Sponsored in part by Ram Offset Lithographers SOUTHERN

A BRIDGE TO THE PAST AND TO THE FUTURE PORTRAI OF_A NATIVE SON Wimer Covered Bridge , Eugene Benne~

FROM THE COLLECTIONS DE~iMBER 'l 999 c 1 Mary Hanley's Square Piano ,. .. ' vol. 1, No. 12 m The Magazine of the Southern Oregon Historical Society 1if The Gold Diggers' Guild

by Molly Walker Kerr

acksonville residents know Christmas Preston gathered around Pat Alley's season has arrived when they hear table at the Plymale Cottage in laughter inside the old Catholic Jacksonville to discuss a supportive Rectory. They realize the Gold guild. They contacted other history Diggers' Guild, an auxiliary of the buffs-Amy Barnum, Justine ISouthern Oregon Historical Society, Emmens, Carol White, Betty Root, is at it again; that soon the clapboard Attorney Bob Hefferman, and Society cottage, vacant all year, will be Director Bill Burke-for a meeting to transformed into Victorian splendor- solidify their idea. After choosing the just in time for Jacksonville's annual name "Gold Diggers' Guild," Christmas celebration and home tour., referring to Jacksonville's gold rush The 1867 rectory, furnished in period days, they began planning a vintage pieces, is fun to lavish in Christmas finery. fashion show to raise money. Once the decorations arrive down the Guild members have plenty to do during narrow attic stairs, the magic begins as the Christmas season to decorate the old wreaths appear in windows, brown paper Catholic Rectory in Jacksonville with packages with red bows crowd beneath an holiday trimmings. old-fashioned Christmas tree, and a teddy bear peeks up through the branches. Outside, the town's Christmas garlands X. Blanchet acquired it on a sheriffs deed. decorate the rectory porch. When all is An addition was built in 1891. Then, in ready, Guild members in nineteenth 1908, when St. Joseph's Catholic Church century costumes guide visitors through became a mission of Medford, the rectory the cozy rooms. became a private residence. Later, it sat The small building, originally used as vacant for some time and was almost a one-room schoolhouse for Catholic demolished in 1967. But a determined boys, later became the rectory for the group led by Robertson Collins came to Catholic Church. In 1875, Father Francis its rescue, and it became the property of Jackson County, to be maintained by the Society. That same year-a year before she A Christmas tree loaded with traditional helped found the Gold Diggers' Guild­ ornaments and a holiday bow on the Ruth Preston was hired to plan a full window lend a festive spirit. renovation of the rectory. "We had to sweep out bees, spiders, and other garden critters before we could begin," And raise money they did! For twenty­ she recalls. two years the Guild's elegant teas, parties, The rectory gardens also are a Guild and fashion shows have helped support project. The Gold Diggers contribute Society projects: the Hanley, Beekman, substantial funds for their upkeep. Britt, and Armstrong houses; the U.S. Who are these Gold Diggers who work Hotel; the hands-on Children's Museum; so hard raising money? They are a fun­ and of course, the Catholic Rectory and loving group of dedicated women who its gardens. happen to revere history and its Guild members are troopers. They bind preservation. The Guild began in April of themselves in corsets, roll their hair for a 1977, when Gertrude Drew, Gladys period look, swish in Victorian skirts, peer Fortmiller, Helene Salade-Ogle, and Ruth through hat veils, teeter in high-button shoes - whatever the event or exhibit demands. Obviously, they love what they do - and it's all in the name of history. lit

Molly Walker Kerr, a member of the Gold Diggers' Guild, is a free-lance writer The simple white clapboard rectory, built living in Medford. in 1867, comes to life with holiday garlands of evergreen boughs hung by the Gold Diggers. At right, more greenery enlivens an antique piano displayed inside. 2 VOl. 1, NO. 12 Vol. 1, No. 12 December 1999 SOUTHERN OREGON HERITA!

