House of Folk Art

Matt and Mike Smith sit down inside the Griffith Fine Art Museum at Red Oak Brewery to talk about the wild early days of Southern folk art and the collectors who helped define it. What begins as a casual visit quickly turns into a deep dive into Mike’s decades-long journey from salesman to documentarian, capturing the rise of self-taught art across the Southeast.Mike shares how he met artists like Benny Carter, James Harold Jennings, and Howard Finster, and what it was like to ride with Carter through the backroads of North Carolina with a revolver on the dash and a cooler full of copperheads in the back. He recalls photographing artists in their homes, quitting his day job after a single conversation with Finster, and how those early trips shaped the entire field of outsider art.Matt and Mike talk about the collectors who kept the movement alive and the growing problem of fake pieces appearing in auctions. They compare real works to counterfeits, share tips on spotting authenticity, and reflect on how folk art has changed as the next generation starts to collect.Sully joins at the end to ask a few behind-the-scenes questions about Mike’s photography and how he built trust with artists before taking a single shot.Chapters:00:00 | Welcome to the Griffith Fine Art Museum at Red Oak05:26 | Giving Mike His Flowers09:09 | Benny and Mike Take New York15:07 | Meeting James Harold Jennings20:19 | Fearrington Folk Art Show Preview25:49 | The Discovery of Tom Fiddler30:20 | Why Folk Artists Create35:40 | So Bad It’s Good40:41 | The Fake Art Problem50:45 | Spotting Benny Carter Fakes55:01 | Time for a Red Oak59:50 | The Best Time to Buy Art1:04:46 | Sully’s Closing QuestionsAs the conversation winds down, Matt and Mike look back on the people who made this community what it is today. The stories of Benny Carter, Mose Tolliver, and Howard Finster remind them that folk art has always been about more than sales or recognition. It’s about the spark that makes someone pick up a brush, carve a block of wood, or turn everyday life into something worth remembering.The next great folk artist is probably out there right now, carving, painting, or welding in quiet determination, waiting for someone like Mike Smith to stop by with a camera and a story to tell.Follow @houseoffolkart for more behind-the-scenes stories and upcoming auction dates at LedbetterAuctions.com.

Matt and Kyle take a deep dive into Kentucky folk artist Carl McKenzie (1905-1998), examining his colorful cut-wood sculptures that inspired a generation of collectors. From the Daniel Boone Trading Post to Larry Hackley's legendary collection, they explore how McKenzie's simple two-by-four constructions with movable arms captured the essence of Kentucky mountain life.The episode takes a personal turn when Matt reveals his secret identity as the "Gibsonville Highway 61 Miniature Chair Maker," showcasing 24 Willie Massey-inspired chairs he created over three months before mysteriously losing the creative drive. The conversation explores the psychological challenges of folk art creation, from Charles Archer's inability to carve stone anymore to Matt's fear of trying to recreate his own work.They compare McKenzie's $150-300 pieces to Edgar Tolson's $17,000 carvings, discuss the difference between cut wood and carved wood, and examine why collectors need multiple pieces to build a case for an artist's legitimacy. Plus: Benny Carter banjo poetry about the House of Blues, football hit sticks as contemporary folk art, and a heated basket controversy that's got one collector sending angry midnight texts.What you'll learn:Carl McKenzie's evolution from retirement to prolific Kentucky folk artistWhy cut-wood sculptures require different appreciation than carved piecesThe psychological "bite" that drives folk artists and when it disappearsHow to distinguish 1940s paint from contemporary workThe House of Blues connection to folk art and Dan Aykroyd's visionWhy Edgar Tolson commands $17,000+ while McKenzie stays under $500Follow @houseoffolkart and call the new folk art hotline if you have Carl McKenzie stories to share.Chapters:00:00 | Carl McKenzie introduction and House of Folk Art t-shirts02:25 | Kentucky Folk Art – Carl McKenzie's colorful cut-wood sculptures04:39 | Cut vs Carved – understanding the difference in folk art construction07:15 | Larry Hackley's Collection – seeing 80 McKenzie pieces together09:24 | Artist Inspiration Sources – imagining McKenzie's creative process14:22 | Discovery Stories – 1970s art dealers finding porch carvers16:18 | Collection Building – why you need multiple pieces for legitimacy19:01 | Edgar Tolson Comparison – $17,000 museum-quality vs $300 attainable25:17 | The Creative Bite – how folk art inspiration strikes and disappears31:09 | Living Artists Today – shake the right tree and find 20 artists34:12 | Fearrington Folk Art Show– the next generation of self-taught artists37:56 | Willie Massey Influence – miniature chairs and thick paint globs41:51 | The Gibsonville Chair Maker Revealed – Matt's secret folk art identity46:35 | Creative Struggles – why Matt stopped making chairs for 3 years53:28 | Anonymous $30,000 Cane – high-relief carving and folk art pricing56:58 | Football Hit Sticks – contemporary folk art meets youth sports1:00:06 | Benny Carter Banjo Poetry – House of Blues tributes and misspellings1:06:42 | House of Blues Tour – Dan Aykroyd's folk art restaurant empire1:08:20 | Struggling Artist Reality – Benny's "last beer" dealer meetingThe next Carl McKenzie is out there right now, selling $15 pieces and waiting to be discovered.

Matt sits down with his father Wade Ledbetter, the legendary picker whose exploits have become House of Folk Art folklore. From walking to school with a .22 rifle to sleeping with shotguns in dangerous hotel rooms, Wade shares raw stories from the golden age of picking when there was no internet, no cell phones, and pickers ruled the auction house circuit.The conversation covers Wade's transition from insurance salesman to full-time picker, the electric atmosphere at John Lambert's Mebane auction house, and the legendary finds that made other pickers rich while Wade and Matt struggled. Hear about the John Singer Sargent discovery, and the William Merritt Chase painting that sold for $750,000.The episode concludes with an intensive salt glaze pottery lesson as Matt prepares Sully for Liberty Antique Festival. Learn to distinguish Timothy Boggs drips from contemporary pieces, understand why N. Fox is better than H. Fox, and discover how 1800s potters shared techniques and stamps. From canning jar forms to dramatic alkaline glazes, this is your crash course in Piedmont North Carolina pottery.What you'll learn:The dangerous reality of 1990s picking trips and cheap hotel roomsHow auction house time slots sold for $500 during the golden eraThe picking partnership dynamics and money-splitting rulesSalt glaze vs alkaline glaze pottery identification tipsWhy signed pottery commands premium prices and which potters to seekThe collaborative nature of 19th-century pottery productionFollow @houseoffolkart and get ready for Liberty – but don't buy junk or Matt will hit it with a baseball bat.Chapters:00:00 | Wade Ledbetter introduction and school rifle stories00:31 | Early Picking Days – insurance sales to antique partnerships02:58 | Dangerous Hotel Stories – shotguns, strangers, and picking safety07:45 | The Golden Auction Era – Mebane's electric atmosphere and picker competition11:07 | Pottery Cycles – why Thomas Richie now costs $200 instead of $1,20013:54 | The "Sconion" Mystery – Brigg's auction chant vocabulary16:00 | Picking Partnership Rules – money splitting and gas tank protocols19:39 | Benny Carter Encounter – meeting the artist before he became famous21:38 | Real Picker Philosophy – why you must sell the best to survive26:27 | Mickey's Magic – Confederate soldier images and $12,000 sugar chests29:27 | The John Singer Sargent Story – Wade's million-dollar discovery expectations31:01 | William Merritt Chase Revelation – $750,000 hammer at Mebane auction33:39 | Sex and Pottery – Wade's controversial pottery wheel advice34:17 | Salt Glaze Masterclass Begins – preparing Sully for Liberty shopping35:08 | Timothy Boggs Identification – dramatic drips and canning jar forms39:00 | Piedmont vs Alkaline Glaze – brown salt glaze vs green western NC pottery42:28 | Signature Hierarchy – why N. Fox beats H. Fox and potter collaboration secrets

