made by the
Mt. Washington Glass Company in Massachusetts in the 1890s, more than likely. Okay. They started, the company
started in Boston in the 1830s,
moved to New Bedford in 1870, and then merged with
Pairpoint in, I believe, 1894. But... That's older than I would have thought,
yeah. It's a beautiful little jar. And this is silver-plated. Now, there are
a couple of issues here. This would all
have to be cleaned up, the silver plating. Here on the inside
is what it would have looked like originally. And then there are
some little blemishes, or it might be just
sort of drops of paint or something like that. That would have to be
cleaned up. In perfect condition, though,
in a shop, retail, this would be
about $4,500. Wow! So it's a beautiful
little jar, and I'm, I'm glad you brought it in. Gee, for something that's
just been collecting dust, that's not bad. (both laugh) ANNOUNCER:
Now the people who make
"Antiques Roadshow" possible. I want my kids to know
they come from people who were brave, and took risks--
big risks. ANNOUNCER:
Your family history
brought to life. ♪ ♪ WOMAN:
I inherited these
from my family when my father
passed away in 1980. He had played with
a set of these as a child in Green Bay, Wisconsin. I know there's at least
a steamroller in this set. And I know there's
one other toy. I, I'm just not positive
which one it is. But these are the ones
you ended up with. These are the ones
I, I ended up with, yes. I understood
they're made out of steel. Mm-hmm. And they actually
sat on these and rode them,
and they're very durable. The Buddy "L" toys were
the Cadillac and Rolls-Royce of the toy world. It's a fascinating story,
because Mr. Lundahl was making fenders for cars... Mm-hmm. ...and car parts. And then he was
watching his son's toys being destroyed by normal play. So he said,
"The heck with that," and he started making toys
out of the same-gauge steel that the cars were made of. Oh, for Heaven's sakes. And it started around 1919, and the heyday was in
the Roaring '20s, when people could afford
to indulge their children with these very expensive toys. These are really the
grandfather of the Tonka Toys you see today. Mm-hmm. And of course, one of the problems
with them is, they are heavy, and a lot of times, the kid
wouldn't bring them in out of the sandbox, and a lot of them just ended up in the rust heap. They were also
generally well played with. It's nice to see them in
fairly decent condition. Which one of these would you think
was the better, more valuable of the two? I would say this guy was. Mm-hmm. There's a lot of play value
with this truck, but this is a
fairly common one because it was very popular
with kids of the day. This is five times rarer. Really?! Yeah, yeah. Oh, my gosh! And as much play value
as there is here, this is one of the Grail pieces
of the Buddy "L" collectors. For Heaven's sakes. Uh, because
it, it is... Shows how much I know. (both laugh) It's a relatively
late piece in the Buddy "L" line
of the late '20s. And these, uh,
side-mount tires actually steer
the, the wheels. The prices I quote are
what I think they would bring
at auction. Okay. This one has been
well played with. It does still have its original decals,
the original ladders. It could stand being
professionally cleaned up, but still, it's probably about, in this condition,
around an $800 to $1,200 toy. So that's not too
shabby. Oh, no. This, on the other hand, is a very
acceptable example. It's not a great,
great example. What's nice is, it has
all the original decals. Of course, we know it's Buddy
"L," 'cause it's right there. It's Buddy "L" there. They're, all these are decals,
the original decorations. It's had some rough use. An average example of these sells in the
$5,000 to $6,000 range. This one is a little
below average, probably in the
$3,000 to $4,000 range. I'm, I'm astounded. (laughs) That's amazing. I bought this, uh,
from a, a antique dealer about ten years ago
in Houston. I know it's a
Rufino Tamayo, and after I bought it,
Tamayo died and I really never
had it appraised, and don't know much more than I knew when I bought it. Okay, you know it's a,
it's a color lithograph by Rufino Tamayo. Yes, sir. Who was born in 1899,
and he died in 1991. He's an artist who came to fame, like his contemporaries
Diego Rivera and José Orozco, as a painter-- more specifically
as a muralist. He did these murals in the 1930s in Mexico City, and then he moved on
