Family Pottery Collection Became A Massive Hidden Treasure | Antiques Roadshow

I brought three pieces of pottery. I remember them from my early days growing up in Cleveland, Ohio. And after my parents passed away, my siblings and I divided up the pottery, and we each got at least one moon pot, which I think is this form. And then I liked this bowl in the middle, and I just thought it went with it, and so I took it. Not many people have heard of a moon pot, or even know what one is. But Toshiko Takaizu was the artist who really brought the form into the spotlight. She believed her enclosed pots were deeply spiritual. Takaizu is a major figure not only in American ceramics, but in American art more broadly, and she's regarded as an abstract expressionist. Interestingly, she trained at the Cranbrook Institute under Major Grottel, one of the great ceramic artists of the 20th century, and later taught ceramic arts for decades at Princeton University. Now here are three different expressions of her work. One piece isn't clearly signed, but the other two are. This beautiful bowl especially shows how she blended colors. They're earthenware, probably dating from the mid-1960s to the mid-1970s. One carries the more typical T.T. incised on the bottom, while the middle piece has a less common painted T.T. for Toshiko Takaizu. Because the other piece lacks a mark, it may pay a little less. At auction and through gallery sales recently, auctions were selling Toshiko pieces like this one four years ago. This would be estimated for maybe $2,500 to $3,500. Now this is $6,000 to $9,000, $7,000 to $10,000 at auction. This pot here, even without a mark, I would have estimated this four or five years ago for $1,500 to $2,000. It's now a $4,000 to $6,000 piece. And this bowl, again, not what people necessarily look for when it comes to Toshiko's work. They're looking for moon pots and such, but the way this serves as a canvas for her use of color, her expressionist color, is fabulous. This is a great one. I love it. Normally bowls this size are in the $1,000 to $1,500 range. Conservatively, either $2,500 to $3,500, maybe $3,000 to $4,000, but I wouldn't be surprised if at auction that brought $5,000. It's just such a very good example. The three of them together are a beautiful presentation of all aspects of Toshiko's work. Thank you. I love them. Thank you. This was given to me by my father. He got it from his father, who was an antiques collector. I got it in 1993. It was appraised at that time at $200. $200? Okay. The butter tub was made simply for use in the kitchen. In those days, people either churned their own butter or purchased it from local farmers, and a pot like this was designed to hold large amounts of it. This example is by John Bell and likely dates from around the 1840s to the 1860s. Bell learned pottery in the German tradition from his father. Now what's especially notable here is the glaze. It's either a Bennington or Rockingham glaze, the kind often described as tortoise shell. The underlying clay body has a yellowish tone, and over that they applied this mottled, somewhat loose brown glaze. It was simply a way to make an everyday kitchen object a little decorative without making it expensive. Furthermore, most pieces like this didn't survive so well. They were used constantly, chipped, cracked, and the handles often broke off. But this one has come through in very good condition, and having the mark present really brings the value up a notch. If this were to be sold at auction, it would probably sell for between $3,000 and $5,000. I did not expect that. Wow, I'm shocked. This was my husband's grandparents. We don't exactly know a lot about it, other than there was a little piece of paper in it that said old. That's it. One of the earliest Rookwood series found in many of the best American museums was known as the Limoges, or Limoges-style line. It was introduced just three years after the company began in 1880 in Cincinnati, Ohio. Now Limoges itself is a city outside Paris that was a major center for porcelain production. French makers from that region were featured at the Centennial Exposition in Philadelphia in 1876. The women who would later start Rookwood Pottery would all have attended that exhibition and seen those works. What struck them was how French artists were interpreting Japanese aesthetics. Notably, that influence is clearly here. The decoration shows bamboo and swallows in flight, though at first glance they almost resemble bats, along with clouds that seem to form a soft veil across the surface. The piece is earthenware and carries the Rookwood Pottery mark, dated 1883. There may also be an artist's mark, most likely that of the founder, Maria Longworth Nichols. Its rarity makes it especially attractive to museums. A pre-auction estimate these days would probably be $1,000 to $1,500. Wow! I was thinking like $200 first. That's great! My son was five, which is longer ago than I want to admit, but about 25 years ago. I sent it to school with him for show-and-tell for kindergarten, along with another basket that I have. I was a little careless with it, and it wasn't until a few years later that I learned it had some value. At first glance, this may