Wade Ledbetter returns to the House of Folk Art to talk about the lost art of door-knock picking.

Wade started picking around 1978 and spent more than 30 years driving back roads, choosing houses that looked promising, and knocking on doors to ask if anyone had old things they were ready to sell. In this episode, Matt asks him to explain what real picking looked like before Facebook Marketplace, online auctions, and yard-sale listings changed the business.

Wade walks through the pitch he used at the front door, how he gained someone’s trust, and why the first offer could determine whether he ever made it into the basement, barn, or shed. He remembers arriving as a stranger, spending cash one piece at a time, and occasionally finding himself in the middle of a family disagreement after the buying had already started.

The biggest story begins with a house Wade had passed several times outside Roanoke, Virginia. When he finally found someone home, he made his way through the basement, upstairs, and into the surrounding buildings, buying vinegar jugs, handmade violins, a forge, an anvil, carved powder horns, and a face jug he paid $20 for. The powder horn later brought around $1,500, while the face jug sold at auction for $5,500 and would likely be worth considerably more today.

Matt and Wade move from face jugs into baskets, early pottery, country store material, carnival glass, and the objects that once filled weekly auctions. Wade remembers returning to an old house in Littleton, North Carolina, only to find that most of the building had collapsed with the antiques still inside. He also explains how pickers once bought throughout the week, called their auction advertisements into the newspaper, and had everything ready to sell by Friday.

Somewhere along the way, the conversation turns into an auction of its own. Matt sells Wade a seven-foot crosscut saw on camera, tries to interest him in several baskets, and learns that Wade is still ready to make a deal as long as the price is right. They also look through handmade folk art, old seed cards, unused can labels, rare carnival glass, and Appalachian oak split baskets while arguing over what is worth buying, what is worth shipping, and what should be left behind.

Wade’s main lesson is that the best deal is still out there. Antiques continue to move from one generation to the next, and the person who recognizes the right object and knows where to sell it can still make a remarkable discovery. Knowledge may be easier to access now, but Wade makes the case that experience, persistence, and knowing when to knock on the door still matter.

Chapters
00:00 | Wade Ledbetter Returns
02:22 | What Real Picking Looked Like
04:43 | Wade’s Door-Knock Picking Pitch
11:53 | The $20 Face Jug
20:41 | Picking the Roads Around Roanoke
26:10 | Baskets and the Collapsed House
32:09 | Matt’s Version of Picking Today
35:13 | Buying All Week and Selling by Friday
40:30 | Early Pottery and a Crosscut Saw
48:42 | The Best Deal Is Still Out There
50:30 | Wade’s Latest Picking Lead
54:18 | Handmade Folk Art and Country Store Material
59:19 | Carnival Glass Is Coming Back
01:00:10 | The $40,000 People’s Vases
01:02:22 | How Matt Learned About Baskets
01:05:22 | Appalachian Oak Split Baskets
01:05:50 | One Final Deal with Wade
01:07:01 | A Special Benny Carter Painting
01:08:43 | Wade Ledbetter Signs Off

Do you have a great picking story, an old collection, or something tucked away that deserves a closer look? Reach out and tell us what you have:

[email protected]
(919) 410-8002

Leave your name, where you are from, and any information you have about the items or collection. You might hear from us or see your story featured in a future episode.

Follow @houseoffolkart for more picking stories, artist visits, and new episodes, and find upcoming auction dates at LedbetterAuctions.com.

Mike Smith returns to the House of Folk Art with something remarkable: a collection of photographs he took while visiting folk artists across the South during the 1990s.

Mike estimates that he has photographed thousands of works, artists, homes, studios, and folk art environments over the years. In this episode, Matt sits down with him to look through around 50 of those images, many showing artists at home and surrounded by work that has since disappeared, changed hands, or been lost entirely.

The photographs include Benny Carter sitting in his living room and standing among the carvings in his backyard, Mose Tolliver painting from his bedroom, Mary T. Smith outside her home, Jimmy Lee Sudduth working with mud, leaves, and whatever else he could find, and Howard Finster walking through the early days of Paradise Garden. 

As the photographs move across the screen, Mike shares what it was like to visit these artists and spend time inside their worlds. He remembers Raymond Coins describing dreams while a mouse crossed the kitchen, James Son Thomas sitting beside his bed and playing blues songs, Royal Robertson sending visitors into town with a grocery list, and James Harold Jennings throwing a threatening letter into the fire after the man he threatened brought it back to him.

