HOST: ANTIQUES ROADSHOW is unearthing some fantastic finds at the Idaho Botanical Garden in Boise.

GUEST: I've got two guitars, one's a Jaguar, one's a Stratocaster.

GUEST: And you're not joking.

APPRAISER: I'm not clowning around with you.

GUEST: You're not clowning around. (laughs)

HOST: A jewel within the city limits of Boise, the Idaho Botanical Garden is one of the oldest botanical gardens in the state, having been established in 1984. The garden grew from the interest in reimagining part of the grounds of the old Idaho Penitentiary, a prison that operated for 101 years and closed after riots in 1973. Today, the garden promotes horticulture in the Treasure Valley using native and domestic plants. Our cameras are set up and our experts are ready to explore some of the natural and human-made beauties that have come to the garden today.

GUEST: Well, I brought four hubcaps from Rolls-Royce. My father was an apprentice at Rolls-Royce in the 1940s, and when Britain declared war, they had to convert the car production line over to airplane engine production. And my father asked for a hubcap, uh, from the last line of cars they were making, and it happened to be, I gather, the Rolls-Royce Wraith. And so he w, the manager in charge of the store parts handed him a box of four of these and told him to go away, and... (laughs): He, he, we've traveled with them all of my life. We've always had 'em.

APPRAISER: That's awesome. So you are correct. They're for a Rolls-Royce Wraith, which would have been first introduced in 1938, and then quickly shut off in 1939 as Rolls-Royce entered the war effort for World War II. Now, the fact that you also have your father's apprenticeship certificate is what makes this just such an awesome package for any collector of automobilia.

GUEST: Mm-hmm.

APPRAISER: There are two people who would like to buy it. One who is A, someone restoring a Rolls-Royce Wraith, but then also someone who's just a pure automobilia collector who would love to have a piece of history...

GUEST: Mm-hmm.

APPRAISER: ...with having the locking center caps and the apprenticeship certificate.

GUEST: Yeah.

APPRAISER: So with that, the cool story, it's a pretty rare thing.

GUEST: Hm.

APPRAISER: At auction, for the center caps with the letter, we'd see it estimated, conservatively, $1,000 to $2,000.

GUEST: Oh, really?

APPRAISER: Yeah.

GUEST: Oh, that's wonderful.

GUEST: I think it was probably about ten years ago when I went to a garage sale. And, uh, while my husband was going through the barn, pulling out things that he was interested in, and asking how much, and the young man said, "Well, just make a pile." This fella was just propped up on the porch kind of up against a stair. And because of my age, I know that he's a shooting gallery target. So I said, "Well, would this be for sale?" He said, "Yeah, just add it to the pile." We said, uh, "Okay, what do we owe you?" He said, "How about $100?"

APPRAISER: (chuckles)

GUEST: And I don't know what all was in there, in that pile that my husband found.

APPRAISER: (laughs) You see that it's dated 1911. And you see the name on it in Los Angeles, California. So Dickman was born in Wisconsin in 1876.

GUEST: Okay.

APPRAISER: And then as a young man, he finds himself in Los Angeles, and comes upon these shooting gallery, they called them rigs. I used to go to Coney Island as a kid, and actually played with one of these things. And a rig was cast iron. Some of them were mobile, and they moved around...

GUEST: Oh, right.

APPRAISER: ...for fairs and country fairs.

GUEST: Yeah, I remember, yeah.

APPRAISER: And others were stationary. And they were all operated by chains, a metal chain.

GUEST: Mm-hmm.

APPRAISER: So there was noise. They would clatter. And then the sound of the bullets hitting the metal targets. And it was a racket. It was just so much fun. So Dickman buys a rig in Los Angeles, and within two or three years, he has three rigs. And these rigs need constant repair. They need replacement parts. And all of the makers of the shooting gallery rigs were east of the Mississippi. So he's out in Los Angeles, on the West Coast, alone, and there is the story of the entrepreneur. He decides to go into business. And this was patented in 1911. And this was his most famous target, so...

GUEST: Oh, okay!

APPRAISER: His rigs had hundreds of targets. This one would have been the principal target. And his system was called the bright eye system. One of these eyes was lit with a gas flame.

GUEST: I didn't know that!

APPRAISER: When you shot the bullet through the eye, you extinguished the gas flame. But immediately, the other eye would light up.

GUEST: (laughs)

APPRAISER: So it was going back and forth. Boom, boom, boom, boom. It would light, go out, light, go out. How cool is that?

GUEST: I, I had no idea.

APPRAISER: Yeah, and you can see the wear where all the little bullet dings...

GUEST: Oh, that's why it's textured.

APPRAISER: And this is a result of thousands of bullets. Most of the paint on it is original. It's a beautiful natural patina. So Dickman made rigs up and down the West Coast. He went out of business in 1934. Other manufacturers started to copy this clown, except they're not signed Dickman. And eventually, especially when we went off to war, the Depression comes along, a lot of the rigs were taken apart and melted down as scrap metal. Because it's patented in 1911, we know it was made shortly after that. So this was probably made in the teens...

GUEST: Mm-hmm.

APPRAISER: ...you know, early '20s. These targets are very highly desirable.

GUEST: Oh, good.

APPRAISER: Uh, they go to people who collect art.

GUEST: Uh-huh.

APPRAISER: They go to people who collect only shooting gallery targets. There's a book on shooting gallery targets. This is on the cover of the book.

GUEST: Oh, wow.

APPRAISER: It's considered really the, the pinnacle of shooting gallery technology, as well as, the imagery is like a piece of Pop Art. And the folk art people love them, too. Retail, we're going to place a value of $20,000 to $22,000....

GUEST: Oh, wow.

APPRAISER: ...on this clown.

GUEST: (chuckles): And you're not joking.

APPRAISER: And I'm not clowning around with you.

GUEST: You're not clowning around.

