HOST: ROADSHOW is forecasting 100% chance of success for discovering treasures at Museum Hill in beautiful, sunny Santa Fe.

APPRAISER: Thank you, Dad?

GUEST: (laughs) Thank you, Dad.

APPRAISER: (laughs)

GUEST (laughing): Maybe it shouldn't be in a tube in my closet anymore.

(both laugh)

HOST: Santa Fe's Milner Plaza at Museum Hill is a public sculpture garden, with several of the city's most recognizable pieces on display, including Mountain Spirit Dancer, by San Carlos Eastern White Mountain Apache sculptor Craig Dan Goseyun, Homeward Bound, by the late Chiricahua Apache artist Allan Houser, and Modern Sculpture, by Bob Haozous, Allan Houser's son. These powerful pieces add to the rich texture of this gorgeous Southwestern backdrop today. Let's see what our experts have found.

APPRAISER: Where'd you get this?

GUEST: My aunt. When she passed away, we cleaned her house out, got all of her cool stuff, and that was, like, one of the coolest.

APPRAISER: I, I love that you said that, because no, nobody says "cool" when they talk about pottery.

GUEST: Oh! I know! (laughs)

APPRAISER: But this is really a, it's a cool piece. This glaze is what they call a crystalline glaze.

GUEST: Uh-huh.

APPRAISER: Which almost has this snowflake effect on it.

GUEST: Right, mm-hmm.

APPRAISER: It is the definition of a cool pot.

GUEST: Yes!

GUEST: It's a painting by Peter Miller, A.K.A. Henrietta Myers. She spent her time in Santa Fe, and, and she was originally from Pennsylvania, and she was one of the original Surrealists. It's a kachina. We think this was the 1940s when she painted this.

GUEST: My dearest friend, who was my high school English teacher here in Albuquerque, gifted it to me. I've known her for 50 years.

APPRAISER: You're still in touch with her? Are you...

GUEST: Oh, yes, yes, I... We have lunch every Friday.

APPRAISER: Oh, that's lovely.

GUEST: Yeah.

APPRAISER: When were you gifted this?

GUEST: Within the last year.

APPRAISER: And were you aware of it before? Had you paid any attention to it before during your visit?

GUEST: Well, actually, when I first entered her home about 35, 40 years ago, I saw it hanging on the wall with a, a lot... She had a lot of other paintings, and this one just stuck out. And I, every time I go to her house, I would stare at it and just say, "That is just an amazing painting." It was, it just, for me, it was captivating. It's by Elaine de Kooning, an artist who, back in the '50s and '60s and '70s, I guess, was fairly prolific in painting. And I do know she was the wife of Willem de Kooning, who's, I guess, pretty famous. Elaine de Kooning came to Albuquerque around 1959 as a visiting professor at the art department. And my friend was taking art in the art department, as well. She was getting her undergraduate degree, but she also lived in an area of Albuquerque called Old Town. And Elaine, during that time, lived right next door. So they became best friends. She said that Elaine was quite bohemian and smoked like a chimney, as did she back then.

APPRAISER: Yeah.

GUEST: And they had a lot in common. Before she left, I assume, is when she gave it to Louise as a, as a memento, a nice token of their friendship.

APPRAISER: So I would place this one around about when she was here.

GUEST: Okay.

APPRAISER: So 1959, '60, that, that kind of time frame. What appeals to you about this work?

GUEST (inhales): The energy.

APPRAISER: Yeah.

GUEST: And obviously, it's a bull.

APPRAISER: It's interesting you say that, 'cause that's the first word that came to my mind, as well, energy.

GUEST: Oh.

APPRAISER: 'Cause you really feel it in the brushwork. It's a wonderful piece, and as you say, it's, it's a bull. She went to bullfights, I believe, didn't she?

GUEST: Yes. Louise said she enjoyed going to the bullfights in Juárez, and would go there quite frequently, and became fascinated or enchanted with the whole bullfight, uh, regime.

APPRAISER: And you're absolutely right. She, she was married to Willem de Kooning, so she was involved with the Abstract Expressionist movement, but she never really let go of figuration. So in, to the extent that she was doing portraits, as well. She even did one of, uh, uh, John F. Kennedy.

GUEST: Okay.

APPRAISER: But she was known for doing these bull paintings. There's elements of it that look very much like gouache, which is a water-based paint. But there are also areas like this, which look more like acrylic paint. It's a mixed-media work on paper.

GUEST: Okay.

APPRAISER: I think it bears a, a little more analysis. So Elaine was... O, obviously the Abstract Expressionists, it was a bit of a boys' club, but she could stand her ground. She was Brooklyn girl.

GUEST: Right.

APPRAISER: And she didn't take any nonsense, and she put up with a lot of nonsense from Willem de Kooning, but she had her own flings, as well.

GUEST: Oh. (laughs)

APPRAISER: So she was quite an independent lady. She was feisty, she was a spitfire. There's been a lot of talk lately about the Ninth Street Women, and these were all artists who were involved tangentially with the Abstract Expressionists. So you, you had Elaine de Kooning, you had Grace Hartigan, Joan Mitchell, uh, Lee Krasner, who, of course, was married to Jackson Pollock.

GUEST: Oh, right, right.

APPRAISER: And Helen Frankenthaler. Back then, Elaine de Kooning and Lee Krasner, pretty much, they were painting, but they were really promoting their husbands at that time, so they took a secondary role. So it's very refreshing now, at last, we're seeing their work in the ascendant and people are looking at them as artists in their own right.

GUEST: I see.

APPRAISER: And what fabulous artists they were. And that's being reflected in their value at auction and at sale. So I don't know what, if you'd had any no, notions about what this one might be worth?

GUEST: Well, she thought maybe $15,000 to $20,000, something like that.

APPRAISER: Right. So would it surprise you if I said more likely, at auction, $50,000 to $80,000?

GUEST: Yeah.

(both laughing)

APPRAISER: Well, I'm delighted to hear it. It's nice people still get surprised.

GUEST: Yeah.

APPRAISER: But what a great gift to get. That's fabulous. I mean, it really bears testimony to the friendship, an enduring friendship...

GUEST: Absolutely, she's very special.

APPRAISER: ...that, that you have.

GUEST: An insurance value would be about the same?

APPRAISER: Insurance, you're going to be north of $100,000.

GUEST: Oh.

APPRAISER: So I, I don't think you should insure it for less than $140,000, $150,000.