Matt and Sully kick off with some international flair as Sully shares his folk art discoveries from Poland and Denmark – including a mysterious pottery piece that might be 200 years old and a painting on board he snagged for five bucks in Copenhagen. The conversation flows from European finds to the economics of American pottery, exploring how glass factories nearly killed traditional potters until they pivoted to decorative and tourist pieces. Matt breaks down the Burlon Craig timeline and explains why Reinhart family face jugs are rarer than Edgefield pottery, while a surprise call from Matt's dad confirms a $5,500 Reinhart sale.From ancient Greek Dionysus vessels to contemporary Nova Scotia carvings, this episode traces folk art's universal human appeal across cultures and millennia. Whether you're fascinated by Polish religious carvings, Egyptian miniatures, or North Carolina pottery traditions, you'll discover that the impulse to create art with your hands knows no borders or time periods.What you'll learn: - How European thrift shops and flea markets compare to American picking - The transition from utilitarian to decorative pottery in the early 1900s - Why Burlon Craig represents the last generation of traditional NC potters - The ancient origins of face jugs in Greek and Egyptian cultures -  How tourism saved American pottery makers from extinction - The universal patterns that connect folk art across all culturesChapters:00:00 | Intro and European folk art preview02:13 | European Finds – Sully's Denmark and Poland discoveries05:08 | Polish Pottery Mystery – dating a potentially ancient piece08:06 | Haggling Across Borders – international picking stories09:15 | European Folk Art Museum Tour – Polish religious carvings and paintings15:10 | Universal Art Forms – why dragons and faces appear everywhere19:04 | Polish Folk Art Analysis – academic vs self-taught European work25:01 | Ancient Face Jugs – 2,500-year-old Greek pottery discoveries26:58 | Face Jug Philosophy – why humans naturally create faces in art31:06 | Pottery Economics – how glass factories changed everything32:09 | Dad's Phone Call – $5,500 Reinhart face jug sale confirmation34:00 | Burlon Craig Timeline – the last utilitarian potter's transition36:07 | Regional Collecting – North Carolina pottery population math47:16 | Hickory Pottery Festival – navigating overwhelming choices50:24 | Nova Scotia Connection – living folk artists from our northern neighbors53:08 | Universal Folk Art – why every culture creates the same forms54:04 | Regional Picking Hotspots – Shenandoah Valley and Northeast treasures58:28 | Salem Pottery History – fish jugs and $100,000 turtle flasks1:02:03 | Collecting Strategy – starting regional then branching out1:03:41 | Future Episodes – Kyle's collection, West Virginia pottery, and t-shirt plans1:06:00 | Future Episodes – Kyle's collection, West Virginia pottery, and t-shirt plansThe world is full of folk art – you just have to know where to look.Follow @houseoffolkart and check upcoming auctions at LedbetterAuctions.com. Folk art isn't just American – it's human!

Matt opens his doors to the official House of Folk Art gallery – a sanctioned room in his Gibson­ville home where guests drink wine, discuss eyeball jugs, and sleep surrounded by Benny Carter cityscapes. What started as empty walls has become a rotating exhibition that changes every two years, filled with the kind of obtainable art that proves you don't need millionaire money to live with authentic folk art.This episode is pure education for new collectors: Matt breaks down how he built this collection piece by piece, why he can't afford Bill Traylor but settles happily for Mary Proctor, and the upgrade system that turns $60 eyeball jugs into serious collections. You'll hear the Purvis Young story that changed Benny Carter's entire approach, learn why Red Oak Brewery needs to know about Gibson­ville's auction scene, and discover how fake Bill Traylors flood LiveAuctioneers while the real deal costs six figures.The conversation covers everything from salt-glaze pottery drips to Civil War swords, walking stick disasters at Liberty Antique Festival, and why Matt once threatened to destroy $1,700 worth of pottery with a baseball bat over pickup hours. Plus: the essential folk art reference book every collector needs, Matt's bouncer days at Plumb Crazy roadhouse, and a live demonstration of why you always check the whole sword before buying.What you'll learn:- The upgrade system: how $60 becomes $600 becomes $6,000 over time- Essential folk art names from the Oppenheimer collection book- How to spot fake Bill Traylors and Purvis Youngs on auction sites- Why Matt's dad's picking wisdom still guides every purchase- The difference between collecting and dealing (and why collectors lose money)- Salt-glaze pottery basics: drips, stamps, and Alamance County goldWhether you're starting with Mary Proctor paintings or dreaming of museum-quality pieces, this episode shows how authentic folk art beats Target wall decor every time – and costs less than you think.Follow @houseoffolkart and check upcoming auctions at LedbetterAuctions.comChapters:00:00 | Cold Open – Dead people's art and Gibson­ville introductions01:24 | House Tour – the sanctioned folk art room and B&B concept03:09 | Collection Philosophy – why this isn't the "best of the best"05:54 | Folk Art Pricing – from $60 eyeball jugs to $7,250 records08:27 | Red Oak Brewery Rant – local art gallery missed connections14:19 | Folk Art Discovery – how people find self-taught art15:18 | The Essential Reference Book – Three Ring Circus collection guide17:25 | Money Talk Defense – why pricing matters in art discussions20:31 | Teaching Kids to Collect – Matt's 13-year-olds at Liberty22:17 | Art World Categories – why labels exists25:11 | Academic vs Self-Taught – the Hudson River School revelation29:01 | Benny Carter's Origin Story – from Halstead Metals to art career32:20 | The Purvis Young Influence – how $30 paintings changed everything35:17 | Masterpiece Phases – Benny's detailed period vs later work44:10 | Collection Building Strategy – pottery, furniture, walking sticks48:12 | The Upgrade System – from $85 jugs to signed masterpieces52:05 | Salt-Glaze Pottery Lesson – drips, stamps, and kiln science55:23 | Walking Stick Disasters – the Liberty rack catastrophe story59:16 | Collecting vs Dealing – why pickers can't keep everything1:00:29 | Specialization Benefits – North Carolina monkey jugs only1:04:18 | Fake Art Warning – LiveAuctioneers and "sold as is" scams1:06:01 | Authentication Stories – how to spot fakes1:07:23 | High-End Art Reality – Monet, Basquiat, and auction house politics1:08:58 | Pickup Hours Rant – the $5 tile incident and business boundaries1:10:29 | Picasso Timeline Confusion – Matt's art history education gaps1:14:23 | Picking Stories – the Dan Siegle mistake and learning experiences1:19:52 | Plumb Crazy Bouncer Days – guns, bikers, and college jobs1:25:42 | Wall Decoration Philosophy – real art vs Target purchases1:27:32 | Starter Recommendations – Mary Proctor and R.A. Miller1:30:15 | Collecting Parameters – setting limits to avoid chaos1:33:38 | Civil War Sword Inspection – Union vs Confederate identification1:35:16 | Final Collecting Advice – passion over price, knowledge over impulseThe house tour continues next episode – folk art living at its finest.

Matt opens the show in Dale Earnhardt Sr.’s iconic black-and-red jersey while Sully sports Dale Jr. The playful NASCAR nod lasts only long enough for a quick laugh before they park the racing talk and steer straight into folk-art territory.Their first stop is Eden, North Carolina, where Carrie Graves covered scrap paper with bright marker sketches for decades and her daughter Ellen Martin coaxed lions and angels from borrowed-kiln clay. Next they spotlight Benny Carter, a former metalworker whose twenty-thousand miniature cityscapes practically hum with yellow-cab traffic. The tour wraps with a bottle-cap snake, a split-oak basket whose missing splints ruin its payday, and a carved boxer whose price tag swings from pocket change to five figures depending on the auction block.What you’ll pick up along the way  • How a $15 porch drawing from Carrie Graves can climb to four-figure territory  • Why Ellen Martin fired her pottery in a borrowed kiln and how that affected her prices  • The Benny Carter grind: twenty-thousand paintings, a 9/11 obsession, and serious market heat  • Craft vs Folk vs Outsider: quick rules of thumb using a bottle-cap snake as the example  • Condition basics: the missing-splint math that turns a $4,000 basket into $80 • Market environments: why a wood carving is $100 at Fishersville, $400 at Liberty, but $12,000 in New YorkChapters  00:00 | Cold Open – Matt in a Dale Sr jersey, Sully in Dale Jr, checkered-flag talk01:41 | Martinsville Nights – camping stories, case of beer, and a 100-mph pick03:55 | Hidden Artists – intro to Carrie Graves and Ellen Martin04:32 | Carrie Graves Drawings – marker on paper, pricing and scarcity08:55 | Ellen Martin Pottery – borrowed kiln story, flowing-robe Lady Liberty11:46 | Benny Carter Deep Dive – metal-shop layoffs to city-scape mania15:02 | Repetition Pays – how twenty-thousand pieces create steady demand22:50 | Yard-Sale Math – $10 tin paintings versus $10,000 auction bids33:10 | Craft, Folk, Outsider – the bottle-cap snake debate41:46 | Wood Carving Review – Matt compares two folk art carvings48:04 | Market Environments – Liberty, Fishersville, New York52:09 | Anonymous Tin Cows – when six-figure names hide in plain sight55:16 | Basket Reality Check – $4,000 vs $80 when splints go missing58:00 | Folk Art Flashcards – Mary T. Smith, Archie Byron, Lonnie Holley1:05:44 | “Click It In” – training your eye with reference book binges1:09:16 | Gym-Life Rant – strong backs and stronger bids1:13:37 | Folk Art Rules – nothing is worth anything until someone pays1:15:21 | Sign-Off – auction-chant warm-ups and next-episode teaserFolk art is more than carved wood or painted tin; it is road miles, quick math, and the nerve to flash cash when your gut says go. Whether you are a weekend yard-sale scout or plotting a folk-art empire, this episode hands you a roadmap, wrong turns and all.  Keep riding shotgun by following @houseoffolkart on Instagram and TikTok, and check the next auction lineup at LedbetterAuctions.com. The hunt never ends; it just moves to the next county line.

