♪ ♪ CORAL PEÑA: Everything's coming up roses as "Antiques Roadshow" discovers treasures at Filoli.

Are you the one who knocked this off the shelf?

There were five kids in my house.

(laughing): I don't know who did it.

What?!

You heard me right.

Oh, my gosh!

♪ ♪ PEÑA: This is Filoli.

"Antiques Roadshow" could hardly ask for a better location on a gorgeous but hot day here in sunny California.

William and Agnes Bourn bought 709 acres here in Woodside in 1914 for $89,000 with the intention of creating a self-sustaining country estate.

The grand former residence is almost 55,000 square feet with 56 rooms, and originally had 24 family and staff bedrooms, 15 bathrooms, and 17 fireplaces.

The house alone took three years to complete and cost $425,000.

That's around nine-and-a-half million dollars in 2022.

(people talking in background) "Roadshow" is seeing many impressive items at Filoli today.

WOMAN: I actually found 'em for 49 cents at a thrift store.

MAN: How much does that weigh?

Uh, not enough that I can't carry it.

(people laughing in background) ♪ ♪ APPRAISER: You have brought us a really big piece of lumber today.

MAN (laughing): Yes, I have.

The biggest bat I've ever seen.

Eight feet long.

Mm-hmm.

Uh, uh, let's lift it.

All right.

I want to try to lift it.

Uh...

So we're talking, what, 30 pounds?

I'm thinking about 30 pounds.

30 pounds.

And your normal bat is 32, 36 ounces?

And you could say it's Bunyanesque.

Yeah.

And I see right there it does say "Genuine Paul Bunyan."

Uh-huh.

And I'm guessing if the mythical lumberjack played for any team, it had to be the Giants.

(laughing): Yeah.

It's always been in my grandparents' sporting goods store.

They had a store in San Mateo.

And since I was a kid, it was always the big bat hanging at Grandma and Pop's store.

I don't know how it got to my family.

It's been with us for a long time, and I'd like to find out why it was made, who it was made for.

Well, I think why it was made is, we have some clues here on the bat.

And if we take just a quick look, it says the "Quartqui Centennial, 1834-1959."

And then we have "Paul Bunyan."

And then on the other side, we can see it says, "Presented to Ted Williams, baseball's Paul Bunyan."

So I think that gives us the first two big clues.

Maine and Minneapolis vie for the title of owning... (laughing) ...the rights to the origin of Paul Bunyan.

All right.

In the United States.

The, the mythical lumberman with his ox, Babe, right?

Babe, mm-hmm.

And Minneapolis, I believe, claims that he created the 10,000 lakes.

Well, Maine has also claimed Paul Bunyan for their own.

Okay.

So in 1959, they had this 125th anniversary.

So what better way to celebrate it than to have this bat made and present it to the Paul Bunyan of baseball, who we better known as the Splendid Splinter.

(laughs) But this is a lot bigger than a splinter.

Oh, yeah.

Ted Williams.

And you have here in this great photo, this promotional photo, Williams posing with the bat.

Now, I'm guessing that this is being suspended and he's not actually holding it, because 30 pounds...

I tried swinging this earlier.

Yeah.

There's no way.

Now then, the next question is, well, why Williams and what's the connection to Maine?

Yeah.

Well, not only was Williams a Hall of Fame hitter, one of the greatest ever, he was also known as a great outdoorsman.

He's the only athlete to be in both the Baseball Hall of Fame and the Fishing Hall of Fame.

Oh, wow!

So who did he fish with?

He fished with Bud Leavitt, who was the sports editor of the "Bangor News."

(laughs) So I am sure that between Bud and the townspeople, he was more than happy to do it.

This has to be a one-of-a-kind bat.

What do you think the value is?

Have you ever had it appraised?

I haven't, um, I had...

I checked online with a couple of just mail-in the photos and get back to me, and they all said maybe $1,000, but they weren't interested.

You really have to see it in person, just as we saw today when you brought this in.

(laughs) I mean, there was a crowd that gathered immediately.

And you're not going to have that impact from photos.

Yeah.

You're just not.

We have had the benefit of seeing it in person, in its total magnificence.

(chuckling): Yes.

And we would all put an auction estimate of $8,000 to $12,000.

(inhales sharply): All right!

That's wonderful, thank you.

I got to say, Glenn, it's kind of a Bunyanesque number.

(laughs) And you know what he would say?

Timber!

(laughing) WOMAN: Well, we got it from the daughter of our next-door neighbor who had passed, and we had helped take care of her while she was elderly.

And she told her daughter that she would like us to pick something from the collections that they had in their house.

So my husband went in and picked this because he liked the lines in it.

He didn't know who it was by?

Well, we suspected, you know, because of the signature.

Kind of looked like... Yeah.

...Matisse, and the, and the style looked like it.

It is a lithograph by Henri Matisse dating from the end of his career in the early 1950s, when his focus became more religious.

He designed for a church in the South of France, in Vence, the Chapel of the Rosary.

It's one of his famous works with the, the stained-glass windows.

And at about the same time, he was making a series of lithographs of the Virgin and Child, which this is one.

Mm, okay.

So you have the figure of the... Mm-hmm.

...of the mother and child here, signed in pencil, and numbered, as these were, out of an edition of 100.

He was very scaled down and minimal with his line at this time.

At retail or replacement, I would put the value of this for insurance at $25,000.

Oh!

Tuition!

