205 25 35717 https://archives.countylib.org/files/original/6772f77473b89eff1c1af94421485235.jpg e1b296f90ba4b570695479a912977840 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Morrison Studio Collection Subject The topic of the resource Morrison, Hugh Jr. (1871-1950) Morrison, Louis Morrison, James Description An account of the resource In 1899 Hugh Morrison Jr. opened a photograph studio on W. Court Street in Woodstock after several years of working in the area as a travelling photographer. Between that time, and the time his grandson James Morrison closed the studio in 1988, the Morrison family captured thousands of portraits, landscapes, and buildings on film and glass negatives. In 1999 the Shenandoah County Historical Society acquired over 31,000 of these negatives from the estate of local collector Charles D. Bauserman. Volunteers from the historical society worked over the next several decades to house, number, and scan each image. This effort resulted in over two tons of Morrison plates and negatives being processed and digitized. This collection contains those digitized versions of these photographs. Through a partnership between the historical society and the Shenandoah County Library's Truban Archives access to a growing number of these images is available to the public. Current projections indicate the full collection will be available for viewing sometime in 2028. This collection does contain some images of a sexual and/or graphic nature that some viewers may find inappropriate. Creator An entity primarily responsible for making the resource Morrison Studios Source A related resource from which the described resource is derived Hugh Morrison Collection, Shenandoah County Historical Society Inc. Publisher An entity responsible for making the resource available Shenandoah County Library Date A point or period of time associated with an event in the lifecycle of the resource 1900-1980 Contributor An entity responsible for making contributions to the resource A special thanks to Tracy McMahon for her dedicated work entering metadata for this collection. A special thank you to the Shenandoah County Historical Society for their efforts to number and scan each image. Rights Information about rights held in and over the resource Digital images: Creative Commons Attribution-Non Commercial (CC-BY-NC) Copyright for these images is held by the Shenandoah County Historical Society. Contact the Shenandoah County Historical Society (www.https://www.shenandoahcountyhistoricalsociety.org/) for permission to utilize images commercially, for high resolution scans, or for prints. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Glass Negative Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 014274 Creator An entity primarily responsible for making the resource Morrison Studio Source A related resource from which the described resource is derived Morrison Studio Collection - Shenandoah County Historical Society Publisher An entity responsible for making the resource available Shenandoah County Library Rights Information about rights held in and over the resource IN COPYRIGHT - NON-COMMERCIAL USE PERMITTED Title A name given to the resource Betty (Deel) Neal Subject The topic of the resource Neal, Betty Deel Description An account of the resource Portrait photograph of Betty (Deel) Neal as a young woman wearing a striped blouse. Her husband was Paul Neal. Their marriage did not last. Date A point or period of time associated with an event in the lifecycle of the resource Undated Contributor An entity responsible for making contributions to the resource Identified in 2009 by Gloria Stickley, who remembered that Betty (Deel) Neal was Jay Neal's mother. Deel Neal Shenandoah County Virginia Women https://archives.countylib.org/files/original/09802e5256d2473ac9b41bdbc9970cd5.jpg 94d4dddc60c6a801213539ee0b1d93c9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Morrison Studio Collection Subject The topic of the resource Morrison, Hugh Jr. (1871-1950) Morrison, Louis Morrison, James Description An account of the resource In 1899 Hugh Morrison Jr. opened a photograph studio on W. Court Street in Woodstock after several years of working in the area as a travelling photographer. Between that time, and the time his grandson James Morrison closed the studio in 1988, the Morrison family captured thousands of portraits, landscapes, and buildings on film and glass negatives. In 1999 the Shenandoah County Historical Society acquired over 31,000 of these negatives from the estate of local collector Charles D. Bauserman. Volunteers from the historical society worked over the next several decades to house, number, and scan each image. This effort resulted in over two tons of Morrison plates and negatives being processed and digitized. This collection contains those digitized versions of these photographs. Through a partnership between the historical society and the Shenandoah County Library's Truban Archives access to a growing number of these images is available to the public. Current projections indicate the full collection will be available for viewing sometime in 2028. This collection does contain some images of a sexual and/or graphic nature that some viewers may find inappropriate. Creator An entity primarily responsible for making the resource Morrison Studios Source A related resource from which the described resource is derived Hugh Morrison Collection, Shenandoah County Historical Society Inc. Publisher An entity responsible for making the resource available Shenandoah County Library Date A point or period of time associated with an event in the lifecycle of the resource 1900-1980 Contributor An entity responsible for making contributions to the resource A special thanks to Tracy McMahon for her dedicated work entering metadata for this collection. A special thank you to the Shenandoah County Historical Society for their efforts to number and scan each image. Rights Information about rights held in and over the resource Digital images: Creative Commons Attribution-Non Commercial (CC-BY-NC) Copyright for these images is held by the Shenandoah County Historical Society. Contact the Shenandoah County Historical Society (www.https://www.shenandoahcountyhistoricalsociety.org/) for permission to utilize images commercially, for high resolution scans, or for prints. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Film Negative Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 031616 Creator An entity primarily responsible for making the resource Morrison Studio Source A related resource from which the described resource is derived Morrison Studio Collection - Shenandoah County Historical Society Publisher An entity responsible for making the resource available Shenandoah County Library Rights Information about rights held in and over the resource IN COPYRIGHT - NON-COMMERCIAL USE PERMITTED Title A name given to the resource Betty (Funkhouser) Golladay Description An account of the resource Photo of two separate portrait photographs of Betty (Funkhouser) Golladay as a young woman with glasses, short hair, and wearing a photographer's drape. A photograph similar to these was used in the 1964 Stonewall Jackson High School Yearbook (SJHS) titled, "Jackonian Heritage". Date A point or period of time associated with an event in the lifecycle of the resource Undated Subject The topic of the resource Golladay, Betty Funkhouser Students - Virginia - Quicksburg Contributor An entity responsible for making contributions to the resource Identified in 2024 by Kenna Fansler using the 1964 SJHS yearbook. Funkhouser Golladay Shenandoah County Students Virginia Women https://archives.countylib.org/files/original/df67528d833f68654b885b8047a3fbf0.jpg e799e29329259efe104793ab8f8cda51 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Morrison Studio Collection Subject The topic of the resource Morrison, Hugh Jr. (1871-1950) Morrison, Louis Morrison, James Description An account of the resource In 1899 Hugh Morrison Jr. opened a photograph studio on W. Court Street in Woodstock after several years of working in the area as a travelling photographer. Between that time, and the time his grandson James Morrison closed the studio in 1988, the Morrison family captured thousands of portraits, landscapes, and buildings on film and glass negatives. In 1999 the Shenandoah County Historical Society acquired over 31,000 of these negatives from the estate of local collector Charles D. Bauserman. Volunteers from the historical society worked over the next several decades to house, number, and scan each image. This effort resulted in over two tons of Morrison plates and negatives being processed and digitized. This collection contains those digitized versions of these photographs. Through a partnership between the historical society and the Shenandoah County Library's Truban Archives access to a growing number of these images is available to the public. Current projections indicate the full collection will be available for viewing sometime in 2028. This collection does contain some images of a sexual and/or graphic nature that some viewers may find inappropriate. Creator An entity primarily responsible for making the resource Morrison Studios Source A related resource from which the described resource is derived Hugh Morrison Collection, Shenandoah County Historical Society Inc. Publisher An entity responsible for making the resource available Shenandoah County Library Date A point or period of time associated with an event in the lifecycle of the resource 1900-1980 Contributor An entity responsible for making contributions to the resource A special thanks to Tracy McMahon for her dedicated work entering metadata for this collection. A special thank you to the Shenandoah County Historical Society for their efforts to number and scan each image. Rights Information about rights held in and over the resource Digital images: Creative Commons Attribution-Non Commercial (CC-BY-NC) Copyright for these images is held by the Shenandoah County Historical Society. Contact the Shenandoah County Historical Society (www.https://www.shenandoahcountyhistoricalsociety.org/) for permission to utilize images commercially, for high resolution scans, or for prints. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Film Negative Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 031198 Creator An entity primarily responsible for making the resource Morrison Studio Source A related resource from which the described resource is derived Morrison Studio Collection - Shenandoah County Historical Society Publisher An entity responsible for making the resource available Shenandoah County Library Rights Information about rights held in and over the resource IN COPYRIGHT - NON-COMMERCIAL USE PERMITTED Title A name given to the resource Betty (Heltzel) Richard Description An account of the resource Photo of two separate portrait photographs of Betty Lou (Heltzel) Richard as a young woman with short hair and wearing a photographer's drape. She was the daughter of Hubert O. and Dorothy (Flagle) Heltzel. She graduated from Central High School in 1966 and the image on the right was used in the school's year book for that year. She married her first husband, Donald Ray Miller, in 1971. That marriage ended in divorce. She married again in 1997 to Larry Allen Richard. The image on the left has a mark at the top where the photographer noted which of the two images he planned to print. He has also added the note (visible but backwards), "2-8X10" and "12 3X4" indicating the number and size of the prints he planned to make. Date A point or period of time associated with an event in the lifecycle of the resource Undated Subject The topic of the resource Richard, Betty Lou Heltzel (1948- ) Contributor An entity responsible for making contributions to the resource No ID form. Name was written in the margin of the paper copy. Biographical information was compiled from public records. Heltzel Richard Shenandoah County Virginia Women https://archives.countylib.org/files/original/2d6f2896d05fe5ec1218b70f8a6c346a.jpg b60a61c705cadab4f53730745743c0c3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Morrison Studio Collection Subject The topic of the resource Morrison, Hugh Jr. (1871-1950) Morrison, Louis Morrison, James Description An account of the resource In 1899 Hugh Morrison Jr. opened a photograph studio on W. Court Street in Woodstock after several years of working in the area as a travelling photographer. Between that time, and the time his grandson James Morrison closed the studio in 1988, the Morrison family captured thousands of portraits, landscapes, and buildings on film and glass negatives. In 1999 the Shenandoah County Historical Society acquired over 31,000 of these negatives from the estate of local collector Charles D. Bauserman. Volunteers from the historical society worked over the next several decades to house, number, and scan each image. This effort resulted in over two tons of Morrison plates and negatives being processed and digitized. This collection contains those digitized versions of these photographs. Through a partnership between the historical society and the Shenandoah County Library's Truban Archives access to a growing number of these images is available to the public. Current projections indicate the full collection will be available for viewing sometime in 2028. This collection does contain some images of a sexual and/or graphic nature that some viewers may find inappropriate. Creator An entity primarily responsible for making the resource Morrison Studios Source A related resource from which the described resource is derived Hugh Morrison Collection, Shenandoah County Historical Society Inc. Publisher An entity responsible for making the resource available Shenandoah County Library Date A point or period of time associated with an event in the lifecycle of the resource 1900-1980 Contributor An entity responsible for making contributions to the resource A special thanks to Tracy McMahon for her dedicated work entering metadata for this collection. A special thank you to the Shenandoah County Historical Society for their efforts to number and scan each image. Rights Information about rights held in and over the resource Digital images: Creative Commons Attribution-Non Commercial (CC-BY-NC) Copyright for these images is held by the Shenandoah County Historical Society. Contact the Shenandoah County Historical Society (www.https://www.shenandoahcountyhistoricalsociety.org/) for permission to utilize images commercially, for high resolution scans, or for prints. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Glass Negative Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 006650 Creator An entity primarily responsible for making the resource Morrison Studio Source A related resource from which the described resource is derived Morrison Studio Collection - Shenandoah County Historical Society Publisher An entity responsible for making the resource available Shenandoah County Library Rights Information about rights held in and over the resource IN COPYRIGHT - NON-COMMERCIAL USE PERMITTED Title A name given to the resource Betty (Kibler) Cook Subject The topic of the resource Cook, Betty Catherine Kibler (1926-2011) Description An account of the resource Portrait photograph of Betty (Kibler) Cook as a young woman. She was the daughter of Reuben and Nettie Catherine (Rudy) Kibler. Betty graduated from Woodstock High School in 1946 and attended Palmer Business School. She worked at the Agriculture Office for 6 years. Betty was married to Paul W. Cook of Woodstock for 62 years before she died. She left behind a son, Roger L. Cook, and three daughters: Brenda (Cook) Weaver, Judy (Cook) Hodson, and Barbara (Cook) Fadeley. Betty’s obituary, published in the Northern Virginia Daily newspaper on August 31, 2011, mentioned she was a member of St. Luke Brethren Church, where she served in various offices, was a Sunday School Teacher, and attended the Cedar Creek Christian Church. She ministered and assisted her husband and others with a ministry in music. She also enjoyed being a creative seamstress. Significant plate and emulsion damage is visible. Date A point or period of time associated with an event in the lifecycle of the resource c. 1940's Contributor An entity responsible for making contributions to the resource Subject identified in 2005 by her friend, Landon R. Walker. Additional biographical information was compiled from public records. Relation A related resource Betty C. (Kibler) Cook appears in Morrison Studio Collection numbers 006650 and 017691. Cook Kibler Shenandoah County Virginia Women https://archives.countylib.org/files/original/0fbe753567564e7c0bee443f6e4bb6c2.jpg 0884ad03abf58d34141de4f6a7a59d58 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Morrison Studio Collection Subject The topic of the resource Morrison, Hugh Jr. (1871-1950) Morrison, Louis Morrison, James Description An account of the resource In 1899 Hugh Morrison Jr. opened a photograph studio on W. Court Street in Woodstock after several years of working in the area as a travelling photographer. Between that time, and the time his grandson James Morrison closed the studio in 1988, the Morrison family captured thousands of portraits, landscapes, and buildings on film and glass negatives. In 1999 the Shenandoah County Historical Society acquired over 31,000 of these negatives from the estate of local collector Charles D. Bauserman. Volunteers from the historical society worked over the next several decades to house, number, and scan each image. This effort resulted in over two tons of Morrison plates and negatives being processed and digitized. This collection contains those digitized versions of these photographs. Through a partnership between the historical society and the Shenandoah County Library's Truban Archives access to a growing number of these images is available to the public. Current projections indicate the full collection will be available for viewing sometime in 2028. This collection does contain some images of a sexual and/or graphic nature that some viewers may find inappropriate. Creator An entity primarily responsible for making the resource Morrison Studios Source A related resource from which the described resource is derived Hugh Morrison Collection, Shenandoah County Historical Society Inc. Publisher An entity responsible for making the resource available Shenandoah County Library Date A point or period of time associated with an event in the lifecycle of the resource 1900-1980 Contributor An entity responsible for making contributions to the resource A special thanks to Tracy McMahon for her dedicated work entering metadata for this collection. A special thank you to the Shenandoah County Historical Society for their efforts to number and scan each image. Rights Information about rights held in and over the resource Digital images: Creative Commons Attribution-Non Commercial (CC-BY-NC) Copyright for these images is held by the Shenandoah County Historical Society. Contact the Shenandoah County Historical Society (www.https://www.shenandoahcountyhistoricalsociety.org/) for permission to utilize images commercially, for high resolution scans, or for prints. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Glass Negative Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 017691 Creator An entity primarily responsible for making the resource Morrison Studio Source A related resource from which the described resource is derived Morrison Studio Collection - Shenandoah County Historical Society Publisher An entity responsible for making the resource available Shenandoah County Library Rights Information about rights held in and over the resource IN COPYRIGHT - NON-COMMERCIAL USE PERMITTED Title A name given to the resource Betty (Kibler) Cook Subject The topic of the resource Cook, Betty Catherine Kibler (1926-2011) Description An account of the resource Portrait photograph of Betty Catherine (Kibler) Cook as a young woman. She was the daughter of Reuben and Nettie Catherine (Rudy) Kibler. Betty graduated from Woodstock High School in 1946 and attended Palmer Business School. She worked at the Agriculture Office for 6 years. Betty was married to Paul W. Cook of Woodstock for 62 years before she died. She left behind a son, Roger L. Cook, and three daughters: Brenda (Cook) Weaver, Judy (Cook) Hodson, and Barbara (Cook) Fadeley. Betty’s obituary, published in the Northern Virginia Daily newspaper on August 31, 2011, mentioned she was a member of St. Luke Brethren Church, where she served in various offices, was a Sunday School Teacher, and attended the Cedar Creek Christian Church. She ministered and assisted her husband and others with a ministry in music. She also enjoyed being a creative seamstress. Date A point or period of time associated with an event in the lifecycle of the resource The glass plate negative of this image was stored in a box labeled "Apr 1945". Contributor An entity responsible for making contributions to the resource Identified in 2009 by Phyllis Wright, a neighbor on the subject. Relation A related resource Betty C. (Kibler) Cook appears in Morrison Studio Collection numbers 006650 and 017691. Cook Kibler Shenandoah County Virginia Women https://archives.countylib.org/files/original/c9be8a64a978c1f8af1b9fd03cacb20d.jpg 1ef559d299e01b90b856e22d2680b51a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Morrison Studio Collection Subject The topic of the resource Morrison, Hugh Jr. (1871-1950) Morrison, Louis Morrison, James Description An account of the resource In 1899 Hugh Morrison Jr. opened a photograph studio on W. Court Street in Woodstock after several years of working in the area as a travelling photographer. Between that time, and the time his grandson James Morrison closed the studio in 1988, the Morrison family captured thousands of portraits, landscapes, and buildings on film and glass negatives. In 1999 the Shenandoah County Historical Society acquired over 31,000 of these negatives from the estate of local collector Charles D. Bauserman. Volunteers from the historical society worked over the next several decades to house, number, and scan each image. This effort resulted in over two tons of Morrison plates and negatives being processed and digitized. This collection contains those digitized versions of these photographs. Through a partnership between the historical society and the Shenandoah County Library's Truban Archives access to a growing number of these images is available to the public. Current projections indicate the full collection will be available for viewing sometime in 2028. This collection does contain some images of a sexual and/or graphic nature that some viewers may find inappropriate. Creator An entity primarily responsible for making the resource Morrison Studios Source A related resource from which the described resource is derived Hugh Morrison Collection, Shenandoah County Historical Society Inc. Publisher An entity responsible for making the resource available Shenandoah County Library Date A point or period of time associated with an event in the lifecycle of the resource 1900-1980 Contributor An entity responsible for making contributions to the resource A special thanks to Tracy McMahon for her dedicated work entering metadata for this collection. A special thank you to the Shenandoah County Historical Society for their efforts to number and scan each image. Rights Information about rights held in and over the resource Digital images: Creative Commons Attribution-Non Commercial (CC-BY-NC) Copyright for these images is held by the Shenandoah County Historical Society. Contact the Shenandoah County Historical Society (www.https://www.shenandoahcountyhistoricalsociety.org/) for permission to utilize images commercially, for high resolution scans, or for prints. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Glass Negative Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 024288 Creator An entity primarily responsible for making the resource Morrison Studio Source A related resource from which the described resource is derived Morrison Studio Collection - Shenandoah County Historical Society Publisher An entity responsible for making the resource available Shenandoah County Library Rights Information about rights held in and over the resource IN COPYRIGHT - NON-COMMERCIAL USE PERMITTED Title A name given to the resource Betty (Myers) Kegley Subject The topic of the resource Kegley, Betty Jean (Myers) Description An account of the resource Photograph of Betty (Myers) Kegley as a young girl with a bow in her hair and a corsage on her dress. Date A point or period of time associated with an event in the lifecycle of the resource The glass plate negative of this image was stored in a box labeled "May 1939". Relation A related resource Betty Myers appears in Morrison Studio Collection numbers 024189 and 024288. Contributor An entity responsible for making contributions to the resource No ID form. Name was written in the margin of the paper copy. Children Myers Shenandoah County Virginia https://archives.countylib.org/files/original/35092d757a2e1580c5b6c61ad40687c5.jpg 3829fe59d20683c4a11488abb76e842c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Morrison Studio Collection Subject The topic of the resource Morrison, Hugh Jr. (1871-1950) Morrison, Louis Morrison, James Description An account of the resource In 1899 Hugh Morrison Jr. opened a photograph studio on W. Court Street in Woodstock after several years of working in the area as a travelling photographer. Between that time, and the time his grandson James Morrison closed the studio in 1988, the Morrison family captured thousands of portraits, landscapes, and buildings on film and glass negatives. In 1999 the Shenandoah County Historical Society acquired over 31,000 of these negatives from the estate of local collector Charles D. Bauserman. Volunteers from the historical society worked over the next several decades to house, number, and scan each image. This effort resulted in over two tons of Morrison plates and negatives being processed and digitized. This collection contains those digitized versions of these photographs. Through a partnership between the historical society and the Shenandoah County Library's Truban Archives access to a growing number of these images is available to the public. Current projections indicate the full collection will be available for viewing sometime in 2028. This collection does contain some images of a sexual and/or graphic nature that some viewers may find inappropriate. Creator An entity primarily responsible for making the resource Morrison Studios Source A related resource from which the described resource is derived Hugh Morrison Collection, Shenandoah County Historical Society Inc. Publisher An entity responsible for making the resource available Shenandoah County Library Date A point or period of time associated with an event in the lifecycle of the resource 1900-1980 Contributor An entity responsible for making contributions to the resource A special thanks to Tracy McMahon for her dedicated work entering metadata for this collection. A special thank you to the Shenandoah County Historical Society for their efforts to number and scan each image. Rights Information about rights held in and over the resource Digital images: Creative Commons Attribution-Non Commercial (CC-BY-NC) Copyright for these images is held by the Shenandoah County Historical Society. Contact the Shenandoah County Historical Society (www.https://www.shenandoahcountyhistoricalsociety.org/) for permission to utilize images commercially, for high resolution scans, or for prints. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Glass Negatives Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 003073 Creator An entity primarily responsible for making the resource Morrison Studio Source A related resource from which the described resource is derived Morrison Studio Collection - Shenandoah County Historical Society Publisher An entity responsible for making the resource available Shenandoah County Library Rights Information about rights held in and over the resource IN COPYRIGHT - NON-COMMERCIAL USE PERMITTED Title A name given to the resource Betty (Stultz) Ferguson Subject The topic of the resource Ferguson, Betty Stultz Description An account of the resource Portrait photograph of Betty Stultz Ferguson as a young woman wearing a checkered dress with buttons down the front. She was the daughter of Clarence and Pearl Stultz. Date A point or period of time associated with an event in the lifecycle of the resource Undated Contributor An entity responsible for making contributions to the resource Identified on an undated ID form by Virginia (Stultz) Gochenour, who was a relation of the subject. Ferguson Shenandoah County Stultz Virginia Women https://archives.countylib.org/files/original/f63c62bf4ad1a60a54b310897e26bf3c.jpg 8240a93854d85c4b35b3a89e1808a266 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource William Hoyle Garber Collection Subject The topic of the resource Garber, William Hoyle Description An account of the resource The William Hoyle Garber Collection consists of 503 digital images stored on a single thumb drive and also available online via the archives digital collections platform. The original materials are primarily 8x10 black and white prints with approximately 2 5x7 prints and 110 images are from negatives. They were taken and developed by William Garber. The items were scanned and stored in a thumb drive in jpg format. Photographs are numbered chronologically according to how they appeared in the Mt. Jackson Museum collections and contain an hg prefix. The subject matter encompasses structures, people, businesses, industries, disasters, etc. from the area between Harrisonburg and Woodstock. Identification is provided by an attached identification sheet or via the digital collections platform. The digital collection is divided into 21 series. Source A related resource from which the described resource is derived William Hoyle Garber Digital Collection Publisher An entity responsible for making the resource available Shenandoah County Library Date A point or period of time associated with an event in the lifecycle of the resource ca. 1940-ca. 1960 Contributor An entity responsible for making contributions to the resource Mt. Jackson Museum Rights Information about rights held in and over the resource Creative Commons Attribution-Non Commercial (CC-BY-NC) Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Physical Dimensions The actual physical size of the original image 8x10 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Relation A related resource Series XI: Identified Scenes Subject The topic of the resource Rosenberger, Betty Ann Identifier An unambiguous reference to the resource within a given context hg0340 Title A name given to the resource Betty Ann Rosenberger Description An account of the resource Photograph taken by William Hoyle Garber showing Betty Ann Rosenberger. Date A point or period of time associated with an event in the lifecycle of the resource 1953 Creator An entity primarily responsible for making the resource Hubert Gentry, WHSV Source A related resource from which the described resource is derived Hoyle Garber Collection, Mt. Jackson Museum Publisher An entity responsible for making the resource available Shenandoah County Library Rights Information about rights held in and over the resource Creative Commons Attribution-Non Commercial (CC-BY-NC) Rosenberger Women https://archives.countylib.org/files/original/691da801273ed08d57a02aa9c93af485.pdf 87c555d89f4ac7466cbe467da48ee4f0 PDF Text Text Josh Leach Hist 441 March 24, 207 Interview with Betty Dellinger Josh Leach: Hello, I am Josh Leach, sitting here with… Betty Dellinger: Betty Dellinger Leach: It is March 24th, 2017. Alright, so my first question for you is just to describe what it was like to grow up in the Bird Haven area. Dellinger: Oh it was, it was my home all the time ya know I lived there, I was born there, not at Bird Haven but in the Basye area. I went to work there when I was about nineteen and I worked there for about nine or ten years, and then I had a baby so I quit working at that time. It was a wonderful place to grow up, it was just, it was just, just a good place. Leach: Could you describe some of the activities you’d do as a kid around the area. Dellinger: I worked at Shrine Mont which is a seasonal resort from the time I was twelve years old till the time I graduated high school. Just in the summer cause I went to school in the winter and worked in the summer. And I worked all the time seven days a week ya know, but that was the way that we did cause we had to do that to buy our things to go to school ya know, so we worked in the summer time my sister and I both. Leach: What did your parents do in the area? Dellinger: My dad worked on a sawmill and my mom was just a housewife. Leach: How did growing up in that area shape your childhood and the opportunities you had after your schooling? Dellinger: Well I never got really very far because I just moved seven miles away when I got married. So I was in that section ya know most of my life. And it was just wonderful people we knew everybody, and everybody, ya know neighbors, got along real good together, it was just a good place. That was before Bryce came in. Leach: Who’s Bryce? Dellinger: Bryce is a ski resort. Leach: Oh okay. Dellinger: We lived close to the ski resort at that time. Leach: Could you explain some of the events that lead you to enter Bird Haven as an employee? Dellinger: Well I got married and I didn’t do anything for several months and then there was an opening at bird haven and I applied for it and I got the job and I lived right there my �husband ran the community store right there at Basie so I started working. He run the store and worked at bird haven Leach: How did you meet your husband? Dellinger: In school, we went to school together and he was from close, ya know close around. Leach: What did you do in Bird Haven? Dellinger: Well to start out with, we worked ten hour days which was a lot ya know at that time. I started hand sanding, everything was hand-sanded ya know everything had to be sanded. You know they made whatever they made. The men you know used the saws and everything to saw it out and it came to us to be hand sanded. So we sat there 10 hours a day hand sanding. And you know sandpaper, all the time we had to keep our fingers wrapped up with Band-Aids all the time because they would bleed from the sandpaper ya know. So we did that 10 hours a day to start with, and then finally several years later I got in to the shipping part of it to you know to pack em and ship em. We ship em all over. Texas and California and everywhere, we shipped out of Bird Haven and they had to be packed. So I got in the packing and that's where I was when I could work. And the post office was right there. We just packed it and the post came and took em, the post office was right there at Bird Haven. It was a pretty neat set up at one time. And before that they made they made different things they made puzzles, and toys, and things like that to begin with. But that was before I started working there. That's how I got started. Leach: How many different departments were there in Bird Haven? You said you worked in the sanding and shipping department. Dellinger: Yea the sanding, and then there was finishing, and we had a finishing department, packing department, and production you know. And the men worked in different, they had lathes that they turned this, these, you know the products on and they had different buildings there. They had lathes and they had a part where they glued, you had to glue the boards together you know to make like that table there had got, had to be glue. They had places where they turn so the spindles and things, they just about everything and quite a few buildings with different departments. And they did the glue, the men did the glue, and then the sanding and they run em through something to finish em, a machine to finish em. Leach: Did most people like you switch from department to department? Dellinger: No. The ones that did the finishing you know they had sprayers where they sprayed the finish on. And if you got in that department you know, you know you had to be a little bit more. You know you had to know what you're doing. So the women in there and they, when they got there they usually stayed there. So it was quite a few different jobs �and you know different departments. You went from one to the other, so it was it was quite an operation at one time. Leach: Did you, could you describe some of the training that you would go through, did you go through training process? Dellinger: I didn’t go through any training when I started, I just started sanding. No, but packing was a little bit you know, a little bit about you know numbers and things like that you know orders that came in that was a little bit more. You know you had to learn a little bit more about that. But no just sanding was sanding. And then they sprayed a sealer on it. They had to be sanded again. So it was really sanding two or three times before. The women would spray a sealer on and then it would you’d have to sand that off and then finish it. So it was sanded a couple times before it got finished, quite an operation. Then you had to let it dry you know. And then I did some inspection too, they had to be inspected before they were sent out. So you know sometimes they had cracks and sometimes they you know weren't sealed just exactly right. They had to be inspected before they were shipped out. I got in on that too so. Leach: What was it like between the workers and the overseers? What were the bosses like? Dellinger: We only had one boss, he was okay. He was, I mean he was alright. He was good to me I mean. His father in-law, oh no his step father is the one that really owned it. But he was just you know he was a manager and he worked there. So I don't think he knew too much about it sometimes that’s the way with a lot of the bosses. But he was all right. He was good to work for. Leach: What was it like between workers? Dellinger: The workers got along real good. It was just like a, almost like a family you know because most of them had been there long time. Some of them was all that they ever really did and they live right around there too you know. Some of them even lived on the Bird Haven property. It was just like a family working together. Leach: How did that translate into family life around the area? Dellinger: Pretty good family life, in fact my mother worked for the owners of the place as a housekeeper. And you know in later years she, they had a big place you know, had big house on there and she cleaned the house and did cooking and things for them. So it's just like a family you know. It's just, well the people, you never change jobs and you know nobody hardly ever quit when you went there you know, you stayed a long time. It was just, just like a big family. Leach: Were there any problems ever within the community because you guys worked so closely together? Dellinger: I don’t think so, not that I know of. Everybody knew everybody, and everybody were related to someone at some point, so yeah, it was a pretty good set up. �Leach: You talked a lot about the workers and you guys sanding, and running the lathe, and spraying. Were you well informed on the business side of it about who was buying and where it was going? Dellinger: Not until, not unless you got into the packing and the shipping part. You know I mean the orders came through that. If you did, if you were sanding, until I started out there I didn't really know a lot about it because the orders came through packing and shipping. You know through the shipping department and the packing department, but if you were just hand sanding our whatever you was doin, we didn't really know anything about the orders. So you had to be in that department. So and it was about three or four women that did that most of the time. Leach: About how big was the total workforce there? Dellinger: I was trying to count em up the other day and I couldn’t. I don’t know it was probably about 15 or 20, something like that maybe 15. Leach: In your department? Dellinger: No in the whole place, whole place. And some of them were really aged you know cause they’d been there the whole time. They were there I think still; most of them were there when they closed you know. It wasn't real big but it was, I mean at that time which was good because you know employment back there wasn’t you know at that time, wasn’t too much you know. If you got a job you usually stayed with it for awhile. Leach: Were most people happy? Dellinger: I think so. I think the workers got along real good and they were happy. A lot of em were family I mean some of em were family, husband and wife, and