If you’ve ever wondered how an old jar of quarters, a dusty license plate, or a mystery canvas can bankroll a folk-art empire, this hour is your crash course. Matt Ledbetter and Sully leave the gallery table behind and unpack the method behind the madness of picking...long drives, door knocks, and gut checks that separate a lucky flea-market haul from a life-changing score. They relive two-week marathons with $12,000 in road cash, explain why “brown is down” furniture still sells if you know the buyer, and debate the ethics of flipping a $10 painting for $29,000. Matt revisits a $10 North Carolina license plate that hammered for four figures, a briefcase of mint Case knives that reset his risk meter, and the “toolbox” cash trick that keeps the gas tank full; it’s part road-trip thriller, part market master class, part soul search, proving expertise can both elevate and encumber.What you’ll pick up along the way          • Pricing math in real time — melt-value silver, die-variety coins, and why original boxes can 10× a toy’s worth          • Spotting sleepers — porcelain plates, state-shaped tags, and other ephemera hiding in plain sight          • Negotiation hacks — when to flash cash, when to go silent, and how a polite follow-up visit scores the real jackpot          •  Ethics of the flip — drawing the line between savvy and predatory when the seller doesn’t know what they have          • Road-crew rituals — motel auctions on Friday nights, seat-belting stoneware so it survives I-40 potholes.          • Future-casting — why self-taught art could be the next crypto curve, and which categories Matt thinks still have rocket fuelChapters00:00 | Cold Open – Who Plays Matt?01:30 | Interdimensional Cable?02:54 | Coin Crash Course: VAM Marks05:52 | Silver-Price Spike Math07:34 | “Brown-Is-Down” Furniture Debate08:39 | Folk Art as the “Next Crypto”10:06 | Confederate Currency as Art11:53 | Pop Packaging & Warhol Parallels15:45 | $10K George Nakashima Near-Miss18:53 | License-Plate Economics 10119:59 | Tennessee State-Shape Tags24:10 | Netflix Picker-Series Pitch26:01 | Blind-Squirrel Case-Knife Score30:45 | Boxed Lionel Trains Attic Flip34:01 | Knife-Reference Revelation39:30 | Two-Week Indiana Picking Run49:17 | $10 Arthur Dow Painting → $29K53:54 | Chester Webster Bird-Jug Tale56:26 | The “Toolbox” Cash Rule58:57 | Million-Dollar Daydreams59:37 | $400 Whirligig Valued at $50K+01:01:30 | Wrap-Up & Next HuntsFolk art isn’t just what hangs on a wall; it’s the math of silver ratios, the rust on a license plate, and the nerve to offer ten bucks when your gut screams “maybe.” Whether you’re a weekend yard-sale scout or dreaming of six-figure sleepers, this episode hands you the roadmap...detours, dilemmas, and all. Keep riding shotgun with us by following @houseoffolkart on social, and track the next haul at LedbetterAuctions.com. The hunt never ends; it just moves to the next county line.

In this episode of House of Folk Art, Matt and Sully take on a challenge inside the gallery: pick 5 folk art pieces each and analyze them for viewers. But this isn’t just show and tell. You’ll get insight into how both beginners and experienced collectors weigh a piece’s condition, story, value, and craftsmanship. From outsider legends to emerging names, the episode explores what makes folk art collectible and how to spot something special.Chapters:00:00 – 00:02:02 | Cold Open & Gallery ChallengeMatt and Sully set the scene, heading into the gallery to find five standout pieces each. 00:02:02 – 00:02:53 | Matt and Sully sit down for the podcastBack in the booth, the duo prepares to dig into their selections, explaining the criteria behind each pick and what collectors should look for.00:02:53 – 00:07:01 | Ed Lambdin Reptile (Sully)Sully analyzes a vibrant reptile sculpture by Ed Lambdin from the Larry Hackley Collection. It's approachable for new collectors, colorful, affordable, and fun, while still offering layers of outsider art history.00:07:01 – 00:11:36 | Billy Ray Hussey Red Lion (Matt)Matt dives into a red-glazed lion by Billy Ray Hussey, exploring signature elements like the green eyes and iconic lion series. 00:11:36 – 00:16:29 | Howard Finster Camel Panel (Sully)This camel painting by Finster is numbered, signed, and filled with biblical text. Sully touches on the vision-driven nature of Finster’s work and why provenance and themes matter when evaluating folk art.00:16:29 – 00:23:24 | Southern Carved Whirligig (Matt)Matt showcases a weathered whirligig that could date to before the Civil War, possibly worth $50,000. He explains construction techniques, aging signs, and how rarity and mystery can make a piece exceptional.00:23:24 – 00:31:10 | Sulton Rogers Carving (Sully)Sully presents a carved figure by Sulton Rogers, using it to discuss how distortion, emotion, and unique visual language define outsider art. Matt also shares tips on identifying Rogers’ work.00:31:10 – 00:35:13 | Benny Carter Sculpture by Charles Simmons (Matt)Matt introduces a stone carving of Benny Carter by Charles Simmons. He explains Simmons' path from wood dolls to fine folk sculpture and how late-in-life creativity can build a lasting artistic legacy.00:35:13 – 00:37:05 | A quick look at the Benny Carter BookThe pair browse the infamous Benny Carter book, noting how documentation of artists like Simmons, Carter, and their community helps preserve history and authenticity.00:37:05 – 00:43:28 | Found Object Bird Sculpture (Sully)This whimsical bird is built from a shoe mold, tin, and wire. Sully questions if it’s folk art or found-object craft, sparking a conversation about intentionality and artistic vision in non-traditional materials.00:43:28 – 00:46:17 | Contemporary Face Jug from Hickory (Matt)Matt highlights a recent face jug by Kay Bevan of Four Paw Pottery. The bold glaze and playful features show how new makers are pushing tradition forward while honoring Seagrove roots.00:46:17 – 00:48:25 | Mary Proctor Collage (Sully)Sully presents a classic Mary Proctor piece, rich with color, faith, and Coca-Cola iconography. Matt explains how her storytelling collage style makes her work both personal and broadly collectible.00:48:25 – 00:51:33 | Mini Benny Carter Painting (Matt)Matt shares a tiny Benny Carter painting and discusses Carter’s life, identity, and lasting impact as one of the most interesting folk artists of his era.00:51:33 – 00:56:33 | BONUS Rare Early Burlon Craig Face JugsMatt brings out two early Burlon Craig face jugs and walks through the details that set them apart, including doubled rows of teeth and glaze runs that resemble tears. 00:56:33 – 00:59:47 | The Crying Eye StoryMatt tells the origin of a face jug with crying eyes, once thought to be a kiln mistake. It’s a case study in how accidents, context, and scarcity can shape a piece’s story.00:59:47 – 01:03:28 | Tom Fidler's Burned Wood CarvingCarved and burned heads by Tom Fidler show a different folk medium: pyrography. With over 300 pieces coming to auction, Matt discusses how to interpret repetition and volume in folk art markets.01:03:28 – 01:11:56 | Just-Picked Appalachian BasketDiscovered that morning, this handmade basket may be from the Shelton Sisters. Matt unpacks how color, materials, and weave patterns help identify mountain baskets and how market knowledge affects pricing.01:11:56 – End | DOUBLE bonusMatt sneaks in one last pottery piece for dedicated viewers, showing off some serious drip. Folk art isn’t just about what’s on the wall or shelf. It’s about the stories, the hunt, and the people who see value in the overlooked. If that’s your kind of thing, stick with us. Follow @houseoffolkart across social media and head to ledbetterauctions.com to find the next piece that speaks to you. This is more than a podcast...it’s a front-row seat to the folk art world.