Some of the photographs reveal details that Matt has never seen before. A rare image of Anderson Johnson leads to the discovery that the painted portraits hanging throughout his church were intended to fill the room like members of his congregation. Another photograph shows Benny Carter’s backyard environment in better condition than Matt had ever seen it, including a carved Adam and Eve that Matt suddenly realizes may have once belonged to a piece in his own collection.

The episode becomes more than a slideshow. These photographs add context to the art, document environments that no longer exist, and preserve the personalities behind work that is often separated from the people who made it. By the end, Matt calls Mike’s collection a national treasure and points out that they have only looked through a small fraction of what remains.

Chapters
00:00 | Inside Mike Smith’s Folk Art Photo Archive
01:21 | Early Portraits and Artist Visits
05:39 | William Pumphrey, Mose Tolliver, and Son Thomas
10:27 | Howard Finster, Benny Carter, and Billy Ray Hussey
18:30 | Benny Carter, James Harold Jennings, and the Kentucky Folk Art Scene
23:33 | Artists at Home and in Their Environments
31:11 | Artists, Dealers, and the Value of Folk Art
38:50 | Matt’s Benny Carter Mistake
43:10 | Anderson Johnson’s Painted Congregation
46:31 | Why the Artist and the Environment Matter
54:55 | Name That Folk Artist
56:42 | A National Treasure

Do you have old photographs of folk artists, their studios, their homes, or artwork that may no longer exist? Reach out if you have photos we can share on the show:

[email protected]
(919) 410-8002

Leave your name, where you are from, and any information you have about the photographs. You might hear from us or see your images featured in a future episode.

Follow @houseoffolkart for more stories, artist visits, and new episodes, and find upcoming auction dates at LedbetterAuctions.com.

Matt and Sully are back with a mystery collection from Columbus, Ohio.

This episode starts with a simple question: is Collage Folk Art? In front of them is a group of 147 handmade collages, all believed to be from the same unknown artist. The pieces came out of a Columbus estate, with no artist name, very little history, and just enough clues to make Matt think something important may be hiding in plain sight.

Before digging into the work, Sully gives a quick setup on collage as an art form, from early modern artists like Georges Braque and Pablo Picasso to the bigger question of whether collage can belong in the world of folk and self-taught art. From there, Matt walks through what he knows about the collection: how it was bought, why the group feels different, and why he has started calling the unknown maker the Columbus Collage Man.

As the stack unfolds, the mystery only gets bigger. Were these made by a self-taught artist working privately for decades? Could they have come from a clinical or institutional setting? Were they made by the Columbus Collage Man, the Columbus Collage Woman, or someone else entirely? Nobody knows yet, but Matt makes the case that the work deserves to be researched, preserved, and taken seriously.

This is part auction preview, part folk art debate, and part real-time discovery. Whether the collages sell for a few dollars each or become something much bigger later, the episode captures the moment when a strange box of art arrives, the questions start piling up, and the collection begins to speak for itself.

Chapters
00:00 | Is Collage Folk Art?
01:21 | A 147-Piece Mystery Collection from Columbus
02:18 | Matt Thinks These Collages Are Something Special
04:11 | Romare Bearden Meets Bill Traylor
04:47 | Could These Have Come from an Institution?
06:41 | The Columbus Collage Man
07:26 | Looking Through the First Collages
09:53 | Should the Collection Stay Together?
13:07 | The Mystery Gets Stranger
15:10 | Romare Bearden and the Bigger Collage Question
17:04 | Layered Wood, String, and Shape
21:47 | A Handwritten 1937 Date
22:21 | “This Is Outsider Art”
25:36 | Should a Professional Analyze These?
28:00 | Final Thoughts on the Columbus Collage Man

Do you know anything about this collection, the Columbus Collage Man, or early collage work from Columbus, Ohio? Reach out to the show:

[email protected]
(919) 410-8002
Leave your name, where you are from, and any information you have. You might hear yourself on a future episode.

Follow @houseoffolkart for more stories, field trips, and upcoming auction dates at LedbetterAuctions.com.

This episode starts with Mike returning to the table, where Matt has pulled together a group of rare folk art, pottery, baskets, quilts, and objects from the gallery before they ship out to new collections. Some of these pieces may not come back around for decades, so Matt wanted to get them on camera while they were still in the room.

