♪ ♪ CORAL PEÑA: A bonanza of treasures is turning up at "Roadshow" today at Denver Botanic Gardens, Chatfield Farms.

APPRAISER: The crotch rivet was done away with after someone sat by a campfire and realized that it may burn them.

(chuckling) (laughing): Oh, my God!

♪ ♪ PEÑA: Chatfield Farms offers many things: historic preservation, habitat restoration, regenerative farming, and more.

All taking place on several hundred acres of land in the foothills of the Rocky Mountains.

What treasures have been brought to this Colorado farmland today?

Take a look.

(cheers) ♪ ♪ I can tell you that I don't know what it's made of.

It is supposed to be, you tie your rope here, and then you swing it onto your mate next door on his boat, and then you got a two-way party.

You reel him over to your boat, I suppose, I don't know.

GUEST: I was, uh, taking apart an old house probably built in the 1880s, in a mining town, uh, west of Boulder in Colorado.

Was pulling down the ceiling boards in the living room, and, and they just dropped out of the ceiling.

All of a sudden they were, like, right there.

It seems a bit strange that that's how you'd find them, but actually, old clothing is often found, kind of, stuffed in walls or stuffed in ceilings as makeshift insulation.

So that would be my guess as to why they were there.

Okay.

So what we have here is a pair of jeans that I would date from between 1890 and 1910.

So one of the first identifiers of it being an early pair of jeans is the cinch right here, which is called a buckleback.

These we would be classifying as buckleback jeans.

So bucklebacks went away in about the 1940s, as the belt became more ubiquitous, but it allowed for waist adjustability, which was key because jeans were often worn by multiple different people working at the same place.

So as someone would clock in for a shift, they might throw these on.

So that allowed them to need to own fewer pairs.

These are not Levi's, but when we're talking about early denim, it's always relevant to talk about Levi's.

So, uh, Levi's was founded in 1853, in San Francisco, California at the height of the California gold rush.

In 1873, Levi's patented riveted clothing, which ostensibly was the patent for, uh, denim and for blue jeans.

In 1890, the patent expired.

And when the patent expired, many brands and manufacturers leapt at the opportunity to make riveted clothing or denim of their own.

And I believe this is a pair, kind of, shortly after 1890 when that patent expired for a few reasons.

Most notably, here on the label, you can see "Pacific Coast."

That's the name of the-the brand, as well as two bears pulling at a pair of jeans.

And this is heavily influenced by the Levi's two horses design, which you still find on the back of Levi's jeans today.

Two horses pulling in opposite directions, fruitlessly trying to tear apart some jeans.

These are rarer than Levi's.

I've only seen one other pair of Pacific Coast that was found in a mine in 2020.

But there is a larger collector base for Levi's, since that's the real name.

This is great condition for something like this, uh, that's this old.

It also shows, kind of, the history of it.

There's some-some marks here of candle wax, which would have been from the miners who would have worn these.

And instead of headlamps, they would have had candles...

Right.

...and candles affixed to their helmets at times.

There's also a very interesting patch right here with a crotch rivet.

The crotch rivet was later done away with after someone sat by a campfire and realized that it may burn them.

(chuckling) Uh, so this is a very unusual patch.

I would say, conservatively, at auction, these would be worth $15,000 to $20,000.

Wow.

That's incredible.

If these were Levi's that were also bucklebacks and-and from this era, I'd say it would be something closer to the $40,000 or $50,000 range.

Okay.

Uh, I believe it's some kind of a hot water tank or steam tank, but it's definitely old.

GUEST: We restored an old house in Vail, and when we took off layers and layers of wallpaper, underneath it was this.

We've been to Leadville, to the museum, and no one has seen this poster.

So we may have the only copy of it, and it's fun.

GUEST: I got it from my grandmother, who I assume bought it in Colorado Springs in the '70s from some sort of antique store.

She probably wouldn't have paid more than five dollars for it.

I just thought maybe it was Japanese.

Maybe it had to do with, um, the theater.

All of these, when you, when you first came to the table, were turned around.

(chuckling): So all we saw... ...was this.

Yes.

And none of us had ever seen anything like it, went, "Hmm, that's interesting."

Name, play.

(gasps) Matches... the mask.

In Japan, there are different forms of theatrical performances, and Noh dramas have been around since the 14th century.

Noh dramas are N-O-H.

They would be worn by actors in different performances.

Some of them, a lot of them, are from the same drama, uh, but quite a few of them are from different ones.

They all have a number.

They all have the character.

They all have the play.

That says "Made."

But it's missing the name!

(gasps) It's missing the name!

Oh, no!

(chuckles) There were schools of Noh masks.

There were special Noh mask makers, and there still are today.

There's a big female movement of Noh mask makers in the 20th century.

I think, likely, this was somebody who really is a fan of Noh dramas and specifically of a particular Noh mask maker.

Very cool.

A collector-- like baseball cards, or Pokémon cards or something like that would say.

Sure.

I want to have them all, but you can't.

Hm.

Mm-hmm.

So this is a way that you can enjoy them.

They're carved out of wood.

Some have a little bit of plaster on them, and they're painted.

And some are even articulated.

I love it, the artistry is fantastic.

It's amazing.