In this episode of House of Folk Art, Matt and Kyle are back at the Folk Art Auction House in Gibsonville, sifting through the spring haul from shows across North Carolina and Virginia. With the van finally unloaded and the finds laid out, they talk through what’s going to auction, what might stay in the collection, and what stories came with each piece.From a $70 New Jersey jug now soaring past $1,200, to a vividly painted mystery basket that might just be Native American, the episode dives deep into the value, and vulnerability, of picking. Matt reflects on hard-earned lessons, including a $500 mistake and a $50,000 miss. He also reveals the secrets behind spotting real age in stoneware and shares the rare backstory of a Chester Webster bird jug, complete with family lore.Whether you're a longtime collector or just getting started, this episode is a crash course in auction hustle, gut instinct, and the kind of heartbreak only pickers know.00:00 – 00:32 | Cold Open: Sponsored by Monster (Not Really)Matt cracks open a Monster and jokingly claims it’s their sponsor. 00:33 – 04:03 | Back at the Auction HouseMatt and Kyle regroup after a whirlwind run of spring shows. 04:04 – 06:18 | Mini Basket PickupA small, early basket gets examined, was it broken or just built without a handle? 06:19 – 11:00 | The Jug Found at 6AMMatt tells the story of a $70 New Jersey jug he snagged at sunrise, now bringing over $1,200 at auction. 11:01 – 14:04 | Northern vs. NC StonewareThey compare decorative blue stoneware from the North to the utilitarian jugs of early North Carolina. 14:05 – 14:56 | Spotting Old StonewareMatt shares how to spot authenticity in pottery, from wear patterns to firing details. Sometimes, all it takes is years of getting it wrong.14:57 – 16:55 | The $500 Mistake JugMatt opens up about a painful lesson: spending $500 on a fake decorated jug. The story is a cautionary tale every collector should hear.16:56 – 17:47 | Recap: What to Look For in StonewareSigns of age like dragging wear and firing marks separate the real deals from the modern knockoffs. 17:48 – 21:52 | Two $900 Baskets Down to $425Matt talks about bundling and how he scored two high-dollar baskets for under half price. 21:53 – 23:59 | Why Isn’t There a Basket Museum?Matt rants about the lack of a Southern Appalachian basket museum. 24:00 – 25:52 | Liberty Festival Pottery FindsThe guys transition to pottery finds from Liberty. An alkaline-glazed jar with strong glass runs gets special attention.25:53 – 26:37 | Alkaline Glaze Tells the StoryThe type of glaze can place a pot’s origin and age instantly. 26:38 – 29:47 | The Only Book You NeedMatt pulls out an old pottery reference guide and explains how it helps identify makers. 29:48 – 31:38 | Learn by Watching AuctionsYou’ll learn more from watching what sells than any class. 31:39 – 36:16 | 1,000 Buttons for $100Matt bulk buys a mountain of vintage military buttons. 36:17 – 38:00 | Back Into Pottery TalkAfter buttons, it’s time to dive back into North Carolina pottery. The conversation steers toward differences in regional clay and glaze.38:00 – 39:20 | Introducing the Chester Webster JugThey unveil a rare bird-decorated jug by Chester Webster. 39:21 – 40:55 | Wade Ledbetter’s Chester Webster FindMatt recounts his dad buying a Webster jug in 1985 for $100. Turns out that bird on the jug was worth thousands.40:56 – 42:33 | Chester Webster: Bird & Fish PotterChester Webster is known for his incised bird and fish motifs. His decorated jugs are among the most collectible in NC folk pottery.42:34 – 43:49 | Rare Size and DecorationThe jug's small size and intricate design make it exceptionally rare. 43:50 – 46:12 | No-Bird Chester Webster JugsThey show another Chester Webster piece, this one without a bird. 46:13 – 49:32 | Spotting a Chester Webster Without a BirdMatt teaches how to ID a Webster jug based on shape, handle, and decorative technique. It’s all about knowing the tells.49:33 – 51:06 | Salt Glaze vs Alkaline GlazeA quick visual breakdown of glaze types. Green means alkaline, gray means salt...usually.51:07 – 55:23 | The $50K Dave Jug That Got AwayMatt tells the gut-wrenching story of walking away from a $50,000 Dave jar at age 15. It still haunts him.55:24 – 58:28 | Picker Songs Matt sings the song he wrote about the Dave jar and starts brainstorming one for potter Stacy Lambert. The banter turns musical.58:29 – 59:26 | If You Don’t Buy Something, You’ll Go BerserkThe pressure to find a good buy builds during a dry stretch. Sometimes you’ve got to buy something to stay sane.59:27 – End | Keep It or Sell It?Matt wraps up by playing a round of "Keep It or Sell It" with their current finds. Some are auction-bound, but a few may just stay in the collection.Subscribe for more folk art finds, auction stories, and behind-the-scenes picking adventures.

In this episode of House of Folk Art, Matt, Kyle, and Sully squeeze into the back of the van just as the Fishersville Antique Expo winds down, surrounded by every treasure they scored that weekend. What starts with Matt flipping through his “Little by Little” reference book quickly becomes an all-out field lesson in Americana and folk art. From a perfectly aged 1860 Piedmont salt-glazed jug and Sully’s first walking stick—handed down by Matt himself—to Kyle’s on-camera $400 pie safe purchase from Wade, they unpack each piece with contagious enthusiasm. You’ll learn how to read stamps on a craned jug, spot a genuine diamond willow cane, and weigh the merits of a painted basket’s three-color finish. Along the way, they debate pricing philosophies, the “new money” concept in collecting, and why a tiny seven-inch basket can outshine its larger cousins. By the time they reveal a quilt rack find, you’ll understand why every expo score is a story waiting to be told.As the van doors close on festival season, Matt and Sully remind us that collecting isn’t just about filling shelves—it’s about preserving the hands-on craftsmanship and local history behind each item. Whether it’s a humble walking stick, a curated pie safe, or a rare jug, these pieces connect maker to collector in ways no auction catalog ever could. Tune in for the full episode to catch every tip, trade-off, and “aha” moment as they wrap up Fishersville and look ahead to the next hunt.CHAPTERS00:00 – Cold Open: Matt flips through “Little by Little” as Kyle sets up the cameras01:29 – Podcast Kickoff: Matt and Sully introduce the House of Folk Art episode from the van01:57 – Piedmont NC Salt Glaze Jug: Examining an 1860 jug, its stamps, and why Sullivan’s find matters05:21 – Folk Art & Antiques at Shows: Why Americana and folk art go hand in hand at antique festivals05:34 – Walking Sticks: Lessons on tape, surface wear, and why you never put tape on folk art canes07:47 – Diamond Willow Canes: Identifying diamond willow, what surface tells you, and carving origins11:06 – Swan Lake Central Park Painting: Discovering provenance on the back and valuing an 1880s artwork16:04 – Jug sniff test takes Sully back to a hog farm cellar18:42 – New Money Concept: How “new money” works in the antique business and enjoying pieces over time20:29 – Walking Stick Gift: Matt gives Sully his first walking stick22:00 – Painted Baskets: Evaluating paint quality, size, and why smaller baskets can be more valuable23:04 – Pie Safe Purchase: Kyle buys a pie safe from Wade for $400 on camera26:40 – Guess That Basket: Revealing three baskets from a single bag and discussing form versus age28:28 – Quilt Rack Reveal: A surprise necessity for any collection and how to display folk textiles28:51 – Wrap-Up: Reflections on Fishersville Antique Expo, end of festival season, and why Americana and folk art belong together00:00 – Cold Open: Matt flips through “Little by Little” as Kyle sets up the camerasIn this cold open, Matt quietly leafs through his freshly purchased copy of Little by Little while Kyle hustles to position mics and cameras. You can hear the soft rustle of pages as Matt pauses on photographs of early American decorative arts. Before any formal introduction begins, you already sense the excitement that comes with every festival find and scholarly reference—setting the tone for the van-sized deep dive to come.01:29 – Podcast Kickoff: Matt and Sully introduce the House of Folk Art episode from the vanOnce the cameras roll, Matt welcomes listeners to another House of Folk Art podcast recorded straight from the back of the van. He hands the mic to Sully, who jokes that nothing screams authenticity like talking folk art between a stack of crates and a half-set tripod. Together they note that this episode wraps up festival season and promises a show-and-tell of their best Fishersville Expo scores.01:57 – Piedmont NC Salt Glaze Jug: Examining an 1860 jug, its stamps, and why Sullivan’s find mattersMatt pulls out a salt-glazed jug stamped with a “2” over “2” and a tiny cargo wheel motif on the shoulder. As Sully holds it up to the light, Matt explains how to read the double “2” stamp to date it around 1860. They debate whether the cobalt lines on the shoulder denote a North Carolina origin or if it was made in Virginia and slipped across state lines. Sully chimes in about his first solo purchase—a jug stamped “SC Milburn”—which Matt says could be a rare variant worth saving.05:21 – Folk Art & Antiques at Shows: Why Americana and folk art go hand in hand at antique festivalsBetween sips of coffee, Matt reminds Sully that any show selling Americana antiques almost certainly has folk art hiding nearby. He emphasizes that the collector who knows one genre usually understands the other—because both tell local stories and share the same maker-made spirit. This segues into a broader discussion of why festival booths often group primitive furniture with baskets, stoneware, and handmade tools.05:34 – Walking Sticks: Lessons on tape, surface wear, and why you never put tape on folk art canesThe conversation shifts to walking sticks. Matt laments the person who wrapped old cane handles in duct tape, revealing how that kind of repair destroys original patina and surface patterns. Sully holds up a walking stick covered in cracked bark, and Matt shows how natural wear appears where hands gripped the wood. They agree that any careful collector will look for root-crooked bases and subtle vine curves, not just the carving on the handle.07:47 – Diamond Willow Canes: Identifying diamond willow, what surface tells you, and carving originsSully unveils a pristine diamond willow cane with the classic diamond-shaped ridges. Matt explains how those patterns form when the vine grows around the tree trunk. They talk about the difference between carved diamond patterns and naturally formed ones—and how to spot a modern carving versus genuine—it’s all in how the wood fibers twist. Listeners pick up tips on when to pay extra for a stick with minimal bark loss and signs that the carver used a drawknife rather than a power tool.11:06 – Swan Lake Central Park Painting: Discovering provenance on the back and valuing an 1880s artworkNext, Matt flips a small framed painting to reveal a worn paper label reading “Swan Lake, Central Park, 1875.” Sully paid $300; now they debate whether dirt and missing frame corners actually increase authenticity. Matt points out the original brass hardware on the back and the nails that date to the 1880s. They agree that the provenance makes it a steal, even if the canvas has a few pinholes—showing how buyers should lean into imperfections when they prove age.16:04 – Jug sniff test takes Sully back to a hog farm cellarMid-episode, Matt presents a signed J.W. Triplett stoneware jug embossed “Canfield, Ohio.” Before any close inspection, he does the classic “sniff test,” explaining how salt-glazed jugs often hold a faint farm-yard scent from decades in a cellar. That olfactory clue reminds him of his grandparents’ hog farm cellar as a kid. Sully listens in admiration, learning that smell can be as revealing as any stamp when dating pieces.18:42 – New Money Concept: How “new money” works in the antique business and enjoying pieces over timeAs the jug discussion winds down, Matt outlines “new money” in more detail—encouraging collectors to buy pieces they enjoy now and let them appreciate naturally over seasons. Sully agrees that part of collecting is living with a jug or basket for a few years b...