The conversation begins with Mike’s 35 years in the folk art world and his early trips through the Southeast visiting artists. From there, Matt and Mike dig into Billy Ray Hussey, including a red-glazed lion Matt calls one of the best pieces of contemporary Southern pottery he has ever seen, along with an early monumental lion from Hussey’s years around M.L. Owens and Jugtown.

The table keeps changing as more pieces come out: rare stamped North Carolina copper measures, a Chester Webster salt-glazed jug, a small-bottom dirt dish, Charles Moore pottery, a double-sided Charlie Brown face jug, Benny Carter paintings and miniatures, Appalachian baskets, and an African American quilt found in Guilford County. Along the way, Matt talks about why serious collectors often are not sellers, and why some pieces disappear into private collections for a very long time.

Mike also brings a few treasures of his own, including hand-built circus wagons and a major James Harold Jennings piece. The episode closes with Matt showing Mike two alligator walking sticks that appear to be by the same unknown maker, opening up the bigger question of how anonymous folk art discoveries can begin with just one matching piece.

This is part auction preview, part collector conversation, and part folk art history lesson with one of the people who has spent decades chasing the artists, objects, and stories that make the field so alive.

Chapters
00:00 | $17 a Day and Chocolate Milk at the Bar
03:51 | Mike Smith Returns to the House of Folk Art
04:29 | Mike’s 35 Years in Folk Art
06:39 | Meeting Billy Ray Hussey
07:50 | The Billy Ray Hussey Lion
10:37 | An Early Billy Ray Hussey Lion
12:46 | Rare Pieces Before They Leave the Gallery
14:00 | North Carolina Copper Measures
17:08 | Chester Webster and a Small-Bottom Dirt Dish
19:58 | Charles Moore Pottery
23:11 | A Double-Sided Charlie Brown Face Jug
25:49 | Folk Art, Special Talents, and the Chicken Joke
27:12 | Benny Carter and Little New York
32:09 | Appalachian Baskets and Miniature Baskets
38:40 | A Guilford County African American Quilt
42:04 | Mike Brings Circus Wagons
49:52 | Remembering the Circus Coming to Town
52:08 | James Harold Jennings
57:07 | The Two Alligator Walking Sticks
01:02:22 | How to Display Walking Sticks
01:02:50 | Radcliffe Bailey and Classifying Art
01:05:10 | Final Thoughts with Mike Smith

Do you recognize one of these pieces, makers, or stories? Reach out to the show:

[email protected]
(919) 410-8002

Leave your name, where you are from, and any information you have. You might hear yourself on a future episode.

Follow @houseoffolkart for more stories, field trips, and upcoming auction dates at LedbetterAuctions.com.

Matt and Sully are back at Ledbetter Auction Gallery in Gibsonville with a fresh stack from a 400-piece single-owner folk art collection that just came through the door.

The collection had already been unboxed and was waiting to be photographed, but Matt had not fully gone through it yet. So instead of picking their own favorites from around the gallery, Matt and Sully grab a random stack of about 40 pieces and start digging in with fresh eyes.

This episode is a look at what a real folk art collector collects: the known names, the lesser-known artists, the pieces that need more research, and the kind of work that only starts to make sense once you slow down and really look at it.

The stack starts with a carved Calvin Cooper dog, then moves into work by Po Phil, Levent Isik, Alpha Andrews, Kaye Simmons, Sam Ezell, Bob Newell, Richard Burnside, John Burgess, Myrtice West, Aretha Hardy, Albert Wagner, Purvis Young, Willie White, and more.

There are auction estimates, artist stories, a few mystery signatures, and plenty of moments where the guys have to admit they do not know everything yet. That is part of the point. This is what it looks like when a collection arrives, the research starts, and the pieces begin to tell you where they came from.

