MIKE: I love freestyling in Pennsylvania, man.
I swear, it’s the best.

FRANK: Just… there’s so much old stuff.

MIKE: It is the best.
Pennsylvania is a backroads treasure trove.
This is my favourite state, and always has been, to freestyle.

FRANK: This is a cool town.

MIKE: That’s got to be what he’s talking about right there.

FRANK: Yeah, it’s got the porch, it’s got a lot of knick-knacks on the front.
“Please go away.”
I don’t like that sign.

MIKE: Please go away…

FRANK: [laughs]

MIKE: Well, hey man, we can say Bruce sent us over here.

FRANK: Yeah.

MIKE: When you’re freestyling, you never know what you’re going to come across on somebody’s property.

FRANK: I’m getting a fresh flyer.

MIKE: Get the fresh…

FRANK: Super fresh.

MIKE: Hopefully, we’re going to have a handshake and not a shotgun in our face.

MIKE: What did Bruce say their names were?

FRANK: He didn’t.

MIKE: Hey, hey!
How’re you doing?

ANDOR: Hello, what can I…

MIKE: You know a guy named Bruce over here?

ANDOR: Yes, I do.

MIKE: Right downhill on the other side?
Hey, I’m Mike, this is Frank.

FRANK: How’re you doing?

ANDOR: Hello, Mike and Frank.

MIKE: We stopped by Bruce’s because we’re looking for old advertising, any kind of old antiques.
I mean, we have a list of stuff down here that we’d like to show you.
He said you have the market nailed around here on antiques.

ANDOR: Well…

JAY: Well, why don’t we come down and look at your list?

MIKE: Okay.
Yeah, we’d appreciate it.

JAY: We’ll be right down.

FRANK: There’s gotta be a reason that guy sent us up here.
I mean, look at this stuff here, look at the front of that door.
We pull up to this place, it’s got a huge door on it, you can tell it’s custom made, it’s old.
Looks like it’s made in Transylvania or something, you know, but it’s a really killer piece.
And if that’s what’s outside, who knows what they got inside.

MIKE: Nice to meet you, Jay.
So Bruce said that you guys have been collecting for a while.

JAY: Yes.

ANDOR: A long time.
I collected her, for example.

MIKE: [laughs]
How long have you guys been together?

JAY: We’ve been together 18 years.

MIKE: Life is all about timing.
And Jay and Andor have actually talked about downsizing, getting rid of a few things, which is perfect for Frank and I.
There are lots and lots and lots of things here.

MIKE: Oh my gosh.

FRANK: Whoa!

MIKE: So yeah, you guys do have a lot of stuff in here.

FRANK: Packed in here.
It’s packed!

This is just the kind of place we want to be.
There’s smalls, there’s all kinds of stuff.

FRANK: Is the bus something you would sell?

JAY: Yes, I would.

FRANK: What are you thinking on that?

JAY: I really have to think, and I don’t want anybody to break my heart by saying a very little bit.

FRANK: Okay.

MIKE: [laughs]

FRANK: Would you mind if I got up there and…

JAY: I don’t mind at all.

FRANK: Okay.

JAY: I want people to crawl.
I want people to get down on their stomachs.
I want people to reach up on ladders.

FRANK: It’s missing the back door.

JAY: Um-hm.

FRANK: You know it’s been scrunched up a little bit here.

JAY: Yeah, well…

FRANK: You know, this thing looks like it’s out of the ’50s.
It’s got a little futuristic look to it.
It’s a big piece.

JAY: It’s not a toy.
It’s a work of art.
It’s a spiritual piece.
That truck is bound for badness.
That is an evil truck.

FRANK: Truck is bound for badness?

JAY: Yes, it really is.
The evil implicit in it.

FRANK: So do you think that since you bought it in New Orleans, that’s the…
It’s spiritual because of the place?

JAY: Oh, absolutely not.
No.
I bought a bunch of stuff in that place.
It was like a Suzie Cream Cheese place.
And there was this evil thing, balefully in the corner, looking out at you.

FRANK: Out at you, boy.
It was just staring at you with sinister eyes?

JAY: Yeah.
That’s an art object.
First of all, the aerodynamic shape gives it motion.
But the colours and the patina, it just seemed like a bus that was bound for nowhere.
Nowhere good.