Chapters00:00 – Intro00:14 – Baskets 101: The Feel Test01:01 – Machine Cuts vs. Drawing Knife Splits03:18 – Why Smaller Baskets Matter04:16 – The Basket That Makes You Say Oh05:11 – Dating Old Baskets by Feel and Wear07:50 – How to Know When Not to Pass It Up15:09 – The Best Basket You’ll Ever See18:10 – A Known Maker vs Unknown Maker19:15 – Who Got You Into Baskets?23:05 – Sully Joins to Talk About Wild Marvin Bailey Jugs28:20 – Lanier Meaders and the Rock Teeth Secret36:43 – Billy Ray Hussey’s Rare Medusa Lion38:16 – Why the Buyer Might Be More Rare Than the Basket42:30 – Buying Smart: What to Watch for at Festivals46:16 – When We Say Hickory, We Mean CatawbaIn this episode of House of Folk Art, Matt sits down with Kyle and Sully for what might be the most passionate basket tutorial ever recorded. What starts as a crash course in old basket identification turns into a hands-on showcase of Southern craftsmanship, as Matt works through a table of examples, building toward what he calls “the best basket you’ll ever see in your life.”They cover how to judge quality by feel, how to spot hand-cut splints, and why tiny baskets often show off the most skill. Along the way, they talk pricing, provenance, and the influence of makers like Mary Causby. One standout piece is so refined Matt says no museum has one better.Later, Sully joins as the crew pivots to pottery. First up is a Marvin Bailey jug covered in mini face jugs. Then comes Lanier Meaders’ “rock teeth” and a wild Medusa lion jug by Billy Ray Hussey. These pieces spark conversations about auction value, collecting philosophies, and the rarest thing in the game, a serious buyer.This episode is a reminder that collecting is about seeing. A great basket doesn’t demand attention, it earns it. You feel it in the tension of the weave, the worn handle, the balance of form and function. It’s not just old. It’s honest.What Matt, Kyle, and Sully uncover here is reverence. Reverence for skill, for patience, for the invisible decisions a maker made that shaped something lasting. And when the right piece lands in the right hands, no one needs to explain why it matters. You just know.

In this episode of House of Folk Art, Wade Ledbetter returns to share more stories from his life as a full-time antique picker. A life spent on back roads, knocking on doors, and hauling everything from sugar chests to human skulls. Told to his son Matt, the host of House of Folk Art, this episode winds through missed deals, strange finds, and wild encounters in small towns across Virginia and North Carolina.Wade’s storytelling hits full stride as he recalls a legendary missed opportunity involving not one but three Stanley Steamer cars and a building full of forgotten parts. Then, we hear about a massive buyout of an old doctor’s estate in Henry, Virginia. A haul that included rare pottery, medical oddities, and one sugar chest that would go on to sell for over ten thousand dollars.In the final segment, Kyle joins the conversation and turns the mic toward Wade’s second act, his work as a folk artist. What follows is a personal conversation about Wade’s relationship with Benny Carter, how painting started by accident, and why folk art never needed to be perfect to be meaningful.CHAPTERS00:00 – Picking Stories with No Profit06:03 – The Stanley Steamer Mistake11:19 – A Second Visit and a Missed Fortune16:11 – A Mysterious Doctor’s House in Henry, Virginia22:26 – Sugar Chests, Skeletons, and a Killer Score29:02 – Lessons from the Old Days of Picking31:12 – Trucks, Tents, and How the Game Changed33:01 – From Picker to Folk Artist36:00 – Painting Benny Carter and Remembering the Past41:06 – Parties, Pot, and Birdhouses43:00 – Closing Thoughts and Where to Find Wade’s Art00:00 – Picking Stories with No ProfitWade opens with a truth familiar to every picker: some of the best stories come from deals that didn’t make a dime. He sets the tone by recounting a road trip to Pleasant Garden and the strange property they nearly bought out.06:03 – The Stanley Steamer MistakeInside a collapsing old workshop, Wade discovers three Stanley Steamer cars and crates of original parts. Valves, gauges, tires, even yellow-labeled factory stock. The seller offered everything for $8,000, but Wade and his partner walked away. 11:19 – A Second Visit and a Missed FortuneYears later, Wade returns to the same property, hoping for a second chance. The family remembers him, but most of the Steamer parts are long gone. “Some of the best picking stories are all about failure,” Wade admits, reflecting on what it means to miss something big because you didn’t yet know what you were looking at.16:11 – A Mysterious Doctor’s House in Henry, VirginiaWade shares the story of a massive score at an old white house once owned by a doctor. The yard was littered with broken crocks, and the attic was packed with medical equipment, skeletons, and even a small coffin with a baby skeleton inside.22:26 – Sugar Chests, Skeletons, and a Killer ScoreThat sugar chest, it turns out, sold for $12,000. Wade recounts the rest of the haul and admits his mistake, leaving the skeletons behind. When he returned to buy them later, the family shut him down. “You could probably have had all that doctor stuff for $100,” he says. “But I didn’t know what it was worth.”29:02 – Lessons from the Old Days of PickingMatt reflects on how different the game was back then. Wade didn’t keep a booth or sell online. He filled a truck on Monday and sold everything by Friday. No backup plans. No storage units. No second chances.31:12 – Trucks, Tents, and How the Game ChangedMatt talks about how antique shows and picking culture evolved over time, sharing how police once treated pickers with suspicion until shows like American Pickers changed public perception. Wade remembers getting pulled over in the 80s just for driving a loaded-down pickup.33:01 – From Picker to Folk ArtistKyle joins the conversation and asks Wade about his transition from antique picker to folk artist. Wade laughs, says it just happened, and holds up a painting of Benny Carter, a legendary folk artist and friend.36:00 – Painting Benny Carter and Remembering the PastWade shares his process: paint what you want, how you want. He adds symbols to his work that nod to the subject’s life, in Carter’s case, taxicabs and birdhouses. “I’m sure it doesn’t look like him,” Wade says, “but it felt right to me.”41:06 – Parties, Pot, and BirdhousesWade recalls first meeting Benny at a party. They didn’t talk art, they passed joints and told stories. Wade admits he didn’t think much of Carter’s work at the time, but now his birdhouses are collectible. “He gave them away,” Wade says. “Now people sell them for hundreds.”43:00 – Closing Thoughts and Where to Find Wade’s ArtThe episode winds down with a few final laughs, a mention of Wade’s art sales, and a reminder that folk art isn’t about being right, it’s about being real. Whether it’s a broken jug, a steam-powered car, or a painted-over thrift store canvas, the value is in the story you find inside it.

In this episode of House of Folk Art, Matt Ledbetter takes listeners deep inside the Catawba Valley Pottery Festival. One of the South’s most important gatherings for traditional folk pottery. Held each spring in Hickory, NC, the festival brings together potters, collectors, and first-time admirers from across the country. Featured Guests:Steve Abee | Stacy Lambert | Michael GatesLA Ryan | Dr. Allen Huffman🎧 CHAPTERS00:00 – Welcome to the Festival04:30 – Steve Abee on Clay, Community, and Tradition10:10 – Early Bird Setup and Pottery Prep15:05 – Stacy Lambert on Pop Culture and James Earl Jones20:40 – Pottery Signatures and Collector’s Stories26:10 – Michael Gates on Legacy and Voice31:30 – Kilns, Breaks, and Evolving Style36:50 – LA Ryan and the Gospel of Howard Smith42:15 – Dr. Allen Huffman on the Festival’s Origins47:50 – Storytelling and Preserving History53:00 – Auctions, New Collectors, and Final Thoughts58:40 – Wrapping Up in HickoryRecording live from inside the festival, Matt captures the heart of the event through conversations with the people who’ve shaped and preserved this tradition. He sits down with veteran potter Steve Abee, who shares his process of digging clay by hand and firing it in wood-burning kilns. Stacy Lambert reflects on his whimsical, hand-painted jugs, including a special commission for James Earl Jones. Michael Gates speaks as a descendant of the Reinhardt family, balancing legacy and personal voice. Collector LA Ryan talks about traveling with Howard Smith to document forgotten potters. And Dr. Allen Huffman, founder of the festival, shares stories from the early days and explains how Catawba Valley pottery became nationally recognized.Themes emerge throughout: the physical labor behind every piece, the emotional stories pottery can hold, and the challenge of keeping these traditions alive. From kiln accidents and auction surprises to face jugs and firing rituals, the episode is full of insights, humor, and history.Whether you’re a longtime collector or just discovering folk art, this episode offers a rich look into a community where stories are passed down in clay. It’s a tribute not just to handmade objects, but to the hands that shape them—and the meaning they carry.This episode captures what makes the Catawba Valley Pottery Festival so unique. It’s not just the pottery, although the craftsmanship—hand-dug clay, hand-turned jugs, and glazes mixed by instinct—is remarkable. It’s the people behind it: the artists who carry tradition forward, the collectors who recognize a jug from a hundred feet away, and the families passing stories from one generation to the next.At its core, the festival is a living conversation between past and present. An open-air museum. A reunion. A marketplace. A legacy. It reminds us that folk art still matters—not because it’s perfect, but because it’s deeply human. Imperfect in the best way. Shaped by hand, memory, and soul.As long as the kilns burn, the clay holds, and the stories are told, the spirit of Catawba Valley folk pottery will live on.

