Kapap Krav Maga Expert at FEKS Martial Arts

Lynchburg Living: David, we hear you had a surprise visitor recently! Tell us about your award.

David Rubinberg: Israeli Defense Forces Major Avi Nardia flew in to present the highest award one can earn in the Israeli Martial Arts—the blue and white belt. It is a lifetime achievement award that represents being a leading expert and senior counsel to all Israeli Martial Arts students worldwide. It came along with the rank of 8th degree black belt. I will also serve as the Head State of VA representative for FIMA (Federation of Israeli Martial Arts)—a gathering of the only top Israeli Martial Artists in the world. You must be invited into this group.

LL: How rare is this?

DR: Blue and white belts are extremely rare and are not presented to people that have not had at least 50 years of Israeli Martial Arts experience behind them. I am currently the only 8th degree black belt in the world in Kapap Krav Maga, which is studied in over 60 countries and has well over half a million students.

LL: Wow! That’s quite an accomplishment and certainly puts Lynchburg on the map. For those that aren’t familiar, what is Kapap Krav Maga?

DR: The Kapap or “face-to-face combat” system was developed in the late 1930s within the Jewish Aliyah camps as part of preparatory training before their arrival in Mandatory Palestine. The main focus was to upgrade physical endurance, elevate and strengthen the spirit, and develop a defensive and offensive skill set. The term Krav Maga or “close combat” started when the state of Israel was given back to the Jewish people in 1948. This was and still is the fighting form of the Israeli Defense Forces.

LL: How long have you been a martial arts instructor?

DR: I was 10 years old when I started my martial arts training in 1958 at Stewart Air Force Base. I continued my studies in Judo and Karate at community college. Then, upon coming to Lynchburg in 1967, I attended Slaughter’s School of Karate.

I began teaching my first class at Lynchburg College in 1967.

So, I have been an instructor for 52 years. My Krav Maga training began in 1957, as part of a family focus.

LL: How has your family played a role in your passion for martial arts?

DR: My grandfather came to this country alone in the early 1900s. He worked and saved enough money to bring my grandmother and father to New York. He then continued to work and save enough to bring members of the family over one at a time. My father is an only child. With the decimation of the remaining family in Europe from the Holocaust, what family we had left in New York, and what family escaped to Israel, our family here was very close. The talk was always centered around the possibility of all of us moving to Israel. Krav Maga training was an important part of that dream. Please understand, members of my family were in the concentration camps of Germany and would cover the stamped numbers on their arms with clothing. The training, the thought of “never again” was and still is very real for us.

Pencil Portraits, Paintings and Photography

Lynchburg Living Editor Shelley Basinger: We hear you come from a pretty big family, Robert. How did that help you develop a love of art?

Robert Pennix: I grew up in a very large family. My grandmother lived with us, and realatives were always dropping in to visit—aunts, uncles and cousins. Because I was an introverted child, I would look for places where I could find some solitude. I would find a space in a room away from everyone and just draw or sketch. That’s where it started.

SB: When did you really start to develop your technique?

RP: I took art all four years in high school.
My high school teacher taught me to recognize the importance of shapes, shading, color, and perspective. He was very serious about art and the rules that applied to art. His class was not an easy “A.”

SB: Where did life take you after high school?

RP: After graduation, I worked a factory job for about a year. Then I started working in the culinary arts field as a cook in training at the local college. Within a few years, I had worked my way up to a shift leader and head cook. I decided to go back to school to take some management and business courses. After finishing my general education courses, I took my first art class as an elective at Central Virginia Community College. I enjoyed the class so much that I switched my major to art and received my associate’s degree in commercial art. After I graduated, I attended Old Dominion University for a semester. But because I was much older than most of the students on campus with more personal obligations and financial responsibilities, I returned to Lynchburg and went back into the food service field as a food operational manager, then as a regional food service director.

I had a great career in the food service industry and retired with 30 years of state service.