GUEST: Oh, wow.

APPRAISER: Yeah.

GUEST: Okay.

APPRAISER: So you might want to have a word with your insurance.

GUEST: My premiums are going up.

APPRAISER: They are. But it's worth it.

GUEST: Yes.

APPRAISER: Have you spoken to her recently?

GUEST: I just talked to her this morning. I said, "I'm in line, I'm..."

APPRAISER: Are you...

GUEST: You know, she said, "Well, you got to call me at, when, when, when you get home."

GUEST: So I got 'em at a storage unit sale.

APPRAISER: Okay, and what did you pay for them?

GUEST: $20.

APPRAISER: So what you have is early 1960s Barbie. You've got Bubble Cut Barbie, who was inspired by Jackie Kennedy. And this is Fashion Queen Barbie. She can flip her wig. She actually came with three wigs in three different colors. Fashion Queen is worth about $125. Bubble Cut's worth about $150.

GUEST: Okay.

APPRAISER: And that's really good. But you have nearly every early 1960s outfit, and they are complete. You have all these shoes that can sell from $15 a pair to, some of ‘em even as high as $50 or $60 a pair.

GUEST: For the shoes?

APPRAISER: For the shoes.

GUEST (laughing): Oh, my God.

APPRAISER: Because what happened to the shoes?

GUEST: I lost one and...

APPRAISER: Mama got the vacuum, and then you hear that little clunking sound?

GUEST: (laughs)

APPRAISER: That was a Barbie shoe.

GUEST: That, too, yep.

APPRAISER: And do you think I emptied out that vacuum cleaner bag? (chuckling): No, it went to shoe heaven. Oh, my gosh, you have three of the alarm clocks. You've got the soap. These are all early 1960s accessories. Again, you're looking at maybe, uh, $75 in this one little box.

GUEST: (murmurs)

APPRAISER: So everything that we're seeing right here would probably retail for around $1,500.

GUEST: Oh, my God. (laughing): Wow.

GUEST: And you have no emotional attachment to any of it. (murmurs) (others laughing)

HOST: At the Museum of International Folk Art, this intriguing transformation work of art is a puppet of Kiyohime created by Mr. Amari Yoichiro. The Japanese play Hidakagawa Iriai-zakura centers on the lovelorn Kiyohime, a monk named Anchin, and is about the destructive nature of obsessive passion. Spoiler alert: Kiyohime's unrequited love for Anchin turns into murderous revenge when she is rejected. This puppet takes so much skill to operate, it requires three puppeteers.

GUEST: My grandmother bought this in the early 1960s. She was in London at the Victoria and Albert Museum, and they were having some kind of exhibition of antiques, and she bought it from the museum. The receipt says it was made around 1700 in Asia Minor. It mentions Transylvania. The receipt is from a dealer, J.H. Dildarian, I guess, in New York.

APPRAISER: Mm-hmm.

GUEST: And there is a price of $3,500. And that was April 2, 1963. I assume my grandmother got this catalogue when she attended the exhibition.

APPRAISER: The catalogue does cite Dildarian, the rug dealer in New York, as the exhibitor. And what most likely happens in those scenarios is that she saw it in London, contracted to buy it with the New York dealer, but the business transaction itself actually happened subsequently, out of his New York office. The rug is actually Turkish, was made circa 1650, really, to 1700. So the 1700 date given in the receipt and the catalogue is a little late. And it was made in Anatolia, which is the Asian land mass of Turkey. In today's lingo, it, it's called a Smyrna rug, mainly because they were imported through the city of Smyrna to the West. Throughout periods of time, academically, these have been called Asia Minor, they've been called Transylvanian. Today, we've kind of settled on just Turkish designation. It's fantastic. When you opened it today, my breath just was taken away. It's got perfect drawing, perfect color, and is actually of incredibly unusual coloration, in that it has this beautiful kind of saffron gold ground with the blue, white, and red floral motifs, which are called palmettes. Generally, rugs of this type are on a red ground with the yellow enclosed within the floral motifs, as opposed to being the main part of the ground. It's a wool knotted pile. It's on a wool foundation, as well. So it's 100% wool. When it started life, it was probably twice as long as it is today.

GUEST: Oh.

APPRAISER: It's hard to see, 'cause it's been very well done. But right across the stretch, across the rug there, the rug's been completely rewoven. It's been knotted together. Probably in the 18th century, 19th century, it was deteriorated enough that someone cut it in two and then joined it back together with that bit of reweave.

GUEST: Oh.

APPRAISER: Now, the $3,500 that your grandmother paid for it in 1963 was quite a hefty sum. If this piece came up for auction today, it would be conservatively estimated in the $35,000 to $50,000 range.

GUEST: Wow.

APPRAISER: And that's mainly due to this big reweave that goes across the rug.

GUEST: Yeah.

APPRAISER: If it was a complete rug, the estimate would probably be double that.

GUEST: Wow.

APPRAISER: And even with that repair, 'cause the rug is so rare on its own, that I wouldn't be surprised if it exceeded that $35,000 or $50,000 auction estimate.

GUEST: Wow, that's fantastic.

GUEST: My dad lived in Denver, and in late '40s, he bought it from the artist, who is a Gerard Curtis Delano.

APPRAISER: So Gerard Delano came from Cape Cod and was born in 1890. Started off in New York City as an illustrator and then came west for the first time and moved to Colorado in 1919. Kind of fell in love with the West. And in 1943, probably around the time your father bought this painting, he went to the Navajo Nation for the first time. And this was done in Canyon de Chelly, which is on the Navajo reservation in Arizona.

GUEST: I know that paintings with large Native Americans can go six figures.

APPRAISER: Yeah.

GUEST: But this guy's only the size of a quarter. So I'm thinking...

APPRAISER: Yeah.

GUEST: Maybe not so much.

APPRAISER: There was one that sold a few years ago that sold for almost a million and a half dollars with, um, large figures and lots of color. This piece, in an auction, would probably sell for between $40,000 and $60,000.

GUEST: Yes! All right, thank you. If I was wearing socks, they'd be knocked off.

GUEST: These are two games for a Nintendo gaming system. And my dad gave these to me. They were two games from the 1980s and somebody gave them to him, and he already had the games, so he didn't open them. And they were just lying, for a really long time, in my grandma's attic.

