(phone ringing tone)
MIKE: Dani D, what’s up?
DANIELLE: Well, good morning, how are you doing?
MIKE: I’m feeling really good, I’m going to Pat Regis’s!
MIKE: I’ll come up to 52.
PAT: I’m not going to go any less than 55.
MIKE: Pat is not budging. 55K is his number.
MIKE: I’m tapping out. PAT: Okay.
MIKE: Woo!
MIKE: This is the most money
I’ve ever spent on anything.
(laughing hysterically)
MIKE: The third time.
DANIELLE: Yeah, this is the third time,
this is the Pat Regis trifecta.
The pick’s so nice, we picked it thrice.
MIKE: I bought a Royal Pioneer,
and then we bought a killer cycle car, and now...
DANIELLE: Somehow this man has even more of a collection
for us to explore. But now he has a whole new property
and it’s in a stromboli factory.
(laughing) MIKE: What?! How does that work?
DANIELLE: Well, I mean, you’re about to find out.
MIKE: Did he say what he’s got? DANIELLE: I don’t know, you know how Pat is.
He could have the Ark of the Covenant next to a 1913 Harley.
But listen, take a breath, relax, don’t get junk drunk.
MIKE: In through the nose... (breathes in)
(deep breath) MIKE: Out through the mouth.
Calm myself.
DANIELLE: Serenity now.
(exhales)
MIKE: Pat Regis has been a friend and a mentor for a number of years.
MIKE: Alright, here we are. (honks horn)
MIKE: But he’s also a leading authority when it comes
to pre-1915 American motorcycles.
MIKE: Hey-hey! PAT: Hey. How--
MIKE: There it is! (laughs)
PAT: Oh, I know, I know.
PAT: I collect a lot of stuff,
and I’m all over the board and sometimes I wonder about that.
MIKE: Why this place? How’d you end up in a stromboli factory?
PAT: The place where the cycle car came from...
I sold that house, and I had to unload it.
MIKE: And you’re like, I got a friend that’s got
a stromboli factory. PAT: Yes, that’s how,
that’s why we’re here.
PAT: I probably need professional help.
(laughs)
MIKE: Alright, where do you want to start? What’s going on?
PAT: I’ll tell you what, we got this, this, a bunch of stuff inside.
MIKE: Oh, you got this here? Oh...
MIKE: Oh my God! (laughs)
PAT: At this stage of my life, the reason I’m selling...
(laughs) ...is I think I need to get
rid of some of this stuff.
MIKE: This looks priceless. PAT: Oh no...
MIKE: Where did you get that at? What are you saving that for?
PAT: I don’t know. You want it? MIKE: No, I don’t want it!
(laughs) MIKE: This is a toilet tank.
PAT: That’s from my mom and dad’s house, but--
MIKE: Okay, okay. PAT: It’s a five-gallon tank,
and they don’t make them anymore.
MIKE: And you can’t get-- So you want the power flush.
(Pat making flushing noise)
MIKE: So now I’m starting to see a completely different side to Pat.
He’s got like Hobby Lobby paintings,
he’s got toilet tanks from his mom’s house,
I mean... this goes way, way beyond the excessive collecting
MIKE: That’s working today...
(grunting)
MIKE: Yeah, now you’re talking.
MIKE: In order to do this efficiently and effectively...
MIKE: So you’ve got somebody’s race numbers...
MIKE: ...I want to take things and gather them,
and put them in a pile.
MIKE: This is bicycle, put this in the bicycle pile.
MIKE: Okay, so here’s the bicycle section.
MIKE: What about this? Look at that, that’s killer.
PAT: Yeah, that’s good.
MIKE: Here’s the random,
this is kind of cool funky stuff section...
MIKE: Look at that. (wolf whistles)
It’s missing the cover with the brake shoe.
MIKE: Because at the end of the day when I get it all out,
then I want to try and buy it as a pile.
MIKE: Ugh...
PAT: Oh, my pet-- Okay, this is a good find.
MIKE: This is new-old stock. PAT: No kidding.
MIKE: These are Torrington 10s. PAT: I know, I know exactly, yeah.
MIKE: Torrington 10s. They are the deluxe pedal untouched.
MIKE: I don’t think the guy at the pedal factory realized
he was making something that someday would be so collectable
MIKE: I mean, God, I can’t... PAT: I know, where do you find one?
PAT: They’re desirable, they’re rare.
You find beat-up ones,
but you never find new-old stock.
MIKE: I mean, the pedal rubbers have never had a shoe on it.
MIKE: Well, I’m thinking they’re worth, I don’t know, between 3 and 500.
PAT: They’re expensive, I know.
PAT: I bet you I paid 100,
130 bucks, 115 bucks for those things 30 years ago.
MIKE: You got a seat... PAT: The hub...
MIKE: ...you got the pedals, you got a hub,
and you’ve got this off of something.
PAT: Do me right. MIKE: 500 bucks.
PAT: 600. MIKE: 550.
(Mike & Pat laugh)
MIKE: There’s just box after bo
from a collector that has been doing this for so long.
MIKE: Here’s a cool sign. Oh, flanged. It’s flanged.
PAT: Yeah, good flange. MIKE: Believe it or not,
this sign falls under the category of tobacciana.
MIKE: 300.
PAT: Okay. MIKE: Alright, thanks.
PAT: That’s good. MIKE: Ugh!
PAT: Okay. MIKE: Yeah...
Ugh, here’s a photo album.
PAT: I don’t know who the guy was or what he did.
MIKE: 1915. PAT: This is his whole life
that he spent in school.
MIKE: Cornell University, that’s in New York State.
There’s everything from invitations,
ticket stubs. He was an athlete.
PAT: I’ll sell it to you for what I paid for it.
MIKE: What’d you pay? PAT: 300.
MIKE: Alright, I’ll take it. PAT: That’s a good deal.
MIKE: I like it. I think it’s cool.
MIKE: There’s so many unique, personal, and interesting items
I think this is going to be easy to move forward.
MIKE: Look at this... colored ballot.
PAT: This is from the ’20s, ’30s, ’40s,
you know, it’s a piece of history.
MIKE: Absolutely.
MIKE: This is a perfect example of how not all history
is comfortable to talk about.
MIKE: It needs to be in a museum. PAT: I know, I know.
MIKE: I mean, it really, truly does.
MIKE: But that alone is the reason why
things like this need to be put into museums
so they can still be part of the conversation.
MIKE: This is the kind of history that’s so important that we don’t forget.
PAT: History does repeat itself,
and if you don’t teach history the proper way,
and people don’t know, they make the mistake again.