SB: Sometimes we have to make those decisions to provide for our families! But you still kept art as a side hobby, right?

RP: I have been married for 32 years to my wife who is my biggest supporter. She has watched me struggle to find time for art. As we were raising our children and people found out that I was an artist, they would ask me to draw portraits of their children. This would happen occasionally, especially around life events and the holidays. She encouraged me to take these opportunities.

Many times, the portraits were for family and friends. After our children graduated college, I decided to give art another try—I decide to focus on the art I loved to do. In the last six or seven years, I have really put myself out there.

SB: You are very well known for your pencil portraits. Why are those your favorite?

RP: It just feels more at ease. I love the black and white look. I primarily work with pencil, and I like to do portraits in pencil. I have worked in charcoal, but it’s a little messy. For me pencils have a better flow and I don’t have to think about mixing colors.

SB: We’ve noticed you like to draw some notable figures in the African American community. Why did you choose those particular individuals? And was it hard to “get them right”?

RP: Some of the portraits I have drawn are of local people who have done some significant things in our city’s history. Most of them are from an African American background. I think more African American history should be taught especially about our local citizens. There is so much rich African American history that younger generations should learn in order to preserve traditions and culture.

My approach when I start a drawing is I try to capture the image of the person to the best of my ability. It is my perception; I also tell a client it will not be perfect but it will be the best reproduction that I can achieve.

SB: Aside from pencil, what other mediums do you work in?

RP: I have done some pastel portraits when people ask. I have sold some paintings on a commission basis. A couple years ago a lady wanted a portrait of her grandchildren. When I saw the image, I did not think it was a pencil portrait. It was clearly something that needed to be painted.

She allowed me to paint the image as I saw it and she later commissioned me for a second painting. I dabble a little in photography as well. If I have my camera with me, I am shooting—scenery, landscapes and whatever I find interesting. I like to use the camera and feel no pressure. Sometimes I get useable shots.

SB: In the past couple of years, you’ve been part of a vocal group that encourages the community to support African American artists.

RP: I grew up in a community where most of the people did something artistic but they never saw it as an artistic endeavor. I remember some of the older gentlemen in my neighborhood carving wood. (They would call it whittling.) The ladies would cut small pieces of fabric to make quilts. My grandmother would spend weeks or even months on one quilt. They were incredible, amazing pieces of art. Many times, she sold them for a few dollars.

A couple of years ago I was honored to be part of the Legacy Museum’s two-year exhibit celebrating the local visual artists who are African American. Every few months they would have
an artist talk—I was one of the first artists to volunteer to speak. Last year a group of us from the exhibit did an open forum discussion at the Lynchburg Public Library moderated by Tony Camm and sponsored by the Legacy Museum. I have also spoken at the local nonprofit The Listening. I enjoy art in all forms and I believe we should keep the community actively involved. Art is something that should not be removed from our schools.

SB: What advice do you have for aspiring artists? Particularly minority artists?

RP: The love of art has no color, no class distention, and no educational requirements. Passion prevails in your work; keep working and they will see the real you. There is no prejudice once people know who you are. Prejudice is a preconceived emotion that is only changed by the individual.

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Photos by LUCAS MOORE

One of my favorite pieces of furniture is tucked into a corner of my 17-month-old son’s rarely used bedroom. It’s my Great Aunt Louise’s hope chest—a dark cherry wood heirloom my mother had for many years before passing it down to me.

After receiving the chest, I developed an even stronger pull to this antique when I saw the original paper from the furniture company inside: “Made in Altavista, Virginia,” it read. A place that probably seemed far away at the time to my Great Aunt Louise in North Carolina—but ended up being in my backyard.

There is certainly a tone of nostalgia in this issue of Lynchburg Living—a sub-theme that quite honestly developed organically during story assignments. Starting with our Travel feature, we went “antiquing.” Writer Shannon Brennan and myself spent a day visiting a few regional shops to see what we could glean from owners about what’s popular, what’s not and what you could learn on an antique daytrip.