APPRAISER: First off, bunch of bonus points. Kudos to you, 'cause you know what's going on. You are right in that Nintendo was a 1980s video game system. The Nintendo Entertainment System, abbreviated by collectors today as simply N.E.S., revolutionized video games when it was first introduced in 1983. And prior to that, everybody was growing up with Atari, ColecoVision, Intellivision; very, very basic. You have some of the most iconic games for the N.E.S. I mean, your first one right here. Super Mario Brothers 3. I wouldn't be exaggerating if that, as a kid with my older brother, we played over 30 hours on that game.

GUEST: (gasps, laughs)

APPRAISER: Now, also here we have Double Dragon. Totally awesome, bad-to-the-bone, karate-fighting-style game. And the thing that's really funny is, in terms of a market, if you came to ANTIQUES ROADSHOW five years ago, we wouldn't be here today. (laughing) I love that face. The collectible video game market really exploded 2019 into 2020. We've seen some very big numbers, uh, very volatile numbers. So the market is a little unsteady. When looking at the Super Mario Brothers 3, we know that it's a second printing instead of a first printing due to the location of the "Bros." in the title. A true first printing of the cartridge would have the "Bros." all the way to the left under the M in Mario. So just that little difference is a big deal in value. When looking at the Double Dragon cartridge, the way we know that it's a second printing of the game is that when we look at the O.S.Q. on the bottom, which is the official seal of quality for Nintendo, on the very first print, this would be a circular form sticker.

GUEST: Mm-hmm.

APPRAISER: The fact that we have the ovoid form sticker knows that this is, in fact, a second printing of the game. Now, do you have any idea of what these are worth today?

GUEST: I don't know, about $100?

APPRAISER: In their ungraded, just factory-sealed condition...

GUEST: Yes.

APPRAISER: ...conservatively, at auction today, the Super Mario Brothers 3 would be $1,000 to $2,000.

GUEST (laughing): Oh, my God, that's a lot.

APPRAISER: Okay, now, this is where you're really going to thank your dad, the Double Dragon. This is easily a $2,000 to $3,000 game.

GUEST (laughing): Wow, that's a lot.

APPRAISER: So, total at auction today for the pair of cartridges, you'd be at $3,000 to $5,000 in the market.

GUEST (quietly): Oh, my gosh. (aloud): That's surprising.

APPRAISER: Thank you, Dad? (both laughing)

GUEST: Thank you, Dad.

APPRAISER: Graded perfect 9.8 examples of Super Mario Brothers 3 for the first print have brought upwards of $150,000.

GUEST: Wow.

HOST: Purvis Young was a self-taught Miami artist whose work touched on issues of racism, violence, drug addiction, and economic inequalities. This work, "Painted Construction," shows how Young used the common folk art practice of incorporating discarded materials to create his pieces. The piece is in the collection of the Museum of International Folk Art.

GUEST: This is one piece of artwork by the wood carver named Patrociño Barela from Taos, New Mexico. And he became world-famous after he started working with the Works Progress Administration, the Art Project, and he worked there for a short period, but they weren't paying him enough, so he became a mule driver. He was illiterate in English, but he was, in my opinion, a genius.

APPRAISER: Now, you lived near the artist?

GUEST: He was my neighbor and my father's best friend. Even at that time, he was world-famous, but he didn't know it and nobody told him. He was the find of the art world.

APPRAISER: That's what the Museum of Modern Art said, I think. That's a, a pretty major statement. He's been considered since then, since the '30s, the leading Mexican American artist, wouldn't you say?

GUEST: Yes.

APPRAISER: Here, the Museum of Modern Art calls him one of the great artists, the great discoveries, during the period. And The New York Times was writing about him. And Time magazine...

GUEST: Yeah.

APPRAISER: ...touted his work, right?

GUEST: Right. He lived in a shack.

APPRAISER: He really wasn't making any money from his work, e, even though he's this world-famous guy at the time.

GUEST: He, he made enough money to feed his family.

APPRAISER: Right.

GUEST: He would do a carving, and walk to town, and sell it...

APPRAISER: Wow.

GUEST: ...for $25, $30.

APPRAISER: The thing that's so special is that you knew the artist. It's so powerful. We have this man here, almost like Rodin's Thinker, right? I mean, he's... And this, this kind of gear, right? It's a tool.

GUEST: It's a wrench. A wrench. Which he would have called big responsibility.

APPRAISER: Big responsibility. As a symbolic reference.

GUEST: Yes.

APPRAISER: You have this, this guy with his hand in his head. You have the wrench…

GUEST: He's in a foxhole and this is his helmet.

APPRAISER: So he's...

GUEST: And he's very worried that he's, uh, like, the mechanic of the, of the airplane that he worked on.

APPRAISER: So all this is encapsulated in this one kind of a, a plaque, a three-dimensionalist sculpture. This would have been done probably just, just during the war, probably the 1940s. He died in 1964 in a, in a fire. Nobody ever knew what happened, right?

GUEST: I was a student at the University of New Mexico.

APPRAISER: Okay, yeah.

GUEST: And, uh, every year, I used to come to hunt deer for my family.

APPRAISER: Right.

GUEST: And I drove past about half a, a block from his shed...

APPRAISER: Right.

GUEST: ...where he died, but he... There was no fire when I went through...

APPRAISER: Right.

GUEST: ...going up to Taos Canyon.

APPRAISER: What...

GUEST: When I came back that evening, my father told me that he had died.

APPRAISER: This is an almost Cubist work, but yet he maybe barely knew about Picasso and all these European...

GUEST: He didn't know anything about them.

APPRAISER: Right.

GUEST: And I purchased many of his carvings and gave them to friends. When he died...

APPRAISER: Yeah.

GUEST: I had nothing. I had, I purchased this...

APPRAISER: You...

GUEST: ...20, 40 years ago, I don't remember.

APPRAISER: May I ask what you paid for it, this work?

GUEST: I paid $25 for this.

APPRAISER: $25, wow.

GUEST: I bought it from his niece or his, a very close cousin.

APPRAISER: An insurance value on this would be $10,000.

GUEST: My goodness.

APPRAISER: I know that the money really doesn't matter to you.

GUEST: No.

APPRAISER: It's about the...

GUEST: If anything, I would give it to my daughters.

GUEST: These are rings that my father collected, and these are a part of our inheritance.

APPRAISER: Your father had great taste in sports award jewelry. These are 1966 and a 1967 Green Bay Packers championship rings.

GUEST: Mm-hmm.