Based on the box, based on the materials, the carving, the characters, I think most likely these were made end of the Meiji period, early Showa period.

So between 1912 and 1930.

I think most likely, at auction, it would sell for somewhere between $1,000 and $2,000.

Whoo!

That's awesome.

I love 'em, they're beautiful.

And they're just so pretty and cute.

GUEST: I inherited this from my mother about ten years ago.

I know very little about the artist Joe Yoakum.

And what I learned, I learned this morning by going online.

(chuckling): Okay.

She would have bought this in either New York or Washington, D.C., in probably around 1982.

Well, you're right, this piece is by Joseph Yoakum, and he was born in 1891 in Missouri.

He was of African American descent, and of some possible Native American descent.

And he, at an early age, ran away from home and joined the circus.

And then we know very little about him.

He ended up on Chicago's South Side having a storefront where he lived and created art.

Huh.

Huh.

All of his body of work have this clear pattern of this wonderful flowing; no hard lines, no hard shapes.

Almost an abstract expressionist thoughts of landscapes.

Hm.

And the medium is ink and colored pencil on paper.

He was most prolific in the 1960s.

Huh.

He passed away in 1972.

Huh.

But during the '60s, they said he was creating one artwork each day.

Wow.

Hm.

Yeah.

So we're going to say that because his prolific period was primarily between 1965 and 1970, we're going to date it in that time frame.

And there is a label on the back of this.

And the label is from the Corcoran Gallery.

Right.

Sure.

They were a very progressive gallery in Washington, D.C. And this was in a show that they did in the early '80s.

Oh, no kidding, huh.

Huh.

And the show was focusing on African American artists.

I'll be.

Huh.

Oh, that's cool, yeah.

Huh.

And that's where your mother purchased it, yeah.

Wow.

Huh.

He's had a very, very nice collector following.

And recently, a couple of years ago, he had a one-man show in New York City at MoMA.

100 artworks they displayed... Huh.

...and that kind of sets you apart.

The color of it is great.

At some point in time, he actually started to varnish his artworks.

Hm.

So a lot of them turned yellow.

Oh, geez.

Oh.

And obviously, yeah, those pieces are not very highly collected.

Huh.

So you have all the key elements that people want to see in a Joseph Yoakum artwork, that combined with the label, which is collector gold.

So because of all these factors, including the recent MoMA show, I'm very comfortable valuing this, in a retail setting, somewhere between $50,000... Yikes.

...and $60,000.

Ho-holy... holy smokes.

Huh.

Well, I hope it doesn't get rained on.

I think your mother would be shocked.

Yeah, I think she would be.

I-I think she'd be pleased for sure.

PEÑA: A parade of agricultural equipment from the early to mid-20th century was on display at Chatfield Farms provided by the Front Range Antique Power Association.

This standard tread tractor is a 1931 Case Model C made by the J.I.

Case Company.

It was manufactured in Racine, Wisconsin and cost around $600 at the time.

GUEST: This was hanging in my parents' dining room ever since I can remember.

I always liked looking at it.

When they passed away, my brothers and I divided up the treasures and this was the only thing I wanted.

I just love it.

I have to tell you how excited I am to be here with you, and it, today.

It's not for such a tremendous value.

It's because it is such a fantastic object.

It's such a, a great way of displaying what was happening at the time.

The ebullience-- and the sexiness-- of post-World War II, mostly America.

This was made in Italy, but it was made for, if not by, the Raymor Company.

The company was incorporated as Russel Wright in the '30s, but it really became Raymor in 1941, and it went all the way until 1980.

Hm.

They produced this fabulous, very thick wall hanging plaque that really describes things to do with a cocktail culture.

They have made these Venn diagrams of bottles on top of each other.

We have a martini glass here.

The way the piece is glazed is with this very thick, mostly sort of Persian blue crackle glaze.

These are carved in so you have more room to put in the different colors of vitrified glaze.

All glaze is glass, or turns to glass, but this is a lot of it.

So you have here, in English, "Italy," meaning that this is made most likely for the export market.

And this is the telltale sign for Raymor.

And their tagline was, "Modern in the tradition of good taste."

I love that!

This is just a really cool piece.

(chuckles) A pre-auction estimate would probably be $2,000 to $3,000.

And it could bring so much more than that, because so many people would be bidding on it.

I-I'm sure there's not many that are larger because the weight of it is incredible.

Correct.

This is-- was my wife's violin, she has passed on.

For her sixth birthday, she had a favorite doll that she wanted.

When they opened the gifts, it was a violin.

She's like, "What?"

(chuckles) She took to it.

And by the time she was in junior high, middle school, she was playing in the community orchestra and eventually was first violin at the college that she went to.

So yeah, she did very well with it.

But she was very surprised to get a violin instead of the doll that she had hoped to get.

GUEST: I brought this diamond cross that my mother gave to me.

My mother got it from her mother-in-law when she was leaving Cuba.

She left in 1961, right during the time that Castro took over.

And my father wanted my brother and I to leave, 'cause he was worried about us and my mother's safety.

So we came to the U.S.

It's been in our family for four generations.

Wow.

My mother-in-law got it from my grandfather, whose father was an import-exporter, and he traveled a lot to, uh, Europe.