look like just another pretty pot, but there's more going on here. One of the most important features is that it's black-on-black pottery. That glossy, gunmetal-like finish is characteristic of a style produced in San Ildefonso Pueblo, and it's a tradition that continues even today. Because of the finish, pieces like this were never really meant to hold water or plants for long, since moisture can eventually cause the surface to flake or peel. Now this particular pot carries a signature that reads MARIE. Maria Martinez, whose name was sometimes spelled MARIA, often signed her work MARIE during her earlier period, before later using MARIA more consistently. She was probably the most famous potter from the San Ildefonso Pueblo, and her work today is both highly sought-after and widely collected. On top of that, the signature here is in very good condition, which makes a meaningful difference. Having that clear signature really pushes the value up. By perhaps a lesser-known artist would be in that range. However, with Maria's work, you could expect to probably triple that. This pot should be worth about $3,000 today on the market. That's nice. I got it from my mom. This was something that I'd always admired and wanted, and so I've asked her about the history, and she and my dad had received it from family friends in either the 1940s or the 1950s. She knew that it was a Rookwood vase, but beyond that, she didn't really know anything. Rookwood Pottery is one of the most important manufacturers of art pottery in America. The company began in the 1880s in Cincinnati, Ohio, producing many pieces that were individually hand-painted by artists. Now what makes this example so appealing are the wonderful fish decorating the surface, painted against a sea-green background. The glazes and colors are streaked in a way that makes the fish appear as though they're actually swimming underwater. In addition, the marks on the bottom are classic Rookwood. First, there's the standard mark, the initials RP, with one letter reversed and one forward standing for Rookwood Pottery. Surrounding that are flames, which help date pieces up to 1900. Beneath it is the letter V, indicating the year 1905, along with a factory number. Another important mark reads VELUM, referring to the glaze used here. Finally, there's the decorator's mark for Albert Valentine, who at times signed Valentine, and later Valentin. Many VELUM glaze vases were made, but this larger example tends to bring more money. This piece at auction would probably sell for at least $5,000 to $7,500, and possibly even more. Oh, wow. I got them from an antique dealer 50 years ago, or my mother did. I'd gone to this dealer to buy cups and saucers for my mother at her birthday or Christmas or something. And she had this set, and she wouldn't sell it. And finally, she called my mother in 51 and said she was ready to part with it. And then my mother gave it to us for Christmas the following year. My mother paid $100 for it. This coffee pot was made at the Corley factory in England in the late 1700s. If you look at the mark underneath, you'll see the term CELOPIANWARE. CELOPIAN simply means from the county of Shropshire, an English county in the middle of the country that was also known as Sallop. Interestingly, although the factory is spelled C-A-U-G-H-L-E-Y, some people pronounce it Corley, but the correct pronunciation is Coffley. And these sets were designed not only for play, but also to teach young girls proper behavior like how to care for china and porcelain, how to set and serve a table, and similar household skills. They remained in fairly common use for quite a long time, arguably right up until the Second World War. Visually, the decoration is hand-painted in a Chinese style. The set also includes a trio, a saucer shared by both a tea bowl and a coffee cup. Eighteenth-century English porcelain in general is quite rare, so the value here is very good. For insurance valuation, this little group would be valued up to $3,000. Wow. Interesting. It belonged to my parents. My father was an art collector, mostly paintings, but then later on he became interested in ceramics, sculpture, and other mediums. I think he met Henry Barnum Poore somewhere, and some of the artists he collected were friends of his. They may have introduced him, they may have known him, they may have helped him make the connection. Henry Barnum Poore actually built his own house in 1920, literally with his own hands. He also fought in World War I, worked within the arts and crafts tradition until his death in 1970, and was not only a potter, but also an architect and a writer. Now this particular piece is signed and dated 1957, placing it roughly in the middle of his career. Visually, it has an effect that's almost like enamel over a yellow background. The glazing technique is closer to a faience style, with a lighter colored ground that sets off the decoration. The artwork itself is loosely contained within incised lines, cut into the surface of the plate. Historically, Poore produced utilitarian wares like cups, saucers, bowls, and plates, rather than many vases. That makes pieces like this somewhat unusual. There is some flat chipping around the edges, which