APPRAISER: What else have you discovered when you, when you read about 'em?

GUEST: Well, of course, they were the rings that were given to the, to, to the players.

APPRAISER: Right.

GUEST: But then also that there were some salesman's sample rings...

APPRAISER: Right, correct.

GUEST: ...that were available. And I think that those are, are available to the public. But these were unusual because they are marked 14-karat gold.

APPRAISER: They are. Well, they are authentic, and they are 14-karat.

GUEST: Yeah.

APPRAISER: These are both considered salesman's samples.

GUEST: Yes.

APPRAISER: These two rings are part of a very strong market...

GUEST: Yeah.

APPRAISER: ...of award collectors, sports award rings, of Packers memorabilia. And you can expect these to sell at auction for $10,000 to $15,000 each.

GUEST: Oh, wow, that's great-- great.

GUEST: Wow.

APPRAISER: When they are an actual ring from a player on the team, you can see those sell for $30,000 to $50,000.

GUEST: Oh, yes.

GUEST: I got it, or I found it, actually, in a safety deposit box when I was closing my brother's estate. I don't know how long it's been in the family. My grandfather was a developer in Denver. He actually had a mansion in Denver. That was finally torn down in the '50s. Family has been fairly quiet ever since.

APPRAISER: Approximately what year did you get this watch?

GUEST: 2009.

APPRAISER: It was made by a, an American watchmaker. His name was Albert H. Potter. He was born in Mechanicsville, New York. And later on, he went to Albany, New York.

GUEST: Huh.

APPRAISER: He studied watchmaking in the United States. He was born in 1836.

GUEST: Wow.

APPRAISER: Died in 1908. On the face, it says, "Albert H. Potter, Geneva." So Potter, in 1876, for reasons why we don't know, decided to move his watchmaking business to Geneva, Switzerland. He was only there till 1895, and that was the end of his days making watches. He is considered one of the greatest watchmakers of the second half of the 19th century.

GUEST: Wow.

APPRAISER: He's revered all over the world. He held 16 patents. So he moved to Switzerland, started making watches there. He wasn't very successful, though.

GUEST: Really?

APPRAISER: His watches, I think the craftsmanship and the quality were incredible, very low production.

GUEST: Ah.

APPRAISER: We haven't seen any with a serial number higher than 650.

GUEST: Wow.

APPRAISER: So he made approximately 650 watches total in his lifetime. Yours, I think, was 5, number 521. So it was a little bit later in his career. We're going to estimate this, based on the serial number, mid to late 1880s. I'm gonna close the front of it, and it's in a massive, heavy, 18-karat-gold case. The movement is just beautifully jeweled. The layout of the plates of this movement were quite unique. When you see this movement, you don't have to even have a magnifying glass to see the name. You know right away you're looking at a Potter. The balance wheel, which is the part that ticks back and forth...

GUEST: Right.

APPRAISER: Something special about it. It's not a normal lever escapement that would go tick tock, tick tock, like watches do when you listen to 'em. This particular watch, if you listen to it ticking, you just hear it going, tick, tick, tick, tick, tick. And the reason why is that this is a chronometer escapement.

GUEST: Ooh!

APPRAISER: And it was meant to be the most accurate timekeeping device made at the time. Now, most hairsprings...

GUEST: Yeah.

APPRAISER: ...the blue steel part right there, they're, they're, they're spiral-shaped.

GUEST: Yeah.

APPRAISER: But this one's a little unusual, too. It's a helical hairspring. This was only done in really high, high, very accurate, high-quality watches. What did you think you had here, in value-wise?

GUEST: Maybe $800 to $1,000. I have no idea.

APPRAISER: And this case actually has the trademark, it's a special marking inside the case, also by Potter.

GUEST: Wow.

APPRAISER: And not a lot of these cases survive because they, he made such heavy cases. Depression, wars, things came. These watches, the first thing they did was, they melted down the cases to get the gold. I would estimate that this case is probably cl, easily about three ounces of gold.

GUEST: Wow.

APPRAISER: So it's, gold value at 18-karat-gold, I, I would estimate that you have somewhere around $4,000 to $4,500 just in gold value.

GUEST: And that's the case.

APPRAISER: That's the case.

GUEST: Oh, my God. (laughs)

APPRAISER: A time-only example of this.

GUEST: Yeah?

APPRAISER: With a normal ticking movement, with a lever escapement, in this condition, by Potter, right now, at auction, they're trading for around $10,000 to $12,000.

GUEST (chuckling): Good. (sniffs) (clears throat) That's a little breathtaking.

APPRAISER: But I got some bad news for you.

GUEST: Oh.

APPRAISER: Yours isn't that model.

GUEST: I know, scary.

APPRAISER (chuckling): But the good news is, it's, it's a better watch. Pocket watches, in general, the market is going down. This is the only pocket watch that still is revered, and there is such limited production that everybody still wants to have an example in their collection. With your watch today at auction, $20,000 to $25,000.

GREAT: That's a little breathtaking. And it's been hiding in a safety deposit box for... (blows out): 50 or 60 years. Amazing.

HOST: On display at the Museum of International Folk Art, the work of Mexican artist Felipe Linares, who carries on the art form his late father, Pedro, pioneered. This work, Mariachi Skeleton Cartonería, or papier-mâché, is a common subject for Lenares, as well as Judas figures and alebrijes, or fantastical creatures.

GUEST: My sister and I have collected this jewelry that belonged to my grandmother. She was born in 1900. She lived to be 100, and she had really good taste, and my grandfather enjoyed buying jewelry for her. I'm curious about especially this piece. I didn't really see that one till she had passed away, but I loved that one. I'm kind of the only one in the family, the only one of the sisters, who really was attracted to that one.

APPRAISER: And you told me who made this jewelry.

GUEST: It's, uh, "Boo-keh-lah-tee." Am I saying it correctly? Buccellati in, from Italy.

APPRAISER: I'm going to gently correct you. It's "Boo-cheh-lah-tee." This is not just signed Buccellati, it's signed Mario Buccellati.

GUEST: Oh.

APPRAISER: Big deal.

GUEST: Okay.

APPRAISER: Because he's where the company starts in Italy, you're right. He continued his business in New York. He opened in New York in 1951. He dies in 1965.

GUEST: Okay. Uh, s...

APPRAISER: The family continues to run the business, but this is clearly signed Mario Buccellati. These pieces were probably made in, in the 1950s. He was nicknamed the Prince of Goldsmiths. Everything is handmade. All the pieces here are made of 18-karat yellow gold. The earrings, the bracelet, and the pin.

