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Portland Hotel, 1890 by Unknown the Portland Hotel Opened in 1890
Portland Hotel, 1890 By Unknown The Portland Hotel opened in 1890. It had eight floors, 326 bedrooms, and extensive dining facilities, and the design suggested substance and elegance rather than opulence and frivolity. In a sense, it reflected something of Portland’s conservative (some said dull) character. All told, the hotel had cost well over a million dollars and taken years to complete. Railroad magnate Henry Villard began construction of the Portland Hotel, however, his finances collapsed and progress halted for over two years. When George B. Markle, Jr. came to Portland he decided to begin a campaign to raise enough local money and support to complete the hotel. He succeeded in getting acquainted with the “right” sort in Portland and generated interest and capital from notables such as Henry W. Corbett and William S. Ladd. Over 150 Portlanders subscribed to Markle’s plan, and construction of the hotel resumed. Until it was torn down in 1951, the Portland Hotel stood between Southwest Morrison and Yamhill, on Sixth Street, facing the Pioneer Courthouse. When the parking structure that replaced the hotel was in turn replaced by Pioneer Square in 1984, the iron scrollwork gate that had graced the hotel was incorporated into the design of the new public space. Further Reading: Gohs, Carl. “There Stood the Portland Hotel.” The Sunday Oregonian Northwest Magazine: May 25, 1975. MacColl E. Kimbark. The Shaping of a City: Business and Politics in Portland, Oregon 1885-1915. Portland, Oreg., 1976. Written by Trudy Flores, Sarah Griffith, © Oregon Historical Society, 2002. Oregon History Project https://www.oregonhistoryproject.org/articles/historical-records/portland-hotel-1890/. -
Amanda Snyder Portland Modernist
BONNIE LAING-MALCOLMSON Amanda Snyder Portland Modernist PORTLAND ART MUSEUM OREGON Contents 9 Director’s Foreword Brian J. Ferriso 13 A Portland Modernist Bonnie Laing-Malcolmson Published on the occasion of the exhibition Amanda Snyder: Portland Modernist, Organized by the Portland Art Museum, Oregon, June 30 – October 7, 2012. 44 Biography This publication is made possible by a generous bequest of Eugene E. Snyder. Copyright © 2012 Portland Art Museum, Oregon All rights reserved. No portion of this publication may be reproduced without the 49 Checklist of Exhibition written permission of the publisher. Library of Congress Cataloguing-in-Publication Data. Amanda Snyder: Portland Modernist p. 58; cm Published on the occasion of an exhibition held at the Portland Art Museum, Portland, OR. June 30 – October 7, 2012 Includes exhibition checklist, artist biography, and illustrations ISBN 9781883124344 Published by Portland Art Museum 1219 SW Park Avenue Portland, Oregon 97205 Publication coordinator: Bruce Guenther Design: Bryan Potter Design Photography: Paul Foster Printed: Image Pressworks, Portland Director’s Foreword With the opening of The Arlene and Harold Schnitzer Center for Northwest Art in 2000, and the subsequent establishment of a permanently endowed Curator of Northwest Art in 2006, the Portland Art Museum signaled its intention to create an historical record of our artistic community and its participants through an active exhibition, collection, and publication program. This commitment has resulted in the creation of an ongoing one-person contemporary exhibition series for artists of our region, APEX, and the biennial Contemporary Northwest Art Awards, as well as a renewed focus on historic figures through landmark survey exhibitions like Hilda Morris and Lee Kelly. -
2013 Financial Statements and Report of Independent Accountants
GaryMcGee & Co. LLP CERTIFIED PUBLIC ACCOUNTANTS Portland Art Museum Financial Statements and Other Information as of and for the Years Ended June 30, 2013 and 2012 and Report of Independent Accountants P O R T L A N D A R T M U S E U M TABLE OF CONTENTS Page Report of the Treasurer 3 Report of Independent Accountants 4 Financial Statements: Statements of Financial Position 6 Statements of Activities 8 Statements of Cash Flows 10 Notes to Financial Statements 11 Supplementary Financial Information: Schedule of Operating Revenues and Expenses of the Northwest Film Center 30 Notes to Schedule of Operating Revenues and Expenses of the Northwest Film Center 31 Other Information: Governing Board and Management 32 Inquiries and Other Information 34 Report of the Treasurer The financial statements and other information con- The financial statements have been examined by the tained in this report have been prepared by manage- Museum’s independent accountants, GARY MCGEE & ment, which is responsible for the information’s integ- CO. LLP, whose report follows. Their examinations rity and objectivity. The financial statements have were made in accordance with generally accepted au- been prepared in accordance with generally accepted diting standards. The Audit Committee of the Board accounting principles applied on a consistent basis and of Trustees meets periodically with management and are deemed to present fairly the financial position of the independent accountants to review accounting, the PORTLAND ART MUSEUM and the changes in its net auditing, internal accounting controls, and financial assets and cash flows. Where necessary, management reporting matters, and to ensure that all responsibili- has made informed judgments and estimates of the ties are fulfilled with regard to the objectivity and in- outcome of events and transactions, with due consid- tegrity of the Museum’s financial statements. -