MIKE: What are you thinking on this?
PAT: Oh God, I don’t know, I just...
The only reason I even got it
was because of the historical significance of it.
MIKE: Yeah, no, I understand why you would keep it
and why you would rescue it. PAT: I don’t know how you put a value on it.
MIKE: 200 bucks. PAT: Ah, it’s got to be--
MIKE: How about this? But I’m going to donate it.
PAT: I know.
MIKE: Over the years, when we found pieces like this,
we’ve donated them to the Jim Crow Museum
in Big Rapids, Michigan.
PAT: If I sell it to you for 200,
I’m donating some of the value to you too.
MIKE: Exactly, that’s what I’m saying.
So we would both be working towards that.
PAT: That’s a deal.
PAT: Never forget, and if you get rid of the stuff,
you forget, or you don’t know,
and you’re not taught and then things happen.
JERSEY JON: We’re in California, man, you never know
what’s going to happen out here, right?
ROBBIE: Yeah. (phone ringing tone)
JERSEY JON: Hey Dani D, what’s up?
DANIELLE: Hey, what’s up? How’re you guys doing?
ROBBIE: Whaddup, Dani?
DANIELLE: Are you guys ready for a lead?
ROBBIE: Yeah. JERSEY JON: Yeah.
DANIELLE: So I’m gonna send you guys to meet Jim.
Now, Mike picked Jim like four years ago.
ROBBIE: Yeah? DANIELLE: This guy is the vintage wine guru.
MIKE: Ah! The honey hole of stills.
ROBBIE: Yeah, oh, I remember Mike telling me about that guy.
DANIELLE: The dude called me back and he has a whole ’nother
collection in downtown Petaluma.
ROBBIE: Really. DANIELLE: Mike never even saw this place.
This is totally virgin territory.
ROBBIE: If he even has a quarter of what my brother went through,
I’m all about it. DANIELLE: I’m gonna send you the details,
it’s in the basement of the back of a building downtown.
ROBBIE: Okay. DANIELLE: He says there’s some sandbags around the back door
from some flooding, so you should be able to spot it pretty easy.
ROBBIE: Alright. Sounds good. JERSEY JON: Check it out, sounds good.
DANIELLE: Alright, bye boys. ROBBIE: See ya, Dani.
JERSEY JON: This is Water Street.
JERSEY JON: I think it’s right over here.
That’s got to be it, the sandbags.
ROBBIE: Okay, right here? JERSEY JON: Yep.
Sandbag, bro.
(knocks on door)
ROBBIE: Dude, this place is packed.
JERSEY JON: Yeah? ROBBIE: Yeah.
Jim? JIM: Hey.
ROBBIE: How’re you doing? Rob Wolfe.
JIM: Good. Oh hey... how are ya? ROBBIE: Good to see ya.
JIM: You’re Mike’s brother. ROBBIE: Yeah. How are you?
JERSEY JON: My name is Jon. JIM: Jon, how are ya?
JERSEY JON: How are you, man? Nice to see you.
JERSEY JON: What’s going on with these sandbags, man?
JIM: Oh, we just had a huge deluge for three weeks.
We had like over 30 inches of rain up here.
JERSEY JON: I noticed you got the river.
JIM: Yeah, and guess what? I’m below the river.
And I’m thinking, oh my God, I’ve got all this stuff down here.
ROBBIE: Did the river come all the way up?
JIM: This river came up and out over the banks.
JIM: I brought out the sandbags, do I have to do this every time
the big rain comes? Yes.
One of these times, it could happen.
That would be one of the main reasons
I’m thankful that Robbie and Jon are here.
They could help me clear out some of this stuff.
JIM: Come on in. ROBBIE: It’s not like my brothe
to leave a stone unturned.
But Jim’s got a whole building that Mike has never seen it.
JERSEY JON: Man, you do have a lot of stuff in here, wow!
ROBBIE: No kidding, wow. JERSEY JON: Woo-hoo!
JIM: I got started in this business really early.
I was like 13 years old
and I was going into thrift shops and church bazaars
and find stuff, and you know, you just get smitten.
And all of a sudden it grows on you,
and you know like, you can’t wait for the next event
to happen so you can find out what you have,
and you’re just a little kid, you know, and...
And you get more sophisticated as the years go by,
and it’s an obsession.
ROBBIE: Look at this thing. (Jim laughs)
ROBBIE: Reed Brothers, out of London,
the Dog Head Bottling Company.
ROBBIE: This thermometer’s really early.
JIM: I mean, oh my gosh, the Dog Head thermometer,
what a history. Great graphics,
wonderful piece of advertising.
It was missing the thermometer,
but very easy thing to replace, but I didn’t get around to it.
ROBBIE: All these writing that’s on it,
it’s all over the place.
ROBBIE: 1937, 1981...
JERSEY JON: So it’s like a bar calendar?
ROBBIE: That’s what it looks like. 1917.
ROBBIE: To find an early advertising wooden thermometer
with all the details that’s on this,
and I’m not talking about just the advertising.
Forget about the advertising,
I’m more enthralled with the freakin’ writing
that’s on this thing.
ROBBIE: What do you think these were, the temperatures?
JIM: That’s why they recorded this.
JIM: It had all these days
when the temperature got really high, or very low.
It just was like a history of all those years,
in weather, told through this little thermometer,
with all these different people writing on it.
ROBBIE: What’s the price on this bad boy, without the therm?
JIM: 275.
It’s one of my favorite pieces in here.
ROBBIE: This thermometer could have been sitting
in England or the United States
There’s a story to be told
about everything that’s on the thermometer.
ROBBIE: 250. JIM: Yeah, yeah.
JERSEY JON: Alright cool, thank you, brother.
JIM: I know, I know you guys like it.
JERSEY JON: Thank you, thank you.
MIKE: Alright, we’re getting there. What’s this?
PAT: Can I interest you in a Gatling gun?
MIKE: Is it real? PAT: Yeah.
MIKE: Oh, wow...
PAT: Pretty cool, huh? MIKE: Really cool!
PAT: This thing is a 50-caliber,
all complete, shoots.
(Gatling gun firing loudly)
MIKE: So it’s an original one. PAT: No.
A German machinist,
he made it from scratch after the war.
MIKE: What’s the value of something like that?
PAT: I paid $12,000 for it. MIKE: Yeah.
PAT: Years ago.
MIKE: How many did he build, do you know that?
PAT: Not many. That’s the only one I’ve ever seen.
MIKE: Really. PAT: Yeah.
MIKE: What are you thinking on it?
PAT: Ah...
