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• 2291. [Image] On Government Trail looking across to Wizard Island

  	A few days spent on the rim, on the trail, or in a launch upon the lake will give glimpses of world building features and nature history. At no point is there a beach. The steep walls descend and plunge ...
  	Citation × Citation Citation Abstract Copy Title: On Government Trail looking across to Wizard Island Year: 1900 A few days spent on the rim, on the trail, or in a launch upon the lake will give glimpses of world building features and nature history. At no point is there a beach. The steep walls descend and plunge into the water. When Mt. Mazama collapsed leaving clean cut the edges which today are Crater Lake's surrouding cliffs, there was instantly a surging back. The crumbling lavas were forced again up the huge chimney. But not all the way. The vent became jammed. In three spots only did the fires emerge again. Three small volcanoes formed in the hollow. But these in turn soon choked and cooled. During succeeding ages springs poured their waters into the vast cavity, and Crater Lake was born. Its rising waters covered two of the small volcanic cones. The third still emerges. It is called Wizard Island. Title: On Government Trail looking across to Wizard Island Year: 1900 A few days spent on the rim, on the trail, or in a launch upon the lake will give glimpses of world building features and nature history. At no point is there a beach. The steep walls descend and plunge into the water. When Mt. Mazama collapsed leaving clean cut the edges which today are Crater Lake's surrouding cliffs, there was instantly a surging back. The crumbling lavas were forced again up the huge chimney. But not all the way. The vent became jammed. In three spots only did the fires emerge again. Three small volcanoes formed in the hollow. But these in turn soon choked and cooled. During succeeding ages springs poured their waters into the vast cavity, and Crater Lake was born. Its rising waters covered two of the small volcanic cones. The third still emerges. It is called Wizard Island. Close

• 2292. [Image] Artaban welcomes his guests, the Magi

  	He stood by the doorway to greet his guests-- a tall, dark man of about forty years, with brilliant eyes set near together under his broad brow, and firm lines graven around his fine, thin lips; the brow ...
  	Citation × Citation Citation Abstract Copy Title: Artaban welcomes his guests, the Magi He stood by the doorway to greet his guests-- a tall, dark man of about forty years, with brilliant eyes set near together under his broad brow, and firm lines graven around his fine, thin lips; the brow of a dreamer and the mouth of a soldier, a man of sensitive feeling but inflexible will-- one of those who, in whatever age they may live, are born for inward conflict and a life of quest. His robe was of pure white wool, thrown over a tunic of silk; and a white, pointed cap, with long lapels at the sides, rested on his flowing black hair. It was the dress of the ancient priesthood of the Magi, called the fire-worshippers. "Welcome!" he said, in his low, pleasant voice, as one after another entered the room - "Welcome, Adbus; peace be with you, Rhodaspes and Tigranes, and with you my father, Abgarus. You are all welcome, and this house grows bright with the joy of your presence." Title: Artaban welcomes his guests, the Magi He stood by the doorway to greet his guests-- a tall, dark man of about forty years, with brilliant eyes set near together under his broad brow, and firm lines graven around his fine, thin lips; the brow of a dreamer and the mouth of a soldier, a man of sensitive feeling but inflexible will-- one of those who, in whatever age they may live, are born for inward conflict and a life of quest. His robe was of pure white wool, thrown over a tunic of silk; and a white, pointed cap, with long lapels at the sides, rested on his flowing black hair. It was the dress of the ancient priesthood of the Magi, called the fire-worshippers. "Welcome!" he said, in his low, pleasant voice, as one after another entered the room - "Welcome, Adbus; peace be with you, Rhodaspes and Tigranes, and with you my father, Abgarus. You are all welcome, and this house grows bright with the joy of your presence." Close