to New York and Paris. And it wasn't until
the end of his career in the '70s and'80s
that he produced his body of prints,
which is more than 100 prints, including color lithographs
and etchings. And this is pretty typical
for a Tamayo print this size, very large. We would say in the business,
"It has a lot of wall presence." Yes, sir. Now, you see this from afar,
just like his murals. Mm-hmm. He was very much into
replicating that look. Mm-hmm. And it is signed in
the lower right here. Mm-hmm. "Rufino Tamayo." And numbered in the
lower left, X over X,
or ten of ten. Now, how much did you
pay for it? Paid, uh, $2,500 for it. It looks to me as,
it's in great shape. You definitely want to keep this
out of the sunlight, because the colors
are fugitive... Mm-hmm. ...and they'll fade quickly
if exposed to light. And it looks like
you've been taking good care
of it to me. Yes, sir, I tried to. Uh, the colors seem
very strong here. Nothing incorrect
with the paper. You bought it framed, or was it
unframed when you... Bought it framed. You bought it framed. Just like you see it here,
right. Okay. Explain to me
how that got in there. Well, you know, I real... That's, that's, uh, one of
life's mysteries. It looks like the top
of a beer can. I don't think
I had too much beer the day I bought it,
but I don't know. And it just showed up
there one day? It just showed up there... (laughs) ...and I just, I didn't want to
take it apart to get it out. Tamayo's market has shot up
fairly strongly in the last five years. There's been a resurgence
in collecting his work and an interest, in general,
with Mexican muralist prints. At auction, I'd put a value at around $4,000 to $6,000. Yes, sir. Now, a retail price would be roughly double that,
or about $8,000 to $10,000. Okay. This is what I would expect
to happen to a well-known artist. Over the ten years
you've had it, you, you've more than doubled
your value, and that's what, frankly,
what good art should do. Yes, sir. I understand you have
more than one Tamayo. Do they all have the
beer caps in them? They're not there yet. Well, I got this from a friend
of mine about ten years ago. He's retired out of
the insurance business, and got a second job as
a de-acquisitioner for a museum. I bought it about
ten years ago from him. The story is that it
should be around 1890s, maybe a little earlier,
maybe a little later. Well, let me tell you
what it's supposed to be. This is supposed to be a Songye mask. Now, normally what we hear
is Kifwebe mask, but actually, the word
"kifwebe" means "mask." So what people are saying
is, it's a mask mask. Mask mask. So we'll just call it
a Songye mask. This is a female mask. And we know it's a female because of the absence
of a high ridge. The high ridges are male masks. The male masks
are used in ceremonies to create social order. The female masks
are for ceremonies that are related
to reproduction. When we look at a
Songye mask, 99% of the time, if I look at it and I say fake,
I'm right. Because that's how many
reproductions there are. Mm-hmm. I want you to notice
the beautiful incising on it. It's elegantly done--
it's really great. The first thing I want to show
is the beautiful profile. And in the back,
you can see these holes. And if you look at them very, very carefully,
you'll see that the holes are pulled out. And that's where
the raffia would have been and the suspension pieces
to hold the mask on. That's exactly what
you want to see. You also want to see in here
the wear patterns. 'Cause when you put
a head inside a mask, cheeks and foreheads and noses
and chins all make a mark. If it's totally
consistent inside, that's not what
you want to see. As you can see,
on both sides, there is wear
from the cheek. On this side,
there's wear from the cheek. And then in here from the
forehead and the nose. That's highly desirable. Now, another thing
that's a concern when you're talking
about value is condition. You have some small breaks. In the case of this mask, this is very minor, and I don't think that
it matters at all. You actually have a real Songye mask. It is from the Democratic
Republic of the Congo, which used to be Zaire. It's from the central part of the Democratic Republic
of the Congo. I think that your dating, I want to be a little more
conservative. I want to say
that it's 20th century. But the thing is
absolutely right. It's been danced
ceremonially. In a gallery,