GUEST: Mm-hmm.

APPRAISER: They're oak leaves. The m, metal is rolled out. It's gently dapped and shaped to these forms. The spine for the stems is all engraved into it. That type of engraving work, that type of a filigree, they perfected this. The jewelry is light, yet springy.

GUEST: Mm-hmm.

APPRAISER: And it, it has just the right a metal that it's gonna withstand the use over many years. You just know it's them when you see it. How do we know it's Mario Buccellati? If we flip it around, you can clearly see on the, on the back of the leaf clip that it not just says, "Buccellati," it says, "M. Buccellati." Okay? Now, the pin that you like, they're sapphires.

GUEST: Sapphires!

APPRAISER: Yeah. Buccellati wasn't known for using the best-quality stones.

GUEST: Uh-huh.

APPRAISER: But they used stones that had this wonderful color that he liked. And what's interesting, they're really not pink. They're, like, magenta.

GUEST: Uh-huh.

APPRAISER: I love it.

GUEST: Thank you, I, I do, too.

APPRAISER: They may...

(both laughing)

APPRAISER: At an auction, the bracelet in the center would be, the estimate, $3,000 to $4,000.

GUEST: Oh, wow.

APPRAISER: The oak leaf clip pin, $1,200 to $1,800.

GUEST: Okay.

APPRAISER: Women love their earrings.

GUEST: Uh-huh.

APPRAISER: Even though they're smaller than the pin, they would probably be $1,500 to $2,000...

GUEST: Wow.

APPRAISER: ...at auction.

GUEST: Wow.

APPRAISER: The pin you're in love with.

GUEST (laughing): Yeah.

APPRAISER (laughs): Wait till your sister hears this. It's probably worth as much money as the bracelet. $2,500...

GUEST: Oh, okay.

APPRAISER: ...to $3,500.

GUEST: Oh, very, very nice.

APPRAISER: At auction, as a group, $8,000 to $12,000.

GUEST: Well, that's really nice to know. We really love it. It just, it's, it's our grandmother. I'm very excited. I know my sister will be excited, too.

GUEST: It's a silver vase. It's been in the family for a while and was made in Italy. And we called the manufacturers of it, and I can't even pronounce the name, but evidently, there's some history with it, because nobody would talk to us about it. My husband's father has a secondhand store, and so it came from that.

GUEST: This was actually my husband Arthur's suit that he wore doing photo double work in the film Winning in 1969, which starred his brother, Paul Newman. Arthur and Paul looked very much alike. They sounded identical. And often, when the film process is going on, some of the principal photography moves from one location to another. And then when they're ready to do editing and other fill work, they needed Paul. But Paul perhaps was not available. So Arthur was fitted with a suit which was custom-made for him, identical to Paul's, and he was placed in mock-up cars and did that work.

APPRAISER: It literally allowed Paul to be in two places at one time.

GUEST: It did. And Arthur did this more than once.

APPRAISER: How many films do you think he did for Paul?

GUEST: Maybe 25 or 30 films.

APPRAISER: A lot.

GUEST: (laughs)

APPRAISER: A lot. Very cool.

GUEST: And Arthur was a life member of the Directors Guild of America.

APPRAISER: Yes, your husband, Arthur, had a very vibrant career beyond his association with his brother.

GUEST: He did.

APPRAISER: How tall was your husband?

GUEST: He was just under six, and Paul was just about five-ten. So Arthur was about an inch, about an inch-and-a-half taller than Paul.

APPRAISER: Oh, I bet Paul loved that.

(both laugh)

APPRAISER: His photo double made him look even taller.

GUEST: Right.

APPRAISER: And we have a photo of your husband, Arthur, in a mock-up car wearing the suit with the, the helmet. And then we have Paul.

GUEST: Right.

APPRAISER: In the same suit, basically. Identical suit from the film Winning, as you said, from 1969. This film kicked off Paul Newman's love of racing. He was lucky enough that when he started to do this film, it was the first time he had high-performance racing school instruction from professional instructors. You had Lake Underwood and Bob Sharp...

GUEST: Yes.

APPRAISER: ...taught him how to race, and that just ignited this passion that lasted for the rest of his career. Obviously, one of the most famous things to come out of that was him forming his own racing team, Newman/Haas, which won over 100 races. They won eight driver championship races in the IndyCar circuit, so it's a really important part of his life and an important part of his career. The film tried to get it right. They tried to get the racing to look real. They really shot things on real racetracks. They had real race car drivers. They had Bobby Unser, they had Roger McCluskey. Some really big names in racing..

GUEST: Right.

APPRAISER: ...to help give it some reality in the film. And of course, it starred his wife, Joanne Woodward, as the love interest.

GUEST: Yes.

APPRAISER: The top prices for any clothing from film is women, women, women.

GUEST: Mm-hmm.

APPRAISER: Because they have glamorous dresses.

GUEST: Yes.

APPRAISER: 90% of what men wear in film...

GUEST: Uh-huh.

APPRAISER: ...is a suit, which, it could be Clark Gable, but it's still a suit. And so even though you have huge names from big movies, suits are kind of boring to look at. And I have to say, this is one of the sexier male costumes, because there's something very sexy about...

GUEST (laughs): About a guy in this kind of a jumpsuit.

APPRAISER: Yes! So it's, this is a, a sexy, sexy costume.

GUEST: That, that, that goes 125 miles an hour around a race track. (laughs)

APPRAISER (laughs): Yeah, exactly. So that's what really elevates this. Because it's not Paul's, we have to value it slightly differently. But it is still a photo double, and it is still something that was seen onscreen in the film. And it's not just any old photo double, it's the fact that his brother wore it, is very important. And they've made documentary about this. A book was written about it. Uh, Adam Carolla came out with a documentary in 2015, Winning. Now, your, your husband was featured in the documentary?

GUEST: Oh, yes.

APPRAISER: So he's, he's recognized as a very important part of, of the career…

GUEST: He is.

APPRAISER: Paul's career, as well.

GUEST: Yes, he is.

APPRAISER: I think because this film is so important, and you're, you can't go buy Paul's-- this is as close as you're gonna get, and it looks identical to what you saw Paul wear onscreen-- I think an auction estimate would probably be around $20,000 to $30,000.

GUEST: Wonderful.