FEATURE Eugene Bennett • • • • • • • • • • • • • • 8 Artist brings color and light to the by Nancy Bringhurst

DEPARTMENTS Our Own Voices: Our Own Voices • • • • • • • • • • • . • • • 2 Feature: Eugene Bennett Gold Diggers' Guild The Gold Diggers' Guild by Molly Walker Kerr

Sunday Driving • • • • . . . • • . • ••• 4 Wimer Covered Bridge by Patricia Parish Kuhn

From the Collections. • • • • • • • • • 5 From the Collections Sunday Driving: Mary Hanley's Square Piano Mary Hanley's Square Piano Wimer's Bridge by Jessica James

SOHS News and Notes •••••• 6 Exhibits and program updates and calendar

Rooted in History . . • • • . • • • • • • • 14 Oregon Grape by Nan Hannon and Donn L. Todt The Pioneers: Rooted in History: The Wolters Family Members' and Donors' Corner. • • • 15 Oregon Grape Sot.JrHERN OREGON HERITAGE'IDDAY Editorial Guidelines The Pioneers • • • • • • • • • • • • • • • • • 16 aturc articles average 3,000 to 4,000 (pre-edited) words. Other materials range from 500 to 1,000 words. The Wolters Family of Talent RElectronic submissions arc accepted on 3-J/4-inch disks and should be accompanied by a hard-copy printout. Cite all sources and construct endnotes and cutlincs using the Chicago by Louise Watson Manual of Style. The author is responsible for verification of cited facts. A selection of professional, unscrccncd photographs and/or line art should accompany submission­ black-and-white or color. The Southern Oregon Historical Society reserves the right to usc Society images in place of ON THE COVER submitted material. All material should be labeled with author's name, mailing address, and telephone number. Manuscripts will be returned if accompanied by a self~ Rogue Valley native Eugene Bennett addressed envelope stamped with sufficient postage. Authors should provide a brief autobiographical note at the end of sharpened his artist's eye in Chicago, manuscripts. The Soulhem Oregon Historical Society secures rights to full and final editing of all manuscripts, layout design, and New York, and abroad, then brought onc·time North American serial rights. Authors will be notified of acceptance or manuscripts within ninety days or his perspective home, reflected here m receiving materials. In most cases, payment is upon publication. Sou them Oregon Heritage Today takes great care with all submitted material, but is not responsible for damage this oil painting of his Jacksonville or loss. Only photocopies of irreplaceable original historical documents should be submitted. Facts, views, and opinions studio in snow. expressed in signed submissions arc those of the author and do not necessarily reflect the viewpoints or opinions of Southem Oregon Hen'tage Today or the Southern Oregon Historical Society. THE STUDIO: FIRST SNO\V, 1982, OIL ON CANVAS.

Southern Oregon Historical Society Ann Moore, Medford, SECOND V\C&ruSIDENT Magazine Staff Southern Oregon Heritage Today is produced Board of Trustees Alice Mullaly, Central Point, TREASURfR Cynthia Wicklund, EXECU1lVE ASSISTANT/c:,.,WJN<:AIJONS using Quark XPress on Macintosh computers and is Stuart Allan, Medford Marjorie Overland, Medford, f1RSr V!Cf.fRfSUlENr COClRD!NATOII printed by Ram Offset Lithographers. Allen Alsing, Ashland, PRfSJOENr Bill Powell, GUESr EDITOR Copyright 1999 by Southern Oregon Historical Cheryl Breeden, Medford Administrative Staff Dana Hedrick,Earp, PHOTOGIWHER Society, ISSN # 1082·2003. All rights reserved. No Judi Dreis, Medford Brad Under, EXECUTIVE DIRECTOR Maggie James, VOWNTEER: INTERN PHOTOGRAPHER Maureen Smith, FJNANCE/OPHWlONS D!RECTOR f'Ort of this publication may be printed or electronically Chuck Eccleston, Medford AF.r DIREC110N BY Daeryllewis H. Walter Emori, M.D., Jacksonville Amelia Chamberlain, PROORAMS DIRE'CTOR duplicated without the written permission of the Susan Cox-Smith, MEMBERSHl? C(X)ll:OOWOR Southern Oregon Historical Society. Jim Fety, Rogue River Collections/Research Library Staff Joyce Hailicka, BuHe Falls Mary Ames Sheret, CURATOR OF collECTIONS AND EXHJBITS SOUTHERN Nancy Hamlin, Medford, SECRfTAlTY Southern Oregon Heritage Today is published e:'~l\ Jacque Sundstrand, UBRARY/ARCHMS C()();!l)INAJOR OREGON Reeve Hennion, Jacksonville monthly by the Southern Oregon Historical Society. Carol Horbison-Samuelson, llBRAR:Y IMNAGH!/PHoro AACHMST IIII Lawson lnada, Ashland 106 N. Central Ave., Medford, OR 975010926. IIII HISTORICAL 3 William Alley, ARCHMSr/HlS!ORIAN IIII Nancy McGrew, Jacksonville (541) 773-6536 Bill Miller, lllliW