And unfortunately, on his, uh, last trip, he died on the Titanic.

Oh my gosh.

This is something that my mom felt was very important to save and keep.

So there are no hallmarks or maker's marks on the cross.

But I did test it and it does test for 18 karat gold.

And I'm dating it around 1890.

And you have beautiful old mine cut diamonds and then they're accented by rose cut diamonds right at the bottom.

One small condition issue is one of the little stamen here is missing, but hey, who doesn't have bumps after over 100 years, right?

I mean, it's really incredible; the diamonds are lively.

You have 3.5 carats of diamonds there.

Wow.

G to H color.

They're S.I.

clarity, I mean, it's really amazing to see something this old still intact.

Because usually someone would sell it or they would break it apart, make earrings, a small ring.

And it's amazing to know that your mother, no matter what, kept it intact.

If you wanted to replace it, if you went into a jewelry store, an antique jewelry store today, it would be between $6,000 and $8,000.

And you would insure it for the $8,000, the higher value, because it's going to be a little difficult to find, if you lose it and want to replace it; it's magnificent.

Thank you for bringing it.

Thank you.

It's the craftsmanship, it's the matching, it's the period that makes this special.

GUEST: I brought two Zebulon Pike Expedition journals.

You have a couple of editions here of the book.

And, uh, the first one is a copy of the sources of the Mississippi expeditions and then also the Mexican regions.

It was done in 1810, Philadelphia.

Now, Pike went out very much the same time that Lewis and Clark went out.

Essentially, the United States wanted to see what was out here.

Right.

Lewis and Clark were supposed to go out and find if there was a route to the northwest.

Mm-hmm.

Pike was supposed to find out, first of all, what type of economic activity was going on.

He was supposed to also try to make friends with the, the American Indian tribes that were there.

He was also supposed to kick the British out.

(chuckles) But that was the first trip, and then he got back, and they immediately wanted to send him out to the second part of this, which was to go through New Mexico and north to explore and sort of set the mapping out and ultimately, probably, to drive the Spanish out of the west and make it American territory.

One of the things that he did-- and this is a printing a number of years later.

This is a copy of the 1811 edition.

This is an 1880s edition.

But one of the main things that he was trying to do in these expeditions was map the areas, (chuckling): because there weren't any maps.

(chuckles) And so when he got out to Colorado, they went a little too far into Spanish territory.

The Spanish captured him and his whole crew.

They actually treated them very nicely.

He had all his papers, all his maps.

Oh...

He had all the records.

They didn't give those back to him.

Oh.

So one of the reasons that these are very important, is when he did the original copy in 1810, he had to do it from memory.

Oh, gosh.

So the books we have here, they're very, very nice.

Now, the 1810 book, one of the things when you're doing and collecting books that you have to be very careful of, and it's very important, is the maps I showed you in this edition.

Right.

If you look closely in this book, they're not there.

Oh...

So even with the maps missing in this edition, retail, it's probably worth $1,000 in that range.

Now, this edition is a very collectible edition because it's one that was well done.

This edition would probably sell for $1,500, maybe a little bit more.

Unfortunately, this edition, if it had the maps, is $10,000 to $15,000.

Hm... See, we didn't, I'm sure, even realize that it had loose maps that should have been with the book.

Well, it actually wasn't loose maps.

The maps were put in.

Oh, and they've been taken out.

The maps, a lot of times people take out and they frame them, Sure.

Can be more valuable than the books and the printings.

But it's still a great book.

GUEST: So this is my stepdad.

He was in the army, and he was stationed in Tokyo, Japan.

APPRAISER: So... ...not to bury the lede, but next to him we have someone, everyone knows who it is... Mm-hmm.

...which is obviously Marilyn Monroe.

Mm-hmm.

How-how did he get this?

So he was not the photographer that took this picture.

He just happened to be there at the same time because that was the location they took her to do her ID.

When Marilyn Monroe came over to entertain the troops, she had to stop off and do the mil-military official ID process.

So he got to meet her.

Yeah.

He thought she was wonderful.

Very down to earth, sweet, kind.

She asked them a lot of questions about what they do, and he said her beautiful energy just exuded through, and that's what he held onto all those years.

You mentioned, Tokyo, Japan, which is exactly... Mm-hmm.

...we're-we're right there at that moment in 1954, in February.

Exactly.

Mm-hmm.

When she and Joe DiMaggio were on their honeymoon.

Exactly.

Joe went over to work in some of the training camps... Mm-hmm.

...for baseball, and Marilyn went and entertained the troops in Korea.

Right.

But she did get processed first in Japan.

She did.

Just like everybody else, she can't be wandering around army bases without...

Right.

...proper identification to be processed.

And that's when this photo was taken.

They took it for her military defense ID.

This is the only one I've ever seen outside of the one that was actually used on her ID.

Right.

There was only four people, pretty much, in the room.

It was the photographer who took that picture, the guy who rolled her fingerprints, himself and his commander, besides Marilyn Monroe.

Very cool.

Basically, yeah.

So you knew about this photo growing up?

My dad talked about it many times growing up.

But had you ever seen the photograph?

I never saw the photograph.

He died about 16 years ago.

