Folk Art Cane, ca. 1890
GUEST:
Well, I brought a cane. I bought it online a few years ago. I'm not a cane collector, but when I saw all these fantastic creatures on it, I had to have it. I think there are 35 of 'em. They just jump right out at me. I just collect things that appeal to me and, uh, aren't terribly expensive.
APPRAISER:
The first thing I like to do when I evaluate a cane is to actually pick it up.
GUEST:
Okay.
APPRAISER:
And I do that because of the fact I like to feel the weight of it.
GUEST:
Uh-huh.
APPRAISER:
That tells me a lot about the cane. And this is very, very light. And it tells me that this is probably carved of white pine...
GUEST:
Okay.
APPRAISER:
...or possibly basswood. Both woods are indigenous to North America and both are easy to work.
GUEST:
Okay.
APPRAISER:
So it was, uh, the carver's wood of choice, uh, typically.
GUEST:
Okay, makes sense.
APPRAISER:
And let's take a look at this marvelous piece of art here. (chuckles) Starting with the top, where you have this wonderful, uh, crocodile or alligator.
GUEST:
Uh-huh.
APPRAISER:
You have rattlesnakes.
GUEST:
Mm-hmm.
APPRAISER:
You have several of these detailed horny toads.
GUEST:
Yeah.
APPRAISER:
All species that are indigenous to North America.
GUEST:
Mm-hmm.
APPRAISER:
And going down the cane, we see more snakes, more lizards. We have this wonderful spider here. There's negative space underneath the legs.
GUEST:
Right.
APPRAISER:
So he just didn't carve it as a lump on the piece of wood. He actually got under the legs and delineated each leg.
GUEST:
Right.
APPRAISER:
You go right down to the bottom, the metal ferrule...
GUEST:
Mm-hmm.
APPRAISER:
...is still intact, which would have been put on most canes to help protect the bottom so it wouldn't splinter. When we look at a cane like this, we try to identify it as part of a body of work.
GUEST:
Mm-hmm.
APPRAISER:
Because someone who made this cane clearly wasn't an amateur.
GUEST:
Right.
APPRAISER:
We don't know who the carver is.
GUEST:
(exhales)
APPRAISER:
That's the interesting thing.
GUEST:
You'd think that you wouldn't stop with just one.
APPRAISER:
He didn't, but I haven't seen one. He probably was working in the trades, possibly in a carving shop...
GUEST:
Mm-hmm.
APPRAISER:
...probably around 1890, 1900.
GUEST:
Mm-hmm.
APPRAISER:
It's very complex. You see these snakes, it really looks and feels like the snake is wrapped around the vines.
GUEST:
Ah, yeah.
APPRAISER:
Is engulfing the cane. We look at canes and we sometimes judge them as good, better, best.
GUEST:
Mm-hmm.
APPRAISER:
And I, I think, clearly, this falls into the best category.
GUEST:
Oh, wow.
APPRAISER:
Cane collectors, some of them like the idea that they're polychrome-painted.
GUEST:
Yes. Yeah.
APPRAISER:
And cane carvers, it's my theory...
GUEST:
Mm-hmm.
APPRAISER:
...my belief, that some of these carvers did not paint them intentionally.
GUEST:
Oh.
APPRAISER:
Because you had this thick lead paint back in the 19th century.
GUEST:
Yeah.
APPRAISER:
And all of this detail would just disappear.
GUEST:
Disappear, sure.
APPRAISER:
If it was painted. In terms of valuation, do you have any idea?
GUEST:
No. Um... I didn't pay a lot for it. And, uh...
APPRAISER:
What did you pay?
GUEST:
I paid $250 sh, plus shipping, I think. I noticed that it had horned toads.
APPRAISER:
Uh-huh.
GUEST:
And it had alligators. And the alligators are more Eastern, Gulf U.S.
APPRAISER:
Mm-hmm.
GUEST:
And horned toads are arid desert. And they meet in Louisiana. So I thought maybe it was a Louisiana cane.
APPRAISER:
It's hard to pinpoint it that way. Some of these are the experience of the carver.
GUEST:
Yeah.
APPRAISER:
Where he grew up, where he is now.
GUEST:
Could have migrated.
APPREAISER: Yeah, it's a combination sometimes. I think in today's market, a fair retail valuation for this would be $6,000 to $8,000.
GUEST:
(chortling) (chuckling): Oh, my God. I had absolutely no idea. Oh! Great. That's fantastic.
APPRAISER:
Yeah.
GUEST:
Thank you.
Appraisal Details
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