is typical of low-fire ware. Recently, three important pieces of his were accepted by the Metropolitan Museum of Art, bringing renewed recognition to him as a potter. If I were to see it at auction today, I would expect to see an estimate of at least $2,500 to $3,500, and probably $3,000 to $4,000, even with the damage. Oh my gosh, well I'm thrilled, I'm absolutely thrilled. I inherited both vases from my parents. My father was born in Hungary. He and his family were forced to leave because of the Nazis. Zolnay, pronounced Sol-nay, is a Hungarian company based in the city of Pecs, and it's central to understanding these two pieces. The blue vase carries a raised mark, which the company stopped using around 1920. You can also see a small castle emblem with the words Zizolnay Pecs. In addition, there's an impressed number, 5650, which is a form number used between 1898 and 1900. Furthermore, the red vase has a similar mark, though in this case it's flat. It also carries an impressed number that appears to read 3939, dating it to somewhere between 1891 and 1895. Now the Zolnay company began around 1853, and by the 1890s they were experimenting with new colors and glazes. Visually, this red example shows a decoration known as crystalline glaze, a relatively new technological innovation at the time. The raised gilding along the rim is also a costly technique, and the design shows a hint of Egyptian influence, while the blue vase reflects an Islamic-inspired English design. So together we're looking at between $5,000 and $8,000. Wow, that exceeds my expectations greatly. You brought us some really lovely examples by Beatrice Wood. My grandmother was very close with Beto. She corresponded with Beto on a regular basis. Beato was the nickname used by Beatrice Wood. She came from a very wealthy family that had largely planned out the course of her life, but she was a free spirit and chose instead to pursue art and pottery as a way of expressing herself. All three of these pieces are signed, and she typically signed her work, Beato, for Beatrice Wood. None of them, however, carry dates. Now a piece thrown like this bowl, with its volcanic glaze, generally dates somewhere from the 1970s through the 1990s. And the other example likely falls within that same period. The self-portrait decorations, though, relate to a series she was producing in the 1960s. This bowl is also a particularly nice, large example for her work. The glaze has wonderful texture, the color is strong, and it fired beautifully. Altogether, it makes for a really striking, large bowl. And both the scale and the self-portrait imagery tend to push the value higher. So I would put a pre-auction estimate of $3,000 to $4,000. Wonderful. This is a really lovely bowl, and it's kind of a large bowl, so perhaps $2,500 to $3,500. Her works on paper are not as much in demand. A self-portrait like this, most likely in the $700 to $900 range. Okay. Okay? Wow, wonderful. My grandmother worked for the SEGs, the Saturday Evening Girls. That was a group of young immigrant women, and she was one of them. She emigrated from Lithuania when she was about 10 at the turn of the century. And she had these pots and many, many others that I have at home. The SEGs, or Saturday Evening Girls, were a group of young immigrant women who became known for decorating pottery. One member worked at Paul Revere Pottery, producing pieces like these. Examples often lack individual artist initials. Instead, the base shows a circular black ink mark of Paul Revere on horseback. Around 1925, the marking system shifted from SEG to Paul Revere, and die-stamped versions appeared. Some pieces retain original labels and price tags, though this one only has the black stamp, partially obscured by the glaze. It likely dates from 1925 to 1930. Now the other piece resembles English pottery from 1880 to 1890, with pre-Raphaelite and Romantic imagery. But the style, while using green and black glazes, differs from Paul Revere. It appears hand-thrown, unlike the cast SEG piece, and features a necreous, iridescent finish with carved or built-up decoration. Its handmade design and rarity make it highly appealing to collectors. This style may originate from Belgium or Germany between World War I and World War II. So I would say at auction, I would estimate this piece for between $5,000 and $7,000. And I think also at auction, I would have to say the same, $5,000 to $7,000. It's not what people look for, but if this had a landscape design going around it, which is what they're known for, this would be maybe a six-figure piece. Yeah. Well, that's great. That's amazing. These are things I just played with, so. We don't get to see many Rosenberg vases here, so please tell me about how you got it. My mother and I were visiting in England. A friend of mine invited us to his mother's home for tea. The mothers hit it off. We were shown around. My mother admired this, and as we left, it was given to her. One of the world's greatest porcelain companies crafted this piece in the Netherlands. It includes both lower and higher fired porcelain, tracing its origins back to the 16th century or earlier. By the end of the 19th century, much of what we associate with Delft was