I think the value is $4,000 to $6,000. Wow. Now, this is such a
subjective market, it would not surprise me a bit
to see, in an auction situation or in a gallery,
say, in New York, to see the price be
$10,000 to $12,000. Wow. I think it's a
terrific mask. I'm stunned that I actually have a real
Songye mask in the "Roadshow," and I couldn't be happier that you brought it in. Well, thank you. WOMAN:
My husband's aunt left us different items of her
furniture, and, and jewelry, and porcelain china. This was actually,
we found it in a little shadow box table... APPRAISER:
Mm-hmm. ...that was given to us. Well, let me tell you a
little bit about this piece. You know that
it's a lorgnette. This particular lorgnette
is probably one of the prettiest
that I've seen. It's French. And the reason that we know it's French
is that there are hallmarks right here on the hinge
and on the back. In this particular instance,
there's a crab. And this was
a very, very popular jewel through the turn of
the century and even later. The metal is platinum and,
of course, diamonds and rubies. The craftsmanship on this
is superb. This was made by a master house, but it was typical in the time
not to have the names. Cartier would have names
on their pieces. Tiffany would. But many, many very fine houses
didn't put their names on. So we have no idea
who made this amazing piece. Each row is
rose-cut diamonds lined up next to
a row of milgrains, which is very tight,
tiny little platinum balls. And it's accented
by calibré-cut rubies. But I want to show
how the mechanism works. Whee! (chuckles) There we go,
it opens up. Here's the front. Here's the back. And, indeed, this is how
it would have been used. (chuckles) The detail of the workmanship is as good
on the back as it is on the front, which is the sign of
a really fine jewel. Do you have, uh, an idea
of what this might be worth? I have absolutely no idea. Well, if I told you that
it was worth $10,000 if you went
into a store... Oh, my gosh. ...and you wanted
to buy this, it would cost you
every bit of $10,000. Oh, my gosh. Oh, my gosh. I had no idea. MAN:
It's a Gallé vase
that I purchased in New Orleans about eight years ago
from a antiques dealer there. APPRAISER:
Do you see this, uh,
writing on there? Mm-hmm. And what does that say? It looks like "TP." "T.I.P.?" "T.I.P.," okay. That is a number-one sign
of a reproduction fake. I'll use the term "fake." Okay. When you look at the glass
and you see the thickness around the rim? Mm-hmm. That's sort of a clue. What tells you finally that it,
that it isn't real? You, of course. (both laugh) Well, thank you. TIP-- think TIP. Get a TIP. Think TIP. TIP, yes. Manley Nash was originally
from Kentucky, and he moved around
quite a bit, and he did spend some time
in Oklahoma. And he did opera sets, and then
he moved around to California. And actually,
his claim to fame is painting the burning of Atlanta
in the movie "Gone With the, the Wind." But probably, in his travels, he would have
gone to New Mexico. It's inscribed "Taos"
on the back. It makes sense to me
that this is probably done, uh, around 1930
or in the 1930s. Well, this is the
military record of a, uh, fella who was the sheriff
of New London County, name of Frank Hawkins. He was the
father-in-law of the gentleman that my father bought
a house from in 1941. This was left in the attic. We've had it since then. Well, what it is is a commemorative
service wall hanging. Yeah. What's special about it
is that it's hand-done. A lot of these, you could send
off in the back of a magazine after the Civil War, and they'd
send you the blank one, and you could
fill the information in. Uh-huh. This one is custom-done. Up here it says "Designed
for Sheriff Frank Hawkins." Not just... Well, do you suppose
he had it done, or his family? Or how was that... It's hard to say. When I looked him up,
I found that he died in 1893. It could have been done
after he died, but probably it was something
that hung on his wall... Mm-hmm. ...because he was proud
of his service. Sure. The normal ones, that are
printed with the information filled in on them... Mm-hmm. ...would usually sell
for a couple hundred dollars. Mm-hmm. This one,
because it has that flair, it's probably more in the $800
to $1,200 range. Okay. It's a beautiful piece
of history. MAN:
As a grade-schooler,
my father had given it to me. It was originally my great-grandfather's
pocket watch. Okay. And it's been in the family...