I’d sell it for 25.
MIKE: Of course I’m interested in the Gatling gun,
what red-blooded American wouldn’t be?
(Gatling gun firing loudly)
PAT: This thing is a 50-caliber, it does shoot.
Where are you going to get one?
MIKE: Of course I’m interested in the Gatling gun,
what red-blooded American wouldn’t be?
But I’m trying to slow my roll a little bit,
not show my excitement.
MIKE: Can I send pictures of it to Richard Ellis?
You know Richard Ellis, right? Rock Island Gun Auction Company?
PAT: From years and years ago, yes, yes, yeah.
MIKE: I figured you guys knew each other.
PAT: Yeah, not a problem. MIKE: The reality of it is,
I’m not going to buy any firearm,
especially a reproduction,
without hearing from the man himself, Richard Ellis.
MIKE: Alright, let me see what Richard says on it.
PAT: Okay.
JIM: I was a very broad-based antique dealer.
ROBBIE: I could tell. JIM: I collected so many different types of stuff.
JERSEY JON: I see there’s squat sodas, man.
JERSEY JON: Not Coca-Cola, I’m talking way before,
these are 1860, 1870 bottles.
These are not branded by a brand,
this is branded by a bottler.
JIM: This is a good one. JERSEY JON: Yeah.
JERSEY JON: They’re just generally called squat sodas,
because the shape of them, they’re squatty,
and they’re soda bottles.
ROBBIE: This Savannah right here.
JERSEY JON: Here’s another squat soda.
JERSEY JON: It’s emerald green, iron ground pontil.
JIM: Mm-hmm. JERSEY JON: From 1860.
JIM: Right. JERSEY JON: What are you doing with this thing here?
JIM: I love bottles. JERSEY JON: Yeah, me too.
JIM: Bottles, wow, yep.
Bottles are a sleeper. It’s a huge market
that a lot of people don’t even know about.
They just dug a couple of bottles a few years ago,
it sold for $70,000 each.
JERSEY JON: This is when they would hand blow the bottles into a mold.
JIM: I know, yeah. JERSEY JON: Early on, it starte
with a guy with a blob of glass out of a furnace,
blowing through a big long pontil,
it’s a long tube, into a mold.
I mean, he’d blow on the darn thing...
(blows) ...and expanding the glass,
and it’s taking the form of that mold.
JERSEY JON: I used to dig these from privies.
That’s where all the good stuff was, man.
JERSEY JON: Privies. Hoo! Alright.
Outside plumbing, this is what I’m talking about.
Privies is where people would go
and they did their business outside, they were called necessaries,
they were called outhouses. Think about when indoor plumbing
came in, 1890s or so. Before that, they dug a hole
in the back corner of your lot,
had a little building back there, and you went and did
your business out there. But what you also did,
was you threw the bottle out there,
into the privy when you were done,
’cause these are deep holes,
they’re like big garbage pits.
JERSEY JON: Grandpa would be out there,
sipping on whiskey, grandma didn’t like it,
but he’d throw that whiskey bottle down the bottom of it
for me to find it 150 years later.
JERSEY JON: And we dug them,
they didn’t clean them out. We’ve have a rope down there
throwing 5-gallon buckets down. JIM: And it was dangerous work.
JERSEY JON: Very dangerous work. JIM: Yep.
JERSEY JON: There is a huge community of privy diggers.
I was one of them for a long time.
JERSEY JON: Philadelphia squat soda.
It’s got the blob top on it. JIM: Mm-hmm.
JERSEY JON: No chips or anything like that. JIM: You know your stuff.
JERSEY JON: Is this something you’d sell? JIM: Uh, yeah.
JERSEY JON: What do you value this at?
(sighs) JIM: I’m going to give you a good price.
JERSEY JON: What. JIM: 75 bucks.
JERSEY JON: I think this bottle is probably...
retail $100, right, right now. I can, you know,
that’s what it’s worth retail.
I’m thinking more like $60.
I mean, it’s nice condition.
JIM: 65. JERSEY JON: 65?
JIM: It’s a great bottle. The color... is what makes it.
JERSEY JON: The color, you know what, I’m on it.
JIM: Alright. JERSEY JON: Thank you, buddy.
MIKE: This one’s bigger, I like it already. Urgh!
MIKE: We’re getting deep down into the bowels
of what he truly loves.
MIKE: Whaddya got going on here? There’s a sign.
PAT: Oh, yeah, now that’s a good sign.
MIKE: It must be good, you got it wrapped in plastic.
PAT: I know. MIKE: Oh, yeah, yeah, yeah, okay, yeah. Wow.
That is cool.
Francisco Auto Heater,
summer here, all the year.
MIKE: This is a tin lithograph sign
that’s in incredible condition,
it has very vibrant colors.
The subject matter’s great,
it’s just got everything going for it.
MIKE: Late ’20s, early ’30s.
PAT: That’s top-of-the-line.
And the condition was really cool on that.
PAT: Yeah. MIKE: How long have you had it?
PAT: 40 years. MIKE: Really!
PAT: Maybe more, maybe more. MIKE: That’s why you’re my hero.
(Pat chuckles) MIKE: As a collector,
some of the stuff that I’ve dreamed about finding
never really comes to the surface
because it’s been stashed away in collections
for all of these years.
MIKE: What are you thinking on it?
PAT: Bottom line? MIKE: Yeah.
MIKE: Until someone like Pat
makes the decision to finally let go.
PAT: Two grand. They’re...
MIKE: That’s what I was thinking.
PAT: Were you? MIKE: I was thinking two grand.
PAT: Okay, ’cause they sell-- MIKE: Look it, look it.
Look at what’s going on here. PAT: Are we related?
MIKE: Yeah. Might be. (Pat laughs)
MIKE: Alright, two grand.
MIKE: That’s what’s happening here today,
I’m buying things and finding things
that he’s had for decades.
MIKE: Ahh... look at that, where did you get that?
MIKE: The heyday of the American bicycle industr
was the turn-of-the-century
in terms of innovation and overall sales.
MIKE: Championship 1894,
1897.
MIKE: There were so many different manufacturers,
and bicycle clubs were popping up everywhere,
which led to events, which then led to races.
MIKE: Here’s Peoria. Peoria, Illinois.
PAT: I know, I know. MIKE: If you were a motorcycle racer or a bicycle racer,
you had to prove yourself in Peoria. PAT: I know.
MIKE: They’re all turn-of-the-century.
MIKE: These are very elaborate medals
from that time period. Some of them
even have gold in them.
This is an incredible collection.
PAT: I put that together... MIKE: Oh, you put this together.