APPRAISER: (laughs)

GUEST: I have a velvet kaftan from Fortuny, which, as I understand, is a couture design house in Italy. It's from my great-grandmother, and was passed down from her to her daughter and then my mom and then to me.

APPRAISER: It is by Mariano Fortuny, and he was born in 1871 to a family of very well-known artists in Granada, Spain.

GUEST: Okay.

APPRAISER: When his father died, his mother ended up moving the entire family to Venice, where he then continued to work for the rest of his life, and he died in '49. As a family full of artists, they were inspired by textiles and things from around the world. Mariano was specifically inspired by Persian textiles and Renaissance velvets. What we have here is a silk velvet kaftan. It is a T-shaped. Going to lift up one of his very simple... Simple long line, simple seam here, up the side. It's open. There was never any closure. It was always meant to drape. Soft as anything silk velvet.

GUEST: It's so soft.

APPRAISER: Fortuny is often identified with these amazing proprietary techniques. In this example, it's actually how he stamped the metal onto the silk velvet. We don't know how he did the metal stamping. It's a mystery and it's luscious. They still stamp things and it's still a secret.

GUEST: Still!

APPRAISER: So it is a classic open d, jacket robe. It's in a very simple construction. It's not about construction. It's about the expression, the colors, and the, the motifs he's using, the inspiration. His stamping is meant to give that effect of what we see in brocaded, Ottoman, and Renaissance velvets. Around the neck, we have the sort of tendrils, and on an abstract floral of some sort. Here it looks, we've got these roundels. It's very reminiscent of a, of a Coptic, uh, tunic with these roundels. At the bottom, we have a very wide printed area. And what we see is, these roundels are actually sort of a tree of life. I'm going to spin around to the back just to see how beautiful the back... It's just a simple V in the back. Meant to drape very elegantly over a very kind of bohemian woman.

GUEST: Yes. (chuckles)

APPRAISER: We see a small damage, which makes sense, it's a point of stress.

GUEST: Mm-hmm.

APPRAISER: Aside from this stunning color, you always have a contrasting color. This is a lovely taupe silk inside.

GUEST: Mm-hmm.

APPRAISER: He opened his couture house in 1906, and sometimes it's hard to date these, because he did the same things for a, a long time. It was circa 1925, circa 1930. I was not able to find this exact pattern, but it, I don't believe this would have been a one-off design. Color.

GUEST: Yeah.

APPRAISER: Lovely. It's so stunning.

GUEST: Really beautiful.

APPRAISER: Color does not make a difference to the market.

GUEST: Okay.

APPRAISER: Because you could wear this over anything.

GUEST: Mm-hmm.

APPRAISER: Right now on the market-- this is a retail price I'm going to give you...

GUEST: Mm-hmm.

APPRAISER: ...they are selling consistently in the $15,000, $16,000 range.

GUEST: (laughing): Oh, my God. That's crazy.

APPRAISER: Yeah.

GUEST: Wow.

APPRAISER: It's, they come up on the market, and they are beloved. They are in museums all around the world.

GUEST: Oh, my gosh.

APPRAISER: Many examples.

GUEST: Wow.

APPRAISER: They are, uh, very, very desirable for both museums and individuals. I would put an insurance valuation of $18,000 on this.

GUEST: Of course.

APPRAISER: If you had to replace it, yeah.

GUEST: Wow.

GUEST 1: Uh, so we bought this typewriter at an estate sale for $30. Uh, it's a Remington Rand, and it says Model 1, which we heard is kind of old. So excited to see what it's worth today. But we looked online, and it said maybe around $1,850 if it's the oldest one, so fingers crossed...

GUEST 2: Yeah.

GUEST 1: ...that it's, it really is the oldest one.

GUEST: Well, the only thing that I know is, they're cloisonné. This one was, um, filled with rose petals for years and years, and we emptied it out to see if there was any little treasure in the bottom.

APPRAISER: Was there?

GUEST: And there were just rose petals.

APPRAISER: Back then, in 1915 to '25, which is when these were made, these were very exotic items. So they would have been very proud of having this set.

GUEST: It's an egg.

APPRAISER: It's an egg. Do we know anything more about the egg?

GUEST: I purchased it, and I think I got two more with it. I spoke to my son, and he said he got two of 'em, so there was three of 'em.

APPRAISER: Oh, okay. Where did you acquire these?

GUEST: Off an online auction. Probably n, n, nine years ago?

APPRAISER: Okay.

GUEST: Ten years ago? It's been a while.

APPRAISER: Wow. And do you recall what you paid for the egg?

GUEST: (sighs) Not much. A couple of hundred bucks, a hundred bucks, I don't...

APPRAISER: Okay, for the set of three.

GUEST: Yeah, yeah.

APPRAISER: For all three, okay. Did they give you any information about these particular eggs that you were buying?

GUEST: No, no.

APPRAISER: So it was sort of a...

GUEST: They were just cute. I collect cute things.

APPRAISER: (laughing): Okay. Well, I, I think that this is adorable.

GUEST: Yeah.

APPRAISER: So kudos to you.

GUEST: Thank you.

APPRAISER: This is a wonderful novelty piece.

GUEST: Okay.

APPRAISER: Uh, we've got a beautiful footed egg with a gorgeous foliate concentric design that's rolling around the edges.

GUEST: Okay.

APPRAISER: It's got a beautiful seamless hinge that runs along the entire width of the piece. If we turn it over, it allows us to show the signature on the base.

GUEST: Okay.

APPRAISER: The signature is Cartier. Your item is clearly defined as item number eight out of a series of 25.

GUEST: Okay.

APPRAISER: It's made out of sterling silver with 18-karat yellow gold accents.

GUEST: Oh, cool.

APPRAISER: It was made in 1977. We've got the Cartier emblem on the very front. It opens, and we've got a delightful scene with a little enameled frog. On the bottom of his foot, he is marked Cartier.

GUEST: Hm!