APPRAISER: I would not be surprised if it absolutely went past that. If this were Paul's, I think an estimate at auction would be at least $80,000 to $120,000.

GUEST: Wow. They both would be very happy.

APPRAISER: If you were going to insure this, I would probably put it at least $50,000.

GUEST: This was my, my snowboard. I worked at a shop in Denver in 1983, I bought this. Uh, it doesn't have any edges, so it's kind of a unique board. I did look up online. If it was signed by Tom Sims, it would be maybe worth $45,000. I met him twice, and didn't get him to sign it, so wish that would have happened. But there it is. (chuckles)

CREW: When was the last time you rode this one?

GUEST: At least ten or 15 years ago.

GUEST: This is a trophy from, uh, 1950s National Aero Club Association, it started in 1953. The, uh, rules of the, uh, Aero Club Association were, if you won it three times, you got to keep it. So the Crossroads Aero Club in Albuquerque won it three times. And so in 1960-whatever, they got to keep this trophy. It's a replica of the national monument at Kitty Hawk that celebrates the Wright brothers.

GUEST: These are imperial pilot's wings from World War I that were my grandmother's first husband's.

APPRAISER: What was this gentleman's name?

GUEST: Yury Vladimirovich Lee. We really didn't know anything about him till we closed up my grandmother's house in San Francisco. And I think it was about '88. We found a little suitcase that she brought with her when she immigrated to the U.S. in 1940. She never spoke of him at all. Even my father didn't know about him until we found the grouping.

APPRAISER: We have a gentleman of, uh, Chinese ancestry...

GUEST: Yup.

APPRAISER: ...who is clearly in possession of a Russian wing.

GUEST: From our understanding, he grew up in Russia with a f, foster family, as such, and then joined the air force, or whatever they had, the, um, Imperial Air Service, I guess, at the time. After the revolution, he flew during the Civil, Russian Civil War, and till about, I guess it was 1920 or 1922. And then he met my grandmother. (chuckles) And they got married, uh, uh, about that same time.

APPRAISER: What side did he fight for during the Russian Civil War?

GUEST (stammers): For, for the Tsarist side.

APPRAISER: That is a little unusual.

GUEST: (clears throat)

APPRAISER: There are-- still are, and were at the time-- a fairly large ethnic Chinese population in Russia.

GUEST: Yeah.

APPRAISER: Because they did what countries do. They expanded, they took over territory.

GUEST: Mm-hmm.

APPRAISER: In this case, they absorbed part of what we would typically think of as China into Imperial Russia, not without some level of conflict. And, and it's interesting to me that he found that level of, uh, acceptance to the point where he's being trained as an aviator.

GUEST: I guess he grew up with, in a wealthy family there. His foster father, is what I call him, was a barrister.

APPRAISER: And it's also interesting to me that he fought for the White Army.

GUEST: The White Army, yes.

APPRAISER: He, he fought, you know, the Red... We call it the Red-White Civil War.

GUEST: Yes.

APPRAISER: There was conflict amongst the, uh, the Communists.

GUEST: Mm-hmm.

APPRAISER: There was conflict among the Tsarists, and of that ethnic Chinese population, they are known as participants in that conflict, but for the most part, everything that you read is on the other side.

GUEST: On the Red side, yeah.

APPRAISER: So what you brought today is the 1917 military pilot badge from the Moscow School of Aviation for warrant officers.

GUEST: Mm-hmm.

APPRAISER: This is essentially a graduation badge. He entered the school in February of 1918...

GUEST: Okay.

APPRAISER: ...and did not complete his training.

GUEST: Okay.

APPRAISER: Because by October of 1918, things are in upheaval...

GUEST: Mm-hmm.

APPRAISER: ...and at some point, he is expelled from this because he is a, uh, a, a student who is probably not gonna want to fly for the Bolsheviks.

GUEST: Yeah.

APPRAISER: So he, interestingly, never earned that badge.

GUEST: Ha, cool. (laughs)

APPRAISER: But he acquired one.

GUEST: Yeah.

APPRAISER: You know, at some point, somehow, he acquired this badge, and clearly w, was very, very proud of it, because we see in the photograph he's there wearing the badge...

GUEST: Yeah.

APPRAISER: ...in, on his civilian clothing after the war.

GUEST: Huh.

APPRAISER: And the other photograph is interesting. He's in flight gear.

GUEST: Mm-hmm.

APPRAISER: But that's not a Russian uniform. What did he do after exile?

GUEST: After exile, when they, they were living in Harbin, Manchuria, he joined the Chinese military there, and he was a colonel in that army.

APPRAISER: So the first thing that tells us that we have an Imperial Russian badge is, on the center of the shield, is the iconography of St. George slaying the dragon. That's something that was used extensively by the Russian Empire. And then if you move above it, you see the Russian double-headed eagle, which appears on an awful lot of their insignia. And right below that is at, the front end of an aircraft engine with the big prop on it. And that tells you that you have an Imperial Russian aviation insignia.

GUEST: It was, uh, published in a book on Imperial Russian aviation.

APPRAISER: So you have already contributed to the public discourse on these.

GUEST: Yes.

APPRAISER: Because I have to tell you, in searching, that's the only thing that I was able to find.

GUEST: Okay.

APPRAISER: As, as far as documentation of the pattern. There can't be very many of these in existence. This is something of a unicorn. Have you ever had these appraised?

GUEST: I had an open offer about eight years ago for, um, $2,000.

APPRAISER: We are very firmly of the opinion that a retail price today would be between $5,000 and $7,000.

GUEST: Cool, that's good to hear. Much better. (chuckles) So when I'm ready to sell, I'll, it'll be worth some good money.

(both laugh)

HOST: Folk instruments also have time in the spotlight at the Museum of International Folk Art. This 19th-century instrument is said to ward off evil spirits. It's a matraca made of cedar by an unknown maker,and was used by a Catholic brotherhood known as the Penitentes. When the matraca was spun during the teñebla service on Holy Friday, it was meant to create the sound of an earthquake.

GUEST: These have come down through my family. They belonged to my grandparents. I just remember them being on a dining room table in New Orleans...

APPRAISER: Right.

GUEST: after my mother passed and we were dividing stuff up. My sisters didn't want 'em.

APPRAISER: Right, yeah, well. And they're very, very shiny and bright. You, they're in very nice condition as I see them before me. Were they always like this?

GUEST (laughs): No, unfortunately not. They've been put away for at least ten or 12 years.