Tying into a love for antiques is a focus on traditional home décor. Of course, this isn’t a new style—but what is new(er) is that younger people seem to be embracing the interior design preferences of their grandparents. We caught up with two “grandmillennials” (a term used by some in the design industry) and show you how they are mixing traditional style with their own flair.

Alongside antiques and “grandmillennials,” you’ll also find a feature on the art of quilting and how Lynchburg’s thriving local groups are staying current. And our This City story explains a unique church merger—a younger congregation moving into one of Lynchburg’s oldest church buildings.

Of course, this is also our ever-popular “Best Of Lynchburg” issue—recognizing local businesses, people, destinations and more in dozens of categories. Lynchburg, you certainly come out in force for this effort. We received more than 106,000 votes on our website! Flip to page 66 to see who is proudly displaying our teal banners in 2020.

As we usher in a new year, here’s to being proud of your “best” and looking forward, while also not forgetting to look back.

Makes me realize… I think it’s about time to move Great Aunt Louise’s hope chest down to the living room where it belongs.

Local church works to preserve historical Lynchburg churches through merger

Nestled among gas stations, empty buildings, and single-family homes, Rivermont Avenue Baptist Church has remained an impressive figure in the neighborhood for more than 100 years. While the church building itself may not have changed much over the past century, its residents have.

For over the past three years, Gospel Community Church has been part of the Rivermont Avenue Baptist Church story once the previously nomadic church found a home beneath historic stained glass windows and pews.

Since its founding in 2009, Gospel Community Church has always met in unexpected places, according to GCC Teaching Pastor Andrew Moroz.

“There was a convention center, a school, and a night club,” Moroz said, referencing the former Phase 2 building on Odd Fellows Road. “On some Sundays, we’d be getting to the club to set up as concerts were ending and bartenders were heading home for the night. There was definitely some overlap between the events.”

Set-up crews would arrive as early as 6 a.m. on Sundays to transform the club into a church. Once services were over, they’d pack everything up, staying well into the afternoon.

“I think it was off-putting to people at times,” Moroz said of the haphazard set-up and non-conventional meeting space.

Despite the unusual arrangement, Moroz said they didn’t feel an urgency to find a new space as their congregation flourished. But as their church body continued to grow, and quickly, they realized that finding a permanent space had to be a priority.

In 2017, they began sensing that God would lead them to a new home. The leadership of GCC began working with a realtor and touring properties around the area, even toying with the idea of building their own space. Nothing seemed to be the right fit.

“The cost of building a new building—and the type of building which would satisfy all of our needs—was astronomical,” Moroz said. “We seriously explored the option of converting other non-conventional spaces into a church building such as shopping centers or warehouses.”

Meanwhile, across town on Rivermont Avenue, another congregation was trying to figure out how to keep their doors open.

Rivermont Avenue Baptist Church first began on Cabell Street in 1896. Founded by the Young Men’s Missionary Society of the First Baptist Church, the group worked for 10 years to build their home on Cabell Street after they, like GCC, were mobile as well—holding Sunday School in the old Danielstown Schoolhouse and tent meetings around the Rivermont area.

The church called Cabell Street home for nearly 15 years, until they realized they had outgrown their space. They moved to Rivermont Avenue in 1911 and officially changed their name to reflect their new home.

Over the years, the congregation was passionate about ministering to the local neighborhood. But as decades went by, their numbers dwindled, and they needed a plan on how to breathe new life into their beloved church.

For Scot Podosek, RABC was more than just a church—it was home.

“We had been there for the past 25 years,” Podosek said. “It was just this amazing place and we were there any time the doors were open.”

The RABC leadership formed a work group, which included Podosek, to research their options.

Then, on a return flight to Lynchburg, a chance encounter between GCC Worship Pastor Brian Friberg and Podosek led both churches down a new path. The two struck up a conversation that eventually led to what each of the two churches was trying to accomplish.