APPRAISER: So not only do we have the frog's foot, the signature on the base, but also on the lip, with the insignia. So we have Cartier, and we know that this is authentic.

GUEST: So it's real. Really?

APPRAISER: Yes.

GUEST: See, that's what, I always wanted to know that!

APPRAISER: Yes! And then you've got the beautiful, charming flowers with the amethyst that would have been carved in Idar-Oberstein, Germany. And then you also have carved coral flowers, which would have been done in Italy.

GUEST: Wow.

APPRAISER: So this is a global piece, with all the elements coming together into one delightful package.

GUEST: Oh, my gosh!

APPRAISER: So an Easter egg, limited-edition series, by a wonderful well-known maker in Cartier.

GUEST: Yeah!

APPRAISER: Would you have any idea as to the value of this piece in today's market?

GUEST: I didn't even know if it was real or not. I just thought it was cute as heck, so I have no idea.

(both laughing)

APPRAISER: Well, I think that your investment in the three, despite the fact that you have just one with you today...

GUEST: Yeah. I might have two more when I get home, depending on how much it is. (laughing) I'm going to call him-- it's my son.

APPRAISER: (laughing) Say, "Son, give me those back."

GUEST: Yeah! (laughing): Yeah.

APPRAISER: If you were to see an item like this come to auction, you could reasonably anticipate an auction estimate of $1,000 to $2,000 just for the one egg.

GUEST: Awesome.

APPRAISER: So with having three...

GUEST: Yeah.

APPRAISER: ...you could be doing quite well.

GUEST: Fun!

APPRAISER: And again, that's a tremendous...

GUEST: Yeah!

APPRAISER: ...uptick in value over what you originally paid for it.

GUEST: Yeah, and now I know it's real.

HOST: A number of plants and trees in the Lewis & Clark Native Plant Garden were used by Indigenous peoples for medicinal purposes. The Shoshone used the blue flax plant as a hair and body wash and to treat eye and gastrointestinal problems. The Nez Perce made an infusion from the bark of the Western larch for treating colds and chewed the sap to soothe a sore throat.

GUEST: I brought in a picture of an execution in Warrenton, Virginia. My mother had it in a, in a box of things, and I got it out and had it framed for her. And then, when she died, I acquired it.

APPRAISER: Who is the person you think is responsible for this drawing?

GUEST: Okay. My great-great-grandfather. My mother wrote all that stuff down in the lineage on the back of the pictures.

APPRAISER: This drawing depicts a brigade in the Army of the Potomac fighting for the Union cause during the course of the Civil War. You provided us with the name of your ancestor, complete with a middle initial. And I did a little research on the men that were in this brigade. I checked all of their regimental rosters, trying to find a name that lined up. I only found one, and he was a private in the 96th Pennsylvania. More than likely, he is the drawer, the artist involved in making this drawing. And from the drawing, it is clear to me he was a witness to the event. However, the two tintypes you have are of an infantry officer, of a lieutenant, and I could find no one with that name that served in this brigade who was an officer. So I'm relatively confident the images are not of...

GUEST: Of him.

APPRAISER: ...the gentleman you believe it is. But I am firmly confident that the drawing was done by a, a witness to the event who was in that brigade, and more than likely is your ancestor, whose name you provided.

GUEST: Okay.

APPRAISER: So maybe those items got mixed up at some point in time.

GUEST: Mixed up somewhere.

APPRAISER: Or the story about who it is got mixed up. There are a lot of pictures that have been drawn of Civil War camp scenes by the soldiers who were there, and sometimes aftermaths of battles, but you just rarely see an execution of a deserter. This is a mid-war execution, the summer of 1863. Executions for desertion were not quite as common as we're sometimes led to believe. And President Lincoln commuted a lot of those. So I would assume that this gentleman did something particularly egregious that they felt the need to have a battlefield execution. He's sitting there on his casket...

GUEST: Yep.

APPRAISER: ...the one he's about to spend eternity in. We've got the firing squad drawn up. We've got the whole brigade around him to witness this. And the layout of the camp, it's got little notations-- "ambulance corps," "battery." The subject matter is rarely, if ever, depicted. Amazingly, this drawing is in very, very nice condition. You can clearly see the fold lines from where it was folded up...

GUEST: Yes.

APPRAISER: ...and mailed home in a small envelope. But, thankfully, it's been very well preserved, and apparently always been cared for. Camp scenes drawn by participants do sell from time to time. They're not horribly common. But a typical example is $500, $1,000, maybe $2,000, if it's particularly artistic. This is a great example of content trumps everything. You just don't see a period witness drawing of an execution.

GUEST: Execution.

APPRAISER: And we talked about it a bit at the table, and we came up with the assumption that in the right auction setting, this drawing alone-- even if the I.D. isn't quite correct, the drawing is absolutely complete, correct, authentic-- it would probably sell in the $5,000 to $7,000 range...

GUEST: Wow.

APPRAISER: ...at auction. And you've certainly got several hundred dollars worth of tintypes there. If he's not identified, those tintypes are going to bring $400 to $600 at auction for the pair.

GUEST: Mm-hmm.

APPRAISER: Maybe a little more. If we can really tie them all together and tie the I.D. all together, the entire grouping could hit the $8,000-plus range.

GUEST: Wow, okay, that's cool. It's going to continue hanging on my wall, but... (laughs)

APPRAISER: Well, that's wonderful. I would hope it would stay in the family.

GUEST: Well, we were at a, uh, yard sale about 15 years ago, and we bought some items from them and, uh, there was a, we went home, and there was a generator that I wanted. So we went back, and the first visit, we saw the lamp-- or I did-- and went back and bought the generator. I said, "How much for the lamp?" And the guy said, "If you want it, you can have it."

APPRAISER: There's a lot of areas here where there's paint superimposed to reinforce structure that was already there.

GUEST: Oh.

APPRAISER: Is that, you know, does that make sense?