2016 Portland Hotel Guide
Portland Hotel Guide HouseSpecial 2016 housespecial.com Airport 12 420 NE 9th Ave. 10 2 11 8 7 4 3 6 1 5 9 North WELCOME TO PORTLAND Here are some hotel suggestions for your stay. Hopefully, this will give you a little taste of the city and make your decision a bit easier. We know you’re going to love Portland — we sure do. 1 The Nines HOUSESPECIAL RATE HOTELS 2 Ace Hotel The Nines .....................................................................page 3 3 Hotel Lucia Ace Hotel .....................................................................page 4 4 Hotel deLuxe Hotel Lucia ...................................................................page 5 Hotel deLuxe ................................................................page 6 5 Hotel Monaco Hotel Monaco...............................................................page 7 Sentinel Hotel ..............................................................page 8 6 Sentinel Hotel Hotel Vintage ...............................................................page 9 7 Hotel Vintage Hotel Eastlund..............................................................page 10 8 Benson Hotel 9 The Heathman Hotel STANDARD RATE HOTELS Benson Hotel ...............................................................page 11 10 Jupiter Hotel The Heathman .............................................................page 12 11 The Westin Jupiter Hotel ................................................................page 13 The Westin ...................................................................page 14 12 Hotel -
RECEIVED 413 National Park Service National Register of Historic Places MAY 81995 Registration Form
NPS Form 10-900 ). 10024-0018 (Oct. 1990) United States Department of the Interior RECEIVED 413 National Park Service National Register of Historic Places MAY 81995 Registration Form This form is for use in nominating or requesting determinations for individual propei »te the National Register of Historic Places Registration Form (National Register Bulletin 16/ the'ap'p >priate box or by entering the information requested. If an item does not apply to the property beii ^Hrtrn^ente^1 enter~lfrj or functions, architectural classification, materials, and areas of significance, enter only categories and subcategories from ditional entries and narrative items on continuation sheets (NFS Form 10-900a). Use a typewriter, word processor, or computer, to complete all items. 1. Name of Property historic name Hill Hotel other names/site number Catnpbell Hotel, C^bell-Hill Hotel, Victorian Inn 2. Location street & number ___ 2255-2261 West Burnside Street for publication city or town ______ Portland vicinity state_______Oregon code OR county Multnomah code 051 zip code 97210 3. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act, as amended, I hereby certify that this S nomination D request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property Q£ meets D does not meet the National Register criteria. I recommend that this property be considered significant D nationally D statewide (3 locally. (D See continuatiorsheet for additional comments.) Signature of certifying official/Title eputy Date April 26, 1995 Oregon State Historic Preservation Office State of Federal agency and bureau In my opinion, the property D meets D does not meet the National Register criteria. -
Annual Report for the Year 2003–2004
2003–2004 ANNUAL REPORT SAM Students with Sanislo Feast SAM CONNECTS ART TO LIFE CONTEMPORARY CHINESE ARTIST LI JIN’S A FEAST made a permanent impression on the fourth- and fifth-grade students at Sanislo Elementary School. Inspired by the fifty-nine- foot-long painting depicting food from a traditional Chinese dinner on a background of recipes written in Chinese calligraphy, the students set out to re-create their own version. Art teachers Ruth Winter and Carolyn Autenrieth designed the project to celebrate the diversity of cultures at their school. Students painted their favorite ethnic foods, and staff helped transcribe the recipes into the students’ original languages. On display at the Seattle Asian Art Museum last spring, the students’ work, Sanislo Feast, a fifty-foot-long art scroll portraying food and languages from seventeen different nations and cultures, reflected the heritage of Sanislo students and staff. Students, families and teachers commemorated the unveiling of their “masterpiece” with a special celebration at SAAM. cover: Li Jin, China, born 1958, A Feast, 2001, ink on Xuan paper, 39 3/8 x 708 5/8 in., Courtesy of the artist and CourtYard Gallery, Beijing right: Wolfgang Groschedel and Kunz Lochner, Equestrian armor for Philip II, ca. 1554, etched steel and gold, Patrimonio Nacional, Real Armería, Madrid SEATTLE ART MUSEUM TABLE OF CONTENTS 1 Director’s Letter 17 Betty Bowen Award 2 Board of Trustees 18 Reaching Out to Youth & Families 3 Broadening, Deepening, Diversifying 19 Teaching and Learning 4–5 One Museum, Three -