My mom passed last year and my sister had to go in and pretty much clean out their house.

My sister said, do you want anything out of the house?

And I said, if you ever find that photo, that's the only thing I want out of the house.

It was in a place, uh, in one of those metal filing cabinets just mixed in with a bunch of other stuff.

Well, thank God.

(laughs) And she's like, you are not gonna believe what I found!

She was very proud of the fact that she did this tour.

Right.

And it was actually one of her, the things, she was kind of-- a highlight of her short life that she was able to entertain hundreds of thousands of men in four days.

Mm-hmm.

But anything associated with that... Mm-hmm.

...is really always something special.

And the fact that this was a copy of the photo that was taken for that ID printed at that time, we know it's vintage.

At auction, a pre-sale estimate that I would put on it is about $4,000 to $6,000.

Mm-hmm.

And I would expect it to sell for probably $6,000 or $8,000.

Uh-huh, that's crazy.

That-that's a lot per square inch.

Yeah, it is.

(chuckles) The ID... Mm-hmm.

...that Marilyn was issued that shows this photo, now in the photo ID that she was given... Mm-hmm.

...the U.S. Department of Defense ID, she signed it.

Mm-hmm.

And in the photo you can actually see a February 4 below the "Norma Jeane".

Right, exactly.

So it has the date on it.

That ID sold in 2008 for $57,000.

(chuckling): Wow.

You got this-- what did your sister get?

She got the house.

(both laugh) It's special to me, regardless of what it's worth.

GUEST: So this is an Escher print that my grandfather had bought, and uh, gifted to my parents when they lived in Holland before they moved to the States and where I was born.

It's a signed and numbered print which includes a letter that is, uh, written by Escher addressed to my grandfather.

Yes.

Th-this is really unusual for us to have an accompanying letter signed by the artist.

It's dated 1953.

Right.

And he completed this print in 1951; so shortly thereafter.

It's on his letterhead.

We're also fortunate to have a friend who spoke a little Dutch... (soft chuckle) ...tell us that this last line refers to having met your grandfather at an exhibition.

A wonderful provenance.

Yeah.

That your grandfather met the artist, enjoyed his work at the show, was able to acquire work at a time when Escher was becoming known in Holland, but was not known so much internationally.

And this print is instantly recognizable, of course, as Escher.

It's typical Escher, but it's also a little unusual, which makes it special.

Usually in Escher, you have the repeating forms of the same object.

So a-a fish will interlock with another fish and a repeating pattern.

Right.

Here we have this wonderful menagerie of creatures.

But what's unusual is it's not the same repeated pattern.

Right.

And Escher was actually experimenting here because he really wanted to try to do one of his forms with different objects, different shapes that would interlock.

And there's six different forms on each side.

So you have 36 different pieces.

Hm.

Okay.

That-that explains the name of the piece, too.

I know it's called "Filled Plane II," so.

Yes.

Well, he did do two versions of "Plane Fill," but we also know from this letter that he refers to it as a-a mezzotint.

Yeah.

And I can also tell that this is a mezzotint by the structure of the print.

So mezzotint is an ancient printmaking technique developed in the late Renaissance, where the copper plate was burnished so it would print completely black.

A mezzotint rocker would mark up the plate with little pits that would collect the ink.

Okay.

And then the artist would burnish away and create the positive form, so from black to white.

In the 1950s, Escher started experimenting with mezzotint.

It's dated at the top, March 1951.

And that tells us that this is not number two, but number one.

Number one is the first print he made of this composition.

And that is the mezzotint.

Number two was the lithograph he did a couple years later.

So we know this is "Plane Filling I," by MC Escher, Maurits Escher, and we can see that here it is signed and numbered "Escher" and "37 of 50."

And these mezzotints are highly desirable from collectors.

Hm.

Oh.

We were hoping to see maybe some indication in your grandfather's letter of how much he might have spent to purchase this print.

I do not know, it's, um, the handwriting is, uh, old-fashioned enough (chuckling): that I can't read it.

Yes, and-and we couldn't see any numbers.

And so at auction today, with a conservative estimate, I would put this at $20,000 to $30,000.

Wow.

That's, that's impressive.

And I would put the letter at about $400 to $600.

All right.

Just, just for the Escher collectors.

Sure.

But I'm sure it's not going to be separated from this print.

Yeah.

It's been with your family now for three generations.

Abs-- and we planned for the fourth.

(chuckles) Yeah.

Absolutely, that's amazing.

JOSIE HART: So we are here on the banks of Deer Creek at Chatfield Farms, a 700-acre working farm with so much history.

We try to follow the regenerative practices for small scale farming, which means mainly we follow soil health practices.

Keeping the soil covered, trying to maintain living roots in the soil, and then we also want to try to fix nitrogen and carbon into the soil to maintain a healthy ecosystem underground.

With climate change, farming has become a lot more difficult to anticipate how productive our crops are going to be throughout one season.

So regenerative farming gives back.

Whatever we take out of the system, we put it back in, so we can continue producing food for our community.

GUEST: A friend who knows a lot about weaving and Native American art told me that this is probably a Hopi man's ceremonial kilt, and perhaps late 1800s.

My father-in-law bequeathed these to me in 1998.