GUEST: Right, yeah.

APPRAISER: So what it almost, it ends up looking like they're wearing makeup...

GUEST: Mm-hmm.

APPRAISER: ...because the color is much more intense. Again, like makeup. (chuckling): Like they put too much on, right? Like it's caked over the top. Um...

GUEST: So they painted a painting.

GUEST: So I brought some of my dad's World War II memorabilia. He was a Dutch Jedburgh, a Special Ops soldier, and he jumped with General Gavin of the 82nd Airborne. They were the first two to land. My dad was walking point and he spotted a s, a machine gunnist in a tree and, and shot him before the machine gunnist had a chance to shoot General Gavin. So General Gavin al, has always credited my dad with saving his life.

APPRAISER: So when I walked up here, you're hanging out with our volunteer.

GUEST: Yeah.

APPRAISER: And do you guys.... How do you guys know each other? Did you come together?

CREW: I've never met you before. Before today.

GUEST: I can confirm that. Yeah, one of the things I was carrying...

APPRAISER: Yeah.

GUEST: ...had an 82nd Airborne insignia on it, and he commented on it.

CREW: So I said, "Oh, 82nd Airborne." And you said your dad had jumped into Holland. And I said, "What parachute regiment?" And she said, "Oh, he wasn't in a parachute regiment, he was Dutch." And I said, "What's your dad's name?" (chuckles) Because, of course, I know the story that he saved my grandfather's life, because my grandfather was General Gavin. And... She said it was Ari Brestaburgge. And it was, like...

GUEST: (laughs)

CREW: And, and, you know, when she first said, "My father saved General Gavin's life," I'm a little suspicious because there are a lot of stories about my grandfather, um... And then she said it was Ari Brestaburgge. I said, "Yes, he did save my grandfather's life." (laughing) So it was amazing. I'd never met anyone from your family, and it was just amazing to, to meet her here.

APPRAISER: Well, that's awesome. So, of the stuff that you brought, this was what we picked out to look at here.

GUEST: Yeah.

APPRAISER: Have you ever had this stuff appraised? Have you had it looked at?

GUEST: No. I just took the box from my dad's house and brought it to Boise, and I haven't opened it for... 25 years.

APPRAISER: But you know what these wings represent.

GUEST: Well, they're his Special Force insignia.

APPRAISER: Exactly.

GUEST: I know that-- I do know that.

APRAISER: So from a value perspective, I mean, this is interesting and wonderful, but the meat of the value of what you brought today is right here in those three wings.

GUEST: Really?

APPRAISER: A retail price for those three, because... On their own, they would be wonderful, but because they're him, they're a little better than average. You have in the neighborhood of $10,000 worth of cloth insignia right there on that table.

GUEST: Aw... (laughing): No way. That's amazing.

APPRAISER: And it was really special for me today to be a part of, of, of this. Do you have, do you have any plans for this evening?

GUEST: Yeah, we're going to go to dinner.

CREW: Absolutely.

GUEST: If, if, if you let him off early enough.

(all laughing)

APPRAISER: I can't guarantee that. (laughs)

GUEST: I brought a page from, uh, an autograph book. My mother-in-law, when she was ten years old, her father, uh, took her to a, a baseball game in Seattle, and it was an exhibition game, and the all-stars were playing each other. They were sitting behind the dugout, and at the time, her father told her to go down and see if she could get some autographs.

APPRAISER: Mm-hmm.

GUEST: Which she did. And she kept this in her autograph book and passed the page on down to her son, my husband. We've just kind of kept it in a safe and would take it out. We made a copy of it, and framed that, and had that hanging in our house. So it was October, I believe, right around the 18th, that game day. And they were playing in Seattle...

APPRAISER: Mm-hmm.

GUEST: ...before they were leaving for Vancouver, and then they were shipping out to Japan...

APPRAISER: Mm-hmm.

GUEST: ...for about a monthlong barnstorming... games.

APPRAISER: Right.

GUEST: You know, set of games in Japan.

APPRAISER: Exactly. So... What's great about this is the provenance of how, that she got it.

GUEST: Yeah.

APPRAISER: And it's been handed down the family, and that's just fabulous. And you brought the picture today of your mother-in-law around the time when she obtained the autographs. We do see autograph album pages of the Yankees that include Ruth and Gehrig. Of course, the best, most popular players. They signed quite a bit. What makes this different, though, is that this is part of the tour. It was an important tour. So in 1934, the American League players put together a team that started of 36 players. They came to the West Coast. They called it the Western Canada tour before it was the Japan tour, but it was called the 1934 Barnstorming Tour. Only American Leaguers, because the National League wouldn't allow their players to participate.

GUEST: Okay.

APPRAISER: So they had this team of 36 players. 15 players went to Japan. Of that, what's nice is, you've got the two major stars, you've got Ruth and Gehrig. What's interesting is, there's 12 signatures here, but there's only 11 of the players that went to Japan.

GUEST: Okay.

APPRAISER: So we also have Al Schacht, who was the Clown Prince of Baseball. So you're actually missing four players of the 15 that went to Japan.

GUEST: Okay.

APPRAISER: So, still a great example of that squad, but not a complete squad. The whole purpose of that tour was for... Well, the players looked at it as tourism. The, baseball and the U.S. government looked at it as an ambassador tour. And they were greeted by a parade of half a million people in Tokyo. They won every game. And Babe Ruth hit 13 homers. One of the interesting things about this t, tour also was that Moe Berg, the catcher right here, went on the tour. He was a U.S. government spy, and he took his camera and he took film when they were in Japan. I would say at auction, I'd put a value of $10,000 to $15,000.

GUEST: Wow. Wow, that's, that's great for a, a little piece of paper with signatures.

APPRAISER: I would put an insur, an insurance value on it of $20,000.

GUEST: Oh, okay, great.