PAT: ...back in the ’70s.
MIKE: So this is, this isn’t one man’s collection...
PAT: There’s a few of them that are, you know, to the same guy.
PAT: I used to go to all the motorcycle meets,
I go to antique shows,
and I just put that display together
’cause it pleased me, and I liked it.
MIKE: So what are you thinking on this?
PAT: A lot. MIKE: A lot.
PAT: Oh...
Bottom line. (laughs)
MIKE: Yeah. I always want the bottom line.
PAT: 3,500. MIKE: Ugh...
PAT: That’s a good deal. If you piece those things out, I mean, you know.
MIKE: You know, this is like a lifelong collection.
The fact that he’s putting a price on it is pretty awesome
PAT: 200 apiece is 3,200.
And they’re worth more than that.
And then you got all this... MIKE: Some of them are, some of them aren’t.
PAT: These are 100s... MIKE: Like this one, that’s pretty generic.
That’s pretty generic. PAT: Yeah, but...
MIKE: 2,800 bucks.
PAT: Nope, that one, I hate to-- MIKE: Ah...
PAT: ...and I don’t want to be hard-nosed with you...
MIKE: And like that spoon, that’s 50 bucks.
PAT: I know. But there’s two of them, that’s 100.
(laughs)
MIKE: Yeah. PAT: You know what I mean?
If you add that up, there’s more than...
MIKE: 3,000 bucks.
PAT: Oh my God...
MIKE: $3,000.
PAT: Pump me up, just make me feel better.
MIKE: I’m trying. PAT: Add another 600 bucks
and make me feel real great.
MIKE: God, I guess!
PAT: 3,200.
That’s a deal, I mean, you, I guaran--
MIKE: Ahh... PAT: Okay.
MIKE: Ugh. PAT: Isn’t it cool?
MIKE: It’s amazing! It’s unbelievable!
PAT: I know. MIKE: It’s unbelievable.
MIKE: This is a perfect example that every collector,
no matter how much you love something,
gets to a point where you just,
you got to let it go.
I mean, it’s just time, you know,
and there’s nobody that’s ever going to be able
to tell you that. It’s somethin that has to come within.
(phone dings) MIKE: I got a text from Richard, I think.
PAT: Oh, okay. MIKE: Oh, I got a text from him.
PAT: Okay. MIKE: Here we go.
PAT: You say hello for me? MIKE: I haven’t said hello yet,
because... you haven’t seen what he’s written.
PAT: Uh-oh. (Mike & Pat laugh)
PAT: Okay. MIKE: Okay, so he says,
"Very unique vintage copy
of an early production Gatling gun,
using obsolete black powder percussion caps,
lead ball steel chambers,
thus making it the same as an antique muzzle-loader."
PAT: Right, right. MIKE: Estimated value,
15 to 20 grand. PAT: Okay.
That’s Richard now, you know, everybody...
MIKE: Yeah. Well, Richard’s on it.
He’s on it, you know what I mean?
PAT: Yeah, yeah, pretty much. MIKE: What were you thinking?
PAT: Well, I was thinking 25, but... I’d take...
MIKE: He’s not that far apart. PAT: Yeah.
19-5?
MIKE: I mean... I don’t think there’s any money there for me.
MIKE: Pat and I are kind of at a standstill.
I mean, he’s been very generous,
he’s come off his price some,
but it’s just not enough for me to mess with this thing.
MIKE: There’s not enough room on it.
MIKE: I would love to have something like this go through
my hands, it’s just not in the cards today.
His number, his bottom number is something that I can’t do.
MIKE: How long have you been in the stromboli business?
PAT: For a while. (laughs)
MIKE: This is definitely a first.
Picking a stromboli factory.
MIKE: Hey-hey!
PAT: Kenny was kind enough
to allow me to bring all this stuff over here
to his Nana’s Strombolis.
Kenny: When you have a big place,
all your friends want to store stuff.
MIKE: Has he sold you anything?
Kenny: A few things. MIKE: Has he?
(Mike & Pat laugh)
PAT: Before the COVID hit,
business was pretty good,
there was a pizza business, stromboli business,
clam chowder business, he had all kinds of stuff.
MIKE: Here you go, you got motorcycles.
Hey, look at this! Whoa! This is the Paramount.
PAT: That’s the Paramount.
MIKE: In 1938,
Schwinn introduced the Paramount into their lineup
MIKE: These were all handmade, and their big claim to fame
back then was, this is really super-thin
chromoly tubing.
But the lug works were just to die for.
MIKE: There was a local bicycle shop owner
by the name of Emil Wastyn,
he was an accomplished racer, he was actually on Team Schwinn
and he was also building the Paramount frame sets
for Schwinn in his shop on the west side of Chicago.
PAT: Grab that group of papers over there.
MIKE: This sign was hanging on it?
PAT: Yep. MIKE: "1949 Gene McPherson..."
PAT: That’s the guy. MIKE: "...rode this bike from Santa Monica, California
to New York, 20 days,
7 hours, 29 minutes." Dang!
PAT: And that record held for 10 years.
MIKE: Really? PAT: 10 years.
And he was a Columbus, Ohio, boy.
MIKE: Can we pull this... PAT: Yep.
MIKE: I need to... open this up,
I want to get a good look at this thing.
Roll it out here.
I love the red tires.
From what I can see, it’s got different wheels on it.
I mean, these are steel wheels.
It’s got the down tube shifter,
this is an early version of it,
it’s a cable system that goes onto the down tube,
onto the chain stay, around into this derailleur
that pulls a chain.
MIKE: The rear derailleur on this frame,
the way it’s mounted, was obviously added.
This would have been a track bike
that someone converted to a road bike,
but it’s brilliant the way he did it.
MIKE: See how the paint is burned off right here?
PAT: Yeah, yep. MIKE: He braised these little braze-ons right here,
probably because a lot of his stuff was self-contained.
When he was traveling, he probably had a rear rack
on it when he was riding. PAT: Ahh.
MIKE: So imagine riding this in ’49,
and the roads the way they were, I mean, no light system.
MIKE: It was so crude, you know compared to what we ride today.
I mean, I’ve done a lot of road racing,
I’ve done a lot of criteriums,
I’ve ridden a lot in my life.
To think about riding this across America
is truly incredible.
MIKE: Let me take some pictures of it,
because my buddy in Chicago, he has a bicycle shop.
PAT: Okay. MIKE: And he’s more in tune with this kind of stuff.
PAT: Okay. MIKE: Mark Mattei is a bicycle dealer
that’s had a shop in Chicago for like 50 years.