Cornerstones of Community: Building of Portland's African American History
Portland State University PDXScholar Black Studies Faculty Publications and Presentations Black Studies 8-1995 Cornerstones of Community: Buildings of Portland's African American History Darrell Millner Portland State University, [email protected] Carl Abbott Portland State University, [email protected] Cathy Galbraith The Bosco-Milligan Foundation Follow this and additional works at: https://pdxscholar.library.pdx.edu/black_studies_fac Part of the United States History Commons, and the Urban Studies and Planning Commons Let us know how access to this document benefits ou.y Citation Details Millner, Darrell; Abbott, Carl; and Galbraith, Cathy, "Cornerstones of Community: Buildings of Portland's African American History" (1995). Black Studies Faculty Publications and Presentations. 60. https://pdxscholar.library.pdx.edu/black_studies_fac/60 This Report is brought to you for free and open access. It has been accepted for inclusion in Black Studies Faculty Publications and Presentations by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. ( CORNERSTONES OF COMMUNITY: BUILDINGS OF PORTLAND'S AFRICAN AMERICAN HISTORY Rutherford Home (1920) 833 NE Shaver Bosco-Milligan Foundation PO Box 14157 Portland, Oregon 97214 August 1995 CORNERSTONES OF COMMUNITY: BUILDINGS OF PORTLAND'S AFRICAN AMERICAN HISTORY Dedication This publication is dedicated to the Portland Chapter ofthe NMCP, and to the men and women whose individual histories make up the collective history ofPortland's -
Marsden Hartley (American, 1877-1943), Still Life, No
THE ARMORY SHOW AT 100 October 18, 2013 - February 23, 2014 Marsden Hartley (American, 1877-1943), Still Life, No. 1, 1912. Oil on canvas, 31 ½ x 25 5/8 in. Columbus Museum of Art, Ohio: Gift of Ferdinand Howald, 1931.184. Vincent van Gogh (Dutch, 1853-1890), Mountains at Saint Rémy (Montagnes à Saint- Rémy), 1889. Oil on canvas, 28 ¼ x 35 ¾ in. Solomon R. Guggenheim Museum, New York, Thannhauser Collection, Justin K. Thannhauser, 1978, 78.2514.24 Maurice Prendergast (American, 1859-1924), Landscape with Figures, ca. 1910-12. Oil on canvas, 38 ½ x 52 ¾ in. Edward W. Root Bequest, 57.212, Munson-Williams-Proctor Arts Institute, Utica, New York. Image, Art Resource, NY Henri Matisse (French, 1869-1954), Blue Nude, 1907. Oil on canvas, 36 ¼ x 55 ¼ in. The Baltimore Museum of Art: The Cone Collection, formed by Dr. Claribel Cone and Miss Etta Cone of Baltimore, Maryland, BMA 1950.228. © 2013 Succession H. Matisse / Artists Rights Society (ARS), New York. Photography by Mitro Hood. John Sloan (American, 1871-1951), Sunday, Women Drying Their Hair, 1912. Oil on canvas, 26 1/8 x 32 1/8 in. Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts, Museum Purchase, 1938.67. © 2013 Delaware Art Museum / Artists Rights Society (ARS), New York Paul Gauguin (French, 1848-1903), Parau na te Varua ino (Words of the Devil), 1892. Oil on canvas, 36 1/8 x 26 15/16 in. National Gallery of Art, Washington, Gift of the W. Averell Harriman Foundation in memory of Marie N. Harriman. Courtesy of the National Gallery of Art, Washington John Marin (American, 1870-1953), Woolworth Building, No. -
2016 Auction Catalog Hard Hat Black
Hard Hat & Black Tie DINNER AND AUCTION 2016 Auction Catalog The Evening’s Schedule 5:30 pm Reception Silent Auction 7:00 pm Silent Auction Ends Seating for Dinner 7:15 - 9:00 pm Dinner Program Pick Your Prize Raffle Live Auction Airline Ticket Raffle Green Line Drawing WITH EVERY BUNDLE OF LUMBER BOUGHT during the Live Auction, another wall is raised, and with every wall, another home is built with a deserving family. If we are WALL able to buy 500 bundles of lumber this evening, we will RAISING be able to frame 20 Habitat homes with 20 families! Your generosity will help build healthy homes and healthy CHALLENGE families, one bundle of lumber at a time! 2 3 Dear Friends, Welcome to the sixth annual Hard Hat & Black Tie Dinner and Auction. Tonight, we are gathered in this beautiful ballroom to celebrate the work of Habitat for Humanity Portland/Metro East. With every paddle raised this evening, your support will go a long way towards helping Habitat homeowners achieve the strength, stability and independence they need to build a better life. Many hardworking families in our city are in need of decent and affordable housing. Every day we see the impacts of the housing crisis in Portland, especially in the communities we serve. At Habitat, we provide a hand-up, not a hand-out. Families purchase an affordable home and help build it with the support of our staff and volunteers. Together, we can help many local families achieve their dreams of a safe, stable, healthy and affordable home. -