“[Pososek said], ‘Isn’t it funny how churches like yours occupy schools or nightclubs and then you have churches like ours that are in need of a congregation? …We really want to breathe life into these buildings,’” Friberg said in a video about the merger.

Podosek and Friberg came back to Lynchburg and scheduled a meeting. After that first in-person chat with one another, it was clear that there was the real possibility of a solution.

“That first meeting was enlightening,” Podosek said. “These folks wanted to invest in what we were doing [in Rivermont]. A church is more than just a building. It’s about the people. But this building was special, and we were thrilled to see it being used to its highest potential.”

Moroz admits being impressed by not only the leaders he encountered, but also the historic beauty of the Rivermont church building.

“You walk up and there’s a balcony that overlooks the sanctuary,” Moroz explained. “It just took our breath away. Here was a space that had been a comfort and a haven to the Lynchburg community for decades.”

Becoming Gospel Community Church Rivermont and merging two churches under one roof was a challenge. Both had their own philosophy, culture, and demographic. But despite the changes, both congregations always came back to the fact that RABC and GCC shared a common goal of loving God and loving people, as well as a deep desire to impact the city.

From there, the church transformed into something new as they began a new era in the fall of 2017.

“You go in on a Sunday and you still see people who have called [RABC] home for the past 50 to 60 years,” Podosek said. “You have people who grew up here and then people who are entering Lynchburg for the first time.”

It didn’t stop there. During their search for a building, GCC had connected with College Hill Baptist Church, only a few miles away on Floyd Street.

Like RABC, College Hill had also made its mark on the Lynchburg community for decades—since 1876. There, a small team of 20 people were working diligently to save their church.

“Caring for a historical building is no easy task,” Moroz said. “Here were 20 people who were using their own resources to upkeep the building. …The CHBC congregation needed help with their worship services and core ministries. The pastors of Gospel Community stepped in to help,” Moroz said. “Ministering to the congregation eventually led to the conversation of a formal merger.”

Over this past summer, GCC officially merged with College Hill—which is located across the street from R.S. Payne Elementary School and only a few blocks from Dunbar Middle School.

“There is an incredibly high concentration of kids and teenagers in this part of the city. That’s an incredible opportunity for us to come alongside them and their families and to provide support and biblical encouragement,” said GCC Communications Director Jennifer Redmond.

It’s also, like Rivermont Avenue Baptist Church, adjacent to the thriving Downtown Lynchburg area—as well as the 5th Street and Bedford Avenue corridors.

“It’s been exciting to be in that sector and building relationships with businesses, families, and neighbors,” Redmond said. “We have also worked diligently to connect with our immediate neighbors and some of the existing ministries that were already established in the Rivermont neighborhood.”

Moroz said they are also working to establish the church as a meeting space for local nonprofits, groups, and ministries.

“We want to take that money and pour it right back into preserving these buildings,” he said, adding that they are working to transform and renew the buildings to work for modern needs, such as handicap accessibility. “It’s about sustainability. I truly believe that people want to see a healthy, thriving church in a neighborhood.”

According to Moroz, a healthy church doesn’t just mean having a building full of people. A healthy church has a congregation that is always focused on the greater good.

Because of the merger, GCC was able to continue a RABC ministry called the Connecting Point, which provides food for those in need and houses a summer learning program for school-age youth. The main church building also continues to house the Rivermont Early Learning Center.

In both neighborhoods, GCC has hosted events such as block parties to engage their neighbors and let them know that they are available to them—now, and hopefully well into the future as well.

“[RABC] has always been part of Rivermont,” Podosek said. “Now it gets to stay that way.”

How Quilting Bridges the Generation Gap

Few things are as deeply rooted in tradition as the art of quilting. Throughout history, quilts have served as both functional and ornamental pieces, and they have become deeply symbolic. As is the case for anything that inspires nostalgia, quilting has the potential to be seen as a lost art—quilts as relics. Fortunately, that has not proven to be the case at all.

