That's about how my alto looked pre-restoration. I was just interested in using it as a lamp for the unique engraving, but then I got to play a Conn alto and found out what I was missing.
We were floored by the gold plate when it was carefully buffed clean, but it was long gone along the "rubbing area" on the left rear of the rear tube. In the end, I opted for full silver plate instead of the gold. It looks great under theatrical lighting, and is frequently commented upon when I'm up on the bandstand.
(I should remark that I get far more comments on the bass clarinet (also done with gleaming silver plate) than on any of my other instruments. Usually, what I hear is "What is that thing?", which gives me another opportunity to brag on Sax's first great invention.)
Those old Conns are great horns, as long as you get a low pitch instrument. Full bodied tone, and the intonation is workable with a little effort.
One word of warning: If you have the horn rebuilt, make sure that the joints down at the bow are disassembled and thoroughly cleaned of all corrosion. If this is not done, you have the beginnings of the degradation of your carefully restored finish lurking down there.