• 2293. [Image] PH014_90-27 Gertrude Bass Warner photographs; 270

  	Hand tinted image. A woman identified as Gertrude Bass Warner is surrounded by locals in a village in China. Mrs. Warner stands in the middle of a dirt path adjusting her camera and tripod. She is dressed ...
  	Citation × Citation Citation Abstract Copy Title: PH014_90-27 Gertrude Bass Warner photographs; 270 Year: 1910 Hand tinted image. A woman identified as Gertrude Bass Warner is surrounded by locals in a village in China. Mrs. Warner stands in the middle of a dirt path adjusting her camera and tripod. She is dressed in a hat, long sleeved shirt, and long skirt. To the left of her on a grassy incline is a tall sculpted stone column. Filling the background of the image are dwellings with tiled roofs that have pointed and curved eaves. Following the dirt path into the background of the image is a covered walkway. The individuals surrounding Mrs. Warner vary in age and are dressed in loose fitting garments. Grass fills the foreground of the image. Title: PH014_90-27 Gertrude Bass Warner photographs; 270 Year: 1910 Hand tinted image. A woman identified as Gertrude Bass Warner is surrounded by locals in a village in China. Mrs. Warner stands in the middle of a dirt path adjusting her camera and tripod. She is dressed in a hat, long sleeved shirt, and long skirt. To the left of her on a grassy incline is a tall sculpted stone column. Filling the background of the image are dwellings with tiled roofs that have pointed and curved eaves. Following the dirt path into the background of the image is a covered walkway. The individuals surrounding Mrs. Warner vary in age and are dressed in loose fitting garments. Grass fills the foreground of the image. Close

• 2294. [Image] James A. Garfield

  	Photograph by Pach Bros., N. Y. James A. Garfield was born in Ohio, in 1831. Left fatherless at an early age, he was forced to provide for himself even in his youth, but by alternate periods of manual ...
  	Citation × Citation Citation Abstract Copy Title: James A. Garfield Photograph by Pach Bros., N. Y. James A. Garfield was born in Ohio, in 1831. Left fatherless at an early age, he was forced to provide for himself even in his youth, but by alternate periods of manual labor and of study he succeeded in obtaining an education. He was graduated at Williams College, Ohio, in 1856 and spent the years of his early manhood as a teacher. In the War between the States Garfield served on the Union side, and rose to the rank of major-general. From 1863 to 1880 he was a representative in Congress from his native state and in 1876 was a member of the Electoral Commission. In 1880 his state had elected him to the United States Senate, which position he resigned when he was nominated for the Presidency. He died in New Jersey, September 19, 1881. He was our second President assassinated. Title: James A. Garfield Photograph by Pach Bros., N. Y. James A. Garfield was born in Ohio, in 1831. Left fatherless at an early age, he was forced to provide for himself even in his youth, but by alternate periods of manual labor and of study he succeeded in obtaining an education. He was graduated at Williams College, Ohio, in 1856 and spent the years of his early manhood as a teacher. In the War between the States Garfield served on the Union side, and rose to the rank of major-general. From 1863 to 1880 he was a representative in Congress from his native state and in 1876 was a member of the Electoral Commission. In 1880 his state had elected him to the United States Senate, which position he resigned when he was nominated for the Presidency. He died in New Jersey, September 19, 1881. He was our second President assassinated. Close