GUEST: This is a journal that was given to me by my grandmother, of, I believe, my great-great-great-grandfather, Lorus Bishop Pratt. So, Lorus Bishop Pratt, the owner of this diary, his father is Orson Pratt. And his brother is Parley Pratt. And they were one of the first 12 disciples, I believe...

APPRAISER: Uh, Apostles, of...

GUEST: Apostles.

APPRAISER: The Church of Jesus Christ of Latter-Day Saints.

GUEST: Yes, so it, it, it's a special diary. And this diary was when he was actually in England with his father, Orson.

APPRAISER: I believe this is journal or diary number four. Do you know what happened to the other diaries?

GUEST: I don't know what happened to the other diaries. My grandmother shared with me a letter from her brother stating that they had donated their diary to Brigham Young University. And they wrote a letter to my grandmother and gave her a copy of that diary, diary number two, saying, "This is what we did with ours. We'd like you to donate yours, as well." And she didn't, she chose not to. And she gave it to me in secret.

APPRAISER: And what did you do with it all these years?

GUEST: So, when she gave it to me, I thought she just was giving me a copy of the transcript of diary number two, and she gave it to me with the letter, and just said, "Just tuck this away. Don't tell anybody that you have it." And it wasn't until the COVID shutdown that I actually looked in the box and saw that there was more than just a copy of the transcript journal number two, that there was this original diary there with it.

APPRAISER: The LDS Church was founded in New York, 1830, with the publication of the first edition of the Book of Mormon. Joseph Smith appointed 12 men to be the original Apostles of the Mormon Church. And that included your illustrious ancestors, Orson Pratt...

GUEST: Yes.

APPRAISER: ...and his brother Parley P. Pratt.

GUEST: Yes.

APPRAISER: In 1879, the year after your diary takes place, the LDS Church published the first edition of the Book of Mormon that was put into chapter and verse since its inception and first publication in 1830.

GUEST: Wow, and that was by Orson Pratt, right?

APPRAISER: Yes, both Orson Pratt and his martyred brother, Parley P. Pratt-- who was murdered decades earlier-- not only were they two of the original Apostles of the church, they were also two of the leading intellectual lights of the Mormon Church in a very critical period, from Joseph Smith's assassination...

GUEST: Mm-hmm.

APPRAISER: ...to the death of Brigham Young, which was in 1877.

GUEST: Oh, my goodness.

APPRAISER: Without having the time to properly study the diary that must be done...

GUEST: Mm-hmm.

APPRAISER: ...I believe, in a retail marketplace, this diary would fetch between $10,000 to $15,000.

GUEST: Really? Oh, my goodness, Ken.

APPRAISER: No copies, no transcripts have ever been made of this diary.

GUEST: Right.

APPRAISER: If we find more interesting undiscovered history in it, it could drive the value up, so maybe at auction, it might go as high as $15,000 to $25,000.

GUEST: Wow, that's impressive. It's, holds a lot of sentimental value to me, 'cause my grandmother trusted me with it.

APPRAISER: (exhales)

GUEST: It's a 1909 Martin guitar. A par, parlor guitar is what it's called.

CREW: And where'd you get it?

GUEST: Ah, a girlfriend I knew rented a room from this guy and he had it in the garage. And I go, "What do you want for the guitar?" And he goes, "Oh, you can just have it." So, got it for free.

GUEST: That's my Great-Grandpa Roy's. He was born in Missouri and ended up in Rockland, Idaho, and we don't really know anything before Great-Grandpa Roy.

APPRAISER: It's a cavalry saber, copied after the model 1860. It's a Civil War-era sword. If you look on the ricasso, right here, it's Tiffany and Company. This was imported into the United States...

GUEST: Okay.

APPRAISER: ...from Europe, and then it was sold retail by Tiffany and Company. An auction estimate on the sword would be in the $300 to $500 range. Yeah, thanks for bringing it in today.

GUEST: Yeah, thank you.

HOST: The green space is Outlaw Field. It got its name because in the 1940s, while the area was still part of the prison, it was used as a place for inmates to participate in sports like baseball, football, and basketball. Today the space is used for outdoor concerts and events like ANTIQUES ROADSHOW.

GUEST: So I brought a print by I believe an artist Piranesi. That's basically all I know about it. (chuckles)

APPRAISER: And how did you happen to acquire this print?

GUEST: One of my friends was getting rid of a bunch of stuff, and he had left this in his front porch, and it was about to rain, so I didn't want to get it wet.

APPRAISER: You, you...

GUEST: So I took it, just home with me.

APPRAISER: You, so you saved it.

GUEST: Yeah. (laughing): Yeah. (chuckles)

APPRAISER: Did the friend you ha, got it from have any idea as to what it was?

GUEST: No, he usually got stuff from estate sales, and he... Just, anything that he wasn't interested in, he tossed out.

APPRAISER: And when did you save it from the rain?

GUEST: Um, it was about five years ago.

APPRAISER: Have you had it hanging since then, or you just...

GUEST: No, we have moved quite a bit, and so it's been sitting in a cardboard box in our garage.

APPRAISER: Oh.

GUEST: I always thought it was something special, but I didn't really know much about it, and I wanted to find out more about it before I got it framed.

APPRAISER: It's an etching by Giovanni Battista Piranesi, uh, who was a major Italian printmaker, the major architectural etcher of the 18th century, and actually a personal favorite of, of mine. This print is from the, Piranesi's most famous series, the "Views of Rome," or the "Vedute di Roma," which was popular in his day and has been popular ever since. It's the Arch of Septimius Severus in Rome. We call that area-- basically through here-- the Roman Forum now, and this is the arch itself. This ground is now probably ten or 15 feet lower.

GUEST: Uh-huh.

APPRAISER: Because the land kept flooding, and they never cleaned it out. So it just was, all this junky soil was there. They then excavated it out, and that arch is still there, and it looks a whole lot more impressive...

GUEST: Yeah.

