A little over twenty-six years ago (December 12, 1993) I wrote a letter to my great-aunt Anelia (Shearer) Hayes asking her what she knew about her father Ray Shearer’s family history. Anelia was my grandfather Vernon’s sister. My grandfather was old enough to remember his father Ray Shearer leaving their family, and he went to lengths to distance himself from his birth father, including unofficially but permanently changing his last name to that of his mother’s second husband, Frank Black.
Vernon’s sister Anna Cornelia (she preferred “Anelia”) was born around or just after when her father left the family. Unlike her brother, she kept her father’s surname and she went on to develop a deep interest in family history. Anelia was the one who compiled the “Edell Family History” in 1991 and hosted the Edel/Edell family reunion.
Today’s post is about the response Anelia sent to my letter of twenty-six years ago. When I received her response, I was overwhelmed by the sheer amount of new fascinating information she provided to me. To this day, the letter she wrote is still the sole source for many pieces of Shearer family history that might otherwise have been lost forever.
Today’s post is not only about a new mystery photo I just discovered. It’s also a reminder to double-check anything possibly related to family history before throwing it out. You never know what might be hiding within unless you check thoroughly.
From about the mid 1970s to the late 1980s, my father and grandparents accumulated a number of faux vintage photos and frames. I don’t know whether they were fans of the style or whether that’s just the way that the stores they frequented marketed their frames. In any case, they accumulated piles of these that I later inherited and am still going through.
What I mean by ‘faux vintage’ are generally stained and sometimes artificially distressed oak frames with matted black-and-white or sepia-toned prints behind glass. And to add a layer of realism, my grandmother and father were both heavy smokers for periods of their lives, so the glass and frames were coated with a nicotine patina that made them look like they had been hanging in an old house for decades. But when you turn over these faux vintage frames, their modernity becomes a little more apparent. Relatively clean cardboard is held in place by shiny staples that were hastily and asymmetrically placed during mass production. Remove the cardboard and you find that the antique print is just a modern print on thin, glossy paper.