evolving, moving away from traditional blue and white toward the flowing forms of Art Nouveau. Notably, this piece reflects that shift and has a distinctly French feel. It is finely executed, delicate in every detail. Rosenberg produced several series, but this particular line is in eggshell porcelain. The painting shows clear Asian Art Nouveau influences and features two perfectly complementary sides, one with a beautifully rendered bird and the other with a chrysanthemum. Now Rosenberg opened around 1883 and produced these pieces until 1913, alongside other lines. But this is the series for which they are best remembered. It is marked with both the Rosenberg name and Den Haag, referencing the Hague. And this line was overseen by Samuel Schellink. At auction, I would estimate this at $2,000 to $3,000. Hmm. Surprised, really surprised. I haven't really given it much thought at all. They belong to my grandmother and my father gave them to me. Do you like these pieces? I do. I love them. I love the turtle and I love the frog. They're really colorful and very interesting. Yes, they are. And they were on my grandmother's mantle ever since I was a little girl, I can remember. Both these pieces were made by Union Porcelain Works in New York. They both date from approximately 1879, which makes them early in the production of porcelain in the United States. There are examples just like these that are white, only porcelain body. Now both of these are polychromed, which makes them special. One of the people most responsible for creating these pieces was Karl Müller, who was a German, well trained in Germany as a sculptor, and he is the man who is given credit for making these pieces. Visually, both of these guys are leaning on a pitcher plant, which is an unusual thing that apparently grew in the area of Union Porcelain Works. The marks on the bottom are just the UPW for Union Porcelain Works in black slip. And Mr. Turtle has a little more elaborate mark, which simply says Union Porcelain Works, Greenpoint, New York. The fact that both of these are polychromed, and they're a very early part of American porcelain history, makes them very valuable. I would say, in an auction setting, Mr. Frog would probably bring somewhere between $1,000 and $1,500. The Turtle, more, maybe in the $1,200 to $1,500 to $2,000 range. So they're very special, and they're very nice. Wow. You still like them? I love them. I really do love them. And I keep them and remember my grandma. Well, it's been in the cabinet for many years, and my mother didn't know a whole lot about it once she passed it on to me. And her mother always told her that it was great-great-grandmothers, all passed down through the years in her family. Mocha ware is a style of decorating earthenware that dates back to the 1790s, and continued until around the time Queen Victoria came to the throne in the late 1830s. It was particularly popular in the United States, and it still holds appeal for collectors of American folk art, which is why it has been widely reproduced. More importantly, this example is made of a material called creamware, and you can see its natural cream-colored body even through the staining. The decoration is created with colored slip, which is essentially clay in a liquid suspension. By applying this liquid clay to the surface and combing it, artisans could achieve a marbleized effect. Early on, this technique was sometimes called surface agateware, as it was intended to mimic the rich veining of agate. This piece likely dates to around 1800. While the staining and coloration can be carefully restored, its overall condition is quite good, which helps preserve its historical and collectible significance. It's going to bring, we think, at least $4,000. Oh, my goodness. And maybe as much as $6,000. Goodness gracious, my mother will be shocked. She may be wanting to take it back. This plate was given to my husband's great-grandfather, Charles Jenkinson, which is written here, by the Dutch government prior to World War I. He left New York with a thousand sewing machines to bring to Holland for the Belgium refugees at that time. Not many Gouda pieces feature a landscape or scenic view like this one, and the story behind it is quite remarkable. Charles Jenkinson received this plate as a gift from the Dutch government, in gratitude for bringing 1,000 sewing machines from New York to Holland for Belgian refugees before World War I. Visually, the plate shows his journey and the war itself, depicting bombs, buildings on fire, refugees likely crossing through Holland, and the ship departing New York Harbor with the Statue of Liberty. Every detail is hand-painted, and the piece was crafted in Holland by Gouda. Typically, Gouda is known for floral vases, with stylized flowers in bright, cheerful colors. This plate represents a departure from that tradition, a shift from the high-gloss styles produced by factories such as Plateau Baccarat Zuid Holland, PZH. Its storytelling, fine painting, and Gouda-style craftsmanship make it a truly one-of-a-kind piece. It's anybody's guess, but I would have to say somewhere between $4,000 and $6,000 for this plate, which would be a world record for any piece of hada that I know of. And that, I