There is a, a manuscript that, uh, includes my, my mother-in-law about a trip to Mexico.

It was 1937 or 1939, somewhere around then.

Well, that's very helpful.

That would suggest these were circa 1930s.

Okay.

They are Hopi, they're from Arizona.

And the man's kilt, it's late 19th century.

The foundation is hand-spun cotton.

The embroidery is wool, and this would have been wool raised by the Hopi.

The red is an aniline color, that's a commercial dye... Mm.

...that would have been acquired in trade.

At the top is a natural brown wool.

The light blue-green is indigo, and then the, the black is sort of an enhanced brown.

And the kilt was worn ceremonially, and it was worn by men doing-- I'm going to change the terminology from kachina to Katsina... Oh.

...and that's more preferred today.

Okay.

Mm-hmm.

Although kachina is what you see in the literature.

Okay.

So these two figures are Katsina dolls.

Okay.

These were carved by the men... Ooh.

...and they're educational devices for children.

Okay.

There are three levels of Katsina figures.

There are spiritual deities, if you will... Mm-hmm.

...in the upper world, who can influence life on earth.

There are men who impersonate these deities... Mm-hmm.

...and they dress in, uh, outfits that reflect these Katsinas, and they would be wearing this.

And then there's a third level of Katsina, and that are the dolls that are carved for children as learning tools.

Children would be very familiar with the different Katsinas... Mm-hmm.

...and they would learn about their culture and their religion.

These are carved from cottonwood root, which is a very important substance for two reasons.

Mm-hmm.

One, it's easy to carve.

But from a spiritual perspective, these cottonwood trees absorb a tremendous amount of moisture from the earth.

They're conduits for water.

Mm-hmm.

In Arizona and New Mexico, water is everything.

Hm.

On the kilt, these vertical lines represent rain.

Oh.

These step devices represent clouds.

This Katsina is called a snake Katsina, and he has a snake on his kilt.

And this is called a Tasap Katsina.

And you'll notice that the paint on the kilt is identical to the embroidery... Mm-hmm, mm-hmm.

...on this actual kilt.

And they're in wonderful condition.

They have a little bit of wear; it probably reflects people handling them.

Mm-hmm.

This Hopi dance kilt shows use-wear, not any intrusive soiling or damage.

Mm-hmm, mm-hmm.

So, frankly, to me, it's-- it's beautiful, because it has that patina of use.

Mm-hmm.

Mm.

Do you have a feeling for value?

I don't, I don't.

Well, these are very desirable.

Mm-hmm.

The kilt, I think on a retail basis, would be worth about $2,000.

Okay, mm-hmm.

On a retail basis, each of these, I would value at about $2,500 a piece.

Wow, okay.

Yeah.

That's really nice.

I don't think there'd be any issue whatsoever with ownership.

Okay, mm-hmm.

I don't think you have any concern, for example, about a sacred and ceremonial garment.

They were made in quantity.

Okay.

You are fortunate to happen to have a rather early one.

This is a fly rod, uh, made by my grandfather, dated 1950.

And I was told by my father that he built it from a kit from a Montgomery Ward catalog.

He emigrated from Scotland in the '30s, he was a printer, and he liked to fish.

Um, I have it hanging over my mantle.

I can't tell you one thing, other than I did get it at a local antique shop.

I think it was about $15.

GUEST: This table I inherited through my family.

A great uncle named Anthyme made this.

And so he was my great-great- grandfather's brother.

And I believe that he had gifted this to his youngest brother.

Anthyme worked for over 50 years in the Homestake Mine in South Dakota.

And before that, he had moved with his family as a young boy, uh, from Valcourt, Quebec.

So he was miner by day, and then marquetry extraordinaire by night.

This was...

I-- yes, I suppose so.

This must have taken a very long time to make.

Yeah.

The craftsmanship is so precise.

And this is all about this tabletop.

When you look at the table itself...

I mean, in terms of a furniture designer, he was not a furniture designer.

He was a master of marquetry.

So when we turn over the table... And look at the base of it, it looks like it has been made by an engineer, by, by someone who is really understanding, you know, you want to put this thing together, but it's not terribly graceful.

All of the grace, uh, is in the top of it.

A whole group of exotic woods in here: African ebony wood, satinwood from India.

There's just plain old oak wood, which we see here.

I know he, uh, pulled maple from Vermont.

People actually mailed him samples of woods from all over the world, which is kind of cool.

There's also some indication that his work, Leveque's work, which was his last name, showed up in Folk Art Museum in, uh, in New York in a show.

I believe so, yes.

Yes.

Around... 1998, I believe.

Mm-hmm.

So, so the joy of this piece is that we know who made it.

Most of the marquetry furniture we find in the marketplace, we have no idea who made it.

We do have examples of his work, which we see in the photograph dated 1933.

He's born in 1880, so it's going to make him around 50 years old or so.

I would say we're probably looking at late 1920s, maybe even early '30s.

Uh, maybe at the beginning of his career, before he got very, very sophisticated in some of those finer pieces that we know he made.

This is a collecting area that has just sort of faded a little bit out of style.

This table, I would estimate it as an auction estimate in the $400 to $600 range.

It would be less than that if we didn't know who the maker was.