Cha-ching!

(laughing) (laughing): One kid-- one kid paid for.

No way!

Yeah, it's fantastic.

And it's in beautiful shape.

You're... Well, thank you so much.

That's very exciting.

Very good news.

Yeah.

WOMAN: It belonged to my stepmother, who inherited it from her grandmother.

My stepmom was born in 1917, so I think her grandmother probably had her heyday at the end of the 19th century.

Her second husband, I think, gave her this beautiful brooch.

But she had been a single mom and had her own millinery shop in New York.

Wow, wow.

Which at that time was very unusual.

Totally.

I think it's... diamonds and onyx.

That's what my, I was always told.

But I don't know exactly the year, or the maker, or anything more.

You're spot-on, it is diamond and onyx.

What I love about it is, these onyx are sort of faceted.

Yes.

So you get that play of the light in the darkness of the stones.

These are old-European-cut diamonds, and all in all, they weigh about five carats.

The piece firmly dates to the Art Deco period.

It's very much in the Deco color palette.

It feels very architectural.

And then, on top of that, what's kind of fun is that it's, it's a ribbon bow, which has been interpreted in jewelry for centuries.

But the best thing about it is that it's signed by the maker Cartier.

Oh, wow!

Do you ever wear this piece?

I never have.

I've always been afraid I'd lose it.

(both laughing) Well, it is a brooch.

Yeah.

And if you turn it over here, you can see that it's marked on the pin stem along the side of the piece.

And then it also has a serial number on the center element.

Cartier was, and continues to be, preeminent jewelry maker to royalty and important socialites, especially at this time.

They were the leaders of this style of jewelry.

Of course, they started as a French firm and expanded into the U.K. And then, ultimately, into New York.

And I feel that this is Cartier New York.

Conservatively, an auction estimate today would be in the neighborhood of $8,000 to $12,000.

Wow, okay!

And I'd expect that it would perform at the high end of that estimate because it just epitomizes Cartier, 1920s, Art Deco jewelry.

And I chose it 'cause I just thought it was beautiful.

PEÑA: One furnishing original to the Bourn era is this circa 1763 commode.

The mahogany furniture piece created by the French-born English immigrant Pierre Langlois lived with both the Bourns and the family that followed them at Filoli, the Roths.

The finely executed marquetry of a pedestal supporting a vase of flowers on each of the curved doors shows off the cabinetmaker's considerable skill.

WOMAN: I brought in what I believe to be is a silver martini set?

When did you acquire this?

In 1994, right after my mother passed away.

My siblings said I was to take it 'cause I had room to store it.

My great-great-grandfather was a chief and engineer on a ship in Japan for the Oriental Occidental Lines.

Mm-hmm.

Which was part of the White Star shipping company.

And I believe that Mr. Allen was his friend, and for some reason, Mr. Allen gave it to my great-great-grandmother.

The presentation plaque does say "Presented to Mr. William Allen "by the engineers of the steamship Asia, March 27, 1908."

We have a 13-piece sterling silver and hardwood...

I would call it a martini set or a cocktail set.

And as you can see, the pieces are decorated completely in the round with this really fine-textured...

I would almost refer to it as a skin for the background.

Hm!

And then these beautiful, really realistically rendered bearded iris.

Wonderfully done.

Obviously a master at their craft, the silversmith who worked this.

We don't know the specific identity of that silversmith, because there isn't an individual mark that indicates that.

But the pieces are marked identically on the underside of each.

"Arthur & Bond, Yokohama."

It's almost certain they would have retailed it, but we don't know if they made it.

They were an English firm that, towards the end of the Meiji period in Japan, opened a branch in Yokohama.

They also had stores in London and Kobe, Japan.

I do think it was used.

It saw some actual possibly even fun times.

(laughing) As we can see here on the cocktail shaker, there is some damage to a few areas of it from an impact.

Possibly being shaken a little too violently... (laughing) ...and hit the floor or the deck of the ship.

Right.

And then there are a few other pieces in the set throughout that have a couple of areas of just minor dings.

It's not unexpected for a set of this age.

There's almost never this many pieces in the sets that do come up.

And having the tray is quite rare.

I would advise an insurance value of $20,000.

Wow-- wow.

Okay-- wow.

Do I have to tell my sisters and brother?

(laughs) That's up to you.

They may see this, so you might want to.

(laughing): They may see this.

Oh, that's terrific.

That's lovely, thank you.

MAN: This is the original painting album cover art for the "Apocalypse Now Sessions."

Francis Ford Coppola movie.

The painting I bought from the artist.

Been holding on to this treasured piece for quite some time.

APPRAISER: Did you ever see the movie?

Yes, several times.

WOMAN: My next-door neighbor growing up was a volunteer firefighter in Reading, Pennsylvania.

When he passed away, he gave this to my father.

The research that I've done shows that it's probably from the 1880s?

You're right, it dates from about 1880 or so.

It's got issues.

Some foolish person...

Right.

...used what looks like construction adhesive... Mm-hmm.

...to glue this back on.

Right.

And that is going to be a pain to get removed.

Right.

But even with that, even with this part curling when it should be relatively flat, in this condition, you're at around $1,200, $1,500 at retail.

Mm-hmm.

If it didn't have the construction adhesive, if this was flat, it would be around $2,000.

Oh, okay.

WOMAN: My father-in-law started collecting Asian art, and G.T.

Marsh & Sons imported many, many beautiful things.