One need look no further than Lynchburg to see that quilting continues to thrive. Multiple quilting guilds and shops flourish here with diverse members and customers respectively, and there are several reasons why.

Artistically, quilting has remained relevant because quilters have embraced modern techniques that mark a diversion—but never a complete departure—from more traditional techniques.

Lynchburg’s first major foray into modern quilting was marked by the launch of a subgroup of longstanding quilt guild Patches ‘n Pieces in the early 2000s. This group, called LAFA (Lynchburg Area Fiber Arts), was founded due to the emergence of “art quilting,” which places emphasis on form over function.

“Blankets and baby quilts were and still are being made all the time, but now there was this explosion of creativity beyond those projects,” says Laurie Szczutkowski, member and former president of Patches ‘n Pieces. “A lot of quilts being made today are not your grandmother’s quilts!”

“Quilts are coming off beds and onto walls!” exclaims Barb Brummond, member of Patches ‘n Pieces.

An even more visible venture into modern quilting occurred when The Virginia Quilt museum featured an exhibit called “Heritage Redefined: A Modern Quilt Exhibit” in 2017.

“The term ‘heritage’ gives reference to the fact that even though quilting has changed, we have our roots in the tradition; we’re just taking it in different directions,” Brummond notes.

“Some of the things that define modern quilting are different layouts—a practice called alternate ‘gridwork’—as opposed to traditional patchwork; improv, where you’re not working with a pattern; and the use of negative space.”

In the summer of 2019, the Bower Center for the Arts in Bedford showed off numerous quilts at its National Juried Fiber Arts Exhibition. The contemporary quilts and other pieces were created as an artistic expression—not for everyday life. “With artistic quilts, you have some people who have come out of the traditional quilt field and want to expand their creativity in other ways,” said Jill Jensen, a juror and judge of the show.

“There are also artistic quilters who have come from the fine art field. … I started as a painter but I eventually came to textiles. It’s a way to combine all of my loves of color, bold imagery and texture all in one piece of art.”

The latest local development on the modern quilting front is the late November 2019 launch of a local chapter of The Modern Quilt Guild, an international organization founded on the West Coast 10 years ago. Meetings will be held at Threads Run Thru It, a quilt shop in Rustburg.

Efforts to offer quilting meetings and events at night and on weekends have also allowed for more participation from younger generations.

“The plan is to have [Modern Quilt Guild] meetings on weekends so that younger people can come and join the group,” Brummond says. “If we don’t have younger people, we’re not going to have much of a future for quilting! The modern quilt movement is attracting younger quilters, so we certainly want them to be able to attend meetings.”

Patches ‘n Pieces, a 40-year-old local guild that focuses primarily on traditional quilting techniques, saw a need to offer evening meetings; thus Seven Hills Quilt Guild was born in 2000.

“Seven Hills was established by members of Patches ‘n Pieces because they understood that there are people who work full time who also want to quilt and want an avenue to get together and create,” says Linda Black, member and former treasurer of Patches ‘n Pieces.

The Seven Hills Quilt Guild also embodies another reason that quilting has stood the test of time: its capacity to express support and concern for others.

“Quilters have the biggest hearts of any people you will ever meet, and quilting gives us an opportunity to serve those around us,” says Kim Payne, president of Seven Hills. “We feel that we can fill needs with fabric.”

The guild, which currently boasts about 35 members, produces a staggering number of quilts each year for various charities and causes both locally and throughout the East Coast.