• 2295. [Image] Aging reveler; Neck-Amphora; Old Catalogue 798; Vase E266

  	Pottery: red-figured neck-amphora, with twisted handles. (a) Anacreon type. A bearded reveller walking to right, wreathed in ivy and playing on the chelys: his head hangs forward to left, with eyes upturned ...
  	Citation × Citation Citation Abstract Copy Title: Aging reveler; Neck-Amphora; Old Catalogue 798; Vase E266 Author: Berlin Painter Pottery: red-figured neck-amphora, with twisted handles. (a) Anacreon type. A bearded reveller walking to right, wreathed in ivy and playing on the chelys: his head hangs forward to left, with eyes upturned as if partly drunk. The nose is curiously squat and broad, like that of a bearded satyr. His mantle flies back with the motion; and he has a staff under his left shoulder. (b) Ephebos, wreathed, walking to right, holding in his right hand horizontally a crutch staff, and extending his left on a level with his shoulder, holding on the palm upright a kylix: a mantle, rolled up, flies back from both arms. Extremities carefully drawn. Purple wreaths, tuning pegs, and cord of plectrum. Elaborate brown inner markings: the beard and the edge of the hair in a are indicated throughout in carefully traced-brown lines, which are also used for the knuckles of the bent hand and nostril in b and the hair on the cheek. Eye in archaic type, with inner angle open. Edge of hair dotted: and a dotted rosette for the left breast. Below a, a strip, alternate maeander and dotted cross squares: below b, a strip of key pattern. --The British Museum; default; Red-figure; Attic (Mainland Greek pottery styles) Title: Aging reveler; Neck-Amphora; Old Catalogue 798; Vase E266 Author: Berlin Painter Pottery: red-figured neck-amphora, with twisted handles. (a) Anacreon type. A bearded reveller walking to right, wreathed in ivy and playing on the chelys: his head hangs forward to left, with eyes upturned as if partly drunk. The nose is curiously squat and broad, like that of a bearded satyr. His mantle flies back with the motion; and he has a staff under his left shoulder. (b) Ephebos, wreathed, walking to right, holding in his right hand horizontally a crutch staff, and extending his left on a level with his shoulder, holding on the palm upright a kylix: a mantle, rolled up, flies back from both arms. Extremities carefully drawn. Purple wreaths, tuning pegs, and cord of plectrum. Elaborate brown inner markings: the beard and the edge of the hair in a are indicated throughout in carefully traced-brown lines, which are also used for the knuckles of the bent hand and nostril in b and the hair on the cheek. Eye in archaic type, with inner angle open. Edge of hair dotted: and a dotted rosette for the left breast. Below a, a strip, alternate maeander and dotted cross squares: below b, a strip of key pattern. --The British Museum; default; Red-figure; Attic (Mainland Greek pottery styles) Close

• 2296. [Image] Sivai Bennett Oral History Interview

  	Sivai Bennett was born in 1960 in American Samoa. She lived there until she moved to La Grande, Oregon, at age 18 to attend Eastern Oregon University and study political science. After two years, Bennett ...
  	Citation × Citation Citation Abstract Copy Title: Sivai Bennett Oral History Interview Year: 2015 Sivai Bennett was born in 1960 in American Samoa. She lived there until she moved to La Grande, Oregon, at age 18 to attend Eastern Oregon University and study political science. After two years, Bennett transferred to the University of Oregon in Eugene, Oregon, where she continued her studies to become a lawyer even though she aspired to become a teacher. There she met her husband. She moved with him to La Grande and began her studies to become an elementary school teacher. In 1984, Bennett, her husband, and her daughter moved back to American Samoa where she taught high school. They then relocated to El Centro, California, in 1988 where they lived for 10 years. Eventually they moved to Portland, Oregon, where Bennett received her Masters of Arts in Teaching in 2003 at the University of Portland. Currently, she is a teacher at Harold Oliver Elementary in Portland. She also serves as a volunteer advisory board member of IRCO's Asian Family Center where her role is to advise the directors, help fundraise, and connect IRCO to her community. Bennett also serves as the secretary for the board of directors at the Samoa Pacific Development Corporation where she has previously held the positions of president, vice-president, and treasurer. Title: Sivai Bennett Oral History Interview Year: 2015 Sivai Bennett was born in 1960 in American Samoa. She lived there until she moved to La Grande, Oregon, at age 18 to attend Eastern Oregon University and study political science. After two years, Bennett transferred to the University of Oregon in Eugene, Oregon, where she continued her studies to become a lawyer even though she aspired to become a teacher. There she met her husband. She moved with him to La Grande and began her studies to become an elementary school teacher. In 1984, Bennett, her husband, and her daughter moved back to American Samoa where she taught high school. They then relocated to El Centro, California, in 1988 where they lived for 10 years. Eventually they moved to Portland, Oregon, where Bennett received her Masters of Arts in Teaching in 2003 at the University of Portland. Currently, she is a teacher at Harold Oliver Elementary in Portland. She also serves as a volunteer advisory board member of IRCO's Asian Family Center where her role is to advise the directors, help fundraise, and connect IRCO to her community. Bennett also serves as the secretary for the board of directors at the Samoa Pacific Development Corporation where she has previously held the positions of president, vice-president, and treasurer. Close