But the fact that we know who made it is really a charming, charming story.

Well, this is really important to us, and we'll obviously keep this.

GUEST: This is called the National Tomb.

It was a sample that funeral directors kept in the mortuary when they were selling a family a casket.

This is a contraption that you would fill it up with water, plug it in, light a candle, put it in the burial vault, lower it in the water, bring it back up, and then show the family that the candle was still lit and that your loved one was safe inside.

PRODUCER: Well, they're dead.

They're dead.

(laughs) Indeed.

(laughs) This watch, uh, was bought for my great-great-grandmother by my great-great-grandfather about 100 years ago.

And I've had it for about 30 years, I guess.

They lived in a small town that's now a ghost town called Cumberland, Wyoming.

He was a coal miner.

Oh.

Yeah.

Maybe he struck gold.

(chuckles) Well, we-- we're wondering about that as well.

(chuckles) The watch and the chain literally are as new.

Rarely do we see a sales receipt from 1924, and this sales receipt is incredibly complete.

It shows the serial number of the movement and the model number on the case.

So what you have is you have a 14-karat gold scalloped edged multicolored diamond Elgin pocket watch.

The serial number dates it to 1923; it was purchased in '24, so that coincides.

The watch has no mileage on it.

It was-- it was like no one ever wore the watch.

It, it still has original surfaces.

It doesn't look like it's ever been cleaned, polished, it looks perfect.

So this is a double chain, and then that's a slide, and there's usually cork inside that holds the slide, and the cork is still completely intact.

Oh.

So a woman could have worn it long, or she could have done like this, where the watch... would then be hanging here.

So, the case, these are all different colors of gold with a diamond set in the center, and then this is called a scalloped case, so the edges of the case have a scalloped edge.

And the back is unengraved, so he never put an initial on it, and the watch is absolutely perfect.

It's made by Elgin.

It's a 15-jewel movement, which is a good movement.

Not a railroad grade movement, but a very nice movement.

So, in the market today, pocket watches are not as popular as they had been.

But this is just an absolute work of art.

And it's brand-new from 100 years ago, literally 100 years as of a month ago.

The value today in the retail marketplace for the two pieces combined would be about $4,500.

Wow.

(both laugh) Wow!

The-the chain, because of the weight of the chain and the fact that it's handmade, would appeal to lots of people that would have their own watches.

So the chain is probably worth about $3,000, and the watch itself is about $1,500.

Okay.

So that's how you would combine to get $4,500.

Thank you.

Have you ever worn it?

I have not.

(laughs) (laughing): It doesn't appear anyone ever wore it.

That's the good thing, I guess.

Oh, yeah.

GUEST: It's a 1966 Fender Jaguar.

I bought it when I was in a rock band back in the '60s, uh, called the Riot Squad, and I bought it at a... a little department store in Marinette, Wisconsin.

And I played it for four years in that rock band...

Right.

...and have kept it since then.

Our band now, of course, got inducted into the Michigan Rock and Roll Hall of Fame.

Not the, the big one, but the Michigan one.

Yeah.

It's one step at a time, right?

Right, yeah, one step at a time.

(chuckles) How did you decide this model, and more importantly, this color?

The color is the only one they had in stock, so I had no choice.

(laughs) The Jaguar was pretty much up and coming at that time, although other Fender brands made a bigger headline.

So the guitar-- Well, the Jaguar came out as the top-of-the-line Fender in 1962.

Mm-hmm.

So this is four years after that.

This is primarily, it's like Beach Boys, a lot of surf bands use this.

And this is cool, you have the owner's manual... the color chart, which is really rare.

Oh, really?

It's very-- That piece of paper is incredibly valuable.

Oh, good.

That's good to know.

(chuckles) And you remember how you, how much you paid for this, because you have the receipt still, right?

Yeah, yeah.

At the time, $383, which...

It was a lot of money in '67.

...was a lot of money.

I figure, when I'm gone, my grandkids can fight over it and worry about it.

And they will.

Because of the color, primarily.

And these, these guitars sort of ebb and flow and they get popular, they get trendy, and then they cool off and then come back and come back.

Custom color.

This is considered a custom color; it's one of the rare ones.

It's marked on the sheet as surf green.

Any of the blues or greens are really rare.

Fen-Fender custom colors, they're worth a lot more.

At retail...

This is probably a $12,000 guitar.

Really?

(chuckling): That surprises me.

Well, maybe my grandkids won't get it.

There you go.

(laughs) Sell it and have fun.

Well, thank you.

The color chart is probably... $1,500, maybe even $2,000 piece of paper.

(chuckles) I got this from my grandmother's basement.

She had a great toy box down there with a number of items.

This is one of the cooler ones, I thought.

And my understanding is it's my grandfather's toy from when he was a kid.

So, that's probably the '30s, mid-'30s, maybe the '40s.

We brought in my uncle's hat from his mission in Ecuador.

He bought a Panama hat down there, and nice and cute.

So hopefully we can find out some more about it.

GUEST: It's always been in our family.

Uh, my dad had it, it was in our house when I was growing up in San Francisco.

And when I moved to Colorado in 1996, I brought it out here with me.

So it's been here in Colorado since then.

