You may know Mary Randolph Carter (who goes by the name Carter) as the longtime director of Ralph Lauren. But she is also a savvy collector, and an eloquent exponent for the art of the same. Her latest book, Live With the Things You Love, and You'll Live Happily Ever After, delves into private collections the world over, drawing connections between environments full of interesting objects and the good life. In this episode Carter expounds on objects in her own collection, from the odd “Jello Rock Clock” to the sublime painted-plaster-and-wood Statue of the Blessed Lady.

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In this episode Ben Miller welcomes Keith Gerchak and Marisa Guterman, makers of the upcoming film Lost and Found in Cleveland. Featuring beloved stars like Martin Sheen and Jon Lovitz, along with *checks notes* “Constipated Appraiser” (Denise Dal Vera), the film follows a cast of characters intertwined with and connected to the world of antiques. Miller, Gerchak, and Guterman dig into the nitty-gritty behind the picture, the post-industrial American Dream in the Midwest, and the inspiration aplenty that came from Antiques Roadshow.

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It's kinetic sculpture, it's haute couture, it’s . . . armor! This month, Ben speaks with Chassica Kirchhoff, an assistant curator at the Detroit Institute of Arts, about a suite of metal suits from the 1500s that were worn and jousted in by the dukes of Saxony. Emblematic of the feisty Protestant state’s chivalric past and supreme examples of Saxon metalworking prowess, by the 1700s the suits of armor had come to represent “a fulcrum between the early modern past and the Enlightenment present,” Kirchoff says. Shortly thereafter they went on display at the famous Green Vault in Dresden, a precursor of modern museums.

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In this episode, Ben Miller introduces the Fine Objects Society, a new “association of forward-thinking professionals and enthusiasts who share a devotion to fine handcrafted historic objects” of which he is president. Officers Brenton Grom, Bailey Tichenor, Sarah Margolis-Pineo, and Benjamin Davidson, all former guests on the podcast, are on hand to detail the goals of this exciting new endeavor in the antiques field.

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They say that imitation is the sincerest form of flattery. And in the antiques world the sincerest form of imitation is reproduction: the humble and studious attempt to conserve the lessons of the past because of their timeless value. One firm that’s well-versed in this particular form of historical homage is James Robinson, Inc., whose hundred-year partnership with a legacy silver workshop in Sheffield, England, has resulted in what host Ben Miller calls “the best historical-style silver flatware being made today anywhere in the world.”

In this throwback episode, James Boening, director of James Robinson, Inc., and Craig Kent, workshop manager in Sheffield, come on the pod to dish about the vital importance of age-old processes like annealing, and the irony that homeowners would run themselves ragged trying to decide which rug to buy, but will settle for cold, unbalanced steel tableware without even blinking.

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In this episode, Ben Miller speaks with knit maven Heavenly Bresser, founder of the store Heavenly Knitchet and devotee of ye olde spinning wheel. The pair gets into the mechanics of spinning wheels, the form’s centuries-old history, and the largest wheel in Bresser’s extensive collection, which is also her favorite: a pendulum wheel manufactured by Justin B. Wait in the 1800s, whose drive wheel is 46 1/2 inches in diameter.

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In this episode with Claremont Rug Company, president and founder Jan Winitz and Ben Miller explore myths about rugs, and the symbolic meanings of colors in rugs and importance of signatures. Winitz introduces his Oriental Rug Market Pyramid, which categorizes rugs from high collectible to reproduction levels, illustrating this and other points with four Persian Ferahan Sarouks, each of which represents a different quality level and degree of rarity.

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In part one of a two-part episode with Claremont Rug Company, president and founder Jan Winitz gives Ben the goods on the first Oriental rug he ever acquired. Made on a vertical loom over the course of nearly a year by a group of women, its imagery includes dragons (for the masculine principle of the cosmos) and phoenixes (for the receptive, earth-rooted feminine principle). It made such an impression on Winitz that he’s never attempted to sell it.

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In this week’s episode, Ben Miller speaks with Emelie Gevalt, curatorial chair for collections and curator of folk art at the American Folk Art Museum in New York. On view starting September 13 at the museum is the exhibition Playing with Design: Gameboards, Art, and Culture, an exhibition co-curated by Gevalt, who has brought along one special example to discuss: a nineteenth century painted-wood Game of the Goose board.

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In this week’s episode, Ben Miller speaks with Annamarie Sandecki, who describes herself as the “semi-retired former director” of the Tiffany Archives, and Medill Higgins Harvey, curator of American decorative arts at the Metropolitan Museum of Art. On the light table are a curiously shaped creamer and equally curious sugar bowl, the first in the shape of a frog and the second shaped like a pufferfish. Both were made by Tiffany under the aegis of design director Edward C. Moore, whose personal collection of decorative arts objects from around the world served as an inspiration to Tiffany in the later 1800s, and is the subject of a current exhibition at the Met, Collecting Inspiration: Edward C. Moore at Tiffany and Co.

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