In this episode of House of Folk Art, host Matt Ledbetter welcomes back Cher Shaffer, a self-taught folk artist whose work captures heritage, instinct, and raw emotion. Raised in Georgia with Cherokee and Melungeon roots, Cher has spent over 55 years creating visionary paintings, pit-fired pottery, sculptural dolls, and face jugs, each infused with personal and cultural storytelling.This time, Cher shares the deeper meanings behind her most personal pieces, the pushback she faced from the art world, and her latest body of work: The Day the Mountains Cried, a series inspired by the devastating Halloween storm in Ashe County, NC.From the prophecy of her three thumbs to the spiritual process of seeing paintings before they emerge, this episode dives into the unshakable urge to create and what it truly means to be a visionary artist.Chapters00:00 - Introduction: Cher Shaffer Returns02:30 - The Family Prophecy: Three Thumbs and a Calling06:15 - The Art That Sees Itself: Visionary Painting Explained10:40 - When Art Dealers Tried to Stop Her14:20 - The Day the Mountains Cried: Documenting the Storm18:30 - The Emotional Toll of Capturing Loss in Art22:00 - Finding Strength in the Mountains26:40 - The Future of Cher’s Work: What Comes Next30:15 - Final Thoughts: Why Folk Art MattersThe Family Prophecy: Three Thumbs and a CallingCher opens up about a family prophecy that shaped her artistic destiny. Born with three thumbs, her Cherokee grandfather declared, “She will do something great with her hands.” Though one was removed as a baby, Cher believes this early sign was a mark of fate, guiding her toward a lifetime of creation and storytelling.The Art That Sees Itself: Visionary Painting ExplainedAfter a near-death experience in 1985, Cher’s painting process transformed. Instead of sketching, she began seeing shapes and figures appear on the canvas before she even touched her brush. This intuitive, almost hallucinatory approach became her signature style. “It’s like stepping into an in-between world—between dreams and visions.”However, not everyone welcomed this shift.When Art Dealers Tried to Stop HerIn the 1990s, Cher’s dealer—who represented her work in New York and Beverly Hills—insisted she stop making visionary paintings, saying it would alienate her audience. But Cher refused to conform.Lesson: A true artist follows their vision, even when the market pushes back.Today, those once-rejected visionary paintings are some of her most sought-after works.The Day the Mountains Cried: Documenting the StormCher’s latest series, The Day the Mountains Cried, captures the destruction of the Halloween flood in Ashe County, NC. Entire homes, ancient trees, and landscapes were swept away overnight.“It’s like the mountains themselves were mourning.”Her paintings reflect the loss, resilience, and spirit of the land, ensuring that the story of the storm won’t be forgotten.Finding Strength in the MountainsCher describes the emotional connection between folk artists and their environment. Living deep in the Appalachian Mountains, she feels that the land guides her work, shaping not just her art but her entire way of life. “People who aren’t strong don’t last in the mountains. You have to belong to them.”The Future of Cher’s Work: What Comes Next?With thousands of pieces already created, Cher is still pushing forward. She hopes to show The Day the Mountains Cried first in North Carolina, then beyond.Final Thoughts: Why Folk Art MattersFolk art isn’t just about craftsmanship—it’s about history, identity, and survival. Cher’s work is a living record of tradition, emotion, and the human experience.Whether you’re an artist, collector, or just someone who loves a great story, this episode is a must-watch.📢 Do you own a piece of Cher Shaffer’s work? Drop a comment below!🎧 Subscribe for more folk art stories & interviews!

In this episode of House of Folk Art, Matt Ledbetter sits down with Cher Shaffer, a self-taught folk artist with a career spanning over 55 years. Raised in Georgia with Cherokee and Melungeon heritage, Cher’s work is deeply rooted in storytelling, tradition, and an unshakable urge to create.From visionary paintings that reveal themselves on the canvas to hand-sculpted dolls, pit-fired pottery, and face jugs, Cher’s art is a blend of heritage, instinct, and raw emotion. Her work has been collected by museums, celebrities, and folk art enthusiasts across the country. In this episode, she shares her artistic philosophy, early influences, and the moment that changed everything—a near-death experience in 1985 that transformed the way she paints.Whether you’re an artist, collector, or just someone who loves a great story, this episode is a must-watch.Chapters00:00 - Introduction: Meet Cher Shaffer02:30 - The Smallest Handmade Basket Ever Seen06:15 - Folk Art, Heritage, and Storytelling10:40 - A Near-Death Experience and the Birth of Visionary Painting14:20 - The Role of Instinct in Creating Art18:30 - Pit-Firing Pottery: Learning from Pueblo Masters22:00 - Face Jugs and the African American Burial Tradition26:40 - “The Urge to Create”: Advice for Young Artists30:15 - Final Thoughts: Why Folk Art MattersThe Smallest Basket and the Beauty of Folk CraftThe conversation begins with a miniature handwoven basket—so small that it fits on a fingertip. As a self-described “basket aficionado,” Matt is fascinated by its craftsmanship, leading to a discussion on the importance of handmade objects in folk traditions. Cher explains that while she didn’t make this particular basket, she often incorporates found objects into her art, adding layers of history to each piece.The Near-Death Experience That Changed EverythingIn 1985, Cher’s heart stopped for a full minute. When she recovered, something had changed. Instead of planning her paintings, images and shapes started appearing on the canvas before she even touched her brush. This intuitive approach became her signature visionary painting style—a deeply personal and spiritual form of expression.Despite pushback from dealers who wanted her to stick to more traditional subjects, Cher refused to compromise. She followed her instincts, a choice that defined her as an artist.The Lost Art of Pit-Firing PotteryUnlike kiln-fired ceramics, pit-firing is a process that dates back thousands of years. 🔥 How it works:Pieces are placed in an open fire instead of a kilnDamp grass and controlled smoke create deep black finishesThe process takes 6–7 hours, followed by overnight coolingThe next morning, it’s like digging for buried treasureCher’s work bridges the gap between Native American pottery traditions and Southern folk art, making each piece both historically significant and uniquely her own.Face Jugs, Burial Traditions, and Folk PotteryFace jugs are one of the most iconic forms of Southern folk pottery, but their origins trace back to African American grave markers. These expressive, hand-sculpted vessels were meant to protect the dead and ward off evil spirits.Cher recalls seeing her first wagon-load of face jugs at a Georgia festival—a sight that left a lasting impression. Though she never considered herself a potter, she was drawn to their raw energy, leading her to experiment with the form in her own work.The Urge to Create: Advice for Aspiring ArtistsCher believes that true artists don’t choose to create—they are called to it. Her advice for those who want to start?Grab a blank canvas and make seven strokesStep back and see what emerges—the image will reveal itselfFollow the painting rather than forcing an ideaNever copy another artist—find your own voiceThis intuitive, fearless approach to creativity is what has kept Cher painting every day for over five decades.Final Thoughts: Why Folk Art MattersFolk art isn’t just about decoration—it’s about storytelling, heritage, and human connection. Cher’s work is a testament to the power of handmade traditions in an increasingly digital world.If you love self-taught artists, folk pottery, and the raw beauty of handmade art, you won’t want to miss this episode.🎧 Subscribe for More Folk Art Stories & Interviews!