My third great grandfather fought in the Revolutionary War and, um, we have it all documented that he joined the militia at 17 and had to supply his own rifle.

And this is the one that he brought with.

What was your ancestor's name?

His name was Jonathan Dustin Cheney.

Okay, and where was he from?

He was from Boston, Massachusetts.

So Jonathan Cheney was actually from Hampstead, New Hampshire.

Okay.

...which is a town right over the Massachusetts border from Haverhill.

Okay.

And in December of 1775, he enlisted in Captain Thomas Cogswell's company of Colonel Loammi Baldwin's 26th Continental Regiment.

The militia at the time, you were supposed to be armed and equipped as according to law, which meant when you were 16 years old, you were supposed to have a gun and all your equipments to perform militia duty.

However, there were those that did not that had to be supplied a gun.

I also have the list of who was paid for bringing their own gun.

Mm-hmm.

And he was on it.

Oh, wow.

(laughs) And he was paid six shillings.

And he enlisted in December of 1775.

He was involved in the siege of Boston.

They were stationed in Chelsea, Mass., and in Brookline, Mass., at Brookline Fort until the British evacuated March 17, 1776.

After that time, Colonel Baldwin's regiment marched to New York and were badly beaten by the British and pushed out of New York into Pennsylvania, where George Washington came up with a, a brilliant idea to attack Trenton.

And your ancestor was involved in the attack on Trenton.

Wow.

Yeah.

So, this gun has some really good history to it.

(laughing): Wow, that's really good.

So now to the gun itself.

It's not a rifle.

A rifle has rifling in the barrel, which guides a bullet out of the muzzle-- uh, more accurate.

Mm.

This is a smoothbore musket.

This gun was built for military use.

It was made by Richard Wilson in London, who was a commercial supplier of weapons that came to America during the French and Indian War in 1755, '56.

So this gun was probably built and, and brought to this country between 1754 and 1756.

And it's marked "Wilson" on the lock, which is very hard to see.

Okay.

And on the top of the barrel, it's marked "London."

And then you can see the proof marks on the left side of the breech with "R.W.," which is for Richard Wilson.

It does have some condition issues.

The cock has been replaced.

In order to keep this gun functioning, during the Revolution, they refaced the hammer so it would continue to spark.

The hammer spring's been replaced.

Um, you've got a little bit of wood loss here.

And you can see here where the stock was broken and then replaced.

Oh.

You've also got two ramrod pipes that are missing.

And the ramrod's missing, but a ramrod-- you, you can find the correct ramrod for it.

Okay.

So, even with the condition issues, though, this is a really rare gun.

And these things that were replaced on it and repaired were done during the period.

So you've got a great gun with a great history.

At auction, uh, I would put $15,000 to $20,000 on it.

Okay.

And that's a conservative number.

Wow.

I think it would go higher than that, given the history that's with it.

Okay.

I would put an insurance value on this gun in the $25,000 to $30,000 range.

Wow, thank you.

GRACE JOHNSON: At Chatfield Farms, we hope to provide examples of how to garden here, to choose plants that are suited to this habitat.

Because we're going to continue to have water scarcity.

Denver has been developing at quite a rapid rate and we like to think of Chatfield as an oasis for native plants and really just to provide habitat back to pollinators and other wildlife that maybe have had some of their habitat encroached upon.

It's kind of a win-win for everybody.

GUEST: It's been in the family for generations and my mother's always thought it was worth something.

I believe it belonged to my great-great grandparents that lived in New York.

If it was those grand-- great grandparents and they were married in 1837.

We believe that our relatives came from England originally.

Okay.

The great thing about this is that it's American.

It's coin silver.

Okay.

And it has marks underneath there for Cann & Dunn, who operated in New York in the mid-19th century.

And some of the things I looked up said they didn't start using that mark until 1856.

Huh.

It has really nice repoussé around the center.

Figural handles, has the floral finials.

People that collect this kind of thing want to see all those neat architectural details.

This was hand-chased, and they probably bought it retail when they were in New York.

Mm-hmm.

If we look at the marks up under here...

This middle one has their initials in it.

And then the other one is an arm with a hammer.

(chuckling): Right.

And I think this other one may have something to do with New York.

But this company was in business for a long time, and they had different iterations of makers.

Those spacers on the handle are probably ivory.

And that would only be a problem, subject to what the regulations were if you ever were to sell it.

Okay.

In a retail setting, this set would probably be $6,000.

All right, very good.

(chuckles) Well, my mother would be pleased to hear that.

(chuckles) Meant a lot to her.

Well, I-- it's supposed to be a 17th century, got a real long name, Buddha.

And I bought it about, oh, 12 years ago or so.

And this one was $85.

Got something inside, so it's supposed to be blessed.

Curious about what it's worth.

Uh, it's an old snare drum, which isn't really significant, I guess, but I guess it was signed by a local celebrity clown called Blinky the Clown back in 1985.

He was on TV, I think, locally for 40 years.

He owned an antique store here in Denver, so he signed it.

I think my mom got it from him, and we've had it ever since.

I don't play it, though.

GUEST: I have a print by Andy Warhol that was a birthday present to my Great Uncle Clint.

My uncle is from Abilene, Texas.