Among these many quilts created annually are 50 baby quilts for the Blue Ridge Pregnancy Center, 25 quilts for the Salvation Army, a minimum of 25 quilts for women and 15 quilts for children at the Safe House for Abused and Battered Women, and one or two quilts for the Rainbow of Hope Quilt Auction for Centra Hospice. Additionally, the guild creates 10 to 15 quilts for Quilts of Valor for veterans, quilts for each of the beds and the sofa at the Desmond T. Doss Home for Homeless Veterans, 15 quilts for Hope for Appalachia (which aids special needs children in impoverished areas of Appalachia), and 16 quilts for beds at the Outdoor Education Center in Harpers Ferry, West Virginia (which supports at-risk youth in Virginia, West Virginia, North Carolina, and Maryland).

The Queen Bees, another subgroup of Patches ‘n Pieces, also creates quilts for local organizations such as HumanKind, Miriam’s House, the Pearson Cancer Center, and Habitat for Humanity.

Unsurprisingly, the internet has also played a significant role in keeping quilting alive.
“The internet has made a huge difference,” Szczutkowski notes. “There are a myriad of permutations of how people have connected internationally over the last 15 to 20 years. That said, I don’t think meeting face-to-face will ever go out of style. The love of fabric is the common thread. There is something about being able to talk about that shared love in person that is very special.”

As it turns out, the cornerstone of quilting’s continued relevance and popularity is a quality it has always possessed: an innate ability to bring people from different backgrounds and of different ages together. As long as experienced quilters are willing to impart their knowledge and beginning quilters are willing to learn that knowledge, quilting will live on.

Luckily, experienced quilters assert that quilting isn’t as challenging as it seems. “Quilting is fun, and it’s not hard!” Payne exclaims. “If you can sew a quarter-inch seam, you’ve got it made.”

“The talent in this town is amazing,” says Szczutkowski. “I suspect that for beginners, it’s challenging to not feel intimidated by folks who have been quilting for a long time. We try to encourage our new members to be inspired rather than intimidated by more experienced members.”

Quilting, and in fact any creative endeavor, may seem especially intimidating to those who feel that they are too old to be considered beginners; that said, it is never too late to pursue a new hobby.

“When I was growing up, my mother didn’t like to sew because she had to sew our clothes, so I didn’t grow up loving to sew,” Black says. “I didn’t make my first quilt until my son was born
when I was 35, and I didn’t make another one until I was 41 or 42. It’s never too late to find your passion.”

Regardless of your chosen creative pursuit(s), the important thing is to never stop creating. “My personal belief is that every human has an urge to create, and we all find our way to do so in some form or another,” Szczutkowski says. “Creating feeds our souls and nurtures us in a way nothing else can.”

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Photos by LAURA BETH DAVIDSON

A 1963 Econoline serves as the backdrop to Debbie Sirockman’s desk at Virginia Found Goods, a giant warehouse filled with, well, just about everything. The difference between antiques and junk, she says, is that antiques are “authentic vintage.”

“Almost everything in here is one-of-a-kind,” Sirockman said of the stock in her warehouse, which she opened two years ago just outside of Altavista.

Displays of antique cameras, toys, kitchen items, tools, furniture, and countless odds and ends fill the warehouse.

The Econoline is not for sale. Neither is an old Airstream, but both are imposing props that entertain customers.

Her shop was one of several stops I made one November day as I ventured out to learn about the art of “antiquing.” Whether you want to make it a daytrip, or a weekend getaway, experts like Sirockman say authentic “antiquing” really is all about the hunt—and you might have to leave your zip code.

A native of New Jersey, Sirockman searches far and wide for her own treasures. Flea markets, garage sales, salvage, and estate sales are primary sources, from places as far away as Italy and Amsterdam.

At Lou’s Antique Mall in Amherst, my next stop, Nancy Simmons said their visitors have come from Russia, France, Wales, and England. The Russian visitor was looking for old soul albums, she said.

The mall concept allows a variety of dealers to work from one location. At Lou’s, Simmons said about 12 dealers sell a variety of goods, and each dealer usually has a specific focus. Lou’s has an even larger store in Danville.