APPRAISER: ... uh, these days. The print was first made in 1759 or 1760. This is printed later, probably from the first Paris edition, probably was published between 1800...

GUEST: Oh, wow.

APPRAISER: ...and 1807. There's lots of different editions of the Piranesis, but in the, the first Paris edition, you're looking at somewhere in the mid- to high hundreds were, were printed.

GUEST: Hm, of each, um...

APPRAISER: Of each print.

GUEST: Okay.

APPRAISER: And then there are hundreds of prints in this series.

GUEST: How did you know it was the Paris edition?

APPRAISER: Partly it's the watermark, is one way you tell, and another way, along the bottom over here, that's his original address and the price. They removed that in later editions. The lack of the centerfold, because the early editions were, almost always had centerfolds...

GUEST: Oh, okay.

APPRAISER: Yeah. And then the later editions had extra numbers put on them. Condition-wise, you got sort of a junky mat here.

GUEST: Yes.

APPRAISER: (chuckling): But that's what it came with.

GUEST: (chuckling): I, I haven't done anything with it.

APPRAISER: Well, just take it to a decent framer, get rid of that mat. But otherwise, it's, it's not torn, it's not stained, it's not glued down. It's in very nice condition for a print of, of this era. A retail value would be around $2,500 to $3,000.

GUEST: Wow.

APPRAISER: So I, I'm glad you saved it from the rain.

GUEST: Yes. Yes, thank you.

APPRAISER: Well, it may be time to get it out of the garage. (laughs)

GUEST: Yes, definitely.

GUEST: I've got two Fender guitars. One's a Jaguar, one's a Stratocaster. They belonged to my father.

APPRAISER: Mm.

GUEST: He started a band.

APPRAISER: Right.

GUEST: With some friends. He got tired of them being unreliable, so he decided to teach all of us kids an instrument.

APPRAISER: Oh, wow, so he made a family band...

GUEST: He made a family band.

APPRAISER: ...out of, out of you all.

GUEST: Yes. (laughs) And so he started out playing this guitar, the Stratocaster.

APPRAISER: Right.

GUEST: And then decided to retire it and bought this Jaguar. He sang, as well, with the guitar.

APPRAISER: Okay.

GUEST: And then after, um, he passed away, then I learned to play the guitar, and so this became my guitar, so...

APPRAISER: Now, were you from Boise area, or...

GUEST: No, we're from a little town called Almo. He probably bought 'em in... I don't know, Burley is the closest town.

APPRAISER: Burley?

GUEST: Burley, Idaho.

APPRAISER: We have the '64, 1964 Fender Stratocaster. It's all original. This one's in pretty good shape. It has some nicks and dings, but it actually will clean up very well. And it's overall... (inhales): It doesn't show much play. The Stratocaster was made starting in 1954. So this is actually ten years into the life of this guitar model by Fender.

GUEST: Okay.

APPRAISER: The white case for, is for this particular guitar, because of the year: '64 is the only year they actually did this, which is actually... Late '63 model year to end of '64 is the only year you'll see these white cases.

GUEST: The white cases.

APPRAISER: The Jaguar came out in 1962. This one's its, this one's in 1965. All original, as well. This has the transition logo, 'cause this was actually made after Fender was sold in '65. Leo Fender sold the company to CBS.

GUEST: Okay.

APPRAISER: And that's considered some sort of a benchmark, as far as quality. Most people want pre-CBS guitars. I'm guessing, is... That's him? "C.W."?

GUEST: His initials, uh-huh.

APPRAISER: Or it was "country western."

GUEST: (laughs) It could stand for both.

APPRAISER: Whatever... Right? Both of these are, I would call, on a scale of one to ten, probably seven-and-a-half, 75% condition.

GUEST: Okay.

APPRAISER: They're good, but, you know, they have some...

GUEST: Some wear.

APPRAISER: They have some love.

GUEST: (chuckling): There you go.

APPRAISER: I'd rather call it love than, like, wear.

GUEST: There you go.

APPRAISER: Both of these guitars are well-respected. In fact, this guitar, particularly this style, the Jaguar, and there's another model, called the Jazzmaster, that have, both have the same body shape, have become very trendy in the last few years. They're popular with millennials and, and hipsters.

GUEST: Oh.

APPRAISER: A lot of the newer bands like this style guitar. This is the iconic Stratocaster.

GUEST: Yeah.

APPRAISER: Some of the greatest players all use these. And this, at the time, when Fender came out with this guitar, this was the top of the line. There was, that was the most expensive guitar they had, was the Jaguar. So your dad went full out...

GUEST: He went full. (chuckles)

APPRAISER: ...when he bought this.

GUEST: Uh-huh.

APPRAISER: These guitars... It was probably around $400 new, I guess.

GUEST: In that time period.

APPRAISER: In that time period, '65 or so, which is a lot of money then.

GUEST: Right.

APPRAISER: This guitar now, retail, even with the initials C.W., these are in the $5,000 to $7,000 range.

GUEST: Okay.

APPRAISER: Stratocaster, new, this guitar was right at $300. This guitar is in the $20,000 range.

GUEST: Oh, really?

APPRAISER: Yeah.

GUEST: Wow.

APPRAISER: So, this is...

GUEST: Wow, yeah.

APPRAISER: This is your big boy.

GUEST: We, we figured that as much, but...

APPRAISER: Oh, did you?

GUEST: I mean, that it was...

APPRAISER: It was more expensive?

GUEST: More expensive.

APPRAISER: Yeah.

GUEST: This is a table that we bought in a garage sale about 15 years ago.

CREW: And what did you have to pay for it?

GUEST: About $15. No, I mean, we like it either way, but we just want to determine whether it's something that we need to keep precious or we just use it every day.

GUEST: Well, it, I got it at a garage sale, when we were all going to garage sales, 'cause it was the Warm Springs Annual Garage Sale, and I got it for ten dollars.