In 1951 or so, he went out to New York City, um, 'cause he was an artist.

Mm-hmm.

And he went out there to do window treatments for places at like Bonwit Teller.

And while he was doing that, he met Andy Warhol, and they became good friends.

The lore of my family is that my great uncle actually gave Andy his first job doing window treatments for Bonwit Teller... Mm-hmm.

(laughing): Cannot verify that.

I see, okay.

Andy Warhol gave this to my great uncle for his birthday.

And you can see in the top corner, it says "Happy Birthday, Clint."

And do you know about what year that, that would have been?

So I think it was in the mid-'50s.

Okay.

Uh, 'cause he-- my great uncle was out in, uh, New York between '51, and then came back around 1967.

And his full name was...?

Clint Hamilton.

And what kind of art?

You said he was also an artist.

Yes.

Did he-- what kind of art did he do?

He did collage.

It's been in my family since my great uncle had it.

He passed it down to my mom, um, who then gave it to me for my wedding in 2018.

We wanted to give it a nice frame to keep it safe.

Well, Andy Warhol was born in Pittsburgh, and he graduated from the Carnegie Institute of Technology, which is now Carnegie Mellon, in 1949.

Mm-hmm.

And then, of course, like many artists, moved to New York.

And so he was established there by 1950.

Mm-hmm.

And you're absolutely right that he got involved with window display.

Mm-hmm.

And it was at Bonwit Teller and also Tiffany.

He was also a freelance graphic artist.

Mm-hmm.

His first real claim to fame was for "Glamour" magazine.

Mm.

And he had to illustrate climbing the ladder to success.

(laughs) And so he used shoes as the symbol.

(gasps) Oh... And that actually was so successful that it was, uh, made into an eight-page spread in the magazine.

Oh.

And whoever the editor of the magazine was mistakenly changed his name from Warhola to Warhol.

Oh.

And he decided to keep Warhol from then on.

(laughs) He became really renowned by 1955... Mm-hmm.

...and around the early '50s, he started doing watercolors of shoes.

Mm.

In 1955, he decided to change his style a bit and become much more elaborate.

And he began producing works like the one you have.

Mm-hmm.

And this is actually not a print; it is an original work of art.

The outline of the shoe is pen and ink with gold leaf.

And then he's applied collage with an embossed foil.

So this is a series that he, he did, and they were very popular, and many of them were dedicated to various celebrities.

Hm...

So, for example, Zsa Zsa Gabor.

Oh...

He did an, an amazing one with all kinds of flourishes because of her jazzy personality and her elaborate clothing.

Yeah, yeah.

Uh, he even did one of a swashbuckler's boot for Elvis Presley... (laughs) ...that had sort of erotic undertones.

(laughs) So in 1956, there was a gallery called the Bodley Gallery, in New York.

Mm, mm-hmm.

And they did a show of these shoes in gold.

The show was called "Golden Slipper."

There were 40 of them in the, in the show.

We aren't sure, really, of all the works that were in it, and whether or not yours was is-is hard to say.

I judge that the-the date for this work is circa 1955 to '56.

One of the pieces was dedicated to Julie Andrews.

And so Julie was in "My Fair Lady" at the time.

Mm.

And so she and her husband came to the show.

The shoe that he chose to dedicate to her was more like a glass slipper... Uh-huh.

...or like something a princess-- princess would wear.

Yeah.

And when the shoes were there at the gallery, they were for sale... Mm-hmm.

...and the prices ranged from $50 to $225.

Mm-hmm.

Mm-hmm.

If this work were in a-a gallery, I think it would sell somewhere in the neighborhood of $125,000.

(laughing): Oh, my God.

Oh, my God!

Wow, that's incredible.

(laughing): Oh, my God!

(catching breath): Oh my God.

Wow.

For insurance purposes, I would, uh, feel that it should be appraised at $150,000.

Oh, my God.

Okay.

(laughs) Whew, okay.

The one that was dedicated to Julie Andrews was at auction in 2015.

It actually sold for $1.1 million.

(laughing): Oh, my God.

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

Today we brought, uh, my Mickey Mouse statue, which turns out to be a hood ornament from 1934, made in England; and, uh, an old violin, uh, which was from the Kmart of Germany, basically.

(laughs) So it's just an old copy.

And I'm, uh, glad to find out that our family stories are mostly true, except for the value.

I didn't think inside the box.

I didn't think outside the box.

I thought the box.

We learned that my rug that my ex-husband and his two sisters didn't want and threw out is worth $2,400.

And it's all mine.

I brought in my great-great- grandma's teapot and it was appraised at $2,000.

Really happy to be here.

(chuckles) And I found out that this coat, which we think was owned by the governor of Massachusetts and is from 1902, is worth $800.

And it was like getting a triple shot of espresso when Phil Weiss told me my coffee tin was worth $500 to $700.

Woo-hoo!

And we brought this metal sign from the Hillside Dairy, one of Pueblo, Colorado's oldest dairies.

It's a very nice sign.

I wonder who designed it.

(chuckling): Actually, I did in 1983.

Guess that makes me an antique.

Oh, boy.

We love PBS!

We love PBS!

PEÑA: Thanks for watching.

See you next time on "Antiques Roadshow."