since he bought it. I'm not sure when that was, although it was probably
before 1900. When my father first
gave it to me, I used it as my timepiece
in grade school, and fell playing football,
and busted the crystal on it. The crystal was replaced,
and after that, it's been in a safe
ever since. Well, uh, probably wiser than
playing football with it. (laughs) Um, it's signed
on the dial "Spaulding and Co." Now, it wasn't ever actually
made by Spaulding and Co. They were just
the retailers of it. This watch was made by
Patek Philippe circa 1900. They're a very famous... Really? ...Swiss watch manufacturer. Okay. Now, when you go back to
the 1900 era, a lot of their more
important pieces that were sold were signed simply on the dial
by retailers: uh, Spaulding, Bailey Banks and
Biddle, Tiffany and Co.... Mm-hmm. Um, all were very high, very large retailers of Patek
Philippe. What makes this one slightly
more interesting, as well, it's designed with what's
called a, a minute repeater. Mm-hmm. The minute repeater
works by sliding a slide on the side
of the case. Now, you can push
that slide, and it will chime the time
to the nearest minute. If you are out at night
and you want to know the time, you could simply push
the slide and listen to it, rather than having
to, to light a light to see what the dial
actually said. Incredibly useful. Uh, they were some of
the better pocket watches and some of the more
desirable made. It has what's called
a split-second chronograph. A chronograph,
it's a time recorder. It's a stopwatch,
effectively. It was largely used for timing
racehorses, et cetera. Right. And it goes
one step further. It's actually
a split-second chronograph. So, you can see
on the dial, it has two hands, one here and one here. These are used
so you can independently time, say, the first and second
place in a horse race. You don't normally find
multiple complications in Patek Philippe watches. Patek Philippe, in general,
they are some of the best in the world. To find them with a minute
repeater is, is very desirable. Or to find them
with a split-second is very desirable. To have the combination
of the two, and also in, particularly, this is, it's quite a
small size case. Mm-hmm. You don't tend to see
very many of them. For an auction value,
I expect you'd probably fetch in the region
of around $20,000 for it. My goodness. I wouldn't play
football with it again. No, I don't think so. (both laugh) I, uh, inherited it
from my, uh, parents. They were career
military officers. My mother was
a Pearl Harbor nurse, and my dad and
my mom were in the first forces that went in
Japan after the war, and they got
married over there, and they needed stuff
for their place to live. And they used
to go out in the country and barter
cigarettes and coffee. We've got all kinds
of, uh, tables and tapestries and silks and
paintings and lamps. That's great, so tell me
about this particular vase. My mom always liked it. She had it in the
corner for a long time. She had Japanese
silk flowers, uh, taped in it. There's, uh, some tape
marks around the top. And all I know about it is,
she always told me it was valuable, and she said, "This was the original
box for the vase and, uh, don't ever
separate them." It's a signed piece,
so I think they must have gotten it from
the person who did it. This particular piece is all
entirely hand-painted, without decals or transfers. It's painted with
a European scene. Right. So there's a thatched hut
cottage, a lake with
a sailboat on it. There's great mountains, there's a stone bridge. It's clearly
a European scene, even though
it's from Japan. There is a signature
on the front, which apparently would
be that of the artist, and they signed
it in English. On the bottom, it's marked, and it's
an unusual mark used by the
Noritake company. Now, Noritake has been around
since the late 19th century. Right. But it's made things all
throughout the 20th century, and it's still
a huge company today. It is an unusual mark. It includes
the word "Nippon" in it, and typically, Nippon
would mean that it was made before
World War I. Uh-huh. But however, this
piece was made later. Okay. This piece probably
dates from the 1930s. Now, this is a really
unusual form for Noritake. Traditionally, when people
think of Noritake, especially in this
time period, they think of rather inexpensive
things, small items, large sets
of dinnerware, which were very
affordable. And although they did
some hand-painted decoration, or quite a bit of it,
it wasn't usually this complex. This particular piece
is really interesting in that you've
got a box for it. Right. I've never seen
a No, a Noritake piece with a wooden box. Most Noritake vases would
not be all that valuable. They might start at
five or ten dollars... Right. ...and go up to several
hundred dollars. In a few cases,
a little bit more than that. I talked about this vase
with several other appraisers here at the Roadshow,
including the people at the Asian arts table,
and they have seen only one other,
but not one with a box. If this were sold,
our belief is, a retail price from
a specialist dealer to a specialist collector
of Noritake, that this vase would probably bring,
by itself, between $3,000 and $5,000. But after talking
about it, we realized that
a lot of the most serious collectors
of Noritake are actually Japanese,
frequently in Japan. Right. And so really, uh,
we re-evaluated that, and we think with the box,
this would probably sell for between
$5,000 and $7,000. Oh, that's great. I got it over
in, uh, Kerrville, Texas. Mm-hmm. Uh, about 12 or 14 years ago,
a friend of mine and I got a brochure in the mail
of a moving sale. Mm-hmm. I found this there
and a number of other things. In fact, we just came down
in a little pickup and thought we'd pick up
a few things and go home. Things, uh, uh,
got a little out of hand, so I went and rented
a U-Haul trailer. Oh, dear.