The gracefully arched portal invites To see the bridge, take the Rogue River visitors to cross the Wimer covered bridge, exit off , proceed through the first built in 1892. center of town, take a left and follow the road sign pointing to East Evans Creek and Wimer. The drive is abundant with Many of Oregon's covered bridges have rural scenes: horses and livestock in the either succumbed to floods or fire. In 1933, fields, weathered barns, and other Oregon had more than 309; now, fewer evidence of the Evans Creek Valley's rich than sixty remain, including Wimer's. agricultural heritage. As Southern Oregon continues to Almost eight miles out of Rogue River, grow and develop, concern about the a sign points to the right, saying Covered preservation of its history grows too. After Bridge Road. On ahead, cross the one­ all, one of the region's great charms is the lane bridge, park the car, walk down into often unexpected discovery of the the little square of park and take a look at remnants of another century that have the Wimer Family Totem. Carved by local overed bridges gone the survived in the nooks and crannies of the residents, the cedar totem honors the way of covered wagons? Rogue Valley. Wilner has preserved one beaver, coyote, tuttle, bear, elk, owl, and Not all of them. In the rural of these links to the past in its bridge. eagle, but most of all it honors the community of Wimer, in Designed primar·iJy to protect a bridge's community spirit of Wimer. northern Jackson County, a wooden structure from the damaging effects Rather than returning the way you Cremailung link to the pioneer past and the of weather ar1d to extend the btidge's useful came, if the weather and roads are good, center of this growing town is Wimer's life, covered bridges have also served continue on to the right "over the top," covered bridge. Most of the history of the other purposes, providing shelter for drop into Sams Valley via Ramsey Canyon area resides in or around this white rained-out picnickers and shade for weary and return via Table Rock Road, clapboar·d structure. travelers. It was reported that one covered refreshed. ~ Just off Interstate 5 and eight miles bridge even accommodated a hanging.' north of the town of Rogue River, Wimer Today, covered bridges provide a focal Patricia Parish Kuhn is a Medford is celebrated for its historic landmark, the point in our rural landscapes, and the focal free- lance writer: covered bridge across Evans Creek built in point of Wimer continues to be the 1892 by J.W. Osbourne. According to ENDNOTES: covered bridge. The community's annual I. Medford Mail Tribune, 9 November 1975. newspaper accounts, the bridge was Fourth of July celebration bursts forth rebuilt in 1927 by the Hartmans of with a homespun par·ade, fiddlers, a beer Jacksonville, condemned for vehicular garden and a barbecue, all within a traffic in 1961 and rebuilt again in 1962. firecracker's throw of the pride of Wimer. The bridge spans eighty-five feet.

Above, the bridge's roof keeps the weather off the wooden trusses and beams, extending the life of the structure.

At left, the Wimer covered bridge's reflection · in the waters of placid Evans Creek evokes an ~Si'lli'M~-: image of the region 's less-hurried rural past. From the Collections