And we're talking around the '40s and '50s when he was going to G.T.

Marsh.

Well, he struck up a relationship with Mr. Marsh and was invited to their family home in Stinson Beach, and took my husband, Bill, with him to create something lovely for his mother.

So we're talking 65 years ago.

As a young man, Marsh was traveling from Australia.

He's 15 and says he wants to stay in Japan for a while.

And he starts to absorb the Japanese aesthetics and design.

Um, something as simple as this box that this piece came in.

There's Japanese dragons.

It, it carried over to everything.

He was one of the first to start exploring with mixed metals.

When he's in the shop here, in San Francisco, they have an Italian jeweler, and I really wouldn't know this, except that one of our colleagues, who's not with us anymore, was, like, the Marsh expert.

Really?!

Yeah, his name was Barry Weber.

All righty.

And I, I miss you, Barry.

He taught me about this jewelry.

He just loved it-- he had a passion for it.

This is oxidized steel on the surface.

How do they oxidize it?

Well, this Italian jeweler was a gunsmith.

He knew about bluing gun barrels in the bluing technique, in the blackening technique.

In this particular case, they perfected a technique where they sandblast the metal.

They use chemicals, they use heat, and they would gently give the metal this nice matte finish.

And then in these connectors, they usually used white gold or platinum.

All right.

I did test these.

Okay.

They're white gold.

Okay.

They are, in all three pieces, diamonds.

And that is a cultured pearl, which would fit with coming out of Japan, and Mikimoto developing the pearls.

Okay.

Now, you have three things here.

I'll, I'll break it down-- the ring.

The ring has a half-carat old-European-cut diamond in it.

All right.

The beauty of the earrings-- you could tell everybody.

What's so fun about the earrings?

The pearls move back and forth.

As you move your head, the pearls swing back and forth.

And it's a spring action.

And they clamp on so well.

At 65 years, they're as good as they were done yesterday!

And women who, um, don't have pierced ears... (chuckling) Right, right.

...love these earrings.

Right.

And they're not too heavy.

No, not at all!

On the necklace, I have to tell you, it, it kind of blew me away.

You see big brooches, you see pins.

I have never seen a necklace quite like this from Marsh.

(voice breaking): You're going to make me cry.

(laughing) That's wonderful.

It really is fabulous.

I think very realistically and at auction, as a suite, I think you're looking at $30,000 to $44,000.

(inhales deeply): Wow.

Yeah.

Now, to break it down, it's easy $20,000 to $30,000 just for the necklace.

Wow.

Necklace is beyond fabulous.

I believe the earrings would be $5,000 to $7,000.

I believe the ring would be the same.

You might find a ring, you might find a pair of earrings, but you're going to have a lot of difficulty... Finding that.

Thank you so much, Kevin.

(laughing): You're welcome.

You made my day.

You made mine.

(laughs) PEÑA: The famous artist John Singer Sargent created these portraits of the Bourns in 1915.

The Bourns had wanted painted portraits, but Sargent was not taking commissions for oil portraits at the time.

The Bourns had to settle for the charcoal drawings, which Sargent was reportedly able to complete within an hour or two.

Sargent recommended an Irish-born painter, William Orpen, to create oil paintings of the Bourns, and he did so the following year.

♪ ♪ WOMAN: I brought a woodblock print that's been in my family for quite some time.

I know it's by Chiura Obata, but I don't know a ton more about the painting itself, aside from it having been in my family since around 1940 or earlier.

Okay, and then we have a picture that you brought in.

Mm-hmm.

Can you tell me what's going on in the picture?

This is my grandfather.

Mm-hmm.

My great-grandfather, great-grandmother, and my grandfather's siblings.

And this is in San Pedro, California, which is the L.A. area.

And the painting is here in the background.

The exact one that we're looking at right now.

Mm-hmm, the same one.

The artist's life is really fascinating.

Okay.

Uh, he was born in 1885, in Japan.

And at an early age, he already was a, a, a, apprenticing to learn sumi-e painting-- line painting, essentially.

And he emigrated to the United States fairly early on-- he emigrated in 1903.

When in the United States, he became f, fairly successful fairly quickly, despite a lot of racism and xenophobia.

Mm-hmm.

And there are a lot of stories about him having to run away from ruffians.

And this was a difficult time in, in, in history... Mm-hmm.

...for Japanese, uh, immigrants to America.

Mm-hmm.

His talents really kept him going.

He became a very successful commercial illustrator.

One of the subjects that he did love painting was nature, and he loved going into the Sierra Nevadas, and he loved going into Yosemite.

The title of this is "Evening Glow of Yosemite Waterfall."

This is someone who sought to convey the feelings that we would get from being there.

He wanted to bring into his artistic oeuvre and production some of his Japanese techniques.

And one of the Japanese techniques that he would, of course, bring in would have, would have been woodblock printing.

There was a company that made woodblock prints from these watercolor drawings that he made for the, this exact "World of Art" Yosemite book that basically showcased his love of these California landscapes.

Okay.

This was around 1930.

Now, this piece is from that series.

It's signed and dated, uh, "Chiura Obata, 1930."

But there's another part to the history here.

This was painted in 1930.

When World War II happened, we all know that, unfortunately-- and this is an, a very unfortunate part of American history-- that a lot of Japanese Americans were interned.

Just looking at this picture, for example, that you brought, which is of your greater family...

Yes.

...what can you tell us?