brothers. It was kind of like you know just like a family. Leach: What kind of lifestyle did that lead into people living? With the compensation that you guys received, what were you able to do outside of work? Dellinger: We didn't do a whole lot, we just worked. That's like, that's what it was you know. A lot of people around there were farmers and you know how that was, you work from dawn till night. It wasn't very much. Most people, well some people back around in there went to Mt. Jackson on Saturday night. You know they had that movie and restaurants and things like that, my family did that a lot. My dad worked at saw mill and on Saturday evenings we would go to Mt. Jackson. But other than that most of em just stayed at home you know cause a lot of em had big families, and you know small children, and they just had to work all the time. My mother came from a big family my dad did too. You know I just, just had to work. But you did have, we did have Saturday nights. We went to Mt. Jackson on Saturday nights just to go to the movie and have a coke or a hamburger or something like that, and that was a big deal. That was a big deal then. Leach: Could you describe best for me the grounds of Bird Haven, like the buildings you would work in. �Dellinger: The buildings were good. They kept them up real good at that time. I mean some of em are old, but you know, and they built a new finishing part while I was working there so that you know that, that was up to date. A lot of the buildings were old but they were well-kept. And I understand some of fell down they are, but they were at that time they were pretty good. Leach: Explain to me some of the items that were most popular that you guys would ship out. Dellinger: We did stools, cobblers benches, magazine racks, folding tables, racks, whatnot racks, bowls; that bowl on the refrigerator is one of em, I got one the living room you'll see that’s the bowls and what else I got? Crickets, back there in the corners a cricket they made. I think that's about all I have. But Cobblers benches was, and you never, you've never worked at anything till you sanded one of those because it was huge. And then we had to sand all, you know, we had to sand everything because it was made there, made everything. The bowls weren't made there. They were shipped to us but we finished em, sanded and finished em, but everything else was made there. And the cobblers bench, that was something shipped too and you had to have special boxes to ship that in and it weighted, it weighed a ton almost you know. But that was something that was the biggest part, biggest thing we made was the cobblers bench. I don't have one of them. I wish I would have gotten one but I didn’t so, and they had to be stained. You know they had to be stained and they stained em with a brush. And then when they were stained, then we had to sand em off and then they had to be sealed, and sand that off. Then they got two coats of finish on top of that. So you can see how much work went into one piece of furniture. Leach: About how long from production to finish would it be for average sized item? Dellinger: Well if you had an order for em right away they went right through which would be maybe a couple of days if you had an order. But if you didn't, you know and you did what was ordered first and then the others just kind of came along and they were stored there until they were needed. But if you needed them, you know, when they went through pretty quick if you had an order for them. It all depended on if you had an order you know what you have an order for. And we made forks and spoons to go with the bowls, yeah. So we had to sand all that get in the prongs of the forks and sandpaper it's quite a job. Leach: What were some of the most popular items, what did people tend to buy the most? Dellinger: I think the bowls were probably the most popular, salad bowls because they made this big salad bowl and the smaller bowls and the forks and spoons to go with them. I think that was probably the most popular. Yeah. The small, you know because they would buy em in sets you know and made different size but bowls big and small ones. I mean we didn't make them we finished making them. And they were quite popular at one time. We shipped a lot of them. Leach: What's your fondest memory of Bird Haven? �Dellinger: I guess the people, I like people. We all work together good. You have some really good people to work with. It was good work. I mean you were inside you weren't outside you know working. It was inside work all the time, was long days but he people were really good, and they were good. We were all friends you know neighbors, worked together in the church a lot. A lot of em you know were in church with us. Leach: How about your least fond memory? Dellinger: Probably my fingers bleedin, cause you can't, you know your ends of your fingers holding sandpaper it didn't take long for them to wear it through. So we have to keep them bandaged all the time. So I think that's probably the worst part. Leach: Could you describe to me what led you to leave Bird Haven. Dellinger: I had a baby. Yeah I had a baby, that's why I left. I left in September of 61 and she was born in November 61. So that's why I left then I stayed at home you know for a couple years and I never went back. I don't know when Bird Haven, somebody asked me that I really don't know when they closed. I know I was working there in 61 so I don't know much about what year they close by. I never been back. And I got on the job [inaudible] after a couple of years so I never knew why, but it did close sometime around that time. But that's why I quit. Leach: Did you stay in contact with some of your coworkers? Dellinger: Oh yeah, oh yeah we went to church together. We were all good friends most of us. In fact I just talked to one last Sunday. I think you all interviewed him, Leroy Polk. Well he was one, I think he and I probably only two that’s left that, everybody was workin there they all passed away. What we were talking about Sunday about Bird Haven. He worked there I think he said he went to work there about '47 so he worked there for a long time. He's up in his nineties now, I think were the only two that’s left that worked there. Leach: When you first started working there were you one of the younger employees? Dellinger: Yes I was probably the youngest; all of em or most of em were older than me. Leach: Was that the trend? Less young people were going there at the time that you did. Dellinger: Yes because the ones that were working there had been there for years. I mean they didn't hire, you know, they didn't hire very many. You know, just if you got a job there you were pretty lucky to get one. And I was just, I was young I think about 19. Yea I was the youngest one there. Leach: Was it hard for people to get jobs in there? Dellinger: Yeah because you know there wasn’t any turn over, you got a job they stayed there. Some of em you know been there for years and years and years and didn’t have the turn �over, unless somebody passed away or something. People got a job they stayed. And it was close to home for most of them, you know, they didn't have far to travel you know they just stayed. Leach: That’s interesting. Dellinger: Yea I hadn’t thought of it in years until just recently. Leach: How has working there impacted the rest of your life.? Dellinger: Well I've worked probably, practically all my life and you know I said, like I said I worked in the summertime. I just wanted you know wanted a job. I just didn't know anything else but work really. And was close to home you know and I didn't, yea I was driving at that time but I probably didn't even have a car. So you know it was just, just an easy place to work. Leach: What about after you left, how did it impact you? Dellinger: Well I had a child to take care of, so that took up my time. And then I went to work and she started to school. And so, I've known work all my life and there never was, until just now since I retired, you know that I hadn’t been working. Then my husband passed away too so that was kind of hard, but I live close to my daughter now. So everything's working out okay. Just being by yaself is not any fun. We were married 63 years, you’re around somebody that long takes a little while to be by yaself. But that's the way it is. Leach: What did [your husband] think about Bird Haven? Dellinger: Oh he liked Bird Haven. He run the community still back there so he was busy but, yea he liked bird haven. Leach: Did a lot of the workers frequent the community store? Dellinger: Yes. Yes, because that was the only store in there at that time. Oh yeah, yea he had a good business. Leach: Could you describe to me kind of the layout of Bird Haven, in that were there separate buildings for separate departments or was it all kind of lumped together? Dellinger: No there were separate buildings. It was kind of you know they were kind of all together but, close together but they weren't, they were different buildings. Where we hand sanded and where they glued the boards together and everything was one part. And when they run lathe was another part. And finishing was separate and packing was separate It was separate buildings and it wasn’t all one big building. Lumber you know they had to keep the lumber dry and they got loads of lumber in. And you know they had to have a place to store that, so it was separate buildings. Leach: Did you, did the different departments interact a lot? Dellinger: No you were too busy. At lunch or something like that you might break or something. But then most of time you were busy you were at it 10 hours a day. �Leach: How was it even affected by the outside world? Did you feel like there were there economic pressures on you guys producing these materials? Dellinger: No not really. It was kind of just by itself I mean just you know, just the only guy we ever saw was the boss. You don't see him very often because he just kind of let you do your own thing. But no I don't I don't think it was. I think it was kinda just like you know like a community. Leach: Can you describe to me a typical day, working there from start to finish? Dellinger: Well when I first started, I started hand sanding and we went in at 7 o'clock in the morning. And, you sit down right away went to work and then you got a break, probably about 10 o'clock you got a break maybe 15 minutes or half an hour. And then when you finished then you went back and started again. And then lunchtime. And then you had a break in the afternoon too. So other than taking our breaks and lunch, you are at it all the time. And the machinery was running you know all the time the machinery that the man used. That was running you know all the time. Leach: What was the atmosphere like? While you were working was there conversation? Dellinger: Oh we could talk, but once you work [inaudible] when you were running those machines you didn't, you know, you couldn't talk too much. And on some of them it was just one man doing it you know like running the lathe. And it was just one man so other than that to break time, lunchtime you didn't really get to see each other. But yeah I was working with another woman, and we worked together, we could talk together while we were working because we were working right there together. But with the machine and everything running, and you didn't have too much of an opportunity. Leach: Were you very close with the other woman you worked with? Dellinger: Oh yea we were good friends, we were really good friends. And then we would go down for lunch, when we would probably go, mostly we would go down to the finishing department and if we didn't have sanding to do, hand sanding to do, then we would go to the finishing department and do a sanding down there. You know sand off the sealer that was on it if we didn't have, especially if you were rush for an order they would send us down there to help with that too. So sometimes we were in both places. All depended on the orders and when they had to get out the kind of thing. It was mostly hand sanding though because you had, everything had to be hand sanded one way or the other one time or the other. But I never did do any of the finishing or anything. I just, packing and hand sanding is mostly what I did Leach: Were there ever any major problems with work? I mean working with wood its flammable so... Dellinger: No I don't think so. Leach: Were there a lot of safety precautions? �Dellinger: Well some ‘specially in the finishing department, had to wear a mask you know for that spray came back on you, you know that kind of thing. Yeah there was there, but I don't think that was for any of the other departments. You know just the people that were spraying they had kind of little booths like they had to and take precautions for that. Other than that I don't think, course you to be careful around that machinery you know, and that was dangerous. I don't remember ever having really bad accidents or anything. People, you know, people knew what they were doing because they were and had been doing it for years so they really knew what were the proper precautions to take. No, other than the spraying part, there wasn't any specifics. Leach: What kind of lessons did you learn besides just the sanding and shipping? What did working for Bird Haven teach you? Dellinger: To get along with other people, I think it was most of it. Because I never did have any problems you know. When you were close with people like that you know I think that helped me in later years because in later years I was cafeteria manager in school. So you know they taught me to get along with people. And just really nice people back there, they were really, really nice people, all of em. Think that helped me a lot. Just because when you’re a manager your main thing you have to get along with people. That really helped me. Leach: Did any of the jobs you had after bird haven resemble the stuff you were doing there? Dellinger: No, nothing I ever, never had any other work like that. And then I worked at a school so you know, I retired from the schools so it was it was quite different from bird haven. Leach: If someone were to come up to you and ask you about Bird Haven what would be the first thing you would tell them? Dellinger: Say, I would say it was a good place to work. And you know I really learned a lot there. It was, it was good to work there, people got along good together and never had any problems you know. It was hard work but it was it was good work. Good place. Leach: How long did you say you were there for? Dellinger: I think about nine or ten years, yeah. Because I know I quit in ‘61 I think I went to work there in ’51 or ‘52 may have been ‘52. So it was 9 or 10 years somewhere around there. Leach: How did they treat workers leaving? Dellinger: Okay, I mean it was alright I’d have probably stayed if I wouldn't had to quit. You know I had I stayed long you know long enough. So yeah you know not very many of them quit. I think the one lady quit and went to the bank to work, so that, you know that was okay if you got another job. They never said anything about that. Yeah it was good people. I mean good people to work for you never got told about anything and that you did everything wrong. So you didn't see the boss very much so you just kind of went on �your own but you knew what to do. So you just went with it. Yeah you could, he never said anything if you had to quit, not very many people did. Leach: When you did see the boss what would he be looking at, what would he say to you? What was your relationship with him the boss? Dellinger: Oh he was okay. Leach: You said he doesn't Come around a lot? Dellinger: So well maybe you could see him once a day maybe, but he lived there in the house you know close. And he'd just come over and just well everybody knew what to do and he just more or less went on his own. You know we'd see him maybe once a day maybe, maybe not that often but he never said anything much to us just kind of let you go your own way. So I guess he thought you knew what you was doing, so go ahead. Leach: Is there anything else you'd like to add anything you think is worth telling about Bird Haven? Dellinger: Just that, you know I really enjoy working there. It's a great place to work and good people to work with never you have any problems. So it was just, just a good place to work I think. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Transcription https://archives.countylib.org/files/original/094b2156cb3abfcdbb2f17b1c74151dc.JPG 2db5f516c82c3a93850f47fc57b73a29 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fruit and Nut Bowls Description An account of the resource Fruit and Nut Bowls manufactured by the Shenandoah Community Workers at Bird Haven Virginia. https://archives.countylib.org/files/original/c352a5b142dd3119da8e71769026ae95.JPG 307fe17dd516f6c8cf996a3d35e06a15 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lazy Susan Description An account of the resource "Lazy Susan" manufactured by the Shenandoah Community Workers at Bird Haven Virginia. https://archives.countylib.org/files/original/b6e60fca527d721f544534d5d50cca35.JPG a8d3619ed5ad2a4e0e145f9e48341d0f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Magazine Rack Description An account of the resource Magazine Rack manufactured by the Shenandoah Community Workers at Bird Haven Virginia. https://archives.countylib.org/files/original/86e47cf91f3f1b1d7d0a21d5787e1465.JPG 63a173ab69c859c633288d9c8c2989ec Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Milking Stool Description An account of the resource Milking Stool manufactured by the Shenandoah Community Workers at Bird Haven Virginia. https://archives.countylib.org/files/original/caabc6610e310167506c53e25b8a1a21.JPG bf8ed0251364483a4851c8918aeb4949 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Salad Fork and Spoon Description An account of the resource Salad Fork and Spoon manufactured by the Shenandoah Community Workers at Bird Haven Virginia. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bird Haven Oral History Collection Subject The topic of the resource Bird Haven (Va) Shenandoah Community Workers Description An account of the resource Sometime in the early 1920s Philadelphia banker and philanthropist William Bernard Clark founded the Shenandoah Community Workers organization near what is now Basye Virginia. This group was designed to provide locals, many of which were economically disadvantaged, with good paying jobs based on their wood working traditions. Clark built a factory on property his grandmother had purchased as a personal retreat and named it Bird Haven Virginia. Initially the community workers focused on wooden toys and puzzles. Many of these featured birds, Hollywood Stars, or animals. Later the company began to produce small wooden furniture, bowls, and kitchen utensils. Bird Haven closed sometime in the early 1960s. Following this, most of the records were lost and much of the site's history was forgotten. This oral history project, conducted as part of a partnership between the Shenandoah County Library, James Madison University, and Bird Haven Farm, is designed to recover some of lost parts of the site's story. It focuses on interviews of 14 members of the Bird Haven community, including several employees and individuals who lived nearby. All interviews and transcriptions were conducted by JMU history students and are available for viewing in person at the Shenandoah County Library's Truban Archives. Creator An entity primarily responsible for making the resource Shenandoah County Library James Madison University Bird Haven Farm Rights Information about rights held in and over the resource Creative Commons Attribution-Non Commercial (CC-BY-NC) Language A language of the resource English Type The nature or genre of the resource Oral History Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Joshua Leech Interviewee The person(s) being interviewed Betty Dellinger Location The location of the interview Woodstock Virginia Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 34:37 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Betty Dellinger Oral History Subject The topic of the resource Dellinger, Betty Bird Haven (Va) Basye (Va) Description An account of the resource Oral history featuring Betty Dellinger of Woodstock Virginia recorded by Joshua Leechof James Madison University. The interview was conducted as part of a project designed to better understand the history of Bird Haven Virginia, the Shenandoah Community Workers, and the surrounding communities. The entry includes a video interview, podcast highlighting the interview, photograph of items manufactured by the Shenandoah Community Workers in Betty Dellinger's possession, and downloadable transcript (under files). Creator An entity primarily responsible for making the resource Joshua Leech Source A related resource from which the described resource is derived Shenandoah Voices Oral History Collection <iframe width="560" height="315" src="https://www.youtube.com/embed/_hL1YKRtpnw" frameborder="0"></iframe> Publisher An entity responsible for making the resource available Shenandoah County Library Date A point or period of time associated with an event in the lifecycle of the resource March 24, 2017 Rights Information about rights held in and over the resource Creative Commons Attribution-Non Commercial (CC-BY-NC) Format The file format, physical medium, or dimensions of the resource MP4 File Language A language of the resource English Type The nature or genre of the resource Video Identifier An unambiguous reference to the resource within a given context 2017-010 Basye Bird Haven Oral History Shenandoah County Virginia https://archives.countylib.org/files/original/48f2881d732016bb6b6b103cb8467406.jpg ea5df8e111d6d9c47340beb0ef64b21d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Morrison Studio Collection Subject The topic of the resource Morrison, Hugh Jr. (1871-1950) Morrison, Louis Morrison, James Description An account of the resource In 1899 Hugh Morrison Jr. opened a photograph studio on W. Court Street in Woodstock after several years of working in the area as a travelling photographer. Between that time, and the time his grandson James Morrison closed the studio in 1988, the Morrison family captured thousands of portraits, landscapes, and buildings on film and glass negatives. In 1999 the Shenandoah County Historical Society acquired over 31,000 of these negatives from the estate of local collector Charles D. Bauserman. Volunteers from the historical society worked over the next several decades to house, number, and scan each image. This effort resulted in over two tons of Morrison plates and negatives being processed and digitized. This collection contains those digitized versions of these photographs. Through a partnership between the historical society and the Shenandoah County Library's Truban Archives access to a growing number of these images is available to the public. Current projections indicate the full collection will be available for viewing sometime in 2028. This collection does contain some images of a sexual and/or graphic nature that some viewers may find inappropriate. Creator An entity primarily responsible for making the resource Morrison Studios Source A related resource from which the described resource is derived Hugh Morrison Collection, Shenandoah County Historical Society Inc. Publisher An entity responsible for making the resource available Shenandoah County Library Date A point or period of time associated with an event in the lifecycle of the resource 1900-1980 Contributor An entity responsible for making contributions to the resource A special thanks to Tracy McMahon for her dedicated work entering metadata for this collection. A special thank you to the Shenandoah County Historical Society for their efforts to number and scan each image. Rights Information about rights held in and over the resource Digital images: Creative Commons Attribution-Non Commercial (CC-BY-NC) Copyright for these images is held by the Shenandoah County Historical Society. Contact the Shenandoah County Historical Society (www.https://www.shenandoahcountyhistoricalsociety.org/) for permission to utilize images commercially, for high resolution scans, or for prints. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Glass Negative Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 025984 Creator An entity primarily responsible for making the resource Morrison Studio Source A related resource from which the described resource is derived Morrison Studio Collection - Shenandoah County Historical Society Publisher An entity responsible for making the resource available Shenandoah County Library Rights Information about rights held in and over the resource IN COPYRIGHT - NON-COMMERCIAL USE PERMITTED Title A name given to the resource Betty Ellen (Bowman) Wisman Subject The topic of the resource Wisman, Betty Ellen Bowman (1930-2018) Description An account of the resource Betty Ellen (Bowman) Wisman as a young child standing on a wicker chair. Betty was born in Harrisonburg, Virginia, daughter of Walter H. and Mazie (Coffman) Bowman. She graduated from Edinburg High School in 1947 and earned a degree in Library Science from Madison College in 1951. After graduating, she taught at Edinburg High School then became librarian at Handley High School in Winchester. She married Dr. Douglas P. Wisman in 1954, settled in Woodstock, where he practiced Optometry and they raised four children together. The name, "Bowman", is written on the glass plate. Date A point or period of time associated with an event in the lifecycle of the resource The glass plate negative of this image was stored in a box labeled "Aug 1932". Contributor An entity responsible for making contributions to the resource Identified in 2012 by the subject herself, who had the same photograph at home. Bowman Children Shenandoah County Virginia Wisman https://archives.countylib.org/files/original/f28fc493a71675ac717a6bc1599df82a.jpg ee5726620b91091e6c6a20dfba04fbb7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Morrison Studio Collection Subject The topic of the resource Morrison, Hugh Jr. (1871-1950) Morrison, Louis Morrison, James Description An account of the resource In 1899 Hugh Morrison Jr. opened a photograph studio on W. Court Street in Woodstock after several years of working in the area as a travelling photographer. Between that time, and the time his grandson James Morrison closed the studio in 1988, the Morrison family captured thousands of portraits, landscapes, and buildings on film and glass negatives. In 1999 the Shenandoah County Historical Society acquired over 31,000 of these negatives from the estate of local collector Charles D. Bauserman. Volunteers from the historical society worked over the next several decades to house, number, and scan each image. This effort resulted in over two tons of Morrison plates and negatives being processed and digitized. This collection contains those digitized versions of these photographs. Through a partnership between the historical society and the Shenandoah County Library's Truban Archives access to a growing number of these images is available to the public. Current projections indicate the full collection will be available for viewing sometime in 2028. This collection does contain some images of a sexual and/or graphic nature that some viewers may find inappropriate. Creator An entity primarily responsible for making the resource Morrison Studios Source A related resource from which the described resource is derived Hugh Morrison Collection, Shenandoah County Historical Society Inc. Publisher An entity responsible for making the resource available Shenandoah County Library Date A point or period of time associated with an event in the lifecycle of the resource 1900-1980 Contributor An entity responsible for making contributions to the resource A special thanks to Tracy McMahon for her dedicated work entering metadata for this collection. A special thank you to the Shenandoah County Historical Society for their efforts to number and scan each image. Rights Information about rights held in and over the resource Digital images: Creative Commons Attribution-Non Commercial (CC-BY-NC) Copyright for these images is held by the Shenandoah County Historical Society. Contact the Shenandoah County Historical Society (www.https://www.shenandoahcountyhistoricalsociety.org/) for permission to utilize images commercially, for high resolution scans, or for prints. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Glass Negatives Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 001326 Creator An entity primarily responsible for making the resource Morrison Studio Source A related resource from which the described resource is derived Morrison Studio Collection - Shenandoah County Historical Society Publisher An entity responsible for making the resource available Shenandoah County Library Rights Information about rights held in and over the resource IN COPYRIGHT - NON-COMMERCIAL USE PERMITTED Title A name given to the resource Betty Frances Weaver Subject The topic of the resource Weaver, Betty Frances (1926-2003) Description An account of the resource Portrait photograph of Betty Frances Weaver as a young woman. She was the daughter of John W. "Jack" and Ada (Barham) Weaver. She graduated from Edinburg High School and Shenandoah Business College. She worked for the Naval Laboratories and American Society of Association Executives, both in Washington D.C. She had two siblings: a sister, Jane Grey (Weaver) Garner, and a brother, John W. "Jack" Weaver, Jr. Date A point or period of time associated with an event in the lifecycle of the resource Undated Contributor An entity responsible for making contributions to the resource Identified in 2002 by Elizabeth I. Smith, who was the subject's school friend. Relation A related resource Betty Weaver appears in Morrison Studio Collection images 001326 and 008917. Shenandoah County Virginia Weaver Women Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bondage Biographies: Enslaved People of Shenandoah County Description An account of the resource In 2018, the Truban Archives began compiling information to create a searchable database of enslaved people in Shenandoah County during the years 1772 to 1865. Under the direction of the archivist, several volunteers pored over various resources to compile spreadsheets of information. The data compiled included the following information (if known): names, names of enslavers, locations related to the person, birthdates, relationships, what happened to them (e.g., emancipation, willed, ran away), the records’ citations, and other notable information. The resources used to discover this information are varied, and all can be found at the Truban Archives. Volunteers examined newspaper clippings and several books, including abstracts of wills, research notebooks, births indexes, and a publication on the history of Edinburg, Virginia. Once the data of several hundred people were assembled, the spreadsheet was uploaded to the digital archives for public consumption. More people will be uploaded as the research progresses. Though much information has been found and made available to the public, unfortunately, Bondage Biographies: Enslaved People of Shenandoah County Collection will never truly be completed. This is due to lost records, including missing newspaper copies and unrecorded information. Because of this, the collection is an ongoing process, with more entries being made as new information is discovered. Creator An entity primarily responsible for making the resource Shenandoah County Library Date A point or period of time associated with an event in the lifecycle of the resource 1772-1865 Person An individual. Additional Information Enslaved by Isaac Clinedinst. Birthplace Unknown Death Date 1908 Birth Date 1827 Bibliography Mary Ann Williamson and Jean Allen Davis, The History of Edinburg, Virginia (Stephens City, VA: Commercial Press, 1994), 182. Occupation Enslaved Person Biographical Text Betty was born in 1827. She was sold later to Andrew Pittman. In 1860, she and her brother John were sold to Mr. Showalter for debts. Mr. Showalter gave Betty to his wife, Lou Hill Showalter of Winchester. During the Civil War, she lived in Louisiana, Mississippi, and Texas. After the Civil War, she returned to reconnect with her family. After the Civil War, Betty lived on Main Street in Edinburg, Virginia. She died in 1908 and was buried in Union Forge Methodist. Was known as a "fine cook." Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context EnslavedPerson:18436 Title A name given to the resource Betty Gaskins Subject The topic of the resource Enslaved Person-Virginia-Shenandoah County Edinburg (Va.) Winchester (Va.) Relation A related resource Brother John, EnslavedPerson:18437 Son Charles, EnslavedPerson:18438 Contributor An entity responsible for making contributions to the resource Zach Hottel Edinburg Enslaved Shenandoah County Virginia https://archives.countylib.org/files/original/704b5805d1e0256008e5553cb3343ccb.jpg 0c9ce827f53c576b4c44cc55ed9b67c9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Morrison Studio Collection Subject The topic of the resource Morrison, Hugh Jr. (1871-1950) Morrison, Louis Morrison, James Description An account of the resource In 1899 Hugh Morrison Jr. opened a photograph studio on W. Court Street in Woodstock after several years of working in the area as a travelling photographer. Between that time, and the time his grandson James Morrison closed the studio in 1988, the Morrison family captured thousands of portraits, landscapes, and buildings on film and glass negatives. In 1999 the Shenandoah County Historical Society acquired over 31,000 of these negatives from the estate of local collector Charles D. Bauserman. Volunteers from the historical society worked over the next several decades to house, number, and scan each image. This effort resulted in over two tons of Morrison plates and negatives being processed and digitized. This collection contains those digitized versions of these photographs. Through a partnership between the historical society and the Shenandoah County Library's Truban Archives access to a growing number of these images is available to the public. Current projections indicate the full collection will be available for viewing sometime in 2028. This collection does contain some images of a sexual and/or graphic nature that some viewers may find inappropriate. Creator An entity primarily responsible for making the resource Morrison Studios Source A related resource from which the described resource is derived Hugh Morrison Collection, Shenandoah County Historical Society Inc. Publisher An entity responsible for making the resource available Shenandoah County Library Date A point or period of time associated with an event in the lifecycle of the resource 1900-1980 Contributor An entity responsible for making contributions to the resource A special thanks to Tracy McMahon for her dedicated work entering metadata for this collection. A special thank you to the Shenandoah County Historical Society for their efforts to number and scan each image. Rights Information about rights held in and over the resource Digital images: Creative Commons Attribution-Non Commercial (CC-BY-NC) Copyright for these images is held by the Shenandoah County Historical Society. Contact the Shenandoah County Historical Society (www.https://www.shenandoahcountyhistoricalsociety.org/) for permission to utilize images commercially, for high resolution scans, or for prints. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 5x7 Film Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Film Negative Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 030244 Creator An entity primarily responsible for making the resource Morrison Studio Source A related resource from which the described resource is derived Morrison Studio Collection - Shenandoah County Historical Society Publisher An entity responsible for making the resource available Shenandoah County Library Rights Information about rights held in and over the resource IN COPYRIGHT - NON-COMMERCIAL USE PERMITTED Title A name given to the resource Betty Jane (Ruby) Moltz Subject The topic of the resource Moltz, Betty Jane Ruby (1951- ) Description An account of the resource Photo of two separate portrait photographs of Betty Jane (Ruby) Moltz as a young woman with short hair. She was the daughter of Lawrence R. and Ruth (Walters) Ruby. She lived in Winchester when she married George Henry Moltz, Jr. in 1976. Date A point or period of time associated with an event in the lifecycle of the resource Undated Contributor An entity responsible for making contributions to the resource No ID form. The name was written in the margin of the paper copy. Moltz Ruby Shenandoah County Virginia Women https://archives.countylib.org/files/original/89d2700345efd066d46992067e6d8456.jpg e2ca695d1a3db9551ab1eac7a8d88234 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Morrison Studio Collection Subject The topic of the resource Morrison, Hugh Jr. (1871-1950) Morrison, Louis Morrison, James Description An account of the resource In 1899 Hugh Morrison Jr. opened a photograph studio on W. Court Street in Woodstock after several years of working in the area as a travelling photographer. Between that time, and the time his grandson James Morrison closed the studio in 1988, the Morrison family captured thousands of portraits, landscapes, and buildings on film and glass negatives. In 1999 the Shenandoah County Historical Society acquired over 31,000 of these negatives from the estate of local collector Charles D. Bauserman. Volunteers from the historical society worked over the next several decades to house, number, and scan each image. This effort resulted in over two tons of Morrison plates and negatives being processed and digitized. This collection contains those digitized versions of these photographs. Through a partnership between the historical society and the Shenandoah County Library's Truban Archives access to a growing number of these images is available to the public. Current projections indicate the full collection will be available for viewing sometime in 2028. This collection does contain some images of a sexual and/or graphic nature that some viewers may find inappropriate. Creator An entity primarily responsible for making the resource Morrison Studios Source A related resource from which the described resource is derived Hugh Morrison Collection, Shenandoah County Historical Society Inc. Publisher An entity responsible for making the resource available Shenandoah County Library Date A point or period of time associated with an event in the lifecycle of the resource 1900-1980 Contributor An entity responsible for making contributions to the resource A special thanks to Tracy McMahon for her dedicated work entering metadata for this collection. A special thank you to the Shenandoah County Historical Society for their efforts to number and scan each image. Rights Information about rights held in and over the resource Digital images: Creative Commons Attribution-Non Commercial (CC-BY-NC) Copyright for these images is held by the Shenandoah County Historical Society. Contact the Shenandoah County Historical Society (www.https://www.shenandoahcountyhistoricalsociety.org/) for permission to utilize images commercially, for high resolution scans, or for prints. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Glass Negative Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 004687 Creator An entity primarily responsible for making the resource Morrison Studio Source A related resource from which the described resource is derived Morrison Studio Collection - Shenandoah County Historical Society Publisher An entity responsible for making the resource available Shenandoah County Library Rights Information about rights held in and over the resource IN COPYRIGHT - NON-COMMERCIAL USE PERMITTED Title A name given to the resource Betty Jane (Wright) Shrum Subject The topic of the resource Shrum, Betty Jane Wright (1918-2011) Description An account of the resource Portrait photograph of Betty Jane (Wright) Shrum as a young woman. Betty was the daughter of Wade and Emma (Crabill) Wright. She lived in Woodstock her whole life. Betty married Irvin "Buck" Shrum (1915-1995) and together they had three sons; William, Donald and Richard. Betty worked for many years at Shenandoah County Memorial Hospital as well as The New York Restaurant. She was a life long member of the United Methodist Church in Woodstock, Virginia. Both she and her husband are buried in Sunset View Memorial Garden in Woodstock. Date A point or period of time associated with an event in the lifecycle of the resource ca early 1940's per the identifier. Contributor An entity responsible for making contributions to the resource Identified in 2002 by Kathy (Sheetz) McElroy who was related to the subject by marriage. Also identified in 2002 by James E. Morrison, Sr., who was a friend of the subject's family. Relation A related resource Betty Jane (Wright) Shrum appears in Morrison Studio Collection numbers 004687, 004931, 005008, 010740, 014083, 019337, 024904, 026095, 030912 and 030913. Shenandoah County Shrum Virginia Women Wright https://archives.countylib.org/files/original/a3ede3b8483775e37d805ede8bbe48ac.jpg 3f75daf394403511c1d488a5f06af831 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Morrison Studio Collection Subject The topic of the resource Morrison, Hugh Jr. (1871-1950) Morrison, Louis Morrison, James Description An account of the resource In 1899 Hugh Morrison Jr. opened a photograph studio on W. Court Street in Woodstock after several years of working in the area as a travelling photographer. Between that time, and the time his grandson James Morrison closed the studio in 1988, the Morrison family captured thousands of portraits, landscapes, and buildings on film and glass negatives. In 1999 the Shenandoah County Historical Society acquired over 31,000 of these negatives from the estate of local collector Charles D. Bauserman. Volunteers from the historical society worked over the next several decades to house, number, and scan each image. This effort resulted in over two tons of Morrison plates and negatives being processed and digitized. This collection contains those digitized versions of these photographs. Through a partnership between the historical society and the Shenandoah County Library's Truban Archives access to a growing number of these images is available to the public. Current projections indicate the full collection will be available for viewing sometime in 2028. This collection does contain some images of a sexual and/or graphic nature that some viewers may find inappropriate. Creator An entity primarily responsible for making the resource Morrison Studios Source A related resource from which the described resource is derived Hugh Morrison Collection, Shenandoah County Historical Society Inc. Publisher An entity responsible for making the resource available Shenandoah County Library Date A point or period of time associated with an event in the lifecycle of the resource 1900-1980 Contributor An entity responsible for making contributions to the resource A special thanks to Tracy McMahon for her dedicated work entering metadata for this collection. A special thank you to the Shenandoah County Historical Society for their efforts to number and scan each image. Rights Information about rights held in and over the resource Digital images: Creative Commons Attribution-Non Commercial (CC-BY-NC) Copyright for these images is held by the Shenandoah County Historical Society. Contact the Shenandoah County Historical Society (www.https://www.shenandoahcountyhistoricalsociety.org/) for permission to utilize images commercially, for high resolution scans, or for prints. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Glass Negative Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 024763 Creator An entity primarily responsible for making the resource Morrison Studio Source A related resource from which the described resource is derived Morrison Studio Collection - Shenandoah County Historical Society Publisher An entity responsible for making the resource available Shenandoah County Library Rights Information about rights held in and over the resource IN COPYRIGHT - NON-COMMERCIAL USE PERMITTED Title A name given to the resource Betty Jane Ramey Will Description An account of the resource Photograph of Betty Jane (Ramey) Will in 1930. Betty was born in Woodstock Virginia and married Fritz Will III in 1954. The couple lived the majority of their life in Richmond Virginia. Date A point or period of time associated with an event in the lifecycle of the resource The glass plate negative of this image was stored in a box labeled "1931". Photograph taken in 1930. Subject The topic of the resource Will, Betty Jane Ramey (1927-????) Contributor An entity responsible for making contributions to the resource Identified by library staff in 2025 utilizing a photographic print of this provided by Suzanne Artz that identified the subject and provided the date. Children Ramey Shenandoah County Virginia Will https://archives.countylib.org/files/original/8816fc09a3534797f2ac48693a5a8249.jpg 672d68eca7b3f7a6bef9d917508d2096 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Morrison Studio Collection Subject The topic of the resource Morrison, Hugh Jr. (1871-1950) Morrison, Louis Morrison, James Description An account of the resource In 1899 Hugh Morrison Jr. opened a photograph studio on W. Court Street in Woodstock after several years of working in the area as a travelling photographer. Between that time, and the time his grandson James Morrison closed the studio in 1988, the Morrison family captured thousands of portraits, landscapes, and buildings on film and glass negatives. In 1999 the Shenandoah County Historical Society acquired over 31,000 of these negatives from the estate of local collector Charles D. Bauserman. Volunteers from the historical society worked over the next several decades to house, number, and scan each image. This effort resulted in over two tons of Morrison plates and negatives being processed and digitized. This collection contains those digitized versions of these photographs. Through a partnership between the historical society and the Shenandoah County Library's Truban Archives access to a growing number of these images is available to the public. Current projections indicate the full collection will be available for viewing sometime in 2028. This collection does contain some images of a sexual and/or graphic nature that some viewers may find inappropriate. Creator An entity primarily responsible for making the resource Morrison Studios Source A related resource from which the described resource is derived Hugh Morrison Collection, Shenandoah County Historical Society Inc. Publisher An entity responsible for making the resource available Shenandoah County Library Date A point or period of time associated with an event in the lifecycle of the resource 1900-1980 Contributor An entity responsible for making contributions to the resource A special thanks to Tracy McMahon for her dedicated work entering metadata for this collection. A special thank you to the Shenandoah County Historical Society for their efforts to number and scan each image. Rights Information about rights held in and over the resource Digital images: Creative Commons Attribution-Non Commercial (CC-BY-NC) Copyright for these images is held by the Shenandoah County Historical Society. Contact the Shenandoah County Historical Society (www.https://www.shenandoahcountyhistoricalsociety.org/) for permission to utilize images commercially, for high resolution scans, or for prints. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Glass Negative Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 022193 Creator An entity primarily responsible for making the resource Morrison Studio Source A related resource from which the described resource is derived Morrison Studio Collection - Shenandoah County Historical Society Publisher An entity responsible for making the resource available Shenandoah County Library Rights Information about rights held in and over the resource IN COPYRIGHT - NON-COMMERCIAL USE PERMITTED Title A name given to the resource Betty Lee (Conner) Carey Subject The topic of the resource Carey, Betty Lee Conner (1927-2018) Description An account of the resource Photograph of Betty Lee (Conner) Carey as a young girl with short hair and bangs posed on a chair. Betty was the daughter of Clarence Lee and Ophelia Virginia (Hottle) Conner of Maurertown. Her father worked as a mail carrier in Maurertown. She married Wellington Leonard "Lee" Carey, Jr., also from Maurertown, in 1948. Date A point or period of time associated with an event in the lifecycle of the resource The glass plate negative of this image was stored in a box labeled "March 1930". Contributor An entity responsible for making contributions to the resource No ID form. Name was written in the margin of the paper copy. Carey Children Conner Shenandoah County Virginia https://archives.countylib.org/files/original/2e61af5534c0fdba9146459273eadb02.jpg 5e11d1ae0e8d56f61aba85b2697dcd0c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Morrison Studio Collection Subject The topic of the resource Morrison, Hugh Jr. (1871-1950) Morrison, Louis Morrison, James Description An account of the resource In 1899 Hugh Morrison Jr. opened a photograph studio on W. Court Street in Woodstock after several years of working in the area as a travelling photographer. Between that time, and the time his grandson James Morrison closed the studio in 1988, the Morrison family captured thousands of portraits, landscapes, and buildings on film and glass negatives. In 1999 the Shenandoah County Historical Society acquired over 31,000 of these negatives from the estate of local collector Charles D. Bauserman. Volunteers from the historical society worked over the next several decades to house, number, and scan each image. This effort resulted in over two tons of Morrison plates and negatives being processed and digitized. This collection contains those digitized versions of these photographs. Through a partnership between the historical society and the Shenandoah County Library's Truban Archives access to a growing number of these images is available to the public. Current projections indicate the full collection will be available for viewing sometime in 2028. This collection does contain some images of a sexual and/or graphic nature that some viewers may find inappropriate. Creator An entity primarily responsible for making the resource Morrison Studios Source A related resource from which the described resource is derived Hugh Morrison Collection, Shenandoah County Historical Society Inc. Publisher An entity responsible for making the resource available Shenandoah County Library Date A point or period of time associated with an event in the lifecycle of the resource 1900-1980 Contributor An entity responsible for making contributions to the resource A special thanks to Tracy McMahon for her dedicated work entering metadata for this collection. A special thank you to the Shenandoah County Historical Society for their efforts to number and scan each image. Rights Information about rights held in and over the resource Digital images: Creative Commons Attribution-Non Commercial (CC-BY-NC) Copyright for these images is held by the Shenandoah County Historical Society. Contact the Shenandoah County Historical Society (www.https://www.shenandoahcountyhistoricalsociety.org/) for permission to utilize images commercially, for high resolution scans, or for prints. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Glass Negative Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 001291 Creator An entity primarily responsible for making the resource Morrison Studio Source A related resource from which the described resource is derived Morrison Studio Collection - Shenandoah County Historical Society Publisher An entity responsible for making the resource available Shenandoah County Library Rights Information about rights held in and over the resource IN COPYRIGHT - NON-COMMERCIAL USE PERMITTED Title A name given to the resource Betty Lou (Lutz) Offman Subject The topic of the resource Offman, Betty Lou Lutz (1933-2024) Description An account of the resource Portrait photograph of Betty Lou (Lutz) Offman as a young woman. Her parents were Roy O. and Reba (McWilliams) Lutz. She was born in Woodstock on the Massanutten Academy Farm which is now the Seven Bends State Park. She graduated from Woodstock High School class of 1952. She married Charles David Offman and raised a family with him. She was well-known and active in her community all her life. Date A point or period of time associated with an event in the lifecycle of the resource Undated Contributor An entity responsible for making contributions to the resource Identified in 2001 by Lena Fuller. Relation A related resource Betty Lou (Lutz) Offman appears in Morrison Studio Collection numbers 001291, 025190, 029639, and 029641. Lutz Offman Shenandoah County Virginia Women https://archives.countylib.org/files/original/6a0c8c920f1c526479fef2be60a427f0.jpg 5124e39b4524e557d03abdb8e9c03933 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Morrison Studio Collection Subject The topic of the resource Morrison, Hugh Jr. (1871-1950) Morrison, Louis Morrison, James Description An account of the resource In 1899 Hugh Morrison Jr. opened a photograph studio on W. Court Street in Woodstock after several years of working in the area as a travelling photographer. Between that time, and the time his grandson James Morrison closed the studio in 1988, the Morrison family captured thousands of portraits, landscapes, and buildings on film and glass negatives. In 1999 the Shenandoah County Historical Society acquired over 31,000 of these negatives from the estate of local collector Charles D. Bauserman. Volunteers from the historical society worked over the next several decades to house, number, and scan each image. This effort resulted in over two tons of Morrison plates and negatives being processed and digitized. This collection contains those digitized versions of these photographs. Through a partnership between the historical society and the Shenandoah County Library's Truban Archives access to a growing number of these images is available to the public. Current projections indicate the full collection will be available for viewing sometime in 2028. This collection does contain some images of a sexual and/or graphic nature that some viewers may find inappropriate. Creator An entity primarily responsible for making the resource Morrison Studios Source A related resource from which the described resource is derived Hugh Morrison Collection, Shenandoah County Historical Society Inc. Publisher An entity responsible for making the resource available Shenandoah County Library Date A point or period of time associated with an event in the lifecycle of the resource 1900-1980 Contributor An entity responsible for making contributions to the resource A special thanks to Tracy McMahon for her dedicated work entering metadata for this collection. A special thank you to the Shenandoah County Historical Society for their efforts to number and scan each image. Rights Information about rights held in and over the resource Digital images: Creative Commons Attribution-Non Commercial (CC-BY-NC) Copyright for these images is held by the Shenandoah County Historical Society. Contact the Shenandoah County Historical Society (www.https://www.shenandoahcountyhistoricalsociety.org/) for permission to utilize images commercially, for high resolution scans, or for prints. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Glass Negative Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 025190 Creator An entity primarily responsible for making the resource Morrison Studio Source A related resource from which the described resource is derived Morrison Studio Collection - Shenandoah County Historical Society Publisher An entity responsible for making the resource available Shenandoah County Library Rights Information about rights held in and over the resource IN COPYRIGHT - NON-COMMERCIAL USE PERMITTED Title A name given to the resource Betty Lou (Lutz) Offman Subject The topic of the resource Offman, Betty Lou Lutz (1933-2024) Description An account of the resource Photograph of Betty Lou (Lutz) Offman as a girl seated on a bench. Her parents were Roy O. and Reba (McWilliams) Lutz. She was born in Woodstock on the Massanutten Academy Farm which is now the Seven Bends State Park. She graduated from Woodstock High School class of 1952. She married Charles David Offman and raised a family with him. She was well-known and active in her community all her life. Date A point or period of time associated with an event in the lifecycle of the resource The glass plate negative of this image was stored in a box labeled "Feb 1946". Contributor An entity responsible for making contributions to the resource Identified in 2013 by Danny Hottel. Relation A related resource Betty Lou (Lutz) Offman appears in Morrison Studio Collection numbers 001291, 025190, 029639, and 029641. Children Lutz Offman Shenandoah County Virginia https://archives.countylib.org/files/original/30e13bd91c766026d6e9f0914fe386f4.jpg bda8b3a8bb14fd0f658c67f8630084db Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Morrison Studio Collection Subject The topic of the resource Morrison, Hugh Jr. (1871-1950) Morrison, Louis Morrison, James Description An account of the resource In 1899 Hugh Morrison Jr. opened a photograph studio on W. Court Street in Woodstock after several years of working in the area as a travelling photographer. Between that time, and the time his grandson James Morrison closed the studio in 1988, the Morrison family captured thousands of portraits, landscapes, and buildings on film and glass negatives. In 1999 the Shenandoah County Historical Society acquired over 31,000 of these negatives from the estate of local collector Charles D. Bauserman. Volunteers from the historical society worked over the next several decades to house, number, and scan each image. This effort resulted in over two tons of Morrison plates and negatives being processed and digitized. This collection contains those digitized versions of these photographs. Through a partnership between the historical society and the Shenandoah County Library's Truban Archives access to a growing number of these images is available to the public. Current projections indicate the full collection will be available for viewing sometime in 2028. This collection does contain some images of a sexual and/or graphic nature that some viewers may find inappropriate. Creator An entity primarily responsible for making the resource Morrison Studios Source A related resource from which the described resource is derived Hugh Morrison Collection, Shenandoah County Historical Society Inc. Publisher An entity responsible for making the resource available Shenandoah County Library Date A point or period of time associated with an event in the lifecycle of the resource 1900-1980 Contributor An entity responsible for making contributions to the resource A special thanks to Tracy McMahon for her dedicated work entering metadata for this collection. A special thank you to the Shenandoah County Historical Society for their efforts to number and scan each image. Rights Information about rights held in and over the resource Digital images: Creative Commons Attribution-Non Commercial (CC-BY-NC) Copyright for these images is held by the Shenandoah County Historical Society. Contact the Shenandoah County Historical Society (www.https://www.shenandoahcountyhistoricalsociety.org/) for permission to utilize images commercially, for high resolution scans, or for prints. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Glass Negative Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 007280 Creator An entity primarily responsible for making the resource Morrison Studio Source A related resource from which the described resource is derived Morrison Studio Collection - Shenandoah County Historical Society Publisher An entity responsible for making the resource available Shenandoah County Library Rights Information about rights held in and over the resource IN COPYRIGHT - NON-COMMERCIAL USE PERMITTED Title A name given to the resource Betty Lou (Munch) Bernard Subject The topic of the resource Bernard, Betty Lou Munch (1929-2011) Description An account of the resource Portrait photograph of Betty Lou (Munch) Bernard as a young woman. She married Eldon Bernard and was originally from Fort Valley. Betty Lou and her husband lived in Falls Church for many years and raised four children. Date A point or period of time associated with an event in the lifecycle of the resource Labelled "April 1945" on box of plates. Contributor An entity responsible for making contributions to the resource Identified in 2003 by Jeanette Ritenour, subject's childhood friend. Bernard Munch Shenandoah County Virginia Women https://archives.countylib.org/files/original/a9ea151db9b986c3efb5f01491f689c0.jpg 8ee1095866f0f1d39f414a16ada41f67 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Morrison Studio Collection Subject The topic of the resource Morrison, Hugh Jr. (1871-1950) Morrison, Louis Morrison, James Description An account of the resource In 1899 Hugh Morrison Jr. opened a photograph studio on W. Court Street in Woodstock after several years of working in the area as a travelling photographer. Between that time, and the time his grandson James Morrison closed the studio in 1988, the Morrison family captured thousands of portraits, landscapes, and buildings on film and glass negatives. In 1999 the Shenandoah County Historical Society acquired over 31,000 of these negatives from the estate of local collector Charles D. Bauserman. Volunteers from the historical society worked over the next several decades to house, number, and scan each image. This effort resulted in over two tons of Morrison plates and negatives being processed and digitized. This collection contains those digitized versions of these photographs. Through a partnership between the historical society and the Shenandoah County Library's Truban Archives access to a growing number of these images is available to the public. Current projections indicate the full collection will be available for viewing sometime in 2028. This collection does contain some images of a sexual and/or graphic nature that some viewers may find inappropriate. Creator An entity primarily responsible for making the resource Morrison Studios Source A related resource from which the described resource is derived Hugh Morrison Collection, Shenandoah County Historical Society Inc. Publisher An entity responsible for making the resource available Shenandoah County Library Date A point or period of time associated with an event in the lifecycle of the resource 1900-1980 Contributor An entity responsible for making contributions to the resource A special thanks to Tracy McMahon for her dedicated work entering metadata for this collection. A special thank you to the Shenandoah County Historical Society for their efforts to number and scan each image. Rights Information about rights held in and over the resource Digital images: Creative Commons Attribution-Non Commercial (CC-BY-NC) Copyright for these images is held by the Shenandoah County Historical Society. Contact the Shenandoah County Historical Society (www.https://www.shenandoahcountyhistoricalsociety.org/) for permission to utilize images commercially, for high resolution scans, or for prints. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Glass Negative Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 012472 Creator An entity primarily responsible for making the resource Morrison Studio Source A related resource from which the described resource is derived Morrison Studio Collection - Shenandoah County Historical Society Publisher An entity responsible for making the resource available Shenandoah County Library Rights Information about rights held in and over the resource IN COPYRIGHT - NON-COMMERCIAL USE PERMITTED Title A name given to the resource Betty Mowery Subject The topic of the resource Mowery, Betty Description An account of the resource Portrait photograph of Betty Mowery as a teenaged girl. A small pin is attached to her knit top. Date A point or period of time associated with an event in the lifecycle of the resource Labelled "Aug 1943" on box of plates. Contributor An entity responsible for making contributions to the resource Identified in 2008 by Barbara Deal although Graham Conner signed the ID Form at the bottom. Children Mowery Shenandoah County Virginia Women https://archives.countylib.org/files/original/da1b09fb84c38083fec54ab8b0af52ca.pdf ec175892d7e67407a9a49b1da0adbb07 PDF Text Text Ashlen Clark HIST 441 April 11, 2017 This interview was conducted with Betty Richards on March 22, 2017 by Ashlen Clark with assistance from Tiernan O’Rourke on the topic of Bird Haven. AC: This is Ashlen Clark interviewing… BR: Betty Richards… AC: About Bird Haven. Mrs. Richards how did you come to work at Bird Haven? BR: Well it was right after I got married. The first job I had. And it was close to where I lived, I could walk. And also my husband’s grandmother worked at the, for the family. She did their cooking and cleaned the house and that’s how I got my job. And I think I worked probably maybe two years. I’m not sure, I can’t remember. But then I had my first child and I, I didn’t work anymore for a while. AC: Alright. You said you lived close by, you could walk. So did, you, knew about Bird Haven before you started working there? BR: Oh yes, yeah. AC: Was it a place that before you started working there you visited a lot, or is it just something that you didn’t really visit, or how was that? BR: Well I visited with my husband’s grandmother I helped her sometimes to clean or whatever. And I knew what the place looked like and everything. Yeah. AC: Was it, the family that lived there, was it just the family that owned Bird Haven or were there other people that lived there? BR: No it was just the family that owned Bird Haven, it was Mr. and Mrs. Clark, and Mrs. Clark was married before and she had two sons. And the one son run the place, John Gray Paul is his name, and we called him Spizz. AC: Why did you call him that? BR: I don’t know, he had a nickname, someone gave him that nickname and I don’t know how, why, and he always when he come, he, he would stay at the house a lot and come over and �check on, you know, what we were doing and everything. And he had two cocker spaniels and every time we’d see them cocker spaniels we knew he was coming. AC: That’s really great. BR: He was a good, he was a good boss. AC: Yeah? BR: Yeah. AC: So did you have a lot of interaction with him? BR: Well, yeah. And nothing like any parties or anything but he was real friendly and nice. AC: So when you were working there what was your role? What was your typical day like? BR: Well it was about, I’d say 8 or 10 women in one, one building and the men would make the things and they would bring them to us and we had to sand them and then they’d have to be stained and then it would have to be sanded again and then a shellac or something put on it. And then from there it would go up to the, it was a post office back there then. It would go up to that building and the orders would be carried out and packed and sent. AC: Okay. So when you, when the packages were sent out were they mostly local people that were ordering or further away or do you know? BR: No it was lot of different states. AC: Okay so a fairly big production? BR: Yeah, yeah. And we made a lot of things. I had a lot of them but I moved about eight times since I’ve been married and every time I moved I guess I left something. ‘Cause, or I gave it away. So, and I gave my minister a tray that he wanted it had the label on it. AC: Oh wow. BR: And he died and we told his son to be sure and let us get, buy it back but we didn’t get it. AC: Shame when that happens. When you were working in the shops, what was your, what specifically did you do with the pieces? BR: I helped to sand the things off and stain them. And then we had a lady that, she had a, you know, a machine that she would spray them, spray the things. �AC: Okay. So did you come to work there because it was some place close or because you had a connection or what brought you to start working there? BR: Well I, this was back in 1948 when I got married and wasn’t too many jobs around that area and because it was close and they needed somebody and I applied for it and I got it. Yeah. AC: Awesome. So how would you describe the environment like within the community and within the shops? Was it a good place to work? Did you enjoy your time there? BR: Oh yes. Everybody that work there was real friendly and we all got along good. Yeah we had a lot of fun, I mean, even though we all worked, we still had a lot of fun. AC: Yeah? BR: Yeah. AC: Were they mostly people that you knew outside of work from the community, or did you meet them at work? Were they local people? Br: Most of them were local. Now some of them came from over in Mount Clifton which is not too far from Bayse. And well now the one man lives in Edinburgh, but he didn’t live there when he worked there. But I think most of them were local. AC: Okay. What kind of impact on the community would you say that Bird Haven had since it employed a lot of local people? Was it positive for the community? BR: Yeah it was. Yeah it gave people work and make a living and I worked, back then I made 80 dollars a month working there. They only paid, I don’t think they paid every week, it was like every two weeks. AC: Okay. So for the people who weren’t local and like main community members, how did they react to bird haven? Did they, like, people come visit from outside or how did, how did Bird Haven interact with further away… BR: Well back then Bryce, they called it Bryce Hillside Cottages, was open and a lot of people, that was busy all summer long. And of course people that would come there and to Orkney also would visit local places. And I’m sure they, that he sold a lot of things right there. AC: Okay so it was, you could actually buy things from Bird Haven rather than ordering them and it being mailed to you? BR: Yeah. And the workers could buy, you know, anything. I can’t remember if we got a discount or not but I, I had quite a few things. I had a magazine cradle, and I had a saw book table but I don’t know what happened to those. Well I gave some of them to my mother-in-law �and I had trays and we made lazy Susans but I never, that I didn’t want. But I got a few things. I got those little stools and some trays. And we made salad bowls and forks and the little bowls to go with it. Those were a good seller. AC: Oh wow, yeah. BR: Yeah. They were a good item, they sold good. AC: So what was the most common thing ordered, or the most popular items? BR: Probably the salad bowls. AC: Okay. BR: ‘Cause it was a big bowl and then the little ones and then the salad fork and spoon. And it was all made out of wood. AC: Wow. BR: And of course there was instructions with that with how to do it because you, you couldn’t do too much water on that wood. AC: Right. So what kind of instructions would come along with that? BR: Well like every once and a while to oil, just your regular oil that you use to cook with, to maybe just clean it with that. And dry it good. AC: Okay. Cool. We had a little bit of background information that we were given and it talked about how some of the items that were made represented like the heritage of people in the community. Did you see that represented through the stuff that was made? BR: Well, when, I don’t know what year Bird Haven really started but they made toys and also puzzles. Now we weren’t making those when I started. AC: Okay. BR: I never saw any of those. AC: Okay. BR: They, they’d already sold them all and changed over to different, the other different things that we were making. �AC: Okay so it was, they didn’t make everything, like all of that, their entire span? They kind of transitioned into the other products? BR: Yeah they changed from the puzzles and the toys and, to more things that were I guess more useful. AC: Interesting. BR: Now I don’t know who changed it or why, but I. (phone ringing) Uh oh. Excuse me a minute. AC: You’re fine. TO: Go ahead. BR: Hello? Can I call you back I’m being interviewed. Yeah. Yeah. Yeah. Alright bye. That was my minister. AC: Oh. That’s fine. BR: Now did that upset… AC: No it can be cut out, and we can just put it right back together. BR: Oh well you, could you hear what I said on the phone or anything? AC: No I couldn’t, I couldn’t hear you. BR: Okay. I mean, I hope it didn’t mess you up. AC: No, no, no, no. We can, when we put it on the computer we can take out parts. BR: Oh okay. AC: So we can, if you want us to take that out, we can just take it out and put it right back together. How did having this job at Bird Haven as your first job, how did that effect future jobs you had or just anything? BR: Oh well I don’t know. I guess I just learned to work. ‘Cause I was young and, I don’t know, it was just nice and everybody got along good and everything just sure is different now. AC: Yeah? �BR: Yeah. And let’s see, from there I didn’t work for a good while, then, because I had four children and I didn’t work until I had that last one and then I worked at Bryce and I worked at a apple place where we graded apples. And I don’t know I just learned to work. AC: Yeah. So but it was a good, good experience as a first job? BR: Oh yeah, yeah it was nice. I mean everybody got along good. We just had a lot of, a lot of fun. AC: Yeah, good. BR: In fact, the one man you’re going to interview we picked on him a lot. AC: Really? Why did you pick on him? BR: Oh just, nice, it wasn’t mean or anything. AC: Yeah. BR: But he was really, he really was good to get along with. Yeah I still once and a while talk to him. AC: Good. So are you still, you said you talk to him, but are you, are you in contact with a lot of people that you worked with? (phone ringing) BR: Excuse me again. AC: You’re fine. BR: Hello? Betty? I’m being interviewed now, I’ll call you back. Alright. That was a lady from my church. AC: Oh, you’re a popular woman. Do you still keep in contact with the people you worked with? I know you mentioned the one man. BR: Yeah, I don’t, I talk to him once and a while and once in a while I get to see him but I don’t visit much anymore. I guess I’ve gotten lazy and I’m old and I just like to stay at home. AC: Yeah that’s fair. BR: But once in a while I do talk to him on the phone. �AC: Okay that’s good. So even after you stopped working, you said you stopped to have kids. Did you stay local, did you stay involved with the community? BR: Yeah I stayed local for a good while and then we moved to Maryland and lived down there, I think it was like seven or nine years, and then I didn’t like the city. So I moved back and I lived up there for a couple years and then we built this house, this was my home-place. That big house down there was where I was born and raised. AC: Oh wow. BR: And so we built this and I just, we moved back here. And I worked up at that country store that’s closed for, oh I don’t know, probably close to twenty years. AC: Wow. BR: And yeah I stayed in the area. AC: Yeah. BR: And I go to that church up there. AC: Okay. BR: Yeah. AC: Did you see a difference in the local area once Bird Haven closed and stopped providing jobs there? BR: No, I don’t think so because a lot of people had cars and they would, you know, go a distance to work and a lot of people would even go down to the city from our area to work everyday. AC: Oh wow. Okay. When we were talking to one of our other interviewees, they mentioned how after Bird Haven closed there was kind of an in between period but then in more recent years there’s kind of been an uptick in the interest in the items that were created at Bird Haven. Have you noticed anything about that? BR: You mean, since the new owners took over and bought the place and they started having a lot of animals and ducks and chickens and stuff. AC: Oh okay. BR: Yeah it’s been interesting. �AC: Yeah. BR: Yeah and also the people that bought it, their, it was the woman’s grandmother that was from this area. And her husband, she and her husband I think it was, had a little resort on past Bird Haven. It was called Shenandoah Alum springs. And so see the, it all kind of dates back to, she, she was her, her grandparents and parents were from this area, that own it now. AC: Oh so have you been back down there since it closed? BR: One time. After, let’s see, yeah I’ve been there since they took over. AC: Okay. BR: ‘Cause it was, it’s a big difference in what, now they have it, ‘cause it, they did a lot of different things. In fact, they moved the big house. AC: Really? BR: That Mr. and Mrs. Clark lived in. Now I haven’t been back since they moved that, I’d like to see where it is. AC: Yeah? BR: Yeah it was a beautiful place and it was a lot of land and it was a couple houses on it. AC: So were those houses occupied at the time? BR: No, maybe one of them was but other than that no. AC: Okay. When you went back were all the old buildings still there? BR: Yeah. AC: Did they still have stuff in them? BR: Yeah, in fact, they said when they closed it was a lot of the, like, the bowls and other things that were made was still in there that they had never, never got rid of. Now I don’t know what they did with it or if they still have it or what. AC: Yeah. Do you know why Bird Haven closed? BR: No. Mr. John Gray Paul went to, moved to Harrisonburg. Well let’s see, I guess his mother and his step-father probably died and then I guess he didn’t want to keep it up. I really don’t know. I can’t remember. But he went to Harrisonburg and he was a lawyer. �AC: Oh. BR: I think he’s still living, I’m not sure. AC: Okay. Interesting. BR: Mr. Polk could probably tell you, the, the man that worked there too that’s still living, he could probably tell you if Mr., if John Gray Paul is still living. I don’t, I can’t remember if he is or not. AC: Okay. BR: I think if he is he’d be pretty old. AC: Yeah? BR: Yeah. AC: So you said you have some of the products from Bird Haven. Do you know, has there been a bigger interest in those items since they’re no longer being produced? BR: Well I think anybody that sees them at, some of them come up at auctions, they have, we have an auction every week down in Edinburgh. And I’m sure some of those come up in auctions and yeah people are interested in it. Now that one right there my, my daughter’s friend gave to her and it’s a name on the back of who owned it. AC: Oh. BR: And I guess it was probably bought at a sale. And what it is I don’t know. If its… AC: This one? BR: Yeah. If it’s supposed to be a bowl, I don’t know what it’s supposed to be. AC: Interesting. BR: I, maybe I need to take that down to Mr. Polk and let him look at it. See if he can tell me what it is because he worked there before I started. AC: Okay. Awesome. TO: Do you want me to get that? �AC: No we can get it in a second. Let’s see. Were there any other things that you had come to mind that you remember, or even just positive stories or anything about Bird Haven? BR: Well the only thing else, in the ladies, it was like, about everybody was relation. It was two sisters, in fact it was two, two bunches of two, four sisters that two of them were, you know, sisters. It was Hazel and Pearl Ryman were sisters and then Lena and I can’t remember her sisters name, and, you know, it was like family worked there. And all of us knew everybody. You know we were all friends and it was just nice. And I think about today if I had to go apply for a job, I don’t do computers, I don’t know how I’d get one. AC: So a lot different than jobs now? BR: Oh yeah. Of course that’s been, well I’m 85 and I was probably 18 when I, or maybe 19, when I got that job. AC: Okay. BR: Yeah. It’s a lot different from now when it was back then. A lot different. In fact, people helped each other more back then than they do now. AC: Yeah. So we also were told about just like, the many different types of equipment that was there. Were you mostly just using the sander? Because you talked about sanding. Did you use any of the other equipment? BR: No, no we did it by hand, but then like I said, they had a machine for the, to spray the bowls with the, whatever they used, I forget what it was, you know, to make the, so that especially the bowls, so they wouldn’t, so you could use them. AC: Yeah. BR: But so they sprayed everything. I mean it was some kind of finish they put on them. AC: Alright. BR: And they had the one item that it was really, really pretty was a cobbler’s bench coffee table. AC: Oh. BR: It was probably that big but it was expensive. AC: I’m sure. �BR: But it had a lot of little parts, you know, and was really a lot to do to get it to, so it was able to sell. I mean it was a lot of work to it. AC: Yeah. BR: But it was nice. AC: So definitely high quality objects? BR: Mhm. And we had tables, had folding tables. Oh and we had a lot of stuff. Right now I can’t, I wish I had kept a diary. More than once I get mad at myself I didn’t but it was quite a few items that they made. And that lazy Susan was a good seller. AC: Awesome. BR: Now what, what did you say this is going to go into? AC: This is, will eventually end up in the, I think Shenandoah Library archives. BR: Oh okay. AC: The people