(chuckles) And, uh, we bought some
beautiful paintings and some small pieces of
furniture and this and that. And what did you pay
for the plant stand? Uh, I paid $400 for it. $400? It was almost bl...
In fact, it was black. The lady had a cat,
and the cat had broken many of
the things in the house. Yeah. Hence,
this has a broken tile. Yeah. I hope I didn't ruin it
by polishing it a little bit. Even though you
did some polishing... Mm-hmm. ...you didn't do
irreparable damage. Yeah, too much? No, you didn't. Yeah.
(chuckles) This brass work
was produced, really, most of it
in Connecticut. And this
probably done by the Bradley and Hubbard Factory, or Parker Brothers
was another firm that, uh, that worked and
created these what I call Aesthetic
Movement objects. And it looks alive to me, starting from
the very bottom... Mm-hmm. ...of this, uh, piece,
with these paw feet, and moving up
to, uh, bird wing legs. Mm-hmm. You can see there's a snake
that's coiled... Right. ...around the shaft. And the base also has
this wonderful combination of brass, as you mentioned,
uh, but also pottery. And it's all
painted with wonderful pictures of nature, uh, on it. Mm-hmm. 'Cause, of course,
that's what we think of when we see, uh, think about
the Aesthetic Movement. So there are butterflies
and flowers and trees, and it's just wonderfully
rendered in this pottery shaft. The top, as well... It's got a little
bit missing on it. Yeah. Here, you can see the scarab
that is missing on the side. And also,
the pottery, uh, tile itself, it's almost as though
it were a Barbizon painting. Mm. A French painting from
the late 19th century, which is when, uh,
this piece was made, probably around 1880. I would get this... Reproduced? Yes, gingerly, and with
someone very good, a metalsmith,
to reproduce in brass. And you would place
that in and, and really bring the whole
together again. Mm-hmm. And you could
probably also find someone to restore
the pottery top. Mm. Any idea
of its value, or... Oh, I have no idea. I just hope it's
worth more than $400. (laughs) I think we're safe. I think we're safe. Yeah? I would say for auction, in this condition,
not restored, I would put an estimate
of $6,000 to $8,000 on it. Oh, my goodness,
well... I don't know how attached
I am to this stand now. (laughs) Do a little work on it. Uh-huh. Maybe we're looking at, you know,
a $10,000, uh, object. Goodness, gracious. I love stoneware. You know, my twin brother
and I collected it when we were 12 years old. Awesome. So anytime I see salt-glazed
stoneware, I get excited. But, but these have
a special history. What's the family
part of it? Years ago,
Albert Gallatin, which was the secretary
of the Treasury... Yes. ...at the time, uh, met these Germans. Was it the, in the
early 19th century? Yes. Yeah, okay, yeah. And my great-great-
grandfather was Adolf Eberhardt. Uh, yes. And he was one
of the Germans there. They founded
the New Geneva Crock Factory. And the reason
it was called New Geneva was because Albert Gallatin was from Geneva, Switzerland. Yes. He named the town,
and he subsidized them, and they named
the pottery New Geneva. New Geneva. In this area,
Western Pennsylvania, they hadn't really
found any clay. Yes. Most of the great
white clay was found up in the north coast,
South Amboy in New Jersey. So they hadn't
found a clay source. And then, in
the early 19th century, all of a sudden, down in the river,
near New Geneva, they found this incredible
clay source. Yes. So this became
a real center for, for
stoneware production. Yes, it did. And there were many potters
that worked, right? Yes, there were. There was the glass
factory, right? The glass factory, also. And didn't they also start using some of
the glass factories to make pottery,
as well? Yes. On the front,
you see the 12. It's a salt-glazed
stoneware jar, 12-gallon. They made them,
believe it or not, in New Geneva
as big as 30 and 40 gallons. This is the largest
one I've ever seen. And these were
turned on a wheel. Can you imagine
turning something like this on a wheel? And decorated
it in blue. They put the, the stoneware
in the kiln. They shoveled
salt in there when it hit about
2,200 degrees. And that salt vitrified
and it coated the piece. Do you see this
orange peel effect? Yes. That's the salt glaze
that's covering the piece. And that made
this piece impermeable to all sorts of
things: acids, turpentine. This stuff was
strong stuff. But before they fired
it in the kiln, they often decorated it, and in the 1870s,
they started using stencils. You'd wrap it around,
apply the cobalt blue. It's something that has
a great appeal, okay? Yes. It's really neat that you have
these two other pieces. This little piece,
which was made probably across
the river, probably in the
1870s or '80s, this was a really popular, in Greensboro
and in New Geneva... Uh-huh. They were really popular,
a little brushed-on, hand-done effect. This little jar... Hamilton and Jones,
Greensboro, Pennsylvania. Yes. Very close by,
across the river. They're using
the same clay source. The wonderful thing