They were interned.

Before the internment, my great-grandfather was imprisoned under unfounded suspicion of having dealings with the Japanese military.

When he did get out, he passed away a day later.

And then shortly after that, the rest of the family was interned.

But while they were in internment camp, a good friend and neighbor took care of all their belongings.

So that's how we are fortunate enough to still have this painting.

The artist himself was also interned.

Right.

Even being a professor at U.C.-Berkeley, even owning a shop on Telegraph Avenue.

The shop itself was attacked.

Wow.

And he himself was sent to an internment camp.

Okay.

And the really interesting thing about this is that at the internment camps, he actually started some programs for education and art schools.

Hm.

Interesting.

After he did come out, eventually he did come back to resuming his post at U.C.-Berkeley.

And he lived until 1975.

In the '50s, he was going back to Japan and people were celebrating his works.

That book that I'm mentioning, for which this was published, was actually published by a Japanese publisher.

Okay.

They also respected his artistic ability and the grandeur of California.

Mm-hmm.

Even those these were prints, they were really considered masterworks.

They were, they were printed in very limited editions of only 100.

Oh.

But a lot of them were tossed... Mm-hmm.

...until, um, he basically agreed that they were, that they were perfect.

We don't know how many of them exist anymore.

Have you ever thought about value or how much you might value it for?

Um, I have no idea.

If I was going to put an insurance value on this today, because I'm assuming you'd probably want to insure it for the family... Definitely.

...I would easily insure it at $20,000.

Wow.

(laughs) Okay.

(laughs) Wow.

It's amazing.

♪ ♪ It's a table, it can fold down like that.

It was at my grandparents' house for years.

I remember it when I was growing up.

I don't know the age.

That's what I want to find out.

This is quite a curious object.

(chuckles) Yes, that's why I brought it.

(both laughing) It's all hand-done.

All of this is sort of repoussé work.

Is it silver?

Yeah, it's silver.

Yeah.

It would be a low-grade kind of silver.

This sort of silver comes from Southeast Asia-- Burma, Thailand, Laos, Indonesia.

It's going to have varying silver quantities in it.

But what's really fun about it is, is the decoration.

It's quite tarnished, but you can still see a lot of these motifs.

It's really fun.

There are increasing number of collectors for this sort of silver.

It's probably worth something like $500 to $700... Oh, fun.

It's lovely.

Fun, cool.

WOMAN: It's been sitting in my house since I was born.

My mom just recently told me that her mother said a guy down the street made it.

(chuckles) Her mother grew up in San Francisco, and, on Church Street, and so presumably some guy down the street on Church Street made it.

(chuckles) And do we know the guy's name?

Only look on the internet in the last few days do I have a clue.

Mm-hmm.

A guy named Fred Brosi.

Mm-hmm.

But otherwise, that's pretty much all I know.

Are you the one who knocked this off the shelf?

(stammering): I, I... We, there were five kids in my house.

(laughing): I don't know who did it.

Aw, you're throwing another one of them under the bus.

So if you see, this lamp isn't sitting exactly flush, and there's a reason for that.

At some point, this lamp was knocked over.

And you can see the dent here.

Yeah.

In front, and you can see where...

It probably went this way.

Oh, yeah.

The lamp is Old Mission Kopperkraft, and it's marked Old Mission Kopperkraft.

This is a die-stamped mark.

And it's Kopper with a K and Kraft with a K. Yes, okay, all right.

That's the, that's the firm's logo.

And Brosi was involved with Old Mission Kopperkraft.

Does that mean that he did every lamp by hand?

It's possible-- I'm, I'm not sure that's true.

It, what I like about this and why I wanted to talk about this is, number one, I don't think we've had a lamp by Old Mission Kopperkraft or any piece on "Roadshow" before.

And number two, we have had lamps by Dirk van Erp on "Roadshow."

And there's a relationship between the two.

They're both from the Bay Area.

They both define the Bay Area style.

It's a classic San Francisco look, mica and wrought copper throwing out moody, diffused light in the Arts and Crafts style.

Van Erp would have been earlier.

This was 1922 to '25.

They only lasted three years.

This is a combination of a handmade and a mass-produced lamp.

For example, if you look at the bottom, this is all hand-done.

This is a hand-wrought piece of copper.

These hand-twisted stems end in rivets that go through the bottom.

Oh, yeah.

So you know those, those aren't for show, but the shade is more a spun shade.

And those hammer marks that are on the shade are not integral to the formation of the shade.

Oh.

The shade was formed, and the hammer marks were put there afterwards to make it look like it's hand-wrought.

Oh.

So those hammer marks are real.

Okay.

These are sort of fake.

Okay.

Also, if you look on the shade, you see these little thingies?

Almost make it look like the shade's riveted the way the base is.

Yeah.

But they're not, those are just little raised points.

Ah...

So this is trying to look more hand-wrought than it really is.

Okay.

Nevertheless, it's a super-rare lamp.

I've seen a lot of Old Mission Kopperkraft lamps.

I've not seen this form before.

They tend to be more circular.

What do you feel this is worth?

So when I looked online, I saw round ones in, like, the neighborhood of, like, $1,500, maybe $2,000, but I couldn't find anything square.

So I don't know.

I would estimate this for $3,500 to $4,500, and I would expect it to bring between $4,000 and $5,000 at auction.

Okay.

Yeah.

Oh, wow, that's more than I expected.