GUEST: Well, it's something that's been in the family a long time, but we don't know much about it, so I was excited to learn something about it. But it was purchased in the '50s in, uh, San Francisco at a, uh, auction place.

APPRAISER: And who purchased it?

GUEST: An interior decorator for my mom, which was a real surprise for us, for her to go out and do something. She was very excited about it, but she didn't say much about it.

APPRAISER: This is a three-handled loving cup by Shreve and Company, circa 1910. And this would have been made as a presentation piece. It is marked on the bottom, "Shreve and Company, San Francisco." And Shreve and Company was the pre-eminent jeweler and silversmith in San Francisco. They started in about mid-19th century. They're retailers at this point. At about 1900, they start manufacturing their own silverwares. And right about in this period is when we see the Arts and Crafts movement start to take off in America. And one of the things that the Arts and Crafts movement was trying to do is to look back into handmade craftsmanship in a period where there was a feeling that there was just too much manufacture and, and, and too much machine-made goods. So this particular pattern is called 14th century, and it looks back into medieval strapwork...

GUEST: Mm.

APPRAISER: ...and medieval craftsmanship. You can see all along the border this medieval motif.

GUEST: Yeah.

APPRAISER: Particularly on the rim on the bottom. And this is all hand-hammered. So the detail on the rims and the, all three handles of the loving cup are hand-hammered. And the motifs follow that medieval strapwork that you would see on book binding...

GUEST: Uh-huh.

APPRAISER: ...and if you look back on latches and all of those images you might see from medieval craftsmanship. And it's a very, very desirable piece of Shreve silver. They really came into their own with the Arts and Craft styles. Has anyone cleaned this before?

GUEST: Uh, not for many, many years, and... Had a friend help me last night do a, a beginning job on it.

APPRAISER: Well, I think it looks great.

(both laughing)

APPRAISER: Very nice job. I think it's a great piece.

GUEST: Mm-hmm.

APPRAISER: Do you have any idea of what you think it might be worth?

GUEST: I'd guess, with the silver price and everything, maybe a couple thousand dollars.

APPRAISER: It is quite heavy, so I, I think you're on the right track with that. However, this is much more than just a piece of silver. This is a beautiful piece of Arts and Crafts from Shreve and Company, and I would probably value this at auction between $5,000 and $10,000.

GUEST: (chuckling) Well, thank you very much.

APPRAISER: Thank you.

GUEST: That's exciting.

HOST: This contemporary English-style garden has a fountain that was dedicated to Diana, Princess of Wales, in 1997 to honor her life. Nearby, the Summer House, a favorite spot for visitors, was built with materials reclaimed from old Boise buildings.

GUEST: I had an uncle who was a very fine artist, collected art, and he was a, did restorations of, of art, and he was working on, uh, Hearst, some Hearst paintings. Phoebe Hearst had a lot of Indian baskets and, and Indian things. (laughs)

APPRAISER: Yeah.

GUEST: He saw Phoebe's collection, and was able to purchase some of the baskets, and this was also included. Because I liked art, he went ahead and, and did a painting of this...

APPRAISER: Yeah.

GUEST: ...and sent me what was the original. I understand it might have been on a helmet, but it's at least the top part.

APPRAISER: Do you have a feeling for tribal identity?

GUEST: Uh, I think it might be Native Alaskan.

APPRAISER: Okay. Okay, it's from an area that we would call the Northern Northwest Coast. And there were three tribes that were particularly remarkable in their cultural architecture, symbolism, artistry, and their cultural life: the Haida, the Tlingit, and the Tsimshian. I believe this is either Tsimshian or Tlingit, two of the foremost tribes of that area. And they excelled at carving wood and carving their clan symbols in wood in ceremonial regalia. So, you're correct, this is the finial to a clan crest helmet. And these clan crest helmets indicated who the individual was that was wearing it and what their lineage was. So if you were a member of the Orca clan or the Bear clan, everybody that's o, observed this would immediately know. And it would have been a man, in this case.

GUEST: Okay.

APPRAISER: And he would have been, uh, someone of high regard. I believe the top of the finial represents the fin of a killer whale or an orca.

GUEST: Oh.

APPRAISER: The eye of the figure is humanoid. The nostrils is, appear to be very, very ferocious. They're expanded. They're in almost an attack posture.

GUEST: Mm-hmm.

APPRAISER: So there's a tremendous amount of energy being demonstrated there. And then the lips are bared, the teeth are shown. This would represent perhaps a warrior. At the back, there are all of these little holes. These would have contained tufts of human hair.

GUEST: Wow.

APPRAISER: And they would have been maybe three or four inches long. And if this individual was standing in the wind, they would move. If he was dancing, they would move. They're pegged in with pieces of wood. Do you have a feeling for the age here?

GUEST: Based on the other collection that my uncle bought from Phoebe Hearst, um, somewhere between 1890 and perhaps the first part of the last century.

APPRAISER: I, I think the Hearsts were collecting their baskets at just that period that you suggest. And that's the height of the basketry market in, uh, from California all the way up to the coast. This is older than that.

GUEST: Really?

APPRAISER: (clears throat): This may be as old as circa 1830.

GUEST: Wow.

APPRAISER: This, this is very old.

GUEST: I'm surprised. (laughs)

APPRAISER: Um, the sculptural quality is ex, superb. The colors are great, they're rich. The red reflects a vital color, of, um, blood, of lifelines. Also, uh, spiritually associates with the upper powers, the powers of the upper world. It's probably mercury vermilion, which is a trade, uh, pigment. The copper green is a color derived from copper, like a copper oxide. And then the black is a commercial pigment.

GUEST: Hm.

APPRAISER: I'm not sure what its nature was.

GUEST: Mm-hmm.

APPRAISER: This is, uh, as, as refined a sculpture as you're going to find on the coast of British Columbia. It's just truly supreme.

GUEST: Right.

APPRAISER: On a retail basis, I would value this in the neighborhood of $30,000.