&&Every American family with pretensions to culture, an interest in music, and enough money to buy one was determined to have a piano in the parlor," wrote historian Hellen Rice Hollis. 1 To many nineteenth century Americans, the instr11ment was considered a "universal symbol of middle class refinement,"2 and the Hanley family of Jacksonville was no exception. In the corner of the east parlor in the Hanley house sits a large, square, rosewood piano. Pianos haven't always been upright or harp­ shaped. In the mid-1800s, square pianos were all the rage. The Hanley piano Mary Hanley's rosewood piano has sat in this parlor for more than a century; displays the label of W.P. Emerson, a all that is missing is the sound of the music and the ticking of the metronome. Boston piano maker whose name was associated with success and quality. notes such as, "Sung Monday May 17, Jessica James is a volunteer at Emerson began making inexpensive 1880. one week from to day we pack," Hanley Farm for the Southern Oregon pianos in 1849, but he, along with other and "Alice and Mary April29, 1880," Historical Society. piano manufacturers, sought to improve appear· in the mar·gins throughout the worn hymnal. E NDNOTES: the instrument. Expert piano maker C.C. l. Helen Rice Hollis, The Piano, Hippocrene Briggs, hired by Emerson in 1854, Possibly the Hanleys would gather Books, New York, 1975, p. 90. around the piano and as one played, improved the Emerson piano greatly with 2. William Seale, The Tasteful Interlude: American his mechanical expertise. others would sing. Maybe some of these Interiors Through the Camera's Eye, Praeger About 1880, square pianos fell out of occasions were special enough to be Publishers, New York, 1975, p. 38. favor in America, and their manufacture wtitten down. 3. Alfred Dolge, Pianos and Their Makers, Dover ceased. 3 Mar)' Hanley's squar·e piano may be Publications, Inc., New York, 1970, p. 292-293. This piano was given to Mary HarTis seen on house tours at the Hanley Far·m. 4. A serial number found on the bottom of the piano Love Hanley when she was a girl in the Call 773-2675 for an appointment. ~ case indicates the piano was made between 1870 1870s.4 A hymnal from the Hanley and 1875. collections, Songs for the Sanctuary, published in 1874, is inscribed inside the front cover, "M.H. Love." Hand-written

Notes scribbled in Mary Hanley 's hymnal offer brief glimpses of long-ago family life.

SOUTHE RN OREGON HE RITAG E TODAY 5 December 1999 Ashland High School in A VISIT WITH MRS. Program Schedule 1950 and taught at the CLAUS university level for Saturday & Sunday, DECEMBER CRAFT OF twenty-three years. Share December 18 & 19 THE MONTH memories of Ashland in Children's Museum Ornaments & Dreidels the fifties, talk of multiple 1:00-4:00 p.m., free Children's Museum generations quest for the Families; free American dream, and hear elebrate the holidays by creating an CHILDREN'S MUSEUM excerpts from Wyers' HOLIDAY ACTIVITIES ornament or a dreidel. book, "Just Nosin' C Families, free Around with Gus." MEET THE COLLECTOR 1:00-4:00 p.m. OPEN HOUSE GINGERBREAD HOUSES Papermaking, Saturday, December 4 Friday, December 3, free WORKSHOP Card Stenciling, Saturday, December 11 Printing Press Cards, Saturday, Ashland Branch, 5:00-8:00 p.m. Wednesday, December 8 December 18 A s pmt of the Ashland Gallery Children's Museum ~ssociation's First Fridays program, Ages 3-6, 3:30-4:30 p.m. VICTORIAN CHRISTMAS join us for an evening with Terry Skibby, $3.00 members/$4.00 non-members AT THE BEEKMAN HOUSE Ashland photographer. ome create a traditional holiday craft December 4, 5, 11, 12, 18, & 19 Cthat you can eat when you're finished. Beekman House, Jacksonville CONVERSATIONS WITH ••• During this workshop we'll be using 1:00-4:00 p.m., free Saturday, December 4, free frosting and candy to decorate tasty ookies fresh from the woodstove; tree Ashland Branch, 1:00 p.m. gingerbread houses. Call 773-6536 to Cadorned with Victorian ornaments; D emember the "Dutch Gus Cafe?" preregister by Wednesday, December 1. dining room set for a grand feast. Come ft.Back in the 1940s, Norm Wyers' explore a traditional Beekman family family built a small restaurant at the GOUGE EYE, LEMITI AND Christmas. comer of the Pacific Highway and Valley NOTI: THE COLORFUL View Road. Wyers graduated from STORIES BEHIND OREGON PLACE NAMES Wednesday, December 8, free Celebrate the Ashland Branch, 7:30p.m. Season and Save "\"I Jhat's in a nmne-and Oregon place VV names? These are questions explored in the current exhibit, Public Places & Private Lives. Stories about place name origins often reveal the human Clockwise from back left, Ed Jorgenson, values and prejudices of both indigenous Alice Mullaly, lima McKern, Ryan people and the settlers. Tom Nash, Primm, and Hali Pyre. December 5 professor of language and literature at Southern Oregon University, combines VOLUNTEER AWARDS 1 0%* offyour purchase history with folklore, linguistics, and an olunteer of the Year: Alice Mullaly; {in addition to your membership level discount) at the History Store at the Rogue Valley Mall occasional song, to talk about Oregon V Outstanding Youth Volunteer of the landmarks such as Sweet Home, Burnt Year: Stuart & Allegra Fety, tied; Youth *Valid December 5, 1999, Rogue Valley Mall location only. Members must present their Ranch, the Three Sisters, and others. Call Rookie Volunteer of the Year: Hali Fyre Member Card and this coupon. May not be 773-6536 to preregister by Dec. 6. & Ryan Primm, tied; Rookie Volunteer of used toward purchase of consignment items. the Year: Ed Jorgenson; Extended Service Award, lima McKern.