It's a very nice example.

Yeah, well, that was from the guy down the street.

(both chuckle) This piece came into my house in 2016.

It was in my parents' house for a long time, and they brought the piece from my mother's parents' house, which was in Hazleton, Pennsylvania.

And do you know how your grandparents acquired it?

Were they collectors?

I don't know how, um, it came to be.

I mean, it was something that my mom always had remembered being in her house.

This is from the 1860s.

It's a Russian bronze by an artist named Nikolai Lieberich, who was born in 1828 in St. Petersburg.

He was academically trained, and as you can see, he's a very skilled artist.

He's important because he's part of a transition that was away from academic sculpture.

So, before this, most academic sculpture was historical figures, literary figures, royalty, all of those kinds of things.

So this marked a really big change, where they're depicting everyday people, everyday life.

It's really extraordinary the way this horse is leaping forward, and you see all the hooves are off the ground, and these dogs are just full-out running.

And then on top of that, it has incredibly minute details of everything.

His expression, the fur on his hat.

He even does the landscape.

All these leaves on the bottom.

He really captures the whole essence of what it meant to be on horseback as part of a hunt.

It's very clearly signed here, and we have the foundry mark, and that's the Woerffel Foundry that was in St. Petersburg.

It's written in Cyrillic.

And if I turn it around, we'll get a nice idea of how dynamic the piece is, how it's modeled in three dimensions.

It's meant to be seen from all sides.

And it totally captures the movement and the excitement of the hunt.

This was cast in separate pieces, and when we turn it over, we can see all these nuts.

Yes.

And these are all hand-cut.

And this is a period piece.

There are many, many reproductions of these bronzes, and they do make recasts of these, but they don't come close in quality.

The Russian market has been a little soft lately.

In terms of the value, it's worth about $20,000 on a retail setting.

Mm-hmm.

Wow.

We were given it by our uncle as a wedding gift.

I think it's...

I'm guessing it's from Africa.

That's about it.

APPRAISER: It's West African.

They make 'em in Nigeria, and they also make 'em in Cameroon.

They've become extremely collectible in the past 15 or 20 years.

(woman laughs) If I saw this in the shop, I'd expect it to be $300 or $400.

Okay.

Really cool thing.

Thank you, guys, for coming in.

WOMAN: They came from my great-grandmother who, uh, worked in the studios.

The lore is that they would hand these to the drapers, and my grandmother was one of the drapers, and they would be told to make them.

When they were done with them, they'd throw them out, and she would go to the trash and just collect 'em.

Especially if it was she that did the dress, or she knew the female lead, or whoever was in the scenes.

Very cool.

Well, they're obviously hard-working drawings, as we would say.

(both laughing) There's thumb tacks everywhere.

There's coffee everywhere.

There's pencil adjustments on them, notes, all kinds of things, yeah.

Well, you've watched the "Antiques Roadshow," you hear us often say, "Condition is everything."

Yeah.

And this is one of those rare cases where, yes, condition matters, however, the types of condition issues you have here are such, as we call it, honest wear, it shows that they were functional production pieces, which is what we like to see.

They're fascinating.

This one has some information on the back that identifies Rita and "You Excite Me" number.

And down here, we actually have Rita Hayworth.

And that's really great to have, because we like to see that, that it was actually used.

Yeah!

The department that created the costumes, there were so many different jobs.

You mentioned that your great-grandmother was a draper.

Yes.

They had cutters, they had patterners.

So there were many people involved in the process of doing it.

And these were created by the designer.

So this is what their concept was for the costumes for a film.

It seems that most of the pieces you have here are from the 1940s roughly.

We have a combination of gouache on board and pencil.

And some of these even have some much more fun metallic paints.

You brought a whole stack of these in to the table.

And I chose these for a purpose.

And the purpose I chose them for is because we have a bit of a good, better, best here.

And when I say that, it's because most of the value in drawings is, who is it of and what film is it from?

The one closest to you, what, what drew your eye about that one?

My grandmother said it was Elizabeth Taylor, and this was from the film "Cleopatra."

And on the back, you can see where they actually changed some of the draping in the skirt design and were adjusting it right on the pattern.

She just thought that made it extra-special.

The reason I put that down on towards you is because we have no identifying marks on that one to clearly identify it as Elizabeth, and her face is turned away.

It's possible that it is Elizabeth, but there were also so many extras in that film that were wearing similar garments that we can't say for sure.

Without that information, a piece like that at auction, it might be in the $300 to $500 range.

The middle one, what I love is that there, there's no question that this is Lucille Ball.

We can see her face very clearly, and there's no doubt about it.

But we don't know is which film this is from.

It's also possible, which happens a lot, is that we see costumes like this, and maybe the scene that they were used for gets cut from the film.

And when you can't identify it, but you know it is someone famous, it has a different value.

Now, Lucille Ball did so many showgirl roles in her early days in Hollywood that clearly it's from something like that, we just can't nail it down.

Yeah.

So without knowing, but knowing it's Lucille, it's more in the $800 to $1,200 range.

Now, this one, I already sh, showed the back of it that has the Rita Hayworth.

It also gives us some further information, that it's from the "You Excite Me" number.

And that number is actually from a film in 1945, a musical called "Tonight and Every Night."

And... Oh, wow.

...that film was nominated for two Academy Awards.

Oh!

And that particular number from that movie, "You Excite Me," is actually considered one of Rita Hayworth's best musical numbers captured on film.