here is that you brought in this image
of the pottery. You have Hamilton
Robbins Pottery, right in New Geneva. So here they are working. Yes. And they could make upwards of,
like, 200, 300 pots a day. It's ironic that there was
glass made there and there was pottery made
in the same area, because you know what put
the potters out of business? The glass. You got it. For insurance purposes, these would be valued
at upwards of $5,000, as a wonderful group that, uh,
has stayed in your family. Okay? Oh, dear. So it's nice
to know that. Yes. Now, if this stencil
had an eagle here, this would probably be
about $8,000 or $9,000. Really? If it had a free-hand
decoration, it would probably
be $20,000-plus. My great-aunt,
when it was given to me, she told me about
how to take care of it. She told me this
was the original box. Because the pearls
are all on with thread... Mm-hmm. ...and Houston is
so very humid, to keep it in,
with baby powder, on, in the box. You don't have to
worry about the thread because it is not thread. It's white horsehair. This jewelry was
very popular from the Georgian time
on up to about 1850s. This is what's called a, a portable street
barrel organ. It is made in Germany. It is a little
bigger than most of the street
barrel organs. It has 40 keys... Yeah. ...playing from the barrel,
three barrels. In the front, it has three
rows of pipes and the pipe aperture
in the façade. (tune playing) WOMAN:
Well, a few months ago, I went to a thrift store
near my house to try to find
something for my bar, 'cause I wanted something
that was pretty that I could see from my living room. And you paid? $1.99. (exhales):
That's good-- you've got some pretty groovy walls there. (chuckles) This was made in
Germany by the firm of Johann von Schwarz
just around 1900. Wow. They're made in cuenca, so
these, these little raised walls keep the glaze
colors apart. When there's a hand
shown, or a face, those parts
are hand-painted. Oh. It has a nice, big size. It does have
the tray mount. It's in
beautiful condition. So somebody who had
it for their bar... (laughs) ...didn't use it,
thankfully, because it could have
been very worn. Sometimes you see them
and they have so many scratches on them,
and that really affects the value. At auction,
this would probably be somewhere between
$2,000 and $2,500. Wow!
(laughs) Oh, gosh, that's great. I can't believe it. I brought in a grandmother
or a grandfather clock. I don't know
which it is, but it's been in my family
for many generations. I know about the clock
from the provenance of the clock and
the fact that the date that it was made is engraved
on the front of the face. Great. And it has a wonderful
provenance with it. Inside the case here, I see that it's
all written out. It seems like it's
really well-documented. And the last paragraph
was kind of neat. This was written by my
great-grandmother Pauline, and it says, "The clock is
standing in my house. "The 136 years have
passed since it was made. "Many who knew
and loved the clock... (voice trembling):
"...have passed out of life. "But the precious old clock "still sings the same song--
tick, tick. Men may come and go,
but it ticks on." Oh, that's wonderful. What you have here
is a grandfather clock, and it has all this
beautiful tigering in it. And it's just
absolutely gorgeous. There are a few condition
issues with the clock. For instance,
it's missing a bracket base down at the bottom. It would probably
have a foot or a simple
cutout bracket base. Never did have
fretwork here at the top. Perfectly original. But what's kind of
peculiar about this clock is that this
case is really deep from front to back. And generally when you find
a case that's this deep, it's a case
that would house a wooden works movement, meaning the gears
and the plates are cut of wood,
and not brass. It's a beautiful sheet brass
dial that's been silvered. And it's made by
this clockmaker named William Stillman. And it says "Bristol
in Connecticut," and it has January 1791, which is right for the case
in terms of its age. And it's just a
beautiful Connecticut dial. This dial is probably
original to this case. But what's in, interesting
about this is, when I turn this movement around
and show you, you have this
seat board right here, and then it's built up
here with another one. Typically, you
would only have one seat board, and not two. This has a brass movement. And if you look
at the dial, you'll see these
extra holes here, and those should
go to something. But in the
back of the dial, they don't go to anything. No. So I feel like
this was originally a wooden works movement. And wooden works
movements generally only ran for 30 hours,
or one day. And so what
probably somebody did was put in a brass movement
at some point, and altered it
so it would run for eight days, be a more functional item. It was done a long time ago. I would say over
100 years ago. It was really
an improvement then to a clock like this. Uh-huh, uh-huh. And even with these
restorations, in a showroom, this clock would sell in
the range of $5,000 to $7,000. If it had its