APPRAISER: Uh-huh.

GUEST (laughs): And it took me three days of polishing...

APPRAISER: Gosh, wow.

GUEST: ...to get them in this condition, but...

APPRAISER: So they must have been really quite dark, then.

GUEST: They were very dark.

APPRAISER: They are both extremely decorative, very impressive pieces. Both of them are Victorian. They are hallmarked with London hallmarks from the 19th century. Both of them bear the tax mark for Queen Victoria. She was the, until very recently, she was the longest-reigning monarch, uh, in British history, 1837 to 1901. Under her reign, English silver making went through so many different changes, iterations, fashions. And we see two different pieces that were made during her reign here. The earliest one is this silver tureen. But interestingly about this is that it's itself derived from an earlier design. This is absolutely rococo in taste. It dates from 1841. That's when it was hallmarked. And it was Charles Thomas and George Fox is the maker's mark that's on it. You've got these rocqué sort of scrolls. You've got sea scrolls, you've got beautiful sort of watery, flowing movement to it. The shells on the feet and on the handles. So much fluidity and movement in it, wouldn't you think?

GUEST: Yes.

APPRAISER: On the finial here is a pomegranate, and the pomegranate is a symbol of fertility. Also on it is an engraved armorial. It's on the lid there. One side of it is one coat of arms, and on the other side of it is another, and they're sort of united, right? So I think it's a marital arms. And the pomegranate being a symbol of fertility makes me think that this was likely given...

GUEST: As a wedding gift.

APPRAISER: Exactly. To a very well-to-do couple that got married in, in and around 1841. You've got a beautiful cartouche here on the front with a large bird in the middle, and that's surrounded by, again, these rocqué scrolls and the flowers that come in around them. And then a bit of a plain body. You've got these beautiful, bold sea scrolls. You take it all the way around. There's this big cartouche again, it's very heavily marked. Each piece in English silver should be independently marked. This piece here, uh, is much later on in the century. This is from 1883. And you've got water pitcher or a ewer.

GUEST: A wine pitcher?

APPRAISER: Well, exactly. That's what I think, it's more likely to be a wine ewer. And the reason why is because of this satyr mask. Satyrs were very sort of provocative, mischievous creatures, and so to have wine in here and the satyr mask in the turning of the handle, I think, is, is a clue as to what the contents would have been. Also, you've got these sort of Gothic arches here. That's really typical of the 1880s. And really fascinatingly on this, you've got these fourpence coins-- they're, are genuine coins, right? They're silver coins on a silver ewer.

GUEST: Yep.

APPRAISER: This is a very unusual design. And this is Alderman and Slater, but Alderman and Slater, to be honest with you, are not a particularly well-known company. This may have been a custom piece. To see one of these pieces on ROADSHOW come to one of the cities that I attend is in itself very exciting.

GUEST: Huh.

APPRAISER: But to see two owned by the same person is quite extraordinary, actually. And that's why I wanted to put them here together, to sort of compare and contrast the two of them.

GUEST: I'm glad you did. I think my grandparents would have been... (exhales) (voice trembling): ...would have been happy to see them.

APPRAISER (softly): I'm, I'm very glad. I would say that for insurance purposes, the tureen should be valued at $20,000. The...

GUEST: Pleasantly surprised.

APPRAISER: The ewer, $10,000 insurance for that.

GUEST: All right. I may just have to hang on to 'em.

GUEST: A co-worker was throwing it away. And I just grabbed it. I just said, "Oh, may I have that?"

APPRAISER: Why were they throwing it away?

GUEST: I think because an ex-husband gave it to her. (laughs) It was many years ago, so...

APPRAISER: That'll make you do crazy things, I guess. Well, it's mama and baby seal. It's a greenstone from Canada. The main market for this type of thing is Canada.

GUEST: What I would really like to do is to have it returned to the tribe.

APPRAISER: They carved these to sell. They did not carve these to keep.

GUEST: Okay.

APPRAISER: Enid Collins is from Waco, Texas, the Waco area. And she created these bags, designed them, and made them. She gave her patterns name, and this is Jewel Garden number two.

GUEST: Wow.

APPRAISER: All of these stones are faceted in vibrant color. She was known for vibrant colors. So it's actually, like, a walking piece of art.

GUEST: Yeah.

APPRAISER: But it's also a purse that you can use.

GUEST: These were found in my husband's grandfather's cabin. We inherited them, and they're Gustave Baumann prints. We really liked this print up here. It was in my mother-in-law's kitchen. The other two, we were evacuated from one of the fires two years ago. And so we were collecting all the treasures, and we found these in the closet.

APPRAISER: Gustave Baumann was German-born. He was born in 1881. He moved to the United States in 1918. He came to Santa Fe. Before he came to Santa Fe, he studied etching. He studied woodblock-making, and he chose the European method of woodblock, which is very intricate, meticulous, detailed work. He also used oil-based paints, which he ground and made himself.

GUEST: Wow.

APPRAISER: So he was the ultimate artisan. He created the blocks, he printed on small blocks so that he could print them himself.

GUEST: Mm-hmm.

APPRAISER: When he was here in Santa Fe, he developed marionettes, and he had a, a little puppet show. He's considered the quintessential Santa Fe artist because he captures the sparkling light. This picture, entitled Punch Hunting Chipmunks, is absolutely the most beautiful I have ever seen. Punch is the little fellow right over here, a dog, I assume, running up the hill. This is Talaya Peak, and the one closest to you is entitled Mountain Pool. He made editions. Now, not every work in the edition is exactly the same, and that's because he hand-pulled them. When Baumann was in Indiana, he developed this cipher, which is his mark. And it's a hand on a heart that he used in all of his prints. He maintained this incredible detail, meticulousness, and control. And that's the thing that makes Baumann really special as a woodblock artist. Do you know when your grandfather purchased them?

GUEST: It was my husband's grandfather, and he was in Santa Fe around 1923 to 1928.

APPRAISER: It's likely that these are dated from 1928, when he was here.

GUEST: Mm-hmm.

APPRAISER: Baumann has always been sought after. We feel that a retail replacement value for each one of the prints would be between $20,000 and $22,000.

GUEST: Wow! (chuckles) That's a surprise.

APPRAISER: Based on the trends that we're seeing, in a couple of years, it could be even more.