Oh, my gosh!

So you have the best one over here.

Wow.

I pulled some clips from that scene on my computer before I came out here.

And this is the outfit she's wearing on screen.

Oh, no kidding!

(laughs) I've never looked it up.

They've just been family pictures.

Because we have a big star and a moment we can identify with a costume that was used on screen, this would be more in the $3,000 to $5,000 range.

(exhales sharply) Wow.

(chuckling): For studio trash, wow.

Who'da thought?

Certainly not me.

(chuckles) Thank you.

(laughs): Unbelievable.

(voice breaking): I never think of it as money.

They're just friends.

They're my grandmother.

PEÑA: This rare tapestry has hung in this room for over 100 years.

Thought to have been bought by William Bourn from the estate of banking and industrial titan J.P. Morgan, the European table carpet was originally used as a tablecloth in the 1500s.

There are 56 different flowers represented on the carpet.

I believe this is the front panel of a cable car from San Francisco.

I acquired it two or three years ago at an auction.

I said, "That's something I have to have."

It's a piece of art, so... And, and a iconic piece of San Francisco history.

Yes.

Possibly.

Possibly.

Yes.

Yes, and what did you pay for it?

Uh, $900.

The Presidio and Ferries Railroad Company started operations in San Francisco in 1880.

They started by doing a very long run from downtown San Francisco out to the Presidio Military Reservation.

Right.

That was their original purpose.

Right, this one from Market Street.

From Market Street, which is downtown.

Right.

They ran a cable car system, and it ran up until 1906, when there was a catastrophic event in San Francisco-- the earthquake.

Right.

Many of the cars were destroyed.

Right.

Parts were salvaged.

They rebuilt, as they did with the city, and they were purchased by the City of San Francisco in 1913.

This front of a cable car is what you're thinking it is.

The design pattern is identical to what I've seen on some of the vintage cars.

When we examine it forensically, you have a, a front that's made of separate individual boards.

It's put together in a tongue- and-groove construction.

Tongue-and-groove construction was very, very popular in the late 19th century.

These two boards-- this one and the one over there with the large hole in it-- they're a different wood.

They were a harder wood because there was a bolt that went through here, and that's what bolted it to the front of the cable car.

Then they were covered with a fascia board.

And we clearly see the oxidation mark.

When we examine the paint, we see beautiful gilt gold letters.

And this would have been painted on by an employee of the cable car company.

And they were called carriage painters.

They were very, very expert at doing this beautiful gold lettering.

And when we look at the patina on this lettering, we see real age.

This is exactly what you want to see when it comes to gilt lettering.

It's absolutely authentic.

Dates to the late 19th century.

This metal bezel, that held the glass lens.

Behind there originally was a fuel light that would shine out and magnify onto the street.

So you have an authentic front of a San Francisco cable car.

All right.

Which is pretty amazing piece of, of history.

Right.

Great, I love it.

Now, I'm going to place a retail value on it today of $5,000 to $7,000.

Okay.

So I think you did very well.

That's great.

Congratulations.

All right.

And it's real.

It's real-- that's what I...

Isn't that exciting?

Well, it is.

I like real, not fake.

(laughs): I, I think... Or copies.

I think we all do.

I'm personally connected with the S, San Francisco, uh, International Film Festival for about 18 years.

And so when I spotted this, I knew almost immediately that it was, uh... Saul Bass designed it.

I really wanted it, so I bought it.

And how much did you pay?

About $175.

Saul Bass is an incredible graphic designer who did corporate design, he did a lot of movie posters, so he was definitely connected to the movie world.

Saul Bass's work is becoming more and more popular, and this poster is particularly rare.

I only could find two examples at auction in the last 15 years.

And I think at auction, we'd be looking at between $1,500 and $2,000.

Fantastic.

Thank you so much.

It's great to see it.

It's a wonderful piece, the colors are bright.

Everything about it makes me smile.

WOMAN: This is one of the Hudson Valley School paintings that was given to me by my parents, who inherited it from my grandmother and my great-aunt.

And who is the artist?

William Hart.

And do you know much about him?

I know just that he is a Hudson River painter.

But I'd like to know some more, please.

Okay.

Well, yes, he is considered one of the Hudson River School artists.

The father of the Hudson River School was Thomas Cole.

Mm-hmm.

And then artists after that were Asher B. Durand and Frederic Church.

William Hart is considered sort of a second-string painter in that group, but certainly very accomplished.

And he exhibited all during his lifetime.

And his paintings are in museums around the country.

Mm-hmm.

He was born in Paisley, Scotland, in 1823.

He immigrated to the U.S. around 1830 and eventually to Albany and Troy, New York, area in 1831.

He started out life as a landscape painter for coaches and carriages.

So he would decorate the sides of these vehicles.

(chuckles) And was fairly successful at that, but then decided he wanted to get into portrait painting.

And he goes to the Midwest and tries to make his fortune there.

That doesn't work out very well.

Huh.

So he goes to Scotland to study a bit, and then comes back to New York, and establishes a studio in the Tenth Street Studio Building, which was a very important artist's studio complex, where all these famous artists were.

What we find here is a landscape that is of Keene, New Hampshire.

Mm-hmm.

And this was a favorite area of his.

Most of the works we see by him are of cows in landscapes, and the cows are rather large and dominate the composition.

Oh.

Those are his later works, done sort, in the late 1870s to '80s.