Simmons said at their store, they have seen a resurgence in the furniture market. “Right now furniture is a big seller, especially the old oak,” she said.

The shop is full of large farm tables, buffets, Amish furniture, hall trees, and even an old ice box.

“Just about everything goes through a slump, then it comes back out,” she said. “People like unusual things. They love the jumble. They never know what they will find.”

That treasure hunt aspect is what keeps many people coming back, sometimes week after week, as dealers bring in new items all the time.

At Bell Treasures in Bedford, my third stop, I ran into vendor Terri Foster who is always adding new items to her booth. She’s been selling there for nine years. “I feel like you’re cheating if you find it on eBay,” she said.

Many people use the internet to get an idea of what an antique is likely to sell for, which is an excellent place to start, but there is nothing like finding something you want in person. It’s also easier to assess what shape an item is in.

Cheryl Reynolds, another vendor at Bell Treasures, said small things are popular in their two-level store. Primitive items such as braided rugs and dolls are popular, as are mid-century modern pieces. Quilts, crafts, vintage clothes, paintings, and toys fill every nook and cranny.

Because of its proximity to the National D-Day Memorial, Bell Treasures has a section of World War II items, including uniforms, and often gets shoppers who have visited the memorial. Reynolds said one young shopper from Normandy told her he had met his American wife at the memorial.

Bell Treasures also sees a lot of local shoppers who come in frequently because new items come in almost daily. Miranda Laucella, 22, was recently examining shelves and admitted she does more looking than buying.

“You never know what you’re going to find,” she said, noting that her mother got her into antiquing.

Art Dodd, owner of Estates Revisited in Lynchburg, worked for Estate Specialists until it closed seven years ago. When he opened his own store on Lynchburg’s Main Street, he had a good understanding of what sells. He is in the business of buying whole estates, as well as putting items on consignment.

Bedroom furniture, especially queen and twin beds, are popular, as well as small end tables, he said. For the kitchen, farmhouse tables made from reclaimed wood by a local carpenter can be ordered at Dodd’s store. Any furniture made from solid wood sells well because customers know it’s not going to fall apart, he added.

Many items in antique stores aren’t truly antiques, but college students and first-time apartment dwellers aren’t concerned with age, as much as affordability, Dodd said.

Glassware, including china, crystal, and stemware is very difficult to sell, as are any collectibles.

“Nobody’s collecting anymore,” he said. “The younger generation is into more minimal décor.”

While Lynchburg’s downtown has several antique shops, they all have their own niche. In addition to furniture and primitive cabinets, Dodd said vintage local artwork is popular, even if the artists are not well-known.

Vintage postcards and scenes of the city also sell well.

Regional books are in demand, including Allen Chambers’ Lynchburg: An Architectural History. “That’s the one everybody hunts for,” Dodd said.

Aside from the thrill of the hunt, antique shops provide the ultimate in reuse. Back at Virginia Found Goods in Hurt, salvage is big these days, Sirockman said, noting that corbels are popular. These shops also offer value—for example, a new door from a big box store can easily cost $400, while a solid oak salvaged door might only be $100 and last years longer, she said.

Sirockman said perusing is often times the point. People who spend a day visiting antique shops often want a single, smaller item or just enjoy walking down memory lane. Some search for pieces in a china pattern that matches one they inherited.

So whether someone actually finds a treasure they are looking for, an antique store is sure to bring back childhood memories and provide a peek at the past. “Sometimes it just therapy,” Sirockman said.

BEHIND THE SCENES
Lynchburg Living relies on a fabulous team of freelance photographers to fill the pages of our magazine with local, current photography.

It’s something we are very proud of!

In November, when photographer Heather Kidd wasn’t able to secure child care for her 8-month-old son, editor Shelley Basinger said, “Bring him on!” Shelley heldWyatt while Heather took photos for this issue’s Home feature.

It was a tough job but someone had to do it.

See this issue’s Home feature on Grandmillennial Style starting on page 35.