In this episode of House of Folk Art, host Matt Ledbetter sits down with his wife, Jennie Ledbetter, to talk about their first experience at the Catawba Valley Pottery Festival in Hickory, North Carolina. This festival is one of the most important folk pottery gatherings in the country, drawing collectors, artists, and enthusiasts from all over. What started as a casual visit for Matt and Jennie quickly turned into an annual tradition, teaching them valuable lessons about navigating the show, meeting top potters, and finding the best pieces.But this year, House of Folk Art is stepping into a new role. Not only will Matt and his team be at the festival, but they will also have their own official booth. Throughout the event, Matt will be conducting live podcast interviews with potters, capturing their stories, techniques, and insights about the folk pottery world. Whether you're a seasoned collector or just getting started, this episode gives you everything you need to know about attending the festival, what to look for, and why you should stop by to be part of the House of Folk Art experience.Chapters00:00 - Introduction: The First Trip to Hickory 02:30 - Learning the Hard Way: Why the Preview Party Matters 06:45 - Meeting Stacey Lambert and the Art of Selling Out Fast 10:30 - The Shopping Strategy: What to Look For at the Festival 14:15 - The Evolution of Their Collecting Journey 18:40 - The Best Pieces They’ve Ever Bought (and Sold) 22:00 - Pottery as an Investment: How Prices Have Changed Over Time 26:30 - Festival Tips: Booking Hotels, Preview Parties, and the Best Booths 30:45 - The House of Folk Art Booth: Live Interviews & Behind-the-Scenes 35:00 - Final Thoughts: Why Hickory is a Must-Visit for Folk Art FansA Late Start and a Valuable LessonMatt and Jennie’s first trip to the Hickory Pottery Festival was filled with excitement—but also missteps. They arrived about an hour late, assuming they were early enough to get a good look at the best pieces. But when they walked into the venue, they were already too late. Many of the biggest names in folk pottery had already sold out, with collectors scooping up the most sought-after pieces during the Friday night preview party—an exclusive event where buyers get early access to the top finds.This was a game-changer for Matt and Jennie. They quickly realized that to get the best folk pottery, they needed to arrive early, buy preview tickets, and come prepared. It was their first lesson in the fast-paced world of pottery collecting, where hesitation can mean missing out on once-in-a-lifetime finds.Meeting Stacey Lambert: When Everything’s Already SoldOne of the most memorable moments from their first visit was meeting legendary potter Stacey Lambert. They walked up to his booth, expecting to see a full display of his intricate folk pottery, only to find an empty table with just two pieces left. Stacey was casually sketching at his booth, waiting out the rest of the festival after selling nearly everything the night before.This moment drove home the importance of preview night. Stacey explained that serious collectors arrive early, often purchasing entire booths of pottery before the general public even gets a chance to look. If you’re planning to attend, take Matt and Jennie’s advice—get a preview ticket, or risk missing out on the best pieces.The Thrill of Collecting: What Makes the Festival Special?As Matt and Jennie continued attending year after year, the Catawba Valley Pottery Festival became more than just an event—it became part of their family’s tradition. Their kids even got involved, using their own earnings to buy pottery at the show and resell it later.The festival isn't just about buying and selling—it's about history, culture, and community. Many of the potters have been perfecting their craft for decades, using traditional techniques passed down through generations. The event serves as a meeting place for collectors, potters, and folk art enthusiasts, where stories and knowledge are shared just as much as the pottery itself.The Best Finds and the Pieces That Got AwayOver the years, Matt and Jennie have come across some incredible pieces, but also learned the hard way that you can’t buy everything. Some of their favorite purchases include:A rare Stacey Lambert face jug, one of the most unique and detailed they’ve ever seen.A collection of monkey jugs from the early 1900s, a folk pottery staple that has only become more valuable over time.A massive candle lantern, a piece Jennie insisted on buying despite Matt’s initial reluctance. It has since become one of their favorite pieces, proudly displayed in their home.But there were also pieces they had to walk away from—either because someone beat them to it, or because they underestimated the demand. It’s all part of the thrill of collecting.Festival Tips: How to Do Hickory RightIf you’re planning to attend the Catawba Valley Pottery Festival, here’s what Matt and Jennie recommend:Book a hotel in advance. Staying nearby makes it easier to attend both the preview party and the main event.Buy preview tickets. This gives you first access to the best pottery before it sells out.Bring cash. Many potters accept cards, but cash is always easier, especially for quick deals.Set a budget. It’s easy to get carried away—don’t bring more than you’re comfortable spending.Talk to the potters. The festival is a rare chance to meet the artists behind the work. Take the time to learn about their process.The House of Folk Art Booth: Live Interviews & Exclusive ContentFor the first time ever, House of Folk Art will have a booth at the festival, where Matt will be conducting live podcast interviews with potters throughout the event. This is an opportunity to hear directly from some of the biggest names in folk pottery, as they share their techniques, stories, and thoughts on the future of the craft.Whether you’re a serious collector or just curious about folk art, stop by the booth to see the podcast in action, meet Matt, and immerse yourself in the world of pottery.Final Thoughts: Why Hickory is a Must-VisitThe Catawba Valley Pottery Festival is more than just a marketplace—it’s a cultural event that celebrates the legacy of folk pottery. Each year, collectors, artists, and enthusiasts come together to share their passion, trade pieces, and continue a tradition that has been passed down for generations.If you love folk art, this is the place to be. And this year, with House of Folk Art hosting live interviews, there’s even more reason to attend.So, are you going to Hickory?

In this episode of House of Folk Art, host Matt Ledbetter sits down with his father, Wade Ledbetter, a seasoned picker who has spent decades knocking on doors, digging through old attics, and uncovering forgotten pieces of folk art and antiques. Wade’s stories range from finding a freezer full of frozen squirrels to unknowingly selling a mourning sampler worth $20,000.This episode is a deep dive into the world of picking—what separates a true picker from a weekend treasure hunter, how to talk your way into the best finds, and the thrill (and heartbreak) of the trade.Chapters00:00 - Cold Open: The Freezer Surprise02:30 - What is Picking?06:15 - Knocking on Doors & Talking Your Way In10:45 - The Risks of Attic Hunting14:20 - The Art of Spotting Value18:50 - The Mary Tannehill Discovery22:30 - The Painting That Got Away26:15 - What Separates a Real Picker from a Weekend Warrior30:00 - Final Thoughts & The Lessons LearnedThe Freezer SurpriseThe episode opens with one of Wade’s strangest discoveries—opening a freezer in a stranger’s home only to find several frozen, unscarred squirrels. It’s a bizarre, almost cinematic moment that perfectly illustrates the unpredictable nature of picking.What is Picking?Wade breaks down the real art of picking—hitting the road with cash in hand, knocking on doors, and convincing homeowners to let you dig through their basements and barns. Unlike estate sales or auctions, this method leads to finds that have never been picked over. The Risks of Attic HuntingNot every pick is glamorous. Wade recounts falling through rotten stairs, knocking himself out on a marble table, and climbing into unstable attics—all for the chance to find something worth keeping. Picking isn’t for the faint of heart, but for those willing to take risks, the rewards can be incredible.The Mary Tannehill DiscoveryOne of Wade’s most infamous picks happened in Warrenton, NC, where he unknowingly walked into the home of folk artist Mary Tannehill. Paintings and supplies were scattered throughout the house, but at the time, neither Wade nor the homeowner recognized their value. Years later, museums would come calling, asking for pieces from that very house. Today, Tannehill’s work is considered an important part of the Southern folk art tradition. The Painting That Got AwayEvery picker has stories of the one that got away. Wade shares how he unknowingly sold a mourning sampler dated 1802 for next to nothing—only to find out later that it was worth over $20,000. Stories like this highlight the importance of research. What Separates a Real Picker from a Weekend WarriorAccording to Wade, a real picker doesn’t just browse flea markets—they wake up on Monday, hit the road, and don’t come home until the truck is full. It’s a lifestyle built on instinct, risk, and years of learning what’s worth stopping for. If you’re serious about picking, consider reading Soul’s Grown Deep: African American Vernacular Art of the South, one of the best books on the topic.Final ThoughtsPicking isn’t just about money—it’s about the thrill of the chase, the people you meet, and the stories behind each object. Wade’s final advice? Always trust your gut, don’t be afraid to knock on doors, and never assume something is worthless.Do you have a picking story? Have you ever stumbled onto a great find? Let us know in the comments!

In this episode of House of Folk Art, host Matt Ledbetter sits down with long-time collector and expert Brian Sieveking to discuss the ins and outs of collecting outsider and self-taught art. With over 40 years of experience, Brian shares his journey into the world of folk and outsider art, offering insights into how new collectors can start their own journey.Chapters00:00 - Introduction02:30 - Brian Sieveking's First Folk Art Find06:15 - How to Get Started in Outsider Art10:45 - Breaking the Intimidation Barrier14:20 - Best Folk Art Shows to Attend18:50 - Building Knowledge as a Collector22:30 - Investment Potential of Outsider Art26:15 - Avoiding Fakes & Finding Authentic Works30:00 - Final Thoughts & Advice for New CollectorsA Collector’s First PieceBrian’s collecting journey began as a teenager at Happy’s Flea Market in Roanoke, Virginia. He stumbled upon a face jug by Burlon Craig under a vendor’s table, unknowingly acquiring his first piece of folk art in exchange for a carton of cigarettes. His passion soon led him to legendary artists like Howard Finster, James Harold Jennings, and Georgia Blizzard. This early exposure to living artists set the stage for a lifetime of collecting.How to Get Started in Outsider ArtFor those new to outsider and self-taught art, Matt and Brian recommend attending live auctions specializing in this genre. Unlike museums, auctions allow collectors to handle pieces, examine them up close, and even take them home the same day. Whether it’s Slotin Folk Art Auctions or another reputable house, these events provide an immersive crash course in identifying and appreciating works by major outsider artists.Breaking the Intimidation BarrierThe art world often carries an air of exclusivity, but Brian reassures listeners that outsider art collectors are a welcoming community. Many assume the art market is elitist, but in reality, experienced collectors love to share knowledge and stories. Auctions and shows offer excellent opportunities to network, learn, and engage with both dealers and fellow enthusiasts.The Best Folk Art Shows to AttendBeyond auctions, folk art festivals and museum exhibitions provide essential exposure to outsider art. Some of the top events and institutions include:Kentuck Festival of the Arts (Alabama) – A long-running folk art gathering featuring many living artists.Finster Fest (Georgia) – Celebrating Howard Finster’s legacy with a festival at his famous Paradise Garden.Fearrington Folk Art Show (North Carolina) – A must-visit for folk art enthusiasts in the Southeast.Morehead Folk Art Center (Kentucky) – An excellent permanent collection of folk and outsider art.Hickory Museum of Art (North Carolina) – Home to an extensive folk art collection.Building Knowledge as a CollectorLearning about outsider art involves reading, attending shows, and immersing yourself in the culture. Key books for beginners include:Souls Grown Deep (Volumes 1 & 2) – Essential scholarship on Southern African American folk art.Baking in the Sun – A critical catalog on self-taught artists.Howard Finster biographies by Tom Patterson and John Turner – Deep dives into one of the most influential folk artists.The Corcoran Gallery’s Folk Art Catalog – A groundbreaking early survey of self-taught art.The Encyclopedia of Folk Art by the Rosenaks – A fantastic reference for discovering new artists.The Investment Potential of Outsider ArtOutsider art is still in the early stages of mainstream recognition. Matt compares it to Bitcoin when it was just $100—still affordable but likely to rise in value. Museums like the Met are just beginning to acknowledge outsider artists, meaning now is the perfect time to acquire pieces before they become unattainable.Brian and Matt encourage new collectors to start with artists like R.A. Miller, whose works are still affordable but destined to increase in value. As more museums begin acquiring outsider art, demand will drive up prices.Avoiding Fakes and Finding Authentic WorksAs the market for outsider art grows, so do fraudulent pieces. Buying from reputable dealers, galleries, and auction houses ensures authenticity. Many current collections on the market were purchased directly from the artists, providing a clear provenance. However, as demand rises, expect more fakes to emerge—just as we’re now seeing counterfeit Benny Carters.Final ThoughtsIf you’re intrigued by outsider art but don’t know where to begin, start small. Attend auctions, visit museums, read books, and explore shows. The world of self-taught art is vast, welcoming, and filled with opportunities for discovery. Whether you're looking for investment pieces or simply want to decorate your home with unique works, now is the time to dive in.Let us know in the comments if you’re new to collecting or if you have a favorite outsider artist! House of Folk Art is here to guide you every step of the way.