He, he died in 1894.

So he was still painting that kind of thing.

But this is really refreshing, because it's an early example.

It was done around 1859 to 1861.

Oh.

You can see it's, it's rather fresh.

He has an interesting approach.

He has figures on the right side, the cows are more minimal in the background.

And then, of course, the beautiful landscape and the more or less luminous sky make it a, a rather creative composition for him at this period.

It's signed in the lower right "W.M.

Hart."

Mm-hmm.

And that's a typical signature for him.

The medium is oil on canvas, and the frame is wonderful.

It's a original frame.

Condition-wise, I think it might need a cleaning.

There is a catalogue raisonné of William Hart's work.

Mm-hmm.

This work is listed there.

It does mention that it went through American art galleries in 1925.

You said you got it from your great...?

My great-aunt.

Your great-aunt.

So would she have been in New York around 1925?

She was visiting her brother, who lived in Connecticut, but was a stockbroker in New York.

So, yes, I'm sure she...

So she has... ...traveled into New York.

Perhaps that's where she acquired it.

Unfortunately, the Hudson River School in general is not as much in vogue today...

Yes.

...as it was, let's say, 20 years ago.

If it were in a gallery, I think it would probably sell in the neighborhood of $15,000.

Oh, my goodness!

(chuckling): That, that surprises me, thank you.

Well, you're welcome.

And for insurance, I would suggest $18,000 for insurance.

(stammers): Thank you very, very much, Debra.

Well, you're welcome.

I truly appreciate it.

It gives me pleasure every time I look at it.

Aw, well, that's great.

So I'm very pleased to hear all of this.

Oh, good.

♪ ♪ APPRAISER: What we have here is a country store advertising cabinet from around 1900.

They were designed to draw people in.

Look at the way the horse looks at you.

Mm-hmm.

And what that is is a chromolithograph.

And then, if you open the back, you can see how they embossed it to make it stand out even more.

Mm.

So when somebody came in looking for a veterinary remedy, hopefully, Dr. Lesure was betting on the fact that this cabinet would attract 'em.

This one is probably going to go in the $3,000 to $4,000 range.

Okay.

Oh, that's really nice, thanks.

Yeah.

My father was a collector of arms and armor here in the Bay Area.

He acquired the piece somewhere in the mid-'90s from a collection in the East Bay.

All I know about it is that it's a chanfron.

I believe it was European.

So what is a chanfron?

My understanding is that a chanfron is a horse's armor for its head.

But I didn't know if this would have been more of a ceremonial or parade piece versus something that it would have worn into battle.

Well, it clearly would have been something for ceremonial purposes.

And one of the reasons we'd say that is because of the etching.

You have these two panels of these winged harpies, and you've got two naked warriors at the base with their spears and their shields, and you have these fluted panels etched with these sort of bold foliate scrolls.

So you wouldn't have invested money in your horse armor with this type of decoration... Sure.

...to lead it into battle.

In many instances, a knight, by his very definition, was a mounted soldier, and he would go to parades and other functions where he would embellish his armor to show his status and his rank.

This is a Maximilian-style chanfron, uh, which would date to the first quarter of the 16th century.

This would have been the style that was popular in Germany at the time.

Okay.

The trick with most armor of this period is determining whether or not it's correct.

Sure.

And whether or not it's a later reproduction.

Okay.

Many of the reproductions are relatively smaller, and this is obviously a very monumental piece, uh, which would have been the proper size.

So the first clue to us is that, yes, it's the large size of it and the quality of the decoration.

There's even some damage at the base that would indicate age.

But the real test in determining the age of armor is to turn it around and look at the inside.

This would have been forged metal, and as such, it would have been hammered on an anvil.

And the interior surface shows no real evidence of hand-forging.

Sure.

And in general, the thickness of the metal is of a uniform.

So I would say that this is a late-19th-century reproduction.

Okay.

But immensely attractive.

And have you given much thought to value?

I know my father paid a few thousand dollars, probably, for it.

I, I don't have a clue of what the market is like currently on it.

I mean, I could throw a number out there and probably embarrass myself.

(chuckles) So I, I would say maybe $4,000?

Renaissance horse armor to begin with is extraordinarily rare, and particularly decorated examples, but oddly enough, equally as scarce are reproductions.

Okay.

You certainly see a number of them on the market, but they don't come around every day.

At auction, I would estimate its value probably around $5,000 to $10,000.

Fantastic.

And I think it would actually probably do much better.

Sure.

'Cause it's really, it's a handsome piece.

Fantastic, thank you so much.

If this were not a reproduction, I would estimate its, uh, auction value at around somewhere between $200,000 to $300,000.

Wow.

Better luck next time.

(laughs) ♪ ♪ PEÑA: Jan Weenix, one of the most celebrated Dutch game painters, created this work, "Still Life of Dead Game and the Implements of the Hunt," in 1703.

The painting glorifies the bounty of a hunt-- a hare, pheasant, and partridge-- set amongst Classical symbols like an urn with flowers, a hunting horn, and marble statues in the background.

The artwork was purchased by the Bourns and remade at Filoli through the Roths' residency.

After a brief stint away from the mansion, it is back on display, the focal point of the dining room.

♪ ♪ My mom worked with a lovely little lady who became ill. My mom and dad helped her out a little bit, and when she passed, she had left a note for her landlord to call my mom if anything happened to her.

And the landlord called us, and we were sad, she passed away, but he wanted everything out of her house that day.