• 2297. [Image] Trilliums

  	Trillium ovatum. Western Trillium or Wake-robin While other vegetation is still winter-bare, this elegant blossom unfurls in its whorl of large sessile leaves to punctuate moist shay woods from British ...
  	Citation × Citation Citation Abstract Copy Title: Trilliums Author: Hall, Bonnie Year: 1975 Trillium ovatum. Western Trillium or Wake-robin While other vegetation is still winter-bare, this elegant blossom unfurls in its whorl of large sessile leaves to punctuate moist shay woods from British Columbia south to Central California, from lowlands to well up in the mountains. Indeed, one of its common names, Wake-robin, implies that it precedes the earliest of birds. The Latin generic name Trillium, meaning triple, is appropriate to describe the parts of three in petals, sepals, and leaves - all supported by a sturdy bare stem as much as 12 inches tall. This species is distinguished from another common woodlawn trillium in having a thin stem or pedicel that bears each solitary flower above its three broad net-veined leaves. The fragrant white flowers of T. ovatum turn purplish with age. The botanical history of this plant is tied to the history of the pacific Northwest via Lewis and Clark Expedition. On their return trip east in 1806, Captain Meriwether Lewis collected it "On the rapids of Columbia river", one of the 150 novel specimens he conveyed to botanist Fredrick Pursh. It was from the Lewis collection that Trillium ovatum was first described and named by Pursh in his Flora Americae Septenrionalis of 1814, the first account of North American plants to include the Pacific Northwest. The familiar admonition not to pick trilliums is well founded. Removing the flower stem robs the rhizome of the food supply necessary to produce next year's plant, and some years may be required for recovery. Trilliums do not transplant well, but may grow from seed with patience. As many as seven years may pass before a white blossom is produced to crown the three stem-leaves. Ants are a natural aid in dispersal, attracted by sweet tissue on the seeds. (description provided by Oregon Arts Commission) Title: Trilliums Author: Hall, Bonnie Year: 1975 Trillium ovatum. Western Trillium or Wake-robin While other vegetation is still winter-bare, this elegant blossom unfurls in its whorl of large sessile leaves to punctuate moist shay woods from British Columbia south to Central California, from lowlands to well up in the mountains. Indeed, one of its common names, Wake-robin, implies that it precedes the earliest of birds. The Latin generic name Trillium, meaning triple, is appropriate to describe the parts of three in petals, sepals, and leaves - all supported by a sturdy bare stem as much as 12 inches tall. This species is distinguished from another common woodlawn trillium in having a thin stem or pedicel that bears each solitary flower above its three broad net-veined leaves. The fragrant white flowers of T. ovatum turn purplish with age. The botanical history of this plant is tied to the history of the pacific Northwest via Lewis and Clark Expedition. On their return trip east in 1806, Captain Meriwether Lewis collected it "On the rapids of Columbia river", one of the 150 novel specimens he conveyed to botanist Fredrick Pursh. It was from the Lewis collection that Trillium ovatum was first described and named by Pursh in his Flora Americae Septenrionalis of 1814, the first account of North American plants to include the Pacific Northwest. The familiar admonition not to pick trilliums is well founded. Removing the flower stem robs the rhizome of the food supply necessary to produce next year's plant, and some years may be required for recovery. Trilliums do not transplant well, but may grow from seed with patience. As many as seven years may pass before a white blossom is produced to crown the three stem-leaves. Ants are a natural aid in dispersal, attracted by sweet tissue on the seeds. (description provided by Oregon Arts Commission) Close