GUEST: Keith gave it to me in 1977 or '78, right before he left Pittsburgh to go to New York. We became friends just riding the bus together to go to work, downtown Pittsburgh. One day, he told us all that he was gonna go to New York and be a famous artist. We kind of responded with a little bit of skepticism at that prospect.

(both laugh)

GUEST: But lo and behold, he did.

APPRAISER: And what were you guys doing in Pittsburgh at the time? I was working in a record store, and he was working frying fish and chicken in a grocery store. He actually quit that job to go follow the Grateful Dead.

APPRAISER: So your friend Keith, of course...

GUEST: Yeah.

APPRAISER: You're referring to...

GUEST: Keith Haring.

APPRAISER: The, Keith Haring.

GUEST: Yeah.

APPRAISER: The, the American icon. He graduated from high school in rural Pennsylvania in 19...

GUEST: Kutztown.

APPRAISER: Kutztown, in 1976.

GUEST: Yeah, right.

APPRAISER: And in 1977-78, when you got to know him...

GUEST: Mm-hmm.

APPRAISER: ...he was studying art in Pittsburgh, commercial art.

GUEST: Mm-hmm.

APPRAISER: And he was more or less dissatisfied with what he was doing in, in the commercial arts.

GUEST: Yeah.

APPRAISER: He was moving towards fine art. He got a big break when a gallery artist dropped out of an exhibition and they asked him if he wanted to put his show in there.

GUEST: Right.

APPRAISER: So he had a successful exhibition...

GUEST: Mm-hmm.

APPRAISER: ...at this gallery space in Pittsburgh. Keith said, "From that time-- after the exhibition-- I knew I wasn't going to be satisfied with Pittsburgh anymore or the life I was living there. I'd started sleeping with men. I decided to make a major break. New York was the only place to go."

GUEST (chuckling): That sounds about right. He had met his then-girlfriend in the commercial art school that he had been going to. All three of us became pretty close friends there. Keith obviously wasn't happy drawing milk cartons and egg cartons for grocery store circulars.

APPRAISER: So of course he got to New York.

GUEST: Mm-hmm.

APPRAISER: And in the early 1980s, had this meteoric rise to success.

GUEST: It, I think he was an overnight success after two or three years of really hard work.

APPRAISER: Incredibly hard work in New York.

GUEST: Yeah.

APPRAISER: But just, just caught something...

GUEST: Mm-hmm.

APPRAISER: ...with the public psyche at the time.

GUEST: Right.

APPRAISER: And rose very quickly. And then sadly, in February 1990...

GUEST: Mm-hmm.

APPRAISER: ...died of AIDS-related complications. This is an incredibly scarce early lithograph.

GUEST: Mm-hmm.

APPRAISER: Dated 1977.

GUEST: Mm-hmm.

APPRAISER: So Keith Haring was 19 years old at the time.

GUEST: Right.

APPRAISER: It's one of only ten impressions. The only other impression cited of this lithograph is by the Keith Haring Foundation, where they have number five of ten, and you have number seven of ten. As far as we know, there aren't any others accounted for. It's signed by the artist.

GUEST: Mm-hmm.

APPRAISER: Titled, "Bean Salad," which I love. (chuckles)

GUEST: Mm-hmm, yeah.

APPRAISER: And there's just a little bit of late-age toning at the edges, which is what you would expect. It's in immaculate condition. And you brought it here, just rolled up in a tube-- you haven't had it framed or anything like that?

GUEST: I couldn't afford to frame it at the time that he gave it to me, and it's lived in a tube ever since then, frankly, because... Well, sadly, it's got some sort of unpleasant...

APPRAISER: Sure, sure.

GUEST: ...associations with me.

APPRAISER: Sure.

GUEST: Keith and I did not part on really good terms. I was not good...

APPRAISER: Yeah. Okay.

GUEST: ...to him, but I still appreciate this for what it is and for a memory...

APPRAISER: Yeah, it's...

GUEST: ...of our more pleasant times.

APPRAISER: Down to the valuation of this, it's extremely difficult to do. There is nothing by him-- a printed work, a lithograph, a silkscreen, anything...

GUEST: Mm-hmm.

APPRAISER: ...from 1977 or earlier that has been on the market.

GUEST: I did call the Haring Foundation about it one time many, many years ago, and they didn't seem particularly interested. But...

APPRAISER: Maybe because they had one already.

GUEST: It could be!

APPRAISER: (laughs)

GUEST: The first thing they did was tell me, "Oh, no, that's too early."

APPRAISER: Uh-huh. In terms of a replacement value...

GUEST: Yeah.

APPRAISER: ...it would be in the neighborhood of $100,000.

GUEST: Good heavens.

APPRAISER: And because it's so scarce...

GUEST: Mm-hmm.

APPRAISER: ...I wouldn't be uncomfortable with an upward projection of that...

GUEST: Wow.

APPRAISER: ...towards $200,000.

GUEST: Good golly.

APPRAISER: So...

GUEST: (chuckles) Maybe it shouldn't be in a tube in my closet anymore.

(both laugh)

GUEST: I might have to spring for a frame.

HOST: You're enjoying ANTIQUES ROADSHOW from Santa Fe's Museum Hill in New Mexico. Get more ROADSHOW at pbs.org/antiques, watch on the PBS Video 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: I am here today to bring my Asian bell, and I waited all morning to get it appraised. It was worth $100, and now we're ready to eat. (bell rings)

(both laugh)

GUEST: We drove all the way from Minnesota to thaw out and find treasure at ANTIQUES ROADSHOW. And we thawed out, but we didn't find any treasure. (laughs) So we're happy to have the experience. It was great, a lot of fun.

GUEST: I had some old Pokémon cards looked at, and I learned that they're worth $4,000 to $6,000. For the complete set.

GUEST: Yeah!

GUEST: Yeah. And the ANTIQUES ROADSHOW has been a blast. Awesome.

GUEST: Bucket list, yes.

GUEST: Definitely bucket list, yeah.

GUEST: Yes.

GUEST: And we really wanted to say thanks to ANTIQUES ROADSHOW. We both grew up with the show, um, and it's really inspired us to kind of get more into arts and culture, which is the field we both work in.

GUEST: We found out that we will not be sending our grandson to college with this pot that we thought was a Chinese antique. We found out it's a Taiwanese knock-off that's probably about 60 years old. (laughs) But it's good because it solved a family discussion that's been going on for about the last 60 years. (laughs

GUEST: I won't say I told you so.

(both laughing)

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