original movement, I think we're
probably talking about a $15,000 clock. Thank you very much
for bringing it in. And thank you so much for
giving me the history. So, John, you've been
looking at this painting for a long time,
you said. All my life, yes, sir. Yeah, uh,
where was it hanging? It was hanging in
my mom's living room. She got it
from her aunt, and it was given
to her aunt from Robert Wood--
he was one of her tenants. The story I
understand is that he couldn't make rent, and so he offered a painting
as payment for that. And then from there, my aunt offered
it to my mom 'cause no one else in her
family really liked it, and my mom loved it. Okay, and so the painting, as you mentioned,
is, Robert Wood was the artist, right? Yes, sir. Did, did your mom tell you any,
anything about him at all? All she said is that
he lived with my aunt for a brief period of time
in the early 1900s. It was probably '20s or '30s,
if I'm not mistaken. Yeah. That seems to fit,
timewise. Robert Wood is
an interesting artist. A long-lived artist,
he lived... Born in 1889,
lived to 1979, about 90 years,
and lived just about everywhere. (laughs) He lived in Texas,
he lived in California, he lived in Colorado,
he lived in Woodstock, New York. But he was in San Antonio
from 1923 to about 1941. He was divorced in '25 and might have been
the time that he was living at your aunt's. Sure. And, and it's very f, common
that a lot of artists pay in kind with, with
paintings. Wood painted a lot
of different scenes. He painted California,
he painted the, the Tetons, he painted
the, the Colorado Rockies, but he also
painted Texas. It wouldn't be a complete
"Roadshow" from, from Texas without a
bluebonnet painting. Sure. Well, the state flower. The state flower. The Texans love
their bluebonnets. Yes, sir. Um... Definitely. Now, did you have this
painting reframed at all? My mom did in the '70s. She did, yeah. It has a very
'70s look to it. Right. Probably might
want to think about putting a different
frame on it sometime. Maybe more of a 1920s frame
or '30s frame. Okay. Now, one of the things
about Wood is, he's so prolific, that really has
depressed his market. He's, did far
too many paintings. They aren't rare enough. And the other thing about him, he was so deft at doing,
he was very quick. In my business, we say
he's a little slick. Right. I mean, he's almost
like a commercial artist. So, his prices have
never really gone up as much as you might
hope for his works. And generally,
for most average Woods, you're looking at
$3,000 to $5,000 at an auction estimate. But when you get
the bluebonnets, it's a different
story entirely. It's only of interest
here in Texas, but they go crazy
for these paintings. If this were to, to come up,
I would have to put an auction estimate on
this of $15,000 to $25,000, and probably expect to
get more than that at auction. Oh, wow. My family lived in Germany in
the late '50s and early '60s. And my father was kind
of famous in our family for going around
and finding things, and, uh, one day he came
home with this. This is, uh, the equivalent of a 1890s jukebox. Yes, sir. Originally, the, the works
were cylinder players, but when they came up
with a disc player, then it became a
much bigger sound. And the neat thing
about this one, too, is that it was
coin-operated. According to this,
I guess it was the German equivalent of a nickel. This is made of walnut, very popular wood in
the late 19th century. I love that gilt brass or bronze symbol
on the front of there. And it looks like
it has the old cloth. When you open it up... ...it has
an original ad. Yes, sir. For Polyphon--
that was in there when, when your family
got it? Yes, sir. This is the golden
age of lithography. And they would have
sent this to the retailer to hang up in the store
to advertise. That alone is probably
worth $1,000. Wow. They made these in a lot
of different styles, bigger cases,
smaller cases. And the death knell
of these came from this magical phrase,
"Mary had a little lamb." Oh, Thomas Edison? Thomas Edison. (laughs) The first recorded words. And they kept up with
Edison for a while. They came up with
the technology to do automatic
changing on the disc. Mm-hmm. And actually, Regina
came up with the Reginaphone, which would play
phonograph records. So what do you
think it's worth? I've looked online
at different shops. I've, I've seen similar. I've never seen one
exactly like it. I would guess somewhere
in the neighborhood of $8,000 to $12,000. You're probably
high there. Okay. There maybe will be
some people, retail, that might
ask that much. But at auction,
my feeling would be that its value's
around $6,000. Oh, all right. Of course, you add
$6,000 for that, $1,000 for the
advertising poster... Right. We're pretty close to eight. Yeah. (chuckles) I think we need
to crank it up and see what it sounds
like, don't you? Great. "Santa Lucia." ("Santa Lucia" playing) My husband was
flying out of the Pacific, uh, right at the start
of the Korean War, and he flew into Tokyo, found it in an antique shop, and bought it.