Southwest Corridor Light Rail Project Draft Environmental Impact Statement (EIS)
APPENDIX B4.2 – LAND USE BACKGROUND INFORMATION Existing Land Uses Existing land uses are shown on Figures B4.2‐1 to B4.2‐3, which include the ½‐mile study areas surrounding the potential stations as well as the ¼‐mile study areas on each side of the alignment alternatives. Segment A begins in the southern end of downtown Portland, the central city of the region, includes the South Waterfront District and extends south to the Hillsdale neighborhood. Existing land use here has been historically influenced and constrained by the presence of SW Barbur Boulevard (formerly a rail line) and the Willamette River, and more recently by the development of Interstates 5 and 205 (I‐5 and I‐205) as well as SW Naito Parkway. The northern portion of this segment is an extension of the central city (downtown) in its more densely developed blocks, and is similar in feel to other neighborhoods in the southern downtown area. The southern section of Segment A is dominated by auto‐oriented uses separated by parking lots and driveways. Properties on SW Barbur Boulevard are predominantly zoned for general commercial uses, and are developed with many auto‐oriented uses separated by parking lots and driveways. The zoning along SW Barbur Boulevard includes a mixture of commercial, open space and residential uses on the northern edge, transitioning to primarily multifamily and single‐family housing through the steep and wooded area, and then mostly low‐density commercial for the remainder of the corridor heading south to Tigard. Along SW Barbur Boulevard, existing land uses include auto‐oriented low‐ density commercial uses involving offices, personal services, and retail, followed by restaurants, apartments, auto‐specific uses (mechanics, tire and oil centers, body shops) and hotels. -
Ten Steps to Pesticide-Free Parks: How to Create Healthy Public Spaces in Your Community
Ten Steps to Pesticide-free Parks: How to Create Healthy Public Spaces in Your Community Arbor Lodge is one of Portland, Oregon’s first pesticide-free parks. www.pesticide.org 0 Table of Contents Introduction: Ten Steps To Pesticide-free Parks…2 1. Connect With Others Who Share Your Interest In Pesticide-free Parks…3 2. Set Goals And Clarify What The Group Wants…4 3. Identify And Meet With Parks Staff To Measure Support For Your Goals…5 4. Gather More Support From The Community To Gain Visibility…6 5. Launch A Campaign To Influence The Decision Makers …7 6. Once The Program Concept Is Approved, Work With Parks Staff To Design A Program That Has Community And Agency Support…9 7. Put The Program In Writing…10 8. Train and Support Your Program Volunteers…11 9. Plan A Community Event With Parks Staff To Kick Off The Program And Celebrate!...12 10. Moving Forward With Your Program…13 Appendix A-J …15 1 Introduction: Ten Steps to Pesticide-free Parks The pesticide-free parks movement is growing! People want places they can go with their children and pets where they won’t be exposed to pesticides. There are new pesticide-free parks programs sprouting up all over the northwest! Just five years ago, only a few cities in the northwest had established pesticide-free parks programs. Now at least 17 cities in the northwest have parks that are managed without the use of any pesticides — including insecticides, fungicides and herbicides. As more and more community members become interested in pesticide-free public spaces, parks departments are responding by designating parks where vegetation is managed without herbicides. -
Outside-In-History.Pdf
By Anndee Hochman Cover design, book design and illustration by Melissa Delzio: meldel.com copyright August 2018 1132 SW 13th Avenue Portland, OR 97205 [email protected] CHAPTER 1: THE STRAIGHT AND THE STREET ...........................................................2 TABLE OF CONTENTS CHAPTER 2: RUNAWAYS AND THROWAWAYS .............................................................8 CHAPTER 3: OPINIONS AND NEEDLES ............................................................................16 CHAPTER 4: THE ART OF ADVOCACY .............................................................................22 CHAPTER 5: IN SICKNESS AND IN HEALTH ............................................................... 28 CHAPTER 6: CULTURE CLASH AND COLLABORATION ...........................................36 CHAPTER 7: MOVING IN, MOVING UP .............................................................................. 44 CHAPTER 8: GIFTS AND GROWING PAINS ....................................................................52 CHAPTER 9: HEROIN AND HARM REDUCTION ........................................................... 58 CHAPTER 10: LOST AND FOUND .......................................................................................... 64 CHAPTER 11: THE CHANGE-MAKER................................................................................... 70 CHAPTER 12: AFTER ALL THESE YEARS ........................................................................ 76 A YEAR IN THE LIFE: KATHY OLIVER’S OUTSIDE IN JOURNAL .................................................