(chuckling): My husband and I took the day off work, and we went down with his big truck and started loading all of her furniture.

And one of the last places we looked was up in her bedroom closet.

And there was a big hat box sitting up there.

And my mom said, "Oh, in the '40s, "she was a wonderful fashionista.

I bet there's a beautiful hat."

So we got all excited, and I brought it down and opened it up, and this basket was in there.

And that was July of '88.

So 30-odd years I've had it.

And I think she got it maybe from the Indian Days that they used to have at Yosemite.

There was either three or four ladies that made baskets for those occasions for tourists.

And I think that-- it's a different design, but it looks like the one that they have online for...

Her name was Carrie Bethel.

I would totally agree with you that it is a Carrie Bethel.

Oh, cool.

This woman was so consistent in her materials... Oh.

...that everything had to be just so.

Oh!

Everything... And that is why this basket is so beautifully woven.

This design right here is very reminiscent of a medallion.

And then she repeats that design.

No stitch is out of place.

This is one basket that you always want to hold with two hands.

And I would say that she wove it between 1955 and 1960.

This woman, who was such an unbelievable weaver, lived in a shack.

She had no running water.

Oh, my gosh.

No electricity.

What?!

And she just did her weaving when she could during the day, because she had to make money.

And what did she make money doing?

She was a domestic.

Really?

Yes, yes.

(laughs): I thought you were going to say the baskets.

No!

The highest price that she got for a basket was probably in the '60s.

It was $180.

And that was maybe for two to four years of work.

Wow.

Wow.

This basket took at least two years to make.

Sheez.

And you remember, she wasn't weaving at night, because she couldn't see.

Right, she was work... Oh, yes, right!

One of her baskets sold in 2006 for over $200,000.

Oh, no!

Oh, yes.

You're kidding!

Her work... She was a master weaver.

She lived in the Yosemite National Park area.

The background material is sedge.

Sedge.

Bracken fern, the black.

Oh!

And inside each one of those rows are three rods of willow.

And the red is redbud.

Sometimes they used a tin can with holes in it so they could take the material, bring it through one of the holes, and it might make the material all then the same size.

Oh!

When someone weaves a basket, and then they might want to weave another one, maybe the exact same, it's never going to be the exact same.

Oh, so they're all different, right.

They're all different.

They wanted to weave different kinds of design.

Sure, sure.

Because most of the work, it was done for sale.

Right.

And when, especially with Carrie... For tourists, kind of, like, yes.

Yes, for tourists, exactly.

Ah.

And they put out their very best work.

Now, after the '60s, they started getting smaller, the baskets.

Oh!

Because they c, tourists wanted something they could carry home.

Carry with...

I have a small Carrie Bethel at home.

Oh!

But nowhere like this.

Oh!

(laughing) This is one that one would say, "Oh, this is a Picasso."

Oh!

Oh, my...

If you're talking in... Oh, and now I feel horrible.

...artists' work.

On this... (laughing): It's a decoration in my house.

Yes, it's a decoration.

But you also put plants in it and stuff.

I did.

Which is a no-no.

(laughs) And there was more than just four weavers.

There were a lot of basket weavers, but Carrie was one of the major ones.

Oh, my gosh!

I would put a price on this basket at auction of a good $75,000 to $85,000.

Oh!

Yes.

Now...

What?!

You heard me right.

Oh, my gosh!

You heard me right.

Oh, now I do feel bad, ooh!

(exhales) Now, I don't know what it would cost to repair.

I would personally pay five grand, because then you could possibly sell it for maybe way over $100,000.

Whoa!

Oh, my gosh.

And are there any other things you would like to know?

(mock-screams) No, I'm freaking out now.

Gosh, I mean, I just love it.

I love all Native American stuff and I just feel really privileged to ever even have it.

I would insure the basket probably for $150,000.

(yelps) (groans) I just... (exclaims): I can't breathe.

PEÑA: This is "Antiques Roadshow" PEÑA: And now it's time for the "Roadshow" Feedback Booth.

I found out that this is a student-made vase.

Did a really nice job.

Um, it's only worth less than $100, but his family clarinet is worth, like, $400-pl, or $500-plus.

(laughs) 40, 40... $4,000.

$4,000?!

$4,500.

Oh, wait, I thought it was four... (chuckling): No, she... (laughing) ...said 45 hundred.

I thought it was $400 to $500.

(chuckling): No.

(laughing) Okay.

(both laughing) Today we had our grandmother's Navajo turquoise necklace appraised at $700.

And, but Aunt Pat's bracelet from Brazil is the winner winner chicken dinner at $2,500 to $4,500.

The last time we were here, he was in a baby stroller.

We were at the "Antiques Roadshow" up, up in the city.

And, uh, if you listen back to the show, you'll hear a kid screaming in the background.

And that's him.

Mm-hmm.

(chuckles) What I have here is an Asian puzzle box.

So, like, the original Rubik's Cube.

Um, I think they told me it was worth around $20, um, if it worked.

(laughs) Which, I got it kind of stuck.

But it's been great today.

Beautiful out here.

We're just so excited to be, be here.

This was really a bucket list of ours.

Um, I'm a big history buff, and, um, yeah.

I'm "lion" if we didn't have fun, so... Yeah, it was good.

(laughs) Okay.

(both laughing) PEÑA: Thanks for watching.

See you next time on "Antiques Roadshow."