FRANK: You know, I’ve never had anybody describe a vehicle, especially a bus, as being evil.
Jay sees it a little bit different than I do.
I see it as a vintage toy.
She sees it as an evil art sculpture.

FRANK: How about $350?

JAY: Yes.

MIKE: Damn, Frank!

ANDOR: You didn’t break her heart.
Isn’t that nice?

FRANK: I don’t mind paying up for this one.
‘Cause these buses are rare.
And ones with evil spirits are even rarer.

MIKE: Whoa… that’s great.

MIKE: As we walk up the staircase and through the halls, it’s like a scrapbook snapshot of their lives.

MIKE: This is your Martin Luther King painting?

ANDOR: Yes.

MIKE: With Gandhi?

ANDOR: I did it for Clarion University.

MIKE: As you’re walking through the halls, you can’t help but notice all the famous people in these photographs.

MIKE: You have JFK, man.
That’s a great shot.

JAY: Yeah, isn’t that great?
Did you see the proof sheets on that?

MIKE: No…

JAY: Yeah.

MIKE: Wow.

MIKE: Jay explains to us that her ex-husband was a famous photographer named Robert Adelman.

JAY: He was taking the cover picture for Life.

MIKE: That was for the cover of Life?

JAY: Yeah.
After Kennedy was elected.

MIKE: Tell me about these pieces, the Warhol ones.

JAY: They’re all for sale.

MIKE: They’re all for sale…

JAY: I just have to find out what they’re worth.

MIKE: The value of them?

JAY: Yeah.

MIKE: And who shot these?

JAY: They’re all Robert Adelman.

MIKE: Your ex-husband shot all of these?

JAY: Yes, he did and gave them to me.
He knew Andy Warhol long before he knew me.
He would go to the Factory.
Andy would just let him roam around there.
He has pictures from that Factory that were absolutely unbelievable.

MIKE: Can I snap some photographs of these Warhols?

JAY: Of course you may.

MIKE: So what I want to do is send those to Danielle, let her know who the photographer was, give her the back story, and let her do the research.

MIKE: Dani, can you hear me?

DANIELLE: Yeah, I can hear you.

MIKE: Alright, I got like one bar.
Did you get the photographs?

DANIELLE: Yeah, they’re super cool.

MIKE: Did you find any information on them?

DANIELLE: I made a few calls to some galleries, so I was able to collect a little bit of information for you.
You see the measurements written on some of the prints?

MIKE: Yeah.

DANIELLE: That tells me the photos were printed around the same time as the negatives were developed.
So these would be some of the first original prints.

DANIELLE: There’s a stamp on the back of the photo proving it’s the work of Robert Adelman.
That gives the whole thing provenance.

MIKE: Okay.
What else did you learn?

DANIELLE: These shots weren’t really widely seen.
They were in a couple of exhibitions, but never published in a magazine.
So they’re pretty special.

DANIELLE: For all of the pictures except the one in the supermarket, they’re in the range of $5,500 to $6,500.

MIKE: Each?

DANIELLE: Each.

MIKE: Wow.

DANIELLE: The one with Andy Warhol and the shopping cart is about $7,500.

MIKE: Wow.

DANIELLE: The subject matter alone — Brillo pads, Campbell’s soup cans — it’s iconic.

MIKE: So now that we know the retail price, what we have to determine is what she’ll sell them for.

JAY: This is one I personally dislike.

FRANK: Because of the girl?

JAY: Yes.
Edie Sedgwick.
I don’t like having a picture of a beautiful young woman who died tragically in my home.

MIKE: How about $4,000 for this one?

JAY: I’d say $5,000.

MIKE: I’ll do $5,000 if you write me a letter stating it was a gift from Robert Adelman.

JAY: I’ll be happy to do that.

MIKE: I want the letter to cement the documentation when we sell it.

FRANK: Later, Sneezy!

JAY: This has been so much fun!

ANDOR: They knew their business.
They were fair, knowledgeable people.

JAY: And fun!

MIKE: Andor and Jay are probably one of the most interesting couples we’ve ever picked.
Certainly the most eccentric.

[honks horn]

MIKE: See you guys!

JAY: Bye! Bye!