For more information about the Southern Oregon Historical Society, contact us at: 106 North Central Avenue. Medford, Oregon 97501 • Phone 541 · 773 · 6536 • Fax 541 · 776 · 7994 • Email info®sohs.org • Website www.sohs.org 6 VOl.l,NO.l2 :<·~::~~"'.{ ' ~~::::,:,·... ·:: :~~ Exhibition Schedule .. \ ·~.:,.\;.§f~RY ·t;),lE~'f HISTORY CENTER: .. ·oF'Tf:IE December is the last month to view the MONTH Going Places exhibit at the History Center as dismantling begins January 3.

ALL Society sites will be closed the first two weeks of January to assist with the dismantling and to allow work on other necessary projects. The History Center will reopen January 18; Ashland branch and Jacksonville museums reopen January 19.

THE CHRISTMAS DREAM ocated in the window to the left of Lthe History Center front doors, this elp us solve a real mystery! This ovember's mystery object exhibit represents a toy store window H object is wood and stamped N was a torch and key lighter display as might "Japan" on the bottom. There are six used to operate gas lit chandeliers have been seen circles indented in the top. The turn and street lamps. The metal flange in the 1930s-40s. screw has not left a mark on the lower grasped a gas light key to turn the It depicts a boy's platform. It measures 12" long x 7-1/2" gas on or off. The torch is a wax Christmas Eve wide. What was this item used for? taper that slid up and down within dream of all the toys he hopes We'll print the best guess in the New a metal tube to light the gas. to find under the tree in the morning. The Year. Send your answer on a 3-112 x 5 Congratulations to September's marvelous toys float tantalizingly about card with your name, address and Mystery Object Winner, Sally as he imagines the many hours of fun phone number to: News & Notes Harkness of Medford, who awaiting him (assuming, of course, that Mystery Object, SOHS, 106 N. Central identified the soap saver. he made Santa's GOOD list). The toys Ave., Medford, OR 97501. November's Mystery Object: are artifacts from the Society collection. Torch and key lighter THE PRIVATE LIFE OF A NON-PUBLIC PLACE STREETSCAPES AND THIRD STREET ARTISAN December 1, 1999 to June 17, 2000 CITY VIEWS STUDIO: Ashland Branch December 1, 1999 to June 2000 eavers and potters will be ince 1974, Dunn House has provided Ashland Branch W demonstrating from 11:00 a.m.- Sa safe haven to abused women and xplore the visual history of Ashland 4:00 p.m. the first three weekends: children in Jackson County. Rooted in an Ethrough the eyes of yesterday's December4-5, 11-12, and 18-19. educational institution and the feminist photographers with images from Terry Although the Studio will be closed during movement, Dunn House is now part of Skibby's collection. Skibby is known for January and February, watch for weaving the multi-faceted Community Works his lifelong commitment to preserving workshops during that time. The Studio organization. In conjunction with the Ashland's photographic and architectural will reopen 1. For more Public Places & Private Lives exhibit, we history. information, call the Society at 773-6536. celebrate the history of Dunn House.