don't know what this is worth, it's just so good, I'm almost speechless about it, so congratulations. My neighbor gave it to me as a gift, and I knew nothing about it, and she didn't either, really. It came from a family member of hers down in Florida. She got it about 40 years ago and passed it along to me. This particular style is called sungwear, made in China between 1920 and 1940. It is beautifully enamel-decorated, with flambé colors skillfully blended alongside the various enamel hues. What makes it truly significant, however, is both who made it and who decorated it. Now the piece bears a Royal Dalton mark, indicating it was produced by the Royal Dalton manufacturer in England, and it is also signed N.O.K.E. for Charles Noak, the chief designer at Dalton. Noak worked from around 1899 until his death in 1941, establishing many of the premier wares produced by Dalton from 1900 to about 1940. Interestingly, the unusual glaze on the reverse features a rich mix of greens and blues, a technique he perfected with the red flambé color showing through even at the base. These marks and stylistic details firmly date the piece to between 1920 and 1940. Its excellent condition makes it highly collectible today. And at auction, I would expect it to sell in the range of $3,000 to $5,000. Oh, my. Oh, well, I'll have to tell my friend. She may want it back. Why did you start collecting art pottery? My doctor told me to get a hobby. How long have you been collecting pottery? About 10 years. You told me you came across these in an unusual fashion. I'm in the roughing business. A gentleman hired a bed and breakfast near where I live, so I told him I'd do his roof for $12,000. These are Rookwood pieces, all made in Cincinnati, Ohio, representing three distinctly different categories of Rookwood pottery. The largest piece is a production item, featuring rings around the exterior that give the impression of being hand-thrown, though it was actually molded. The base carries the standard Rookwood mark with no artist's signature. It's a regular production piece with some embossed decoration from the mold, and it's very attractive. Next, we have an early standard lace piece, artist-signed on the bottom by Edith Felton. Dating to around 1899, it features Rookwood's standard brown glaze, with underglaze slip decoration of clover blossoms and leaves. Finally, the most exceptional piece dates to 1901, around the same time as the brown glazed piece, and is by Amelia B. Sprague. This belongs to a rare line called painted matte, a technique popular among arts and crafts potteries influenced by Rookwood. Bisque fired first, decorated, then overglaze applied, and fired a third time, it produces rich, soft, flowing lines of decoration. This example features berries and mistletoe leaves, giving a good, better, best progression among these pieces. This production vase, which is taller than most, if you were to find it at auction or The standard lace piece, top auction estimate would be about $350 to $450, maybe some of them would say $500, but that's about as far as anybody would estimate that. But this sweet pot here, which is smaller than that one, and in some ways not as showy, a reasonable auction estimate would be $2,500 to $3,500, and maybe as much as $3,000 to $4,000. It's that lovely. Great. My mom gave this, what is now a vase, it used to be a lamp to me. It was my great-grandmother's, and she had it in her house as a lamp for many, many years, and when she went to the retirement home, my mom got to pick it out and brought it home with her. A couple years ago, she got two young boy cats, and they were playing in the house, and she came home, and it was knocked off, and it had broken the lampshade, but luckily the vase was completely intact. And a friend of ours had come into the house that works at UTC in the art department and had said, that's a Newcomb Pottery vase, I think you need to get it checked out and see what it is. Leona Nicholson created this vase at Newcomb College Pottery, and her mark appears alongside the Newcomb College mark. Historically, Newcomb College was founded in 1886 in New Orleans, and was the first coordinate women's college in the United States. She was a student at Newcomb College in 1896 and 1897, then studied at the New York State Ceramic School at Alfred University, before returning to Newcomb College from around 1908 into the late 1920s. Now this vase would have been made around 1908. It is an example of what are known as late glossy or carved glossy pieces, and embodies everything collectors look for in a Newcomb College work. It is glossy, carved, tall, and features orange, which is a particularly rare color, along with beautifully stylized trees. Interestingly, there is a hole in the base because it was converted into a lamp at some point, and that alteration actually affects its value, despite the vase's striking design and craftsmanship. It's still worth, at auction, some $30,000 to $40,000. Really? In this condition. This is a denim test glaze vase. My mother's aunt's maiden name is Robinson, and she is the granddaughter of the founder of Robinson Denim Pottery. This denim test glazed vase is an example of the celebrated Denim Pottery, produced