Do you know a folk artist or have a picking story worth sharing? Reach out to the show:

Chapters
00:00 | Welcome Back to House of Folk Art with Matt and Sully
02:42 | First Up: The Wood Carved Dalmatian
04:20 | Matt’s First Pick from the Stack
06:00 | Sully Learns About Levent Isik
07:40 | Mixed Media in a Frame
08:26 | Reminiscent of Bernice Sims
09:15 | Matt’s Favorite Piece So Far
10:07 | Sam Ezell Shows Up in the Art Pile
11:25 | Mail Pouch Chew
12:14 | Richard Burnside from Myrtle Beach, South Carolina
14:04 | Key West Folk Art
16:26 | An Incredible Memory Painting of Quilt Making
18:04 | Myrtice West, Self-Taught Visionary Artist
20:43 | Gold Framed Folk Art?
22:15 | Animals & Angels
23:25 | Albert Wagner
26:08 | Folk Style, But…
26:55 | An Early Sam Ezell
27:42 | Purvis Young and Goodbread Alley
31:58 | Folk Art Framed in PVC Pipe
32:59 | A Series of Folk Paintings
34:08 | A.B. the Flag Man, Don’t Forget It
40:17 | Folk Art from a Coal Miner
42:59 | The Art of Willie White
46:20 | Alpha Andrews on Mixed Paper
48:19 | James Bland Folk Art Face
49:58 | Back to Myrtice West
51:47 | Grilling Is Pleasing
53:31 | Butch Anthony Face Pan
55:25 | Back to A.B. the Flag Man
57:52 | One More Time with Levent Isik
01:00:57 | A Good Day at the Auction Gallery

[email protected]
(919) 410-8002

Leave your name and where you are from and you might hear yourself on a future episode.

Follow @houseoffolkart for more stories, field trips, and upcoming auction dates at LedbetterAuctions.com.

Matt and Kyle are back at the Auction Gallery in Gibsonville after a run of antique shows. Liberty and Fishersville were fun, but this episode gets back to the roots of House of Folk Art: self-taught art, pottery, carvings, and the stories behind the pieces.

Matt and Kyle pull work from around the gallery and talk through what makes each piece worth slowing down for. The episode starts with Sam Ezell, a North Carolina artist and picker whose work has become a major focus at the auction house, including a large group of pieces coming up in a future sale.

From there, the conversation moves into Denzil Goodpaster, a bear carving, and Matt’s ongoing argument about the difference between craft and art. The crew also digs into a Charles Simmons wood carved jug, the connection to Raymond Coins, and why some important North Carolina artists are still only known by a small circle of collectors. Matt talks through why a piece may not bring enough at auction, but can still be exactly the kind of thing he wants to keep. There is also pottery from Marvin Bailey and Ellen Martin, including the story of the first Marvin Bailey piece that really pulled Matt into contemporary face jugs. 

The episode closes with a few pieces coming up for auction, including a tramp art box, plus a quick reminder for first-time bidders ahead of the June 11 auction.

Bid in the June 11 Folk Art & Americana Auction:
https://www.liveauctioneers.com/catalog/419094_folk-art-and-americana-auction/

Chapters
00:00 | Back at the Auction House in Gibsonville
03:11 | Sam Ezell, Self-Taught Art, and Large Scale
12:42 | Denzil Goodpaster’s Bear Carving
22:00 | First Look at House of Folk Art Merch
24:10 | Charles Simmons and the Wood Carved Jug
34:34 | Matt’s First Marvin Bailey Piece
47:19 | Ellen Martin’s Lion and North Carolina Pottery
56:44 | A Huge Baseball Carving Hits the Table
01:00:34 | Auction Preview: Tramp Art Box
01:08:00 | A Good Day Back at Ledbetter Auction Gallery

Do you know a folk artist or have a picking story worth sharing? Reach out to the show:

[email protected]
(919) 410-8002

Leave your name and where you are from and you might hear yourself on a future episode.

Follow @houseoffolkart for more stories, field trips, and upcoming auction dates at LedbetterAuctions.com.

Fishersville was a great show this year. Friday was packed from the start, dealers were moving material early, and by Saturday morning Matt was already back at the van digging through the pile of things that he’s taking back home.

Matt pulls out a few of the buys from Fishersville and talks through them while the show is still happening around him: carved walking sticks, tramp art, Clyde Herman carvings, a dancing figure, a whirligig that nearly flies apart in the wind, and one folk art cane that immediately turns into a full blown appraisal session.

There is also an ongoing challenge throughout the episode to find somebody at Fishersville who actually knows who Benny Carter is. Matt signs a copy of the Benny Carter book in the van and walks the show trying to give it away to the right person.

This is only part of the Fishersville trip. We still have more videos coming from the field, including a full day of buying around the show with Amanda’s Mercantile.