• 2298. [Image] PH036_5569 Lee Moorhouse photographs

  	An outside photograph of a large group of children -- boys and girls -- standing outside of a three-storey building. The structure has been identified as St. Andrews Roman Catholic mission school, and ...
  	Citation × Citation Citation Abstract Copy Title: PH036_5569 Lee Moorhouse photographs Year: 1900 An outside photograph of a large group of children -- boys and girls -- standing outside of a three-storey building. The structure has been identified as St. Andrews Roman Catholic mission school, and the children are, most likely, pupils of the school. To the far left of the photograph is a uniformed boy's band. Brass instruments and several drums can be seen. Standing behind the band are several men dressed in Euro-American clothing. Clustered in the middle are the girls. They appear to be grouped by age, with the youngest on the left and the older girl novices, many dressed in white and wearing a veil, on the right. Sitting on the ground in front of the girls are young boys. On the far right are the older boys, dressed in Euro-American clothing, and a priest wearing clerical garb. There are some women standing behind the girls and older boys. The school building exhibits 17 double-hung windows, one half-round window and three gable roof type dormers. There are two chimneys and a cross on the top. To the rear of the building is a smaller structure that may be attached. There is fencing behind the entire assemblage and in the background are rolling hills. The foreground shows patches of grass and dirt. Title: PH036_5569 Lee Moorhouse photographs Year: 1900 An outside photograph of a large group of children -- boys and girls -- standing outside of a three-storey building. The structure has been identified as St. Andrews Roman Catholic mission school, and the children are, most likely, pupils of the school. To the far left of the photograph is a uniformed boy's band. Brass instruments and several drums can be seen. Standing behind the band are several men dressed in Euro-American clothing. Clustered in the middle are the girls. They appear to be grouped by age, with the youngest on the left and the older girl novices, many dressed in white and wearing a veil, on the right. Sitting on the ground in front of the girls are young boys. On the far right are the older boys, dressed in Euro-American clothing, and a priest wearing clerical garb. There are some women standing behind the girls and older boys. The school building exhibits 17 double-hung windows, one half-round window and three gable roof type dormers. There are two chimneys and a cross on the top. To the rear of the building is a smaller structure that may be attached. There is fencing behind the entire assemblage and in the background are rolling hills. The foreground shows patches of grass and dirt. Close

• 2299. [Image] Michael Ray Charles, 1989-1997: an American artist's work

  	Includes the catalog of an exhibition held at the Blaffer Gallery, the Art Museum of the University of Houston, June-Aug., 1997, the Austin Museum of Art, Sept.-Dec. 1997, and the Contemporary Arts Center, ...
  	Citation × Citation Citation Abstract Copy Title: Michael Ray Charles, 1989-1997: an American artist's work Author: Charles, Michael Ray, 1967- Includes the catalog of an exhibition held at the Blaffer Gallery, the Art Museum of the University of Houston, June-Aug., 1997, the Austin Museum of Art, Sept.-Dec. 1997, and the Contemporary Arts Center, Cincinnati, Jan.-Mar., 1998. Also includes collection of color illustrations; Title from exhibition catalog; Includes bibliographical references; Includes artist's biography; Penny glued to back cover of exposition catalogue above artist's name. Introduction by Spike Lee, essay by Marilyn Kern-Foxworth, and an interview with the artist by Don Bacigalupi and Marilyn Kern-Foxworth. Includes bibliographical references. "Michael Ray Charles is a painter whose carefully crafted and faux-aged canvases and works on paper draw attention to race relations historically and in contemporary society. Borrowing pop culture images of characters such as Sambo, Buckwheat, and Aunt Jemima, Charles uses them ironically to comment on racial issues. His concerns range from how tobacco and liquor companies target marketing to minorities to the depiction of African Americans in the entertainment and sports industries to concepts of all-American (i.e., white) beauty. This book is the catalog of the first major solo exhibition of Charles' work, staged by Blaffer Gallery, the Art Museum of the University of Houston. It contains a broad range of color images of paintings and works on paper. In addition to the catalog entries, the book contains an interview between exhibit curator Don Bacigalupi, catalog essayist Marilyn Kern-Foxworth, and artist Michael Ray Charles, in which the artist discusses and interprets his work. An essay by writer and cultural historian Marilyn Kern-Foxworth situates Charles' work within contemporary African American culture." Title: Michael Ray Charles, 1989-1997: an American artist's work Author: Charles, Michael Ray, 1967- Includes the catalog of an exhibition held at the Blaffer Gallery, the Art Museum of the University of Houston, June-Aug., 1997, the Austin Museum of Art, Sept.-Dec. 1997, and the Contemporary Arts Center, Cincinnati, Jan.-Mar., 1998. Also includes collection of color illustrations; Title from exhibition catalog; Includes bibliographical references; Includes artist's biography; Penny glued to back cover of exposition catalogue above artist's name. Introduction by Spike Lee, essay by Marilyn Kern-Foxworth, and an interview with the artist by Don Bacigalupi and Marilyn Kern-Foxworth. Includes bibliographical references. "Michael Ray Charles is a painter whose carefully crafted and faux-aged canvases and works on paper draw attention to race relations historically and in contemporary society. Borrowing pop culture images of characters such as Sambo, Buckwheat, and Aunt Jemima, Charles uses them ironically to comment on racial issues. His concerns range from how tobacco and liquor companies target marketing to minorities to the depiction of African Americans in the entertainment and sports industries to concepts of all-American (i.e., white) beauty. This book is the catalog of the first major solo exhibition of Charles' work, staged by Blaffer Gallery, the Art Museum of the University of Houston. It contains a broad range of color images of paintings and works on paper. In addition to the catalog entries, the book contains an interview between exhibit curator Don Bacigalupi, catalog essayist Marilyn Kern-Foxworth, and artist Michael Ray Charles, in which the artist discusses and interprets his work. An essay by writer and cultural historian Marilyn Kern-Foxworth situates Charles' work within contemporary African American culture." Close