Southern Oregon Historical Society sites Phone: (541) 773-6536 unless listed otherwise

HISTORY CENTER JACKSONVILLE MUSEUM & U.S. HOTEL HISTORY STORE 106 N. Central, Medford CHILDREN'S MUSEUM 3rd and California, Jacksonville Rogue Valley Mall, Medford Mon - Fri, 9:00am to 5:00pm 5th and C, Jacksonville Upstairs room available for rent. Daily, Mall hours Sat, 1:00 to 5:00pm Wed - Sat, 1O:OOam to 5:00pm (541) 774-9129 Sunday, noon to 5:00pm HANLEY FARM RESEARCH LIBRARY 1053 Hanley Road (between Central ASHLAND BRANCH 106 N. Central, Medford THIRD STREET ARTISAN STUDIO Point & Jacksonville) Open by 208 Oak, Ashland Tues- Sat, 1:00 to 5:00pm 3rd and California, Jacksonville appointment. Wed- Sat, 12:00 to 4:00pm Sat. & Sun., 11 :OOam to 4:00pm (541) 773-2675. (541) 488-4938

SOUTHERN OREGON HERITAGE TODAY 7 Feature Eugene Bennett Artist brings color and light to the Rogue Valley by Nancy Bringhurst

ay "artist" and the word might with his friends and fans. evoke an image of - As Sue Cooley, friend, eccentric, depressed, and full of mtist and Bennett patron Sanguish. Or perhaps a sardonic says, "People like Eugene Cezanne, uncouth in appearance and because he genuinely likes difficult to know or like; an alcoholic them." Pollock, a mad Van Gogh or a turbulent, You will find Bennett's aloof . Well, don't try to dress gallery brimming with an Eugene Bennett in April1986 Jacksonville's Eugene Bennett in any of astonishing range of texture, tone, and those wrappings. They won't fit. theme, representing almost sixty years of Visit his home, gallery and atelier creative explming and expression-quite housed in the renovated 1856 Eagle an accomplishment for someone who set Brewery Saloon, and you'll appreciate out to be a musician. Bennett's sensitivity and perceive his Bennett, the youngest of four children, delight in nature's artistry even before was born in Central Point on December meeting the man. The grace and harmony 20, 1921, into a music-loving family. of the gardens, with the surrounding "We all played instruments and sang paths and sheltering trees, are reflections together," says Bennett. "I played the of the charm and beneficence of the man piano and the pump organ by ear, and himself. Stepping inside, you '11 be took violin lessons for a while." warmly met by a neatly dressed, rather Throughout grade school, Bennett shy, gentle, humble and very accessible expressed his penchant for mt in vmious artist with a delicious wit and sense of ways. He created mmionettes, painted humor. posters, made set designs, and even Stroll with Bennett through the streets constructed a puppet theater, complete of Jacksonville to the post office and see with footlights. It was a set of pastels how many times you are stopped to chat given to him by Alice Cromar, Bennett's

SEGMENTS, 1952, SERIGRAPH. Collection of Museum of Modem Art, New York City.

sixth-grade teacher, that first kindled a serious interest in visual mts. But it was his Medford High School piano teacher, John Reisacher, whose influence struck a chord that would reverberate and touch a petmanent note in Bennett's life. Reisacher acquainted him with the dynamics of oil painting, but equally important: he introduced him to Cezanne. BRITT FESTIVAL, 1963, OIL ON CANVAS. "John gave me a book of Cezanne's Painted the first year of the festival and used for the thirtieth anniversary poster in 1992. work with photographs of scenes Cezanne painted, including reproductions 8 VO L. l , NO . 12 Feature

NOTRE DAME, 1955, OIL ON CANVAS. Bennett painted this, and many others, during his stay in France and Italy in 1954-1955.

of the actual paintings," said Bennett. "There was truth in his work, so brilliantly subtle. He'd followed his inspiration freely and lyrically. Those examples somehow gave me the freedom to take libe1ties in my own work." But that came later. Bennett graduated from high school in 1940. That summer, a song he wrote for a lady-in-waiting in Much Ado About Nothing was performed by the Oregon Festival. Bennett played Verges in that same production. That fall, Bennett entered the University of Oregon to study music. The depth of his talent pointed to a remarkable future career. While there, he set several poems by Langston Hughes to music, and a number of his [Ol.AN! PALACE, HONOLULU, HAWAII, 1945, WATERCOLOR. compositions were acclaimed in university productions. "I like to compose," Bennett says, "but since I mostly played by ear, I lacked the and Ravel are like impressionistic discipline to read music. I couldn't seem to painters, for example." translate what I heard in my head to the blank Just as music remains an integral part of page