After Fishersville, everything heads back to the auction house alongside the Liberty finds. The plan now is to unload it all, photograph everything, and start getting pieces ready for upcoming auctions at Ledbetter Folk Art Auctions.

Chapters

00:00 | Back at Fishersville Antique Expo

00:20 | Friday Was a Madhouse

00:55 | Signing the Benny Carter Book

02:04 | The Nude Grandma Whirligig

03:01 | Clyde Herman Carvings and Walking Sticks

04:09 | The Five Dollar Owl

05:00 | The Best Cane at Fishersville

08:05 | Learning to Buy Tramp Art

11:02 | Non Buyer’s Remorse

13:21 | Breaking Down the Dancing Figure

16:05 | Looking for Someone Who Knows Benny Carter

17:37 | The Folk Art Reading Lamp

17:49 | Walking the Show with the Whirligig

18:56 | Does nobody Know Benny Carter??

23:27 | Giving the Book Away and Signing Off

Do you know a folk artist or have a picking story worth sharing? Reach out to the show:

[email protected]

(919) 410-8002

Leave your name and where you are from and you might hear yourself on a future episode.

Follow @houseoffolkart for more stories, field trips, and upcoming auction dates at LedbetterAuctions.com.

Matt returns to the auction gallery after Liberty with the buys still sitting behind him and another show already on the calendar. This time, the conversation picks up in that brief window between antique shows, when the dust from one trip has barely settled and the next one is already starting to take shape.

Liberty had the feeling of a final chapter, but not necessarily a dead end. After months of questions about what the last Liberty show would mean, Matt came away with a different impression. Dealers were still buying, still selling, and many were already talking about setting up again when the show moves into its next form. For Matt, the proof of the show was sitting right there in the room. He bought steadily, stayed late, and even kept working the field during pack up, coming home with pottery, baskets, canes, quilts, and a late day monkey jug that sends him into a full dealer’s breakdown.

From there, the episode turns north toward Fishersville, Virginia. The Fishersville Antiques Expo sits in the Shenandoah Valley, and Matt talks through why that region changes the kind of material you expect to see. Virginia brings a different layer of age and history into the hunt, with early period furniture, painted blanket chests, blue decorated stoneware, baskets, folk art canes, and other forms that can reach back deeper than the material usually found at Southern shows. For Matt, Fishersville is not just another stop after Liberty. It is a different buying environment, with a different pace, a different geography, and the possibility of finding pieces that can still make the whole trip worth it.

The episode also opens up the practical side of the antiques business. Matt talks about buying with the auction in mind, teaching his son how money moves through the trade, and why collecting and dealing are not always the same thing. Some pieces stay in the collection. Some pieces go straight back into the market. Others become part of the education that happens along the way. By the end of the Fishersville run, the plan is to bring everything back to Ledbetter Auctions, photograph it, list it, and let viewers see what the Liberty and Fishersville buys actually do once they hit the auction block.

The final section shifts from the road back into the gallery, where Matt walks through the Benny Carter display arranged for a North Carolina Folk Art Society exhibit and book event. The room is filled with Carter’s birdhouses, New York City paintings, clocks, Noah’s Ark scenes, poem paintings, cutouts, and one remarkable Annie Moon doll made to look like Benny himself. Matt traces Carter’s development from early birdhouses to dense city scenes, from unfinished late paintings to self-made clocks, showing how one artist returned again and again to the same subjects while constantly reworking them.

By the end, the episode becomes more than a recap. It is a look at the cycle that keeps this world moving: the show field, the auction house, the collector’s eye, the dealer’s risk, and the folk art that gives the whole thing a reason to keep going.

Chapters
00:00 | Back at the Auction Gallery Between Antique Shows
04:01 | Previewing the Next Trip to Fishersville
10:38 | Reflecting on the Last Day at Liberty
14:19 | At 14, You Can Work at Subway or Be an Antique Dealer
17:39 | Expectations for Fishersville
25:49 | Who Was Benny Carter?
28:55 | Walking Through the Benny Carter Exhibit
37:27 | Benny Carter’s Origin Poem
42:03 | Wrapping Up Before Fishersville

Do you know a folk artist or have a picking story worth sharing? Reach out to the show:

[email protected]
(919) 410-8002

Leave your name and where you are from and you might hear yourself on a future episode.

Follow @houseoffolkart for more stories, field trips, and upcoming auction dates at LedbetterAuctions.com.

Matt Ledbetter sits down before heading out to Liberty, North Carolina to set up Wade's tent for the last Liberty Antique show.

Held twice a year in Randolph County, the Liberty Antiques Festival has long been one of the best known antique shows in the region. Dealers from more than 25 states set up across a large farm setting, with everything from pottery, furniture, and quilts to decoys, folk art, glass, and country Americana. The show has built its reputation around original antiques and collectibles rather than crafts or reproductions.

For Matt and his family, Liberty has been a major part of life for years. In this episode, he looks back on some of the pieces he found there over the past decade, tells the stories behind them, and talks through why Liberty has meant so much to him as a dealer, picker, and collector. As setup day approaches, the conversation becomes a mix of memories, strategy, and anticipation for what might still turn up.

Matt starts with one of his most memorable pottery finds, a Chester Webster school jug he spotted at a yard sale just outside the show grounds. From there, he moves through a group of past Liberty finds including a carved walking stick, a painted stand, a painted basket, Benny Carter paintings, and a Ward Brothers decoy, using each one to explain what caught his eye and why some things stay in the collection while others go back into the market.

If you are interested in antiques, folk art, Southern pottery, or just want to hear how a longtime picker thinks before a big show, this episode gives a clear look at what Liberty means to the people who have spent years setting up, buying, and coming back every season.

Chapters
00:00 | Van Side Before the Final Liberty Antiques Festival
02:53 | The Webster School Jug Story
09:45 | A Walking Stick from Liberty
11:39 | The Painted Stand and Basket
15:39 | Benny Carter Paintings and Liberty Memories
20:44 | A Ward Brothers Decoy and Learning New Categories
26:31 | Should We Buy Every Decoy Tomorrow?
30:53 | What Matt Hopes to Find at Liberty
42:14 | Looking Ahead to Fishersville
44:36 | Packing Up and Heading to Liberty
45:25 | Picking Up Ethan and Driving to Set Up
46:38 | Arriving at Liberty and Finding the Webster Jug Yard Sale
47:50 | Wrapping the Day Before the Show

Do you know a folk artist or have a picking story worth sharing? Reach out to the show:

[email protected]
(919) 410-8002

Leave your name and where you are from and you might hear yourself on a future episode.

Follow @houseoffolkart for more stories, field trips, and upcoming auction dates at LedbetterAuctions.com.

Next week, we’ll release the full Liberty walkthrough, showing the setup, the hunt, and what turns up once the show gets going.

Matt Ledbetter and Kyle sit down with a table full of pieces from the Catawba Valley Pottery Festival and break down what they picked up over the weekend.

Held once a year in Hickory, North Carolina, the Catawba Valley Pottery Festival brings together over a hundred working potters alongside a small group of dealers specializing in historic Catawba Valley pottery. It is one of the few places where you can walk booth to booth, meet the artists directly, and see both contemporary work and pieces rooted in a tradition that goes back generations.

Matt talks through how the weekend actually plays out. The Friday night preview, the rush when doors open, and how fast things move when collectors are lined up for specific makers. 

From there, they bring a group of pieces to the table and walk through what they picked up. Face jugs, monkey jugs, and functional forms all come into the conversation, along with what to look for in Catawba Valley pottery. Alkaline glaze, form, and firing methods all start to separate stronger pieces from the rest.

If you are interested in Southern pottery, collecting, or just want to understand why people travel for this show every year, this episode gives a clear look at what makes the Catawba Valley Pottery Festival stand out.

Chapters
00:00 | Recapping the Catawba Valley Pottery Festival
00:06:33 | What They Look for in Catawba Valley Pottery
00:10:48 | Why This Is an Important Pottery Show
00:12:36 | First Look at Matt’s Stacey Lambert Pieces
00:15:32 | The Steve Abee Monkey Jug
00:19:23 | Meeting Marvin Bailey
00:24:17 | Supporting Living Potters
00:31:00 | What Makes a Piece Worth Buying
00:36:30 | Final Thoughts on the Festival

Do you know a folk artist or have a picking story worth sharing? Reach out to the show:

[email protected]
(919) 410-8002

Leave your name and where you are from and you might hear yourself on a future episode.

Follow @houseoffolkart for more stories, field trips, and upcoming auction dates at LedbetterAuctions.com.

Next week, we’ll release the full walkthrough from the floor, showing how these pieces were found and bought in real time.