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GUEST: I like to yard-sale, 
but I get a lot of grief from 
my sons all the time, so I've

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been trying to, like, not 
do it as often, but I saw a 
sign, and I stopped, and I saw

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these, and I liked them.

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APPRAISER: Okay.

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GUEST: And the price was right.

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APPRAISER: Can I ask 
what you paid for them?

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GUEST: For all of them, $25.

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APPRAISER: How long ago?

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GUEST: Just a few months ago.

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APPRAISER: Really? When 
you came in, you had 
these all in a folder.

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GUEST: That I bought last night.

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APPRAISER: That you bought 
last night. Probably for 
almost the same amount.

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GUEST: Yeah, yeah, it was 
$20 for the folder, yeah.

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APPRAISER: And the top 
one was this one up here.

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GUEST: Yes. I really 
liked it, and I'm familiar 
with the artist, but I 
wasn't sure if it was

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real or not.

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APPRAISER: And it's signed 
"Edward Hopper" underneath.

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GUEST: Yes.

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APPRAISER: So then, I flipped 
the page in the book, and 
this piece showed up. This is

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by Kenneth Hayes Miller, who 
is, was, in his day, a very 
important artist and instructor,

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but isn't somebody who's really 
withstood the test of time. 
But what's interesting about

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seeing these two together is, 
the Hopper was in a portfolio 
called "Six American Etchings:

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The 'New Republic' Portfolio." 
That was published in 1924. This 
was also in that same portfolio.

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GUEST: Oh.

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APPRAISER: So just by having 
found the two together, that 
strengthens the provenance

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even more.

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GUEST: Oh, okay.

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APPRAISER: To tell me, "This 
looks very good." Also in that 
same portfolio of six prints

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was a John Marin print, 
an Ernest Haskell print...

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GUEST: Ah!

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APPRAISER: And a 
Peggy Bacon print.

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GUEST: And I left one behind.

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APPRAISER: And that 
was by John Sloan?

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GUEST: I don't know. Because 
I didn't have enough money-- 
I only had, like, $25, so I

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left one behind.

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APPRAISER: Oh, no!

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GUEST: (laughing) And 
I just took the one 
that I didn't-- yeah.

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APPRAISER: So that was 
probably a print by John Sloan 
called "The Bandits Cave."

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GUEST: Okay.

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APPRAISER: So the fact 
that you have all these 
together is wonderful 
proof that this is indeed

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what it purports to 
be. The Hayes Miller, 
also pencil-signed, 
also an etching, lovely

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print, not in terrific 
condition. Realistically, 
were you to sell this 
at auction, you might

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expect it to bring 
about $80 to $120.

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GUEST: Okay.

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APPRAISER: Not a 
tremendous amount.

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GUEST: Yeah.

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APPRAISER: The Ernest Haskell, 
also signed, called "Sentinels 
of North Creek," another

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lovely etching, but again, not 
very important. $200, $300. 
Peggy Bacon, a fairly unusual

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female artist. This is a 
more important print. It's 
called "Promenade Deck." 
At auction currently,

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you're probably looking 
about $500 to $700 for it.

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GUEST: Okay.

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APPRAISER: The John Marin is 
interesting. When the portfolio 
first came out, it included

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this John Marin print, 
which is called "Brooklyn 
Bridge Six Swaying."

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GUEST: Okay.

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APPRAISER: After just a few 
of the edition was published, 
he changed out that print for

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another print called "Downtown, 
The El." This is the more 
rare and desirable print.

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GUEST: Oh.

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APPRAISER: So this is 
a fantastic etching, 
and it's in lovely 
condition. So at auction,

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for the John Marin, 
you're looking about 
$15,000 to $25,000.

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GUEST: Oh, my God. Oh, my 
God! I'm glad I didn't leave 
that one behind. (laughs)

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APPRAISER: The Hopper is 
possibly one of his best-known 
prints. And at auction, you're

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looking $30,000 to $50,000.

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GUEST: Crazy. Absolutely crazy.

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APPRAISER: Are your kids going 
to give you grief after this?

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GUEST: No, they better not. 
(both laugh) They better not. 
No, not at all, they better not.

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APPRAISER: The one you left 
behind, the John Sloan, 
$500 to $700 at auction.