In this episode of House of Folk Art, Matt Ledbetter sits down with longtime folk art collector Brian Sieveking, a Professor in the Fine Arts Department at Virginia Western Community College. Brian has been in the folk art world for decades, attending historic auctions, meeting legendary artists, and collecting pieces that tell a rich story of the American South. From strategizing at the 1996 Lowe Collection auction to unforgettable road trips with Howard Finster, Brian shares a wealth of knowledge and experiences that shed light on the evolution of outsider art.This episode dives deep into the culture of collecting, the rise and fall of Folk Fest, and the moments that haunt a collector—like the painting he didn’t buy. Whether it's tales of artists who compulsively covered their homes in paint, or the booming outsider art market today, Brian and Matt explore what makes folk art so special.Chapters00:00:00 - 00:00:19 | Introducing Brian SievekingMatt introduces Brian, a longtime collector who was there for key moments in the folk art world, including the historic Lowe Collection auction.00:00:24 - 00:00:56 | The Sam Doyle Auction That Got AwayBrian recalls saving up for a Sam Doyle painting at the Lowe Collection auction, only to watch prices double before his eyes. His strategy fell apart as each piece soared past his budget.00:00:56 - 00:03:01 | Baking in the Sun: The Traveling Folk Art ExhibitionBrian discusses Baking in the Sun, one of the earliest major outsider art books, which introduced many collectors to the field.00:03:01 - 00:05:06 | The Scarcity of Sam Doyle Paintings TodayOnce plentiful at auctions, Sam Doyle’s works are now incredibly rare. Matt and Brian reflect on how collectors have held onto these prized pieces.00:05:06 - 00:07:29 | The Rise and Fall of Folk FestBrian takes us back to the first Folk Fest in Atlanta, where top dealers showcased the best outsider art. Within five years, competing folk art events sprang up—then suddenly, they were gone.00:07:29 - 00:09:45 | The Folk Art Piece That Haunts BrianAt Folk Fest, Brian passed on a Sam Doyle King Kong painting, only to see it later in a museum collection. The regret still lingers.00:09:45 - 00:13:20 | Seven Hours with Howard FinsterBrian shares the unforgettable experience of driving legendary folk artist Howard Finster seven hours back home. Finster talked the entire ride—about religion, UFOs, and everything in between.00:13:20 - 00:16:11 | A $1,000 Offer from Finster That Could Have Changed EverythingHoward once offered Brian an entire room of his paintings for $1,000. Brian couldn’t afford it at the time—now he wonders how that deal would have changed their relationship.00:16:11 - 00:20:09 | Cedar Creek Charlie: The Forgotten Folk ArtistMatt and Brian discuss Cedar Creek Charlie, an artist who covered his entire home—inside and out—in paintings. His work is now nearly impossible to find.00:20:09 - 00:26:29 | Defining Folk, Outsider, and Self-Taught ArtA deep dive into the endless debate: What qualifies as folk art? Matt explains the government’s original definition and how self-taught artists fit in.00:26:29 - 00:31:14 | The Lost Art of Folk Art HuntingBefore the internet, finding folk art meant road trips, personal connections, and blind luck. Brian reflects on the thrill of discovery before everything was online.00:31:14 - 00:34:50 | Jimmy Lee Sudduth Video and the Magic of Mud PaintingMatt recalls legendary Alabama artist Jimmy Lee Sudduth, who swore his mud-based paintings would last forever.00:34:50 - 00:39:01 | The Art You Don’t Buy is the Art You RegretA collector’s golden rule: You never regret what you buy—only what you pass on. Matt and Brian share stories of pieces they let slip away.00:39:01 - 00:42:10 | The Evolution of Folk Art CollectingWhat does it take to build a great collection? Brian emphasizes looking at as much art as possible before making a purchase.00:42:10 - End | The Future of Outsider ArtWith major auction houses now spotlighting outsider art, the field is more recognized than ever. But is it the “new thing” or has it always been?Matt and Brian’s conversation brings history to life, revealing how folk art went from hidden gems to a thriving part of the contemporary art world. From the legendary artists they met to the great pieces they let slip away, their stories offer a firsthand look at the highs and lows of collecting. Whether you’re a seasoned collector or just starting, this episode is packed with insights, humor, and a deep love for outsider art.

In this episode of House of Folk Art, Matt Ledbetter and Kyle Sheetz explore the colorful world of folk art and its connections to their personal and professional lives. From trading pottery for taxidermy to hilarious tales of pranks and podcast listener encounters, they dive deep into the stories that make folk art collecting so rewarding. With dreams of community spaces, a drive-thru folk art museum, and reflections on the challenges of balancing creativity and business, this episode is equal parts laughter, inspiration, and insight.Chapters00:00:00 - 00:02:15 | Meeting a Listener at the Raleigh Flea MarketKyle recounts an unexpected encounter at the flea market with a podcast listener who introduces him to unique folk art pieces, including Willie McCord’s face jugs and tin paintings.00:02:15 - 00:03:50 | Folk Art for Taxidermy: The TradeMatt shares his misadventure trading folk art for taxidermy heads. While initially excited, he soon realizes the challenges of selling massive taxidermy pieces.00:03:50 - 00:05:30 | The Chicken of the Woods PrankMatt hilariously recalls being tricked into eating a mushroom that tastes just like chicken, aptly called "Chicken of the Woods."00:05:30 - 00:07:50 | The Dream of a Drive-Thru Folk Art MuseumThe duo brainstorms the concept of a drive-thru folk art museum, complete with electric golf carts, to create an interactive experience for art enthusiasts.00:07:50 - 00:09:10 | Reflections on Folk Art PioneersMatt and Kyle discuss the early pioneers of folk art auctions, from Kimball Sterling to Steve Sloan, and their contributions to the field.00:09:10 - 00:12:30 | Building Dreams in GibsonvilleMatt describes his vision for Gibsonville: an 8,500 sq. ft. auction house paired with a massive gym to support the growing community.00:12:30 - 00:14:50 | Folk Art Justification: The Dollar Per Look RuleMatt humorously justifies the value of folk art by measuring its worth in “dollars per glance,” comparing it to the cost of museum visits.00:14:50 - 00:18:50 | Remembering Ab and His LegacyMatt shares touching stories about his late friend Ab, including their adventures and a memorable prank involving a plate of chicken—or was it?00:18:50 - 00:22:30 | Wrestling, Gyms, and Community GrowthMatt talks about managing a wrestling club and gym amidst Gibsonville’s rapid growth, highlighting challenges in sports infrastructure for kids.00:22:30 - 00:27:00 | Lessons from 17 Years in Folk ArtReflecting on 17 years in the industry, Matt shares entrepreneurial lessons, from starting auctions to navigating the folk art market.00:27:00 - 00:29:10 | Bid Calling 101: A Lesson in AuctioneeringKyle gets a crash course in auctioneering from Matt, ending the episode with laughs and newfound skills.Matt and Kyle leave us with a deeper appreciation for the art of storytelling, not just in folk art but in life itself. Their shared anecdotes and visions remind us that creativity thrives at the intersection of passion and community. Whether it's transforming a gym into an auction house or dreaming of a drive-thru museum, their ambitions reflect a commitment to preserving culture while fostering connection. As the final laughs echo through tales of pranks and auctioneering lessons, this episode serves as a heartfelt tribute to the vibrant, often unexpected world of folk art—and the people who make it unforgettable.