(chuckles) On installment. Every time he went in, he carried seven
cartons of cigarettes... (both chuckle) ...to the man in, in the antique shop. And that went on
until he was about to be transferred
back to the States, and he paid off
the balance in cash. I don't know how much it was.
(laughing) What year was that? That was 1950. I understand
that you were at the Antiques Roadshow before. When was this? It was in Atlanta, about 1997. I saw Mr. Lark Mason, Jr., and he was doubtful
about the horse, so he advised me then
to have it authenticated. He pointed me in
the right direction. I took the horse
to Chattanooga. A lady there
drilled holes in him, and I sent it to England,
and they sent me back the fact that he's real.
(chuckles) Thermoluminescence tests
are really, really important to get for pieces
of this type. This is a test that
Oxford Authentications does in England. Basically, they take
a core sample from the belly and two
or three other places... Right underneath here. Right un, usually underneath
the, the head of the piece, and then they irradiate
those samples with light and calculate when
the piece was last fired. Mm, okay. So for Tang Dynasty
examples, these tests are
pretty foolproof. Mm-hmm. So it's really
a boon for a collector to have
a test of this type done for these pieces. Well, I'm so glad. These Tang Dynasty horses
are really quite rare, for its massive size,
and also the fact that it's a three-color
glazed example. The ownership of these steeds
was a matter of great prestige during this period, and so models of these
were buried when the nobleperson
actually died. If you had come to us in 1999 with this
authenticity certificate, we would have told you
that the insurance value would be
about $100,000. In 2007, the market's
gone down a bit. It'd be about $80,000 at insurance now, okay? Wow. Wow, that's
still very good. This is, it's great,
isn't it? (laughing) PEÑA:
You're watching
"Antiques Roadshow: Vintage San Antonio." Want more "Roadshow"? Check out the PBS Video app, follow @RoadshowPBS,
and sign up for our newsletter at
pbs.org/antiques. Don't go away, the Feedback
Booth is right after this. And now it's time for
the Roadshow Feedback Booth. And we've had this little
vase as a wedding present, and we've been
married 37 years now, and we figured
anything this ugly had to be really,
really valuable. Well, it's worth
about ten bucks. And we brought
a Chinese tea set, or actually, it's a
Japanese tea set, that our grandfather
left our mother. And... It's a mass-produced
souvenir, so... (both laugh) Thanks, Grandpa. One of the things I brought was
this Kodak Brownie 2 camera, won by my
grandmother in 1931 for taking a picture
of my mother, who I brought
as my other antique. (whirring) (screeches) Ta-da! And I get
to live with it. And this is my
mom's punch bowl. And we found out
it's worth $500. We had a great time, and it was a great way
to spend my 32nd birthday. Thank you,
"Antiques Roadshow." Happy birthday. And we had brought
these items. If the clock was
blue or pink, it would have
been worth a lot. As it is, it's only
about, about $500 worth. And here we have
this, uh, lovely lady, and if she'd been
painted by somebody famous, we'd be rich. Brought a chessboard,
and I traded a fish tank for it. It's worth the same price. (both laugh) PEÑA:
Thanks for watching. See you next time
on "Antiques Roadshow." ♪ ♪
