Chapters
00:00 – Intro
00:14 – Baskets 101: The Feel Test
01:01 – Machine Cuts vs. Drawing Knife Splits
03:18 – Why Smaller Baskets Matter
04:16 – The Basket That Makes You Say Oh
05:11 – Dating Old Baskets by Feel and Wear
07:50 – How to Know When Not to Pass It Up
15:09 – The Best Basket You’ll Ever See
18:10 – A Known Maker vs Unknown Maker
19:15 – Who Got You Into Baskets?
23:05 – Sully Joins to Talk About Wild Marvin Bailey Jugs
28:20 – Lanier Meaders and the Rock Teeth Secret
36:43 – Billy Ray Hussey’s Rare Medusa Lion
38:16 – Why the Buyer Might Be More Rare Than the Basket
42:30 – Buying Smart: What to Watch for at Festivals
46:16 – When We Say Hickory, We Mean Catawba

In 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.

CHAPTERS
00:00 – Picking Stories with No Profit
06:03 – The Stanley Steamer Mistake
11:19 – A Second Visit and a Missed Fortune
16:11 – A Mysterious Doctor’s House in Henry, Virginia
22:26 – Sugar Chests, Skeletons, and a Killer Score
29:02 – Lessons from the Old Days of Picking
31:12 – Trucks, Tents, and How the Game Changed
33:01 – From Picker to Folk Artist
36:00 – Painting Benny Carter and Remembering the Past
41:06 – Parties, Pot, and Birdhouses
43:00 – Closing Thoughts and Where to Find Wade’s Art

00:00 – Picking Stories with No Profit
Wade 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 Mistake
Inside 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 Fortune
Years 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, Virginia
Wade 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 Score
That 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 Picking
Matt 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 Changed
Matt 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 Artist
Kyle 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 Past
Wade 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 Birdhouses
Wade 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 Art
The 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 Gates
LA Ryan | Dr. Allen Huffman

🎧 CHAPTERS
00:00 – Welcome to the Festival
04:30 – Steve Abee on Clay, Community, and Tradition
10:10 – Early Bird Setup and Pottery Prep
15:05 – Stacy Lambert on Pop Culture and James Earl Jones
20:40 – Pottery Signatures and Collector’s Stories
26:10 – Michael Gates on Legacy and Voice
31:30 – Kilns, Breaks, and Evolving Style
36:50 – LA Ryan and the Gospel of Howard Smith
42:15 – Dr. Allen Huffman on the Festival’s Origins
47:50 – Storytelling and Preserving History
53:00 – Auctions, New Collectors, and Final Thoughts
58:40 – Wrapping Up in Hickory

Recording 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.

Chapters
00:00 - Introduction: Cher Shaffer Returns
02:30 - The Family Prophecy: Three Thumbs and a Calling
06:15 - The Art That Sees Itself: Visionary Painting Explained
10:40 - When Art Dealers Tried to Stop Her
14:20 - The Day the Mountains Cried: Documenting the Storm
18:30 - The Emotional Toll of Capturing Loss in Art
22:00 - Finding Strength in the Mountains
26:40 - The Future of Cher’s Work: What Comes Next
30:15 - Final Thoughts: Why Folk Art Matters

The Family Prophecy: Three Thumbs and a Calling
Cher 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 Explained
After 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 Her
In 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 Storm
Cher’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 Mountains
Cher 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 Matters
Folk 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.

Chapters
00:00 - Introduction: Meet Cher Shaffer
02:30 - The Smallest Handmade Basket Ever Seen
06:15 - Folk Art, Heritage, and Storytelling
10:40 - A Near-Death Experience and the Birth of Visionary Painting
14:20 - The Role of Instinct in Creating Art
18:30 - Pit-Firing Pottery: Learning from Pueblo Masters
22:00 - Face Jugs and the African American Burial Tradition
26:40 - “The Urge to Create”: Advice for Young Artists
30:15 - Final Thoughts: Why Folk Art Matters

The Smallest Basket and the Beauty of Folk Craft
The 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 Everything
In 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 Pottery
Unlike 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 kiln
Damp grass and controlled smoke create deep black finishes
The process takes 6–7 hours, followed by overnight cooling
The next morning, it’s like digging for buried treasure

Cher’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 Pottery
Face 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 Artists
Cher 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 strokes
Step back and see what emerges—the image will reveal itself
Follow the painting rather than forcing an idea
Never copy another artist—find your own voice
This intuitive, fearless approach to creativity is what has kept Cher painting every day for over five decades.

Final Thoughts: Why Folk Art Matters
Folk 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.

Chapters

00:00 - 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 Fans

A Late Start and a Valuable Lesson

Matt 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 Sold

One 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 Away

Over 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 Right
If 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 Content

For 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-Visit

The 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.

Chapters

00:00 - Cold Open: The Freezer Surprise
02:30 - What is Picking?
06:15 - Knocking on Doors & Talking Your Way In
10:45 - The Risks of Attic Hunting
14:20 - The Art of Spotting Value
18:50 - The Mary Tannehill Discovery
22:30 - The Painting That Got Away
26:15 - What Separates a Real Picker from a Weekend Warrior
30:00 - Final Thoughts & The Lessons Learned

The Freezer Surprise

The 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 Hunting

Not 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 Discovery

One 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 Away

Every 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 Warrior

According 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 Thoughts

Picking 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.

Chapters

00:00 - Introduction
02:30 - Brian Sieveking's First Folk Art Find
06:15 - How to Get Started in Outsider Art
10:45 - Breaking the Intimidation Barrier
14:20 - Best Folk Art Shows to Attend
18:50 - Building Knowledge as a Collector
22:30 - Investment Potential of Outsider Art
26:15 - Avoiding Fakes & Finding Authentic Works
30:00 - Final Thoughts & Advice for New Collectors

A Collector’s First Piece

Brian’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 Art

For 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 Barrier

The 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 Attend

Beyond 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 Collector

Learning 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 Art

Outsider 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 Works

As 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 Thoughts

If 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.

Chapters

00:00:00 - 00:00:19 | Introducing Brian Sieveking
Matt 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 Away
Brian 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 Exhibition
Brian 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 Today
Once 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 Fest
Brian 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 Brian
At 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 Finster
Brian 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 Everything
Howard 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 Artist
Matt 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 Art
A 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 Hunting
Before 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 Painting
Matt 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 Regret
A 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 Collecting
What 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 Art
With 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.

Chapters

00:00:00 - 00:02:15 | Meeting a Listener at the Raleigh Flea Market
Kyle 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 Trade
Matt 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 Prank
Matt 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 Museum
The 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 Pioneers
Matt 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 Gibsonville
Matt 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 Rule
Matt 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 Legacy
Matt 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 Growth
Matt 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 Art
Reflecting 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 Auctioneering
Kyle 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.