GUEST: (laughing): Oh, my God!

APPRAISER: Yeah. And, and it would, that would be a... That would be a good value.

GUEST: Yes.

APPRAISER: Yeah, it's, it's such a, it's...

GUEST: I had no idea.

APPRAISER: If this was the finial on top of a clan crest helmet, and we had the whole ensemble, we'd be in the neighborhood of perhaps of $150,000.

GUEST: I wasn't going to bring it 'cause I had to have something to fit in my purse. (laughs)

GUEST: It's about my great- aunt and -uncle's ranch in Eastern Oregon, near Prineville.

APPRAISER: Mm-hmm.

GUEST: It was painted by Maynard Dixon, probably... 1913?

APPRAISER: Okay.

GUEST: He stayed with them at least once that I know of, and it's been in my family ever since. It was my aunt's property, great-aunt's property. And she willed it to my mother, who willed it to me.

APPRAISER: And as you say, it's by Maynard Dixon.

GUEST: Mm-hmm.

APPRAISER: Who is arguably one of the most important American Western painters. Born in 1875, died in 1946, and really, the first half of the 20th century, one of the leading painters who captured the West. Traveled extensively. He worked initially as an illustrator in San Francisco. He submitted some of his illustrations early on to the great Frederick Remington, who encouraged him.

GUEST: Ah.

APPRAISER: He moves on, mostly to painting, which is what we largely know him for today. And his style is one that, while it moved toward some Modernism, including Post-Impressionism and Cubism, we really think of his style as having simple lines, bold colors, strong forms, heavy impasto. You see the use of some of the heavy impasto here in the lower right, just above the inscription. The view is very interesting to me. We're looking down, almost like a topographical view, and one wonders what it looks like today, for starters. And it's also interesting to look at the inscription. The inscription says, "Escondido to Tom and Mrs. Tom. Maynard Dixon." And then it doesn't trail off, but the frame, which I believe is either original or certainly period, is covering just on the bottom what looks to be possibly part of the date, being 1913, as you said. An original oil on canvas on board. Was this painting a gift to your family or was it possibly a commissioned work?

GUEST: I don't think it was a commissioned work. Uh, I'm, I'm pretty sure it was a gift. He stayed with them at their ranch. At, at least that's the family legend.

APPRAISER: Mm-hmm.

GUEST: Tom was a rancher. He was out growing grain and, and alfalfa. Mrs. Tom, Margaret, was a, uh, a preacher's daughter. So there was really no money in the family.

APPRAISER: Dixon was also interesting because, as one reads about him, he was a little bit of a character. I understand that he liked to dress up sometimes like a cowboy. He was married for a time to the famous photographer Dorothea Lange. So, very well-known, very important artist. This is a little bit atypical in terms of the subject matter, in particular, being so specific, but one that's really near and dear to your family.

GUEST: Yes.

APPRAISER: Yeah?

GUEST: See, it's in my dining room, along with a photograph that I took from right where Dixon stood...

APPRAISER: Oh, mm-hmm.

GUEST: ...to see what kind of change there's been. In this part of the, of the image, tremendous change.

APPRAISER: Okay.

GUEST: Uh, nothing looks like it, it was. These two rocks, pieces of basalt, are there just like that. And from right about, uh, this level up, it's all the same. Mount Jefferson is just the same.

APPRAISER: Is there any sense on your part as to what it might be worth here in 2022?

GUEST: It's never been appraised that I know of.

APPRAISER: Mm-hmm.

GUEST: If I had to guess, I'd say maybe $7,000, plus or minus $5,000?

APPRAISER: Mm-hmm. $7,000, $12,000 is really under the money. It's worth a great deal more than that in 2022.

GUEST: Really?

APPRAISER: Uh, talking with colleagues, we believe that if offered at auction, an auction estimate in 2022 would be $50,000 to $80,000.

GUEST: My goodness. (chuckling)

APPRAISER: Yeah.

GUEST: That, that's a surprise. Well... It, it's worth that much sitting on my wall, I'll tell you that. That's amazing.

HOST: You're enjoying ANTIQUES ROADSHOW from the Idaho Botanical Garden in Boise, Idaho. Get more ROADSHOW at pbs.org/antiques, watch on the PBS app, and follow @RoadshowPBS for exclusive content, updates, and special features. Watch more now from the Feedback Booth right after this.

HOST: And now it's time for the ROADSHOW Feedback Booth.

GUEST: Well, I brought in this comic and it's worth more than I thought. It has a little dent there, but I had fun learning about it. And I got to skip school for this, so, yeah. (laughing)

GUEST: I brought all these Matchbox cars from my childhood. They never seen the light of day till today for about 40 years. So $18 to $15 apiece, and everything I got, it's about $500 worth, so that's pretty good.

GUEST: I brought my Babe Ruth, Mickey Mantle-signed baseball that my husband was sure was going to be the real deal. And it is fake, fake, fake. And then I brought two of my grandmother's necklaces, one from the '30s and one from the '40s, that were appraised at between $300 and $400, which is pretty good for costume jewelry.

GUEST 1: And we brought some toys of my parents' and my grandparents', and some memorabilia today, and it wasn't worth a whole ton of money, but it was still super-fun to see all of our favorite appraisers and learn a little bit about this stuff.

GUEST 2: Uh, and, uh, the most exciting part is, now we get to go have lunch. We're all excited. (laughing)

GUEST 1: There wasn't much sun.

GUEST 2: But we had a lot of fun.

GUEST 1: And great-great-aunt Josie did not pass along a rotten egg.

(both laughing)

GUEST: And, uh, what we have here is a, uh, surfboard signed by all the Beach Boys. And, uh, we found out today that it's worth about $500, uh, $5,000. And, uh, it's a really, really cool piece. It's never been in the water. And, uh, surf's up, dude.

HOST: Thanks for watching. See you next time on ANTIQUES ROADSHOW.