• 2300. [Image] Anti-lepus journal : travels with Howard, v16

  	Covered in rabbit fur; This journal was inspired by the call for work for the Fourth Triennial Book Arts Exhibition. The theme: Rabbit and House. During Fall 2005 I had the privilege of teaching a junior ...
  	Citation × Citation Citation Abstract Copy Title: Anti-lepus journal : travels with Howard, v16 Author: Ellis, Elsi Vassdal Covered in rabbit fur; This journal was inspired by the call for work for the Fourth Triennial Book Arts Exhibition. The theme: Rabbit and House. During Fall 2005 I had the privilege of teaching a junior honors course on the art of the book (Book as Object of Fear and Desire). Umberto Eco's The name of the rose served as the center of our exploration of manuscript traditions, religion, heresy and anything medieval. My students were charged with the task of turning a traditional term paper into a medieval manuscript sewn on cords, laced into wood boards, and finished off with or without leather. My first idea for the call was to create a heretical text, The Gospel of Rabbit. Once I got started writing it I realized what a task it would be. My next idea was to create a character - the Anti-Lepus (rabbit) hunter who would try to uncover the sinister plot of rabbits and hares throughout the world in their goal to eliminate all humans. Some of the information is based upon historical research. The images are combinations of copyright free images (Corel & internet), sketches based upon images, created facsimiles, family photos, and original art , all gently or not so gently massaged in Photoshop following scanning [The artist/author at the age of eight is holding the bunny on the beach.] The book was assembled and imposed on a Mac G4 in InDesign and printed in an edition of 10 on an Epson le86 ink jet printer with archival inks. The handwriting font is Texas Hero. Rabbit fur purchased in Portland, Oregon, has been used for the exterior binding. Title: Anti-lepus journal : travels with Howard, v16 Author: Ellis, Elsi Vassdal Covered in rabbit fur; This journal was inspired by the call for work for the Fourth Triennial Book Arts Exhibition. The theme: Rabbit and House. During Fall 2005 I had the privilege of teaching a junior honors course on the art of the book (Book as Object of Fear and Desire). Umberto Eco's The name of the rose served as the center of our exploration of manuscript traditions, religion, heresy and anything medieval. My students were charged with the task of turning a traditional term paper into a medieval manuscript sewn on cords, laced into wood boards, and finished off with or without leather. My first idea for the call was to create a heretical text, The Gospel of Rabbit. Once I got started writing it I realized what a task it would be. My next idea was to create a character - the Anti-Lepus (rabbit) hunter who would try to uncover the sinister plot of rabbits and hares throughout the world in their goal to eliminate all humans. Some of the information is based upon historical research. The images are combinations of copyright free images (Corel & internet), sketches based upon images, created facsimiles, family photos, and original art , all gently or not so gently massaged in Photoshop following scanning [The artist/author at the age of eight is holding the bunny on the beach.] The book was assembled and imposed on a Mac G4 in InDesign and printed in an edition of 10 on an Epson le86 ink jet printer with archival inks. The handwriting font is Texas Hero. Rabbit fur purchased in Portland, Oregon, has been used for the exterior binding. Close