from 1896 to 1943 in Denim, Massachusetts. Founded by Hugh Cornwell Robertson as a successor to his earlier Chelsea Ceramic artworks, the pottery became a defining presence in the American arts and crafts movement. Denim Pottery is renowned for its high fire stoneware with a distinctive crackle glaze, often enhanced with hand-painted cobalt blue underglaze decoration. Its designs feature a variety of motifs, including rabbits, turkeys, ducks, and decorative borders, with the iconic crouching rabbit among the most recognized. Now, after the original firm faced financial difficulties, Robertson perfected an intentional crackle effect, highlighted with lamp black, and developed the rare oxblood red glaze, Sang de Boeuf. Authentic denim pieces typically carry a blue stamp, sometimes a rabbit within a square, or simply denim pottery, and works with unique border patterns or artist signatures, such as Maud Davenport's, are highly sought after. It's at auction today. It's about $1,000 to $1,500. Oh, fantastic. That's wonderful. My mom and dad will be thrilled. We call it the ugly thing, or the ugly vase. I bought it about 15 years ago. I'm never sure if it's a pregnant woman, if she's getting to topple over. It's a weird little piece. I liked it when I saw it. It comes from a Dutch dealer. And do you remember how much you paid? Yes, $580. Few vases look as unusual as this one. It's a strikingly modernist and delightfully bizarre piece, featuring animal, bird, and female figural motifs, all combined in a single glazed ceramic work by the renowned artist Jean Cocteau. His close friend, Picasso, had ventured into ceramics after visiting a pottery in Valaries in 1947, captivated by their process and producing pieces in additions. Interestingly, while Picasso created over 600 forms, Cocteau, beginning in 1957, produced around 300 until his death in the 1960s. This vase, likely from that era, exemplifies playful modernist design, often seen on plates but rare in three-dimensional pieces. The horns fit perfectly, and the base reads, Original Edition from Jean Cocteau, Studio Madeleine Jolly, 6 of 10. Furthermore, this particular edition is exceptionally rare, especially compared to Picasso's larger runs, where Cocteau created prototypes that were then reproduced. Prints and editions like these are very much in vogue nowadays. We were to put this at auction, though it is an edition, easily we would put this in at $10,000 to $15,000. Sorry, that's fun for an ugly vase. Perfect. I was working on a consulting project in Toronto, Canada, about 10 years ago. My wife was antiquing while I was working, and she found these and invited me to come see them. For someone to assume these are German, it actually makes perfect sense. The design, with its tiny white flowers completely covering the surface, is called Schneeball, which literally means snowball. But it doesn't just refer to winter snow. It's also the name of a flower, a large puffy bloom made up of many small white flowers. Now this decoration was first developed by Meissen Porcelain in the 18th century. These vases are wonderful, featuring applied flowers across the top, along with branches, birds and various fruits. The lids lift off, so they could even hold flowers. They're actually French-made, most likely in or around Paris. In addition, porcelains from that region are known as Paris porcelain, or old Paris porcelain, and many are difficult to attribute because markings are inconsistent. These, though, bear a somewhat messy blue mark. They're very much in the style of Jacob Petit, or similar to Helena Wolfson's work, and likely date from the 1860s or 1870s. The snowball decoration really enhances their charm. My guess is that a retail value of this pair of vases would be somewhere between $3,000 and $5,000. Wow. Fabulous. It's been in our family since about 1970. We bought it in Rhode Island. Didn't even realize it was a Picasso until about five years ago. I have to admit that it hung over the stove in the kitchen, and all of our kids love the smiley face. The official name of this piece is Face in an Oval. Picasso created many of these special editions for the Madura studio in the south of France, producing 633 different objects that were adapted into limited editions. Some were jugs, some figures, and others dishes of various shapes. Now this particular dish shows a bit of enamel loss, which is common on pieces with high relief, but overall it remains in remarkable condition. It's important to note that this edition was made in 1955 with 100 planned pieces, and this is number 23 of 100. Even so, there's no certainty that the full 100 were actually produced. The base bears the Madura name, and crucially, it comes from an original print by Picasso himself. Historically, Picasso maintained his collaboration with the Madura studio for about 24 years, which gives a sense of the sheer volume of work produced there. Today, Picasso's ceramics are highly sought after, reflecting both his creative range and the lasting appeal of these unique studio editions. Would you be surprised that an auction value in today's market probably on the conservative side would be in the range of $10,000 to $15,000? I love you too. That's fabulous.