who own Bird Haven now are who kind of got this kick started, they wanted to find out more about it. BR: They come to our church once in a while. AC: Oh really. BR: Uh huh. See her grandmother, we have a, we did our ramp in her memory when she died. AC: Okay. BR: Because we got a lot of, people sent a lot of money in her memory. And she’s buried in our cemetery. AC: Oh wow. Wow. So you know the new owners fairly well? BR: Well I’ve met them, they’ve been to our church a couple times, yeah. AC: Okay. BR: Yeah they’re very nice. Have you met them? AC: No, no not yet. �BR: They’re young. Or to me they’re young, not as young as you, but they’re young. AC: I’m trying to think, you answered all of them really well, you kind of combined some of my questions together. The people that worked there that were local, do they still live in the area, do you know? I know you said you keep in contact with one of the men but… BR: He lives in Edinburgh and the lady that worked there too. She worked there I guess after I quit, she lives in Woodstock. AC: Okay. BR: And we had one lady when she left and went to the bank, she worked in the bank for I don’t know how many years. So a lot of them went different places and got jobs. AC: Okay. BR: Yeah. AC: Yeah. Were there any stories you had about working there, things that, I don’t know, because I, just really anything that you can think of that we haven’t touched on even just small things? BR: Well I got one but I better not tell it. TO: Definitely tell it. BR: Well I told you that our boss had two, two cocker spaniels. Well we were allowed a break in the morning and a break in the afternoon and also we had I think was a half hour for lunch. And we could always see when he was coming cause those dogs would be ahead of him. Course we didn’t, I mean, we didn’t, take advantage of him. We did our breaks like we were supposed to and everything. But it was kind of a joke, you know, that he, when we’d see those dogs, he was behind some place. Yeah. But he was nice, he was a very nice boss. AC: So, at Bird Haven, what was it, how was it kind of set up? Was it in like open fields, was it lots of trees around, where the buildings close together, what was like the layout? BR: Yeah the buildings were all close together, you all haven’t been back there? AC: No. BR: Well you should go back there. Yeah the buildings were all like in a, you know, together, and it, the post office was back there at that time too. And the house was over, kind of over in the field from the buildings and it was a stream run through it. It was a beautiful place. And the �one couple that worked there, they lived on a house across the stream right close to the building where we worked. AC: Wow so people lived real close? BR: Yeah. And then it was another house down from, down further in the woods, it’s a lot of woods, around there. And it was a house that was real, built real funny. It had, the doors were double, you know what I mean, like the Dutch. Remember, you probably remember how the Dutch, when you went to school you learned that stuff, how they had their doors. Well it had a door like that and it, but it sat empty for years and years and years. I don’t know what they did with it now. If they repaired it and somebody lives in it or what, I don’t know. My son goes down there right often, him and another man from the community and I mean they talk to the people that own it. Yeah. AC: Okay. BR: Now you’re not going to have all of this on it? AC: Well we can cut parts. And if there’s anything that you want us to go back and cut out we have a release form that you can just make note of that there. BR: So you’ll send me a copy of what this sounds like? AC: If you want a copy we can get you a copy. BR: Yeah I’d like to, yeah. AC: Yeah, yeah we can definitely get you a copy. BR: Yeah. AC: Oh I had something else. BR: I see Sam’s made a friend. TO: Yeah. I’ve been playing with him this whole time. He’s really adorable. I wanted to try to keep the meowing out of it so I just started petting him. Team work. AC: So you said you were born and raised right up the road? BR: Right down there. AC: Right down there? �BR: In that next house. AC: Oh okay. BR: My daughter lives there now and of course she put a big addition to it. AC: How do you feel about that? BR: Well its nice, but now she wishes she wouldn’t, because now she lives by herself. AC: Oh okay. BR: But when she did that she was married and had, he had two children they were small and she did that so that everybody would have a bedroom and everything but now they’re all gone. AC: Okay. BR: So she’s by herself and it’s a big house to keep up for heat and stuff. AC: Yeah. So you said that the owners of Bird Haven, they lived on the property, so were they involved in the day to day a lot or were they kind of more, you guys just ran everything? BR: Oh you mean back when we were… AC: Yeah. BR: Yeah they lived on the property. AC: Yeah. BR: But Mr. and Mrs. Clark, they didn’t come over and check on anything, Spizz did it all the time, her son. Yeah. I don’t know what Mr. Clark, if he was in some kind of government or what, they probably retired back there. I don’t know really the true, the first story. Probably you could talk to Mr. Polk he can probably tell you. AC: Okay. BR: When it started and everything. I only learned after I got married. And ‘cause his grandmother was working there. AC: Okay. And you mentioned a lot of woods, or a lot of wood, trees and stuff, growing on the property? BR: Yeah. �AC: Is that where they got the wood for their products, was actually from the wood on the property there? BR: You know what I don’t know but I bet, I guess they did. AC: Okay. BR: Now back that road is some houses built. You came by there, you probably saw where it said Bird Haven or… AC: We may have. TO: Maybe yeah. AC: Yeah we may have, I think, I think… BR: Right in the middle was like a flower, flower arrangement and then it was a sign. AC: Oh okay. BR: I think it said Bird Haven. Well back that road is where it is and I don’t know if they own all that now where those houses or built or what. But I know there’s some houses built down in there. AC: Okay. BR: People from the city, you know, came out and bought the lots and built. AC: Yeah. Okay. So when people, you said people would come and stay at the cottages nearby would they just come and kind of walk around? Were there any, you said they could buy, were there gift shops? How, how did the visitors interact with what was going on in day to day work? BR: Well my father-in-law drove a taxi and brought people out from Mount Jackson. Back then the train run and the bus also. And he would bring people out and they would stay all summer and then the Bryce’s had transportation that they would take them places to see different things in the community and well they had activities all the time. They had dances, they had, my husband set up pins for the bowling alley and they’d have picnics and all kinds of stuff like that. It was, you know, to keep them all entertained cause back then it wasn’t like it is now. You could go, people didn’t have cars like they do now. In fact, when I grew up it was only one car in this area, the rest of us walked to church. But it was good, I mean it was good for us, one family would start and then we’d keep falling in and all of us walked together to church. AC: So it was a tight knit community then? �BR: Yeah, yeah. It’s really changed though. I mean we have a lot of people now that you know, come from the city and different places and build and I used to know everybody that lived around here but now I don’t. AC: Okay. The Bryce cottages, the Bryce Hill cottages, when did those show up, when were they built? BR: Oh gosh. I don’t know, it was before I ever went up there. But now they’re, the cottages are all closed and they have what they call the Bryce Hill, now, they have condos and town houses on it. And but there’s no recreation or nothing any more, they don’t run it anymore it’s just people, it’s just private people, that come up and stay like maybe the weekend or when they have a vacation or whatever, and then of course they have things down at Bryce Resort that, you know, they can do. AC: So did you know if, once those were built, was there a big difference in people coming in and visiting since there were those cottages? BR: Oh yeah, it must be, I believe that at the post office now its 500 boxes and back then it was probably, I think Bayse was 2 people. AC: Oh wow. BR: Now it’s really, it’s really growing up. AC: Yeah. BR: Yeah and we used to have a post office down here. Course we’d have to walk to it to get our mail which was about probably a mile. AC: Okay. BR: Yeah and it was a store and a post office. AC: Yeah? Interesting. I’m trying, you covered so many of them. You’ve been really helpful. So I know you said that the people working there could buy the different products, was that a common thing, did people, for people to buy the things that they’d built? BR: Yeah I think everybody that worked there probably had some, bought some items yeah. Yeah I can’t remember, I don’t think we got a cut on anything. We paid whatever he, whatever the price was. But yeah I’m sure a lot of them had. Probably a lot more than I got. I didn’t buy everything that we made. But I did have that cradle, magazine cradle, and then that table that was a, what did they call that, a, it was real strong. It was a table you know you put in front of your couch. �AC: Okay. BR: Yeah. AC: Yeah. And when you were working was it like an hourly job? BR: Yeah. AC: Okay. BR: Yeah we worked, I guess it was like eight to four or something like that but we only got paid twice a month I think. We didn’t get paid every week. AC: And then, I know you said when you were working there they had switched away from the toys and the puzzles. Do you know if that switch kind of increased production, if people were happy with that switch? BR: I don’t have no idea about that. AC: Okay. BR: ‘Cause it was, when I started it, they weren’t doing any of that. The puzzles or any of that, anything. AC: Okay. BR: Now like I say, Mr. Polk can probably tell you about that. ‘Cause he worked there before I did. AC: Yeah. And you said the men and the women were kind of separate because you were doing different types of jobs. So what types of things would the men be doing versus what you guys were doing? BR: Well like cutting out the things and then one of them would glue them together and I guess like you said I never, I don’t know, but I’d imagine some of them probably had to cut the timber or whatever for them. Or I don’t know if they got, bought the lumber or I, I can’t remember about that. They might have bought the lumber and then the men had to cut out everything and you know that was their job. AC: Okay. And we kind of talked about this some already, but after Bird Haven closed I know you said people had cars and they were driving elsewhere but was it something that people were disappointed about it closing? Did they kind of wish it had stayed open or how did people view that? �BR: Yeah I think they would have liked for it to have stayed open, yeah. But I’m pretty sure Mr. and Mrs. Clark both died and Spizz was by himself and he didn’t want to I guess mess with it. Like he moved to Harrisonburg and he was a lawyer I guess to start out with and went back to being a lawyer. AC: Yeah? Okay. I think that’s most of my questions, can you think of anything else? TO: No. AC: You’ve touched on a lot of it, is there anything else that just, you wanted, anything that you can remember that you want people to know about Bird Haven? BR: No, except it’s a beautiful place and its, it’s a landmark. And I, you know, I hope people will remember it. Cause it was nice, it was nice to work there. And I don’t know, it seems like every things changing to the little person goes out of business. Yeah. I guess I would say probably, I don’t believe it was over probably 20 people or maybe 25 working there when I worked there because it was, I would say, probably 10 women and at least 10 men, maybe more. I don’t know anymore. I would have to sit down and think who all worked there. AC: So it wasn’t a big… BR: It wasn’t a real big... AC: Yeah. BR: Yeah. And I did help to pack, to mail stuff. Everything had a you know, number you know, that’s what we went by to pack. AC: Okay so did they have people that specifically worked in the post office, or was it just that the people who did that also helped with the post office? BR: The ones that owned Bird Haven did the post office too. AC: Okay. But did they have like you guys send out everything, like you were saying, or did they have people that their specific job was in the post office? BR: No just the owners worked in the post office. AC: Okay they just worked there. BR: See now, when I worked at the store in Bayse well it was about five of us, only one person was allowed in the post office to work. So if anybody came in for their mail, we couldn’t get it, it �had to be the person that was, I guess they, I don’t know how they picked them, but anyhow it was one person. AC: Okay. BR: Of course I think it’s changed now. ‘Cause when the woman owned the store she did the post office then, and she worked by herself and I mean it was a lot of work because Bryce had already come in and a lot of people already moved in. And after she retired they had three or four people and they had computers. She didn’t have a computer. AC: Oh wow. BR: She had to at the end of the day figure up everything. AC: Wow. So very different? BR: Yeah. Yeah. Those computers are nice, but then again sometimes they’re not so nice. AC: Yeah? BR: Yeah. AC: And you said since it was kind of smaller, you said maybe ten women and ten men, was that because they wanted to keep it smaller or did a lot of people want to work there or… BR: Well I don’t know about that, I guess we had enough to do what they needed done. All the items they made they had enough to do it. AC: Okay. BR: I really don’t know, but I know it wasn’t a big operation, I mean, I know it wasn’t 50 people, I’d say it wasn’t over 25. I might be wrong though, maybe Leroy Polk can tell you. AC: So when you weren’t working, what sorts of things did you do around here? BR: Well back then wasn’t a lot of cars, everyone didn’t have a car. You just did things that was close. Church things, there was a lot of things going on at church. And community and we had a lot of things you don’t do now. We used to have a, what do you call that when you hide things and you have kids to hunt them, and we’d do that in the woods and around in the community. And they’d have to go all over to find them. That was the church. We had the youth group and every year we’d have a what do you call it a, I can’t think of what it’s called but we’d hide stuff and they had to find it. AC: Like a scavenger hunt, is that… �BR: Yeah. AC: Okay. BR: Yeah and also back then we went on the hay rides, man would come with his tractor and with hay on it and we’d all go and then cook hotdogs and stuff like that but you don’t do nothing like that no more. Now kids all they do is watch TV or that doggone phone stuff. My daughter-in-law is a, or ex-daughter-in-law, is a teacher. She teaches, you’re not supposed to call them retarded but mentally challenged, and she has a rule, and a lot of them are smart, that their phones have to go on the shelf when they come in, they’re not allowed to have their phones while schools going on. But she says you walk the halls and them kids all walk with their heads down they’re doing their phones. AC: Yeah, I believe it. BR: I think that’s getting to be like a addiction, I really do. AC: Yeah. TO: Yeah it gets bad, I can see that. AC: Definitely. Definitely lots of different things. BR: Yeah. You can’t sit down and carry on a conversation with anybody anymore, they’ve got those phones so you might as well forget it. AC: Yeah. Trying to think. BR: So now you’re, are you studying, what are you studying to be? AC: I’m studying history. BR: History. Oh that’s interesting. AC: Yeah. BR: Yeah. AC: So I think things like this are great. BR: Yeah. AC: And they’re important. �BR: Yeah they are. You know what, we have a book club here now and it was my turn this Sunday but it’s been too many things going on I couldn’t get to the library to do what I wanted to do. And I’m going to talk on cemeteries all over the Shenandoah County. AC: Oh cool. BR: And also funeral homes, you’d be surprised how many funeral homes there are. AC: Really? BR: That people don’t know they were funeral homes. They’re just a building. AC: Yeah. BR: And so I was going to talk on that and also how funerals have changed. AC: Yeah? BR: Since I was growing up. And people don’t realize that. AC: Yeah. BR: So I… AC: If you want to talk about that now you can, the ways that they’ve changed you can feel free to talk about that. BR: Well like when I was a teenager when anybody would die down at our church, a lot of people around here didn’t have phones then. When someone would die they had a code that if it was a man they’d toll the bell so many times, everybody in the community could hear it and we would know it was a death. If it was a woman, it was so many times, or a child. And back then well, they didn’t take them to the funeral home. They did to embalm them but then they brought them back to the house and we’d go to the house. And you’d have flower girls, might have ten, fifteen flower girls, and everyone would go to the house. And they’d have a service there and then take them to the church, well they’d have the casket up front, open, during the whole service, and then they’d have everybody to view them at the very end. Which made it a long funeral. I’m glad they quit that. But it’s just how different things are. Now, now at the church down here now, they have them at the back, the casket at the back. And you go in and do that and when it’s time for the funeral they close it up and take it up front and that’s it. And no flower girls or nothing like they used to. AC: Yeah. �BR: Its really different. AC: Yeah. BR: Yeah but a lot of things are better. Yeah. AC: That’s really interesting. I didn’t know, I didn’t know a lot of that. BR: And its, its, now my uncle, is 102 years old. AC: Wow, does he live around here? BR: He lives over at Conicville. AC: Oh ok. BR: And he calls me, he hasn’t called me today so I’m beginning to wonder what’s wrong with him. Sometimes he calls me three times a day. AC: Oh wow. BR: And where his house is, it was a funeral home on that road and people don’t know that. AC: Yeah. BR: Cause now it’s just a house. And its sitting empty. AC: Interesting. BR: So that’s what, I’m interested too to check to see where all the funeral homes were. And over when you go back, when you hit Bayse and go down that hill, you go up the hill and then down the hill, there was one right there. AC: Really? BR: There were what used to be called wetlands but now it’s a car place. That was a funeral home. AC: Interesting. BR: And back then also they took them in buggies. They had you know horses. AC: Yeah? �BR: They would take them in. Yeah. Yeah and you know, it’s something to think about. I wish I’d have wrote down a lot of stuff cause now I’m 85 years old and its nobody I can ask anything anymore cause everybody is gone. Up at our church one day we were cleaning and we found in a closet something wrapped up, it was like a handle, and we were curious what it was. Its been there for years and nobody’s bothered with it. So we got curious and we unwrapped it and all it was was like a handle for an axe but it was real nice, smooth and everything. And now we don’t know what it was for or who wrapped it or put it back there or anything. AC: Wow. BR: Cause all the old folks from our church is gone. AC: Yeah wow. It’s always interesting to wonder why things like that are there. BR: Yeah and we have like a tray and I’m sure that was made at Bird Haven, ‘cause one of the men that belonged to our church worked at Bird Haven and he made a lot of the things in our church when we built a new church in 1954. And he made a lot of things like benches and for rooms and Sunday school rooms and stuff. And it’s a tray with a handle and we can’t figure that out and it’s got little grooves in it like you would set a glass. It’s got maybe eight of those, so we think it was how they served communion. AC: Oh. BR: That the glasses were in those little grooves and they just passed the tray around, but we don’t know what