MIKE: And the shop that they made these frames in,
is down the road from him. PAT: Really?
MIKE: The first bicycle shop that I ever worked at,
the guy that owned the store collected antique bicycles.
And I was amazed by them. He had them in a warehouse.
I would go up and I would stare at them.
I just was so curious, you know
It was stuff that I never ever seen before.
And then one day, Mark Mattei comes along,
and he buys all of them.
And I remember loading them with him into his van,
and I was like curious, where are these going?
He’s like, oh, I have a shop in Chicago,
and they were just gone all of a sudden from my life.
And so that’s when I started the quest
to try to find antique bicycles
MIKE: Let me send these to him.
JIM: Check this out. ROBBIE: Jim, what the heck is this?
Jersey, look at this thing!
ROBBIE: This is the Statue of Liberty.
ROBBIE: It says, "Bedloe Island,
Statue of Liberty, 1937."
JIM: Yep. Bedloe Island, which is now called
Liberty Island, where the Statue of Liberty,
Lady Liberty rests.
It’s pretty much a replica of what was there,
because it’s in the center of New York Harbor.
In the early days, there was a fort on there,
it was the entire fort this guy built.
JERSEY JON: But it doesn’t look like this anymore.
JIM: None of these are here. JERSEY JON: All this is gone.
JIM: The only thing they have is the ferry terminal.
JIM: Right after Second World War, they took Fort Wood down.
ROBBIE: It’s one of the most iconic pieces
in American history.
ROBBIE: This is a detailed piece of folk art.
JERSEY JON: It’s amazing this guy constructed this thing,
and made it out of matchsticks and cigar boxes
and all these different elements.
JERSEY JON: This is from a cheese box?
ROBBIE: Oh, yeah. JIM: All found material.
JERSEY JON: All found material. JERSEY JON: A lot of folk art
is made from found material.
JIM: This thing actually lights up.
JERSEY JON: Oh, yeah, Robbie, there’s a plug over here.
JIM: And I do have the plug, but it’s in my office.
ROBBIE: Okay. JERSEY JON: Fantastic.
ROBBIE: I could sit and stare at this thing for hours on end.
ROBBIE: Mike never saw this? JIM: Never.
When you see this thing lit up? ROBBIE: Yeah?
JIM: It makes it like, something special.
ROBBIE: You got me. JIM: So yeah, so I have a number, I have a number.
ROBBIE: Listen, listen, I’m a fish, okay? You already hooked me in.
JIM: Okay. ROBBIE: Jersey’s like, flopping over there too.
JIM: Yeah, okay. ROBBIE: Hooked us in, let’s go.
JIM: Yeah, alright. ROBBIE: What are we thinking?
(sighs) JIM: I spent about 10 hours
working this thing, cleaning it up and whatnot.
JIM: I got out the paintbrushes the Q-tips,
everything imaginable to try to carefully conserve it
At least get it to the point where it was presentable.
JIM: So if I spent 10 hours on it...
ROBBIE: Yeah. JIM: I have to imagine
how many hours the builder spent.
ROBBIE: This thing took years to build,
it did not happen overnight.
ROBBIE: What’s the magic number?
JIM: Um... I had to step up.
I think that the good number for me is like 5,500.
(suspenseful music)
ROBBIE: Okay.
JERSEY JON: Hmm.
ROBBIE: Doesn’t freak me out at all.
JIM: Yeah, so, I know what I paid for it because, you know.
ROBBIE: Right. Before we go any farther...
JIM: Mm-hmm. ROBBIE: Is it okay
if I send some pictures to a friend of mine?
JIM: Absolutely. ROBBIE: I want to see it lit up.
Can you get the cord? JIM: Yeah, sounds good.
ROBBIE: I got a buddy, Bill, he sets up at all
the national shows. If I can get him on the phone,
he’s going to know everything about this.
He’s been dealing in folk art since the 1950s.
MIKE: Did you get the photos of the Schwinn Paramount?
(Mark on phone): Yeah, you sent me a lot of good pics on that.
MIKE: Whenever I get into something that’s a little bit
out of my realm, I call Mark Mattei,
he’s a Schwinn expert.
MARK: Looks like the bike’s 1949,
and that makes a lot of sense from the time
that Gene made this transcontinental ride...
MIKE: Yeah, isn’t that crazy?
Had you heard of this ride before?
MARK: I hadn’t. I did a little research,
I found a very comprehensive article
with a nice original photograph
in a magazine from 1949.
MIKE: So of course, Mark finds an original article
from a magazine. I mean, that’s the type of collector he is.
MARK: Heading out of eastern California, through Arizona,
he had about 14 flat tires
from thorns that are called goat’s head thorn.
MIKE: Yeah, yeah. (laughs)
MARK: 14 times.
And because he’s riding what they call
a slope or a tubular type tire glued on the rim,
each of these flats cost him about an hour’s time,
so he lost, you know, a full day’s worth of riding.
And then the other thing I found,
he was unsupported on this ride
It wasn’t like a SAG wagon driving behind with
spares or nothing.
MIKE: Well, that’s what I was wondering,
because if he was unsupported,
then he had really no lights on the bike.
MARK: It does mention that he had red reflectors
on his pedals... MIKE: Okay.
MARK: ...which was before they became,
you know, federally mandated. MIKE: Yeah, yeah.
MARK: It was definitely the same frame,
the photographs are clear.
It’s got all the earmarks that it’s the bike.
MIKE: Was this made in the shop
that you took me to down the street
from yours in Chicago?
MARK: More likely than not, yeah.
MIKE: What would you value the bike at?
MARK: I think the bike has some real value.
With that history
and this heroic aspect of this sort of ride.
In an auction setting and someone were looking
for a truly historic Paramount,
I would put it at a $10,000 value.
MIKE: Okay, so you’re thinking in the right auction setting,
it could pull 10 grand.
Because if this was just a regular Paramount,
in this condition, without modifications,
it’d be what, 3,000 bucks?
MARK: Yeah, yeah. MIKE: Alright, man,
thank you for your passion, I appreciate you.
MARK: You got it. MIKE: Bye.
MARK: Bye-bye.
MIKE: Wow. Look at that!
PAT: Crazy.
MIKE: Okay, so what are you thinking?
PAT: 7,500 bucks.
You got a 5,000- I-I bet ya... MIKE: Yeah...
PAT: Huh?
MIKE: I’ve been around antique bikes for a long time,
just like you have. PAT: I know.
MIKE: And you know as well as I do,
to throw all the dice in on an auction price is...
MIKE: Auction can go either way
And what Mark is really saying, hey, you know,
I value this at so much money,
and maybe in an auction setting even more.
An auction’s always a gamble.
Let’s not talk about the fantasy of an auction,
let’s talk about what’s happening right now.
MIKE: I think the bike’s worth like probably 7.
PAT: I’ll take 7.
(Mike & Patlaugh)
MIKE: Yeah. PAT: Huh?
PAT: You know, it’s not just the bicycle.
It’s a great historical racing bicycle
that’s American.
MIKE: I tell you what, I’d do 5,000 bucks on the bike.
PAT: I-I don’t know, that’s...
It’s so cool, where are you going to buy one like that?
Where can you get one? (Mike chuckles)
PAT: Give me 6,500
and I guarantee you’ll make money on that.
MIKE: Oh my God.
MIKE: Pat and I have traded back and forth over the years
on a lot of different things. I’ve bought stuff from him,
he’s bought stuff from me.
Okay, so we always do the dance
we always go back and forth, you know.
And we’re both predictable to each other.
PAT: 65’s good, that’s fair.
MIKE: There’s no deal here
unless we both feel good about it.
PAT: Eh... MIKE: I’ll tell you what,
I’d do 6,000 bucks on it.
PAT: If I recall correctly, I think I gave like 2,500 bucks,
40 years ago,
40 or 35, I don’t know how long,
I know it was a lot of money.
PAT: 65.
MIKE: 62.
PAT: 63.
(Mike & Pat laugh)
PAT: Boy, you’re tough. MIKE: You’re tough, you’re tough!
PAT: No, no, no!
MIKE: Woo!
MIKE: For $6,300,
I own a significant piece
of American bicycle racing history.
ROBBIE: I want to dig into these totes.
JIM: I gave them free reign to kind of poke around
and open boxes, ha, I must say that, you know,
I hadn’t seen a lot of this stuff for like,
oh my God, since the ’90s or whatever.
ROBBIE: This is early. JIM: Yeah.
ROBBIE: Late 1800s early 19. JIM: Oh, yeah, 1880s.
ROBBIE: Every time you open a tote, you don’t know
what you’re going to get into. He doesn’t even know what he’s getting into.
JIM: Ooh, haven’t seen that for a while.
ROBBIE: This is the Red Sox. JIM: It’s a great hat.
ROBBIE: I love the hat. JIM: I also found it
really interesting, the difference between
when Mike was out here in 2018,
and Robbie and Jersey Jon, two different types of buying.
MIKE: And where did you get this, Kentucky?
JIM: Actually, it came right out of Petaluma.
JIM: Mike is fast. When he sees something,
he asks the questions,
if he wants it, he’s going to buy it.
MIKE: We’re doing it. JIM: Okay.
MIKE: I love it. JERSEY JON: Oh, look at that.
JIM: Is that fabulous? JERSEY JON: It’s a harbor scene
with all the sail boats coming in.
JIM: Robbie and particularly Jon,
they kind of fall in love with something,
and they think about it more.
JIM: Look at that color. JERSEY JON: It’s just beautiful.
JIM: They get into, oh my gosh, that’d look good on my shelf,
or... (chuckles)
JERSEY JON: This may not be sold.
JIM: Okay, okay. JERSEY JON: You know what I’m saying?
JIM: Yep. JERSEY JON: This may end up in my home.
JIM: They both know what they’re doing.
ROBBIE: What do you want on the pair? JIM: You sound like Mike.
ROBBIE: Hey, we are cut from the same cloth. JIM: Yeah, I know.
You’re the better-looking one, right?
ROBBIE: I’m the better-looking one.
(laughs)
JIM: But they’re different
in their buying techniques.
JIM: I’d like to get 450 for it.
JERSEY JON: 450, wooph.
3-and-a-quarter. JIM: Cannot do it.
JERSEY JON: Work with me, come on, we’ve been...
JIM: Okay, alright, tell you what, let me think.
JIM: Everybody likes a deal,
so whether it was Mike or Robbie or Jon,
they’re all going to negotiate just like I would.
JIM: 75 bucks.
ROBBIE: For the pair. JIM: Mm-hmm.
JIM: 390. JERSEY JON: 390.
JIM: 385.
ROBBIE: 75 bucks. I’m doing it. JIM: Deal.
ROBBIE: I appreciate it. JIM: Thank you.
ROBBIE: That’s a cool piece. JERSEY JON: 375.
JIM: Okay deal. JERSEY JON: Alright?
JIM: Good. JERSEY JON: Okay, I’ll do it.
JERSEY JON: Thank you so much, I love it, it’s so cool.
JIM: I love it too. JERSEY JON: Thank you, buddy.
PAT: What do you think of that?
MIKE: Oh, Roger! Roger Reiman, man.
MIKE: Roger Reiman was one of the premier motorcycle racer
of his time, and he won the Daytona 200
three times in the 1960s.
PAT: Isn’t that cool? MIKE: Oh, but that was painted in ’65?
MIKE: No way! PAT: Yeah.
PAT: That painting of Roger
when he was National number one motorcycle racer,
he was the best of the best. The painting hung in the house.
PAT: Hank told me that this hung in the house since they got it.
MIKE: "Roger Reiman oil painting
from the estate of Roger Reiman." Oh my gosh.
PAT: And who purchased it?
MIKE: Patrick Regis. PAT: I’ve heard of him.
MIKE: Wood Auction Company. PAT: 1997.
MIKE: I went to the auction excited
about seeing the Evel Knievel stuff.
PAT: Right. MIKE: That’s how I knew his story.
Before I knew what a huge racer he was.
MIKE: There’s a tremendous amount of Evel Knievel history
where I’m from.
Roger Reiman was from Kewanee, Illinois.
He’s the one who worked on Evel’s bikes.
MIKE: I knew he was Evel’s mechanic. PAT: Right.
MIKE: You know, back then, and I knew George Sedlak
in Rock Island, Illinois painted Evel’s stuff.
So I was going there and I was seeing all the Evel pieces,
and they were going for 800 bucks,
but that was a lot of money back then. PAT: I know it was.
MIKE: In 1997, they had an auction
at Reiman’s Harley-Davidson in Kewanee, Illinois,
and I was there. I had $500 in my pocket,
that was all the money I had in the world.
I thought I was going to be abl to buy something,
and I walked away with nothing.
MIKE: What else did you get besides this?
PAT: I’ve got the tank,
the gas tank somewhere... uh...
Hank told me that before it went up for auction,
he says, get that tank ’cause that was on the bike
that Roger rode at Daytona, winning, yeah...
MIKE: Really, when he won the National Championship.
Where the hell’s that at?
PAT: Uh, let me go...
Let me see here. MIKE: Dang, man.
PAT: Let me look. MIKE: Is it over there?
MIKE: There were so many things there that day,
that were unobtainium.
You know, just watching it as a young collector.
But I was a sponge, I was paying attention, you know,
and there were a lot of my mentors there.
Dale Walksler, John Parham.
You know, both of those guys were there buying things.
PAT: I found it. MIKE: Alright, let me see it, let me see it.
PAT: Okay. MIKE: That is the same exact auction
that Pat Regis bought these two pieces from.
MIKE: No way.
This was on that auction that day.
PAT: Yep. MIKE: Okay, so I’ve seen this before.
(phone ringing tone)
ROBBIE: It’s Bill. Alright, Bill,
you got all the photos I sent ya.
(Bill on phone): Yes sir, I did
ROBBIE: Alright, it looks to me like it was made
out of cigar boxes and cheese boxes.
The size on it is like 4-by-2, I’d say.
BILL: Okay.
ROBBIE: There’s no markings on it
except for that plaque I sent you from 1937.
BILL: It’s still considered folk art, outsider art...
JERSEY JON: Right. BILL: ...’cause obviously, the guy wasn’t like,
a trained sculptor or anything like that,
or he had a background. So this is something that,
you know, someone did because they wanted to do it.
JERSEY JON: He was inspired.
BILL: And it’s pretty intricate
The guy must have took a lot of time
putting this together, doing each individual piece.
The subject matter is cool, it’s patriotic.
The size is great because it’s 2-by-4,
it’s not this massive huge thing...
ROBBIE: Yeah. BILL: ...you know, with the fac
that you could see people inside and all the detail
and the little people that were there,
it’s a pretty good interesting piece of work.
The only negative part about it is,
who’s going to display it
and where they’re going to have to display it.
ROBBIE: Yeah. BILL: Someone’s got a great
Americana collection with, you know,
the Statue of Liberty stuff, Uncle Sam and all that,
yeah, it would be a great piece
to have in a collection like that.
ROBBIE: I mean, what’s your overall gut feeling
on this thing, and what’s the retail on it?
BILL: If it was something that could go on a wall,
hang on a wall, or if it was a little bit narrower
and it could have fit on a shelf, you know,
you’re talking probably a lot more money. But...
ROBBIE: Yeah. BILL: ...because of the fact
that it’s just that flat piece there,
it does take up some room.
My gut feeling on a retail, would probably be about $5,000.
ROBBIE: Okay. BILL: Okay?
JIM: Mmm. Mm-hmm.
ROBBIE: Jim’s saying, "Mmm." JERSEY JON: Yeah.
ROBBIE: He’s been mmm-ing us all day long, though.
(laughs) ROBBIE: You know.
BILL: Someone, you know, they would appreciate it,
would definitely pay that kind of money for it.
ROBBIE: I appreciate your thoughts on it,
that’s why I just want to get a different
perspective on it, and... BILL: Sure.
ROBBIE: If we end up with it, I’ll give you a call.
BILL: Alright, then. We’ll talk to you later.
JERSEY JON: Thank you. ROBBIE: Thanks, Bill.
JIM: Well, I think when you turn the damn thing on,
it’s a whole different picture.
ROBBIE: Well, I mean, you got the cords.
JIM: I have the cord. JERSEY JON: Go grab the cord.
ROBBIE: Grab the cord. JERSEY JON: Let me and Robbie talk about this for a minute.
ROBBIE: I didn’t think he was off on his number.
JERSEY JON: Yeah, no, I agree.
ROBBIE: I didn’t think he was off on his number.
JERSEY JON: Yeah. ROBBIE: I think we have to get
this piece between 35 and 4.
JERSEY JON: I don’t think he’s going to sell it for any less than 5.
That’s what I feel. ROBBIE: Yeah... I know but--
JERSEY JON: At the end of the day, are you gonna walk away from this?
ROBBIE: I walk away from a million things.
ROBBIE: Yeah, I’ve walked away from a lot of deals,
’cause my gut wasn’t feeling it. But today,
my brother is chirping in my ear, saying,
"Get this. Get it. Don’t leave it behind."
JIM: I found it. JERSEY JON: Alright, Come on, let’s plug this in.
JIM: Okay, let’s see what we got here.
JERSEY JON: The crowning jewel.
ROBBIE: That looks like a little Christmas light bulb.
JERSEY JON: Yeah, for sure that’s a Christmas bulb.
ROBBIE: Oh! JERSEY JON: Oh-ho-ho!
JIM: Let there be light! JERSEY JON: Oh, wow,
look at the little lights inside!
JIM: Look in there. JERSEY JON: That is cool.
ROBBIE: Look at the pictures in here, inside there.
JERSEY JON: Oh, isn’t that fantastic?
(Jim laughs) JERSEY JON: Everybody seated at dinner.
JIM: Yeah. JERSEY JON: Can you dim the lights?
Wow... look at that, Robbie.
It’s like the Christmas village, man...
JIM: Look at this... JERSEY JON: ...on steroids.
You can see how much more dramatic it is
when the thing is lit up at night. There’s little
light bulbs inside the thing that illuminate
the glass windows. I mean, there’s really
glass chips in the windows of all these buildings.
ROBBIE: Look at the chicken wire on it.
JERSEY JON: Looks like people are living in the darn thing.
JERSEY JON: Once this piece is lit up,
it gives it a different soul.
It’s got a whole ’nother level of appeal. Now it’s alive.
JERSEY JON: It’s more than just tramp art,
you know what I’m saying, Robbie?
JERSEY JON: It’s a folk art masterpiece.
JERSEY JON: It’s very creative, for sure.
I mean, the guy had a real great imagination.
JERSEY JON: It’s historically correct enough to tell a story
of how that building looked in that time period.
ROBBIE: You said 55.
JIM: Yeah. ROBBIE: I mean I-I...
Bill’s telling me 5,000 at the right market.
JERSEY JON: Retail number. ROBBIE: On a retail number.
(Robbie sighs)
I think with the work that’s got to go back into it,
what we got to do to finish it back up,
which I’d want to finish it,
it deserves to be finished back up.
JERSEY JON: It needs more than 10 hours more...
ROBBIE: Yeah. JIM: Oh, yeah, of course.
ROBBIE: Do you think you’re going to finish this?
JIM: Um... ROBBIE: Or do you think you’re just gonna...
If we don’t buy it, you think it’s just gonna move on down the road?
JIM: I didn’t even think that you guys,
I didn’t know you were gonna be interested in this.
ROBBIE: Oh. JIM: Because I, you know...
There’s a lot to see. ROBBIE: It takes a special guy.
JIM: It does. I paid a lot of money for it.
ROBBIE: I know you did. JIM: In addition to... yeah.
ROBBIE: Yeah, I know. JIM: What are you thinking?
ROBBIE: I’m looking at the end of the rainbow too.
ROBBIE: We still have to make a decision
to buy this at the right price.
I don’t want to lose money today.
ROBBIE: Bill said 5.
You said 55.
I want you to feel as comfortable as I do.
JIM: Mm-hmm. ROBBIE: What’s the magic number?
It’s your piece.
JIM: Um...
I don’t think you’re going to be real happy
with my number. ROBBIE: Well...
JIM: I will, I will bend...
ROBBIE: Yeah. JIM: Okay, um...
JIM: I have a lot of projects, you know, I have a lot of stuff.
And as enamored as I am with this piece,
and I do love it, I already have many hours into it,
and I know how much many, many, many more hours
I would have to put in to make it perfect.
JIM: I’m thinking like 42.
ROBBIE: Doing this for over 35-plus years,
this is a piece that you don’t just walk
into anybody’s place and see.
You’re not going to find another one.
ROBBIE: 4 grand, and I’m in.
I’ll do it.
And it’ll get done. JIM: It will?
ROBBIE: Yeah. JERSEY JON: Yeah. I can clean this.
JIM: You can? JERSEY JON: Oh, yeah.
JIM: I felt like...
should I hold out, should I not hold out?
And then I thought, you know what?
It’s going to be a long time before I get,
you know like, oh my gosh.
(chuckles) JIM: You gotta let me know
when it’s done and I can... JERSEY JON: Thank you, buddy.
ROBBIE: Hey, this is what we came here for, right here.
ROBBIE: It’s going home with us today.
JERSEY JON: Mike’s gonna freak when he sees this thing lit up.
JIM: They’re going to finish that darn thing, and it’s gonna to be great,
and I don’t care what kind of money they get for it,
in the end, because you know, it’s in their hands now.
I feel blessed that it’s going to a good home.
And that’s a good thing for me.
ROBBIE: See, you notice Jersey always picks up the light stuff.
(Jersey Jon chuckles) ROBBIE: That’s the way it always is.
JERSEY JON: Imagine the pieces that have gone through
Jim’s hands in his lifetime.
JERSEY JON: Thank you so much, man. ROBBIE: Oh God...
JERSEY JON: I mean, this was fantastic, we had a great time,
what a great guy, appreciate you, I appreciate your insight.
ROBBIE: He’s 82 years old,
he still has the fire in his belly.
You know, that’s the kind of thing that keeps you young.
ROBBIE: Just remember, I’m the better-looking one.
JIM: Yep, I remember that. (group laughing)
JIM: And don’t forget... ROBBIE: Thank you so much, Jim.
JIM: Okay guys, thanks so much. JIM: The plan from here
is to continue working on getting rid of all the stuff
I have, and I have a lot. Oh my gosh.
(honks horn)
JIM: Be well. ROBBIE: Thanks Jim!
JIM: Thank you! JERSEY JON: Haha!
MIKE: This was on that auction that day.
PAT: Yep. MIKE: So I’ve seen this before.
No way!
PAT: Daytona. Is that cool?
MIKE: Yeah. "This is the tank
from the bike Roger rode while winning the race."
PAT: At Daytona. MIKE: Wow.
What are you thinking on this?
PAT: Again, very historical.
MIKE: Okay, you got the paperwork, I see.
MIKE: I was at the auction, I know, I know, I was there.
MIKE: There’s documentation her
that proves this is the tank
that he won the Daytona 200 on,
and I’m holding it in my hands. This is pretty epic.
MIKE: So what are you thinking? PAT: Ohh...
MIKE: Pat is a prolific collector,
very elevated, man, I mean,
he understood from a very young age the good stuff’s always good.
So I’m wondering what price he’s going to hit me with
on these two pieces.
MIKE: What’d you pay back then? Just, just for the hell of it,
how much was this back then? PAT: 1,000, I think, or 1,200.
MIKE: Was it 1,000? PAT: Yeah. Was a lot of money.
PAT: He got killed in Daytona, Roger got killed in Daytona
it was just stupid that it happened and...
in a wreck, and you know,
I think a handlebar hit him and busted a...
It was... it was bad, it was bad.
PAT: I knew that family when I was little.
MIKE: Really? PAT: Yeah.
MIKE: How’d you know them? PAT: From going to Kewanee,
the Lithuanian side of the family,
my mom, the aunt or cousin... MIKE: Oh, you had roots in Kewanee?
PAT: Oh, yeah, I went out-- MIKE: I love Kewanee, man.
PAT: I used to go shooting with Roger and his father.
MIKE: Really? PAT: Out in the cornfields.
MIKE: So you knew Roger. PAT: Oh, yeah, we played
pool together, if I’d be up there.
MIKE: Get outta here! PAT: I’m telling ya.
PAT: When I’d be up visiting the family,
I’d go see him, and you know,
we’d go out playing, shooting pool.
There wasn’t much to do in Kewanee at that time,
but... we had fun, it was fun.
MIKE: Kewanee, Illinois, this is 40, it’s 45 minutes
from my house, in Iowa.
MIKE: It’s beautiful stuff. And...
PAT: And it’s historic. And that era,
that ’60s era, that was wonderful.
(Mike sighs) MIKE: What are you thinking
on this and the painting? PAT: Oh, gah...
I mean, a lot of history. MIKE: I know.
MIKE: The painting is incredible,
the fact that it hung in Roger’s home,
that he thought that much of it, is pretty awesome
within itself. But to hold this tank
from one of the premier motorcycle racers
in this country, at that time.
PAT: Uhh...
If I sell it to you cheap,
it’d be disrespectful for this stuff.
MIKE: Absolutely.
PAT: 5 grand.
For both of them.
That’s, that’s... I know. MIKE: That’s fair.
PAT: It really is. MIKE: For both of us.
PAT: I know, I know. MIKE: For both of us. It’s fair.
MIKE: To be here in this moment with him,
he’s been more than generous with his knowledge and his time
PAT: It’s been a pleasure.
MIKE: Always an epic day with you.
PAT: I know, I know.
MIKE: And I’m the guy he called It’s crazy cool.
MIKE: Thanks for always including me in your world.
(honks horn) PAT: You take care!
MIKE: See you down the road, buddy!
PAT: Bye-bye. You take care. (honks horn)