it is. AC: Wow that’s really interesting. BR: We put it out on display all the time when we have homecomings and stuff hoping somebody will know what it is. AC: Yeah. BR: But like I say, all our old members are gone. AC: Yeah, don’t have those people to ask anymore. BR: No, no. AC: And you mentioned, just then, with the man that worked at Bird Haven and he built some stuff for the new church. So did the church and other places in the community, did they go to bird haven for things they needed, do you know? Or was it just a connection, he happened to work there and he went to the church? �BR: Yeah he did it, probably he did it for nothing for the church. AC: Oh okay. BR: But he did a lot of wood work of different things for the church, our church. Yeah. AC: Okay. BR: Now he has one son living yet, the man that did all that, Richard Barb. AC: Oh okay. BR: I don’t know what he could tell you. AC: Yeah. BR: Now he lived as a, when he grew up as a child and everything and going and went to school, he, cross the stream there where we worked, that’s, his parents lived there and it was three children they all lived there. He might be able to tell you something. AC: Okay. He might be on our list, ‘cause we have a list of people and I don’t know who all is on there. So he might be on there but… BR: Might be, Richard Barb is his name. AC: Okay we’ll write him down. BR: And he lives back, Sarah lane. When you go up from here to Bayse. AC: Okay. BR: On the left hand side, its back in the woods where he lives. AC: And you said besides the owners, that was the only other family that lived kind of, that close, like right across the stream? Or were there other people that lived pretty close like that? BR: Well, like I said everybody lived not too far you know, some of them lived over in Mount Clifton or Mount Hermon over, that’s on 263 after you leave Bayse. AC: Yeah. BR: That’s about as far as any of them lived that worked back there. �AC: Okay. Alright. Well I think that’s about everything that we had so unless there’s anything else that you wanted to share? BR: Well I think I’ve said enough. AC: Just making sure, because anything you want to share is, we’d love to hear it. BR: Well I hope you get a good turn out and everything for it. AC: Yeah. BR: And put it on record that people and maybe even my great grandson might be interested when he gets growing. AC: Yeah. And that’s, that’s why we’re doing this, to document it and that’s why we wanted to make sure anything, if there’s anything we didn’t cover, if there’s anything else you wanted to be remembered about Bird Haven and your experiences there. BR: Now like I said that Betty Dillinger, I think she went to work after I quit, I can’t remember, she wasn’t working there when I was working there. It was either before I started or after I quit, I didn’t know she worked there. But they told me that was one, there was three people living yet that worked there. AC: Okay, interesting. BR: And Leroy Polk he lives in Edinburg. AC: Yeah. Okay. BR: Yeah. AC: Awesome, well I think… BR: Would you all like a bottle of water or something? AC: I’m okay… TO: I’m fine, thank you. BR: You sure? � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Transcription Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bird Haven Oral History Collection Subject The topic of the resource Bird Haven (Va) Shenandoah Community Workers Description An account of the resource Sometime in the early 1920s Philadelphia banker and philanthropist William Bernard Clark founded the Shenandoah Community Workers organization near what is now Basye Virginia. This group was designed to provide locals, many of which were economically disadvantaged, with good paying jobs based on their wood working traditions. Clark built a factory on property his grandmother had purchased as a personal retreat and named it Bird Haven Virginia. Initially the community workers focused on wooden toys and puzzles. Many of these featured birds, Hollywood Stars, or animals. Later the company began to produce small wooden furniture, bowls, and kitchen utensils. Bird Haven closed sometime in the early 1960s. Following this, most of the records were lost and much of the site's history was forgotten. This oral history project, conducted as part of a partnership between the Shenandoah County Library, James Madison University, and Bird Haven Farm, is designed to recover some of lost parts of the site's story. It focuses on interviews of 14 members of the Bird Haven community, including several employees and individuals who lived nearby. All interviews and transcriptions were conducted by JMU history students and are available for viewing in person at the Shenandoah County Library's Truban Archives. Creator An entity primarily responsible for making the resource Shenandoah County Library James Madison University Bird Haven Farm Rights Information about rights held in and over the resource Creative Commons Attribution-Non Commercial (CC-BY-NC) Language A language of the resource English Type The nature or genre of the resource Oral History Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Ashlen Clark Interviewee The person(s) being interviewed Betty Richards Location The location of the interview Edinburg, Virginia Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Betty Richards Oral History Subject The topic of the resource Richards, Betty Basye (Va) Bird Haven (Va) Description An account of the resource Oral history featuring Betty Richards of Edinburg Virginia recorded by Ashlen Clark of James Madison University. The interview was conducted as part of a project designed to better understand the history of Bird Haven Virginia, the Shenandoah Community Workers, and the surrounding communities. The entry includes a video interview and downloadable transcript (under files). Creator An entity primarily responsible for making the resource Ashlen Clark Source A related resource from which the described resource is derived Shenandoah Voices Oral History Collection <iframe width="560" height="315" src="https://www.youtube.com/embed/qB7uLiWaX8Q" frameborder="0"></iframe> <iframe width="560" height="315" src="https://www.youtube.com/embed/371Ww_0caw8" frameborder="0"></iframe> Publisher An entity responsible for making the resource available Shenandoah County Library Date A point or period of time associated with an event in the lifecycle of the resource March 22 2017 Rights Information about rights held in and over the resource Creative Commons Attribution-Non Commercial (CC-BY-NC) Format The file format, physical medium, or dimensions of the resource WAV File Language A language of the resource English Type The nature or genre of the resource Video Identifier An unambiguous reference to the resource within a given context 2017-003 Basye Bird Haven Oral History Shenandoah County Virginia https://archives.countylib.org/files/original/98d9e17e911143955135521248ef8bca.jpg 1ff2525748857cc9f6c91a45b7d4260c Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Betty Showman Subject The topic of the resource Showman, Betty Conicville (Va) Description An account of the resource If you had attended a community event in the 70s, or 80s you might have found Betty Showman there, dressed as the popular TV character Minnie Pearl. A resident of Conicville, Betty began performing as Minnie in 1963. She took her act to various firehalls, church groups, nursing homes, community clubs, and other charitable groups Besides performing, Betty helped her husband Bill operate their dairy farm which was founded in 1955. Her duties included sanitizing the dairy at 4:45AM and cleaning the barn after milking was complete. She also taught Sunday School at the Conicville United Church of Christ, was an expert seamstress, 4-H leader and active member of the Conicville Volunteer Fire Department’s auxiliary. Source A related resource from which the described resource is derived Shenandoah Valley Herald Bound Copy Collection Publisher An entity responsible for making the resource available Shenandoah County Library Date A point or period of time associated with an event in the lifecycle of the resource 1979 Rights Information about rights held in and over the resource Creative Commons Attribution-Non Commercial (CC-BY-NC) Churches Conicville Farms Fire Department Shenandoah County Showman Virginia Women https://archives.countylib.org/files/original/a9f82bfa4fd85892ee7de3477a2c114c.jpg c0eccf433437bbeec2442ac121798c16 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Morrison Studio Collection Subject The topic of the resource Morrison, Hugh Jr. (1871-1950) Morrison, Louis Morrison, James Description An account of the resource In 1899 Hugh Morrison Jr. opened a photograph studio on W. Court Street in Woodstock after several years of working in the area as a travelling photographer. Between that time, and the time his grandson James Morrison closed the studio in 1988, the Morrison family captured thousands of portraits, landscapes, and buildings on film and glass negatives. In 1999 the Shenandoah County Historical Society acquired over 31,000 of these negatives from the estate of local collector Charles D. Bauserman. Volunteers from the historical society worked over the next several decades to house, number, and scan each image. This effort resulted in over two tons of Morrison plates and negatives being processed and digitized. This collection contains those digitized versions of these photographs. Through a partnership between the historical society and the Shenandoah County Library's Truban Archives access to a growing number of these images is available to the public. Current projections indicate the full collection will be available for viewing sometime in 2028. This collection does contain some images of a sexual and/or graphic nature that some viewers may find inappropriate. Creator An entity primarily responsible for making the resource Morrison Studios Source A related resource from which the described resource is derived Hugh Morrison Collection, Shenandoah County Historical Society Inc. Publisher An entity responsible for making the resource available Shenandoah County Library Date A point or period of time associated with an event in the lifecycle of the resource 1900-1980 Contributor An entity responsible for making contributions to the resource A special thanks to Tracy McMahon for her dedicated work entering metadata for this collection. A special thank you to the Shenandoah County Historical Society for their efforts to number and scan each image. Rights Information about rights held in and over the resource Digital images: Creative Commons Attribution-Non Commercial (CC-BY-NC) Copyright for these images is held by the Shenandoah County Historical Society. Contact the Shenandoah County Historical Society (www.https://www.shenandoahcountyhistoricalsociety.org/) for permission to utilize images commercially, for high resolution scans, or for prints. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Glass Negative Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 017935 Creator An entity primarily responsible for making the resource Morrison Studio Source A related resource from which the described resource is derived Morrison Studio Collection - Shenandoah County Historical Society Publisher An entity responsible for making the resource available Shenandoah County Library Rights Information about rights held in and over the resource IN COPYRIGHT - NON-COMMERCIAL USE PERMITTED Title A name given to the resource Betty Steptoe Subject The topic of the resource African Americans - Virginia - Shenandoah County Steptoe, Betty Students - Virginia - Shenandoah County Description An account of the resource Portrait photograph Betty Steptoe wearing her graduation cap and gown. Date A point or period of time associated with an event in the lifecycle of the resource The glass plate negative of this image was stored in a box labeled "October 1946". Contributor An entity responsible for making contributions to the resource Identified in 2025 by Roy Cooper. Relation A related resource Betty Steptoe appears in Morrison Studio Collection images 008832 and 017935. African Americans Children Shenandoah County Steptoe Students Virginia https://archives.countylib.org/files/original/34ba9bee07d20baebbe542b5450c2731.jpg 1cc0286cbd83e8c1ac85148f998fb0fc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Morrison Studio Collection Subject The topic of the resource Morrison, Hugh Jr. (1871-1950) Morrison, Louis Morrison, James Description An account of the resource In 1899 Hugh Morrison Jr. opened a photograph studio on W. Court Street in Woodstock after several years of working in the area as a travelling photographer. Between that time, and the time his grandson James Morrison closed the studio in 1988, the Morrison family captured thousands of portraits, landscapes, and buildings on film and glass negatives. In 1999 the Shenandoah County Historical Society acquired over 31,000 of these negatives from the estate of local collector Charles D. Bauserman. Volunteers from the historical society worked over the next several decades to house, number, and scan each image. This effort resulted in over two tons of Morrison plates and negatives being processed and digitized. This collection contains those digitized versions of these photographs. Through a partnership between the historical society and the Shenandoah County Library's Truban Archives access to a growing number of these images is available to the public. Current projections indicate the full collection will be available for viewing sometime in 2028. This collection does contain some images of a sexual and/or graphic nature that some viewers may find inappropriate. Creator An entity primarily responsible for making the resource Morrison Studios Source A related resource from which the described resource is derived Hugh Morrison Collection, Shenandoah County Historical Society Inc. Publisher An entity responsible for making the resource available Shenandoah County Library Date A point or period of time associated with an event in the lifecycle of the resource 1900-1980 Contributor An entity responsible for making contributions to the resource A special thanks to Tracy McMahon for her dedicated work entering metadata for this collection. A special thank you to the Shenandoah County Historical Society for their efforts to number and scan each image. Rights Information about rights held in and over the resource Digital images: Creative Commons Attribution-Non Commercial (CC-BY-NC) Copyright for these images is held by the Shenandoah County Historical Society. Contact the Shenandoah County Historical Society (www.https://www.shenandoahcountyhistoricalsociety.org/) for permission to utilize images commercially, for high resolution scans, or for prints. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Glass Negative Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 008917 Creator An entity primarily responsible for making the resource Morrison Studio Source A related resource from which the described resource is derived Morrison Studio Collection - Shenandoah County Historical Society Publisher An entity responsible for making the resource available Shenandoah County Library Rights Information about rights held in and over the resource IN COPYRIGHT - NON-COMMERCIAL USE PERMITTED Title A name given to the resource Betty Weaver Subject The topic of the resource Weaver, Betty Frances (1926-2003) Description An account of the resource Portrait photograph of Betty Frances Weaver as a young woman. She was the daughter of John W. "Jack" and Ada (Barham) Weaver. She graduated from Edinburg High School and Shenandoah Business College. She worked for the Naval Laboratories and American Society of Association Executives, both in Washington D.C. She had two siblings: a sister, Jane Grey (Weaver) Garner, and a brother, John W. "Jack" Weaver, Jr. The name, "Betty Weaver", is written down the side of the glass plate. Date A point or period of time associated with an event in the lifecycle of the resource Undated Contributor An entity responsible for making contributions to the resource Identified by library staff in 2025 utilizing the name on the glass plate and other photographs of the subject. Relation A related resource Betty Weaver appears in Morrison Studio Collection images 001326 and 008917. Shenandoah County Virginia Weaver Women https://archives.countylib.org/files/original/ddb2603543489e0bd67fd3b8bb0cff4d.jpg addb68ed6d78b2dac191b5e594649f99 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Morrison Studio Collection Subject The topic of the resource Morrison, Hugh Jr. (1871-1950) Morrison, Louis Morrison, James Description An account of the resource In 1899 Hugh Morrison Jr. opened a photograph studio on W. Court Street in Woodstock after several years of working in the area as a travelling photographer. Between that time, and the time his grandson James Morrison closed the studio in 1988, the Morrison family captured thousands of portraits, landscapes, and buildings on film and glass negatives. In 1999 the Shenandoah County Historical Society acquired over 31,000 of these negatives from the estate of local collector Charles D. Bauserman. Volunteers from the historical society worked over the next several decades to house, number, and scan each image. This effort resulted in over two tons of Morrison plates and negatives being processed and digitized. This collection contains those digitized versions of these photographs. Through a partnership between the historical society and the Shenandoah County Library's Truban Archives access to a growing number of these images is available to the public. Current projections indicate the full collection will be available for viewing sometime in 2028. This collection does contain some images of a sexual and/or graphic nature that some viewers may find inappropriate. Creator An entity primarily responsible for making the resource Morrison Studios Source A related resource from which the described resource is derived Hugh Morrison Collection, Shenandoah County Historical Society Inc. Publisher An entity responsible for making the resource available Shenandoah County Library Date A point or period of time associated with an event in the lifecycle of the resource 1900-1980 Contributor An entity responsible for making contributions to the resource A special thanks to Tracy McMahon for her dedicated work entering metadata for this collection. A special thank you to the Shenandoah County Historical Society for their efforts to number and scan each image. Rights Information about rights held in and over the resource Digital images: Creative Commons Attribution-Non Commercial (CC-BY-NC) Copyright for these images is held by the Shenandoah County Historical Society. Contact the Shenandoah County Historical Society (www.https://www.shenandoahcountyhistoricalsociety.org/) for permission to utilize images commercially, for high resolution scans, or for prints. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Glass Negative Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 002708 Creator An entity primarily responsible for making the resource Morrison Studio Source A related resource from which the described resource is derived Morrison Studio Collection - Shenandoah County Historical Society Publisher An entity responsible for making the resource available Shenandoah County Library Rights Information about rights held in and over the resource IN COPYRIGHT - NON-COMMERCIAL USE PERMITTED Title A name given to the resource Betty Wolverton Subject The topic of the resource Wolverton, Betty (1925-2018) Description An account of the resource Portrait photograph of Betty Wolverton wearing a faux pearl necklace. She was the daughter of Guy Spiker and Bertha Arabella (Link) Wolverton from Woodstock. She had two sisters, Jeanine (Wolverton) Fleming and Charlotte (Wolverton) Snyder. Betty never married. She graduated from Shenandoah Business College and was employed by Dalke's Community Theater, Woodstock Wholesale Meats, and Sigma Sigma Sigma until her retirement. Date A point or period of time associated with an event in the lifecycle of the resource Undated Contributor An entity responsible for making contributions to the resource Identified by in 2002 by June Hockman and James E. Morrison, Jr. Relation A related resource Betty Wolverton appears in Morrison Studio Collection numbers 002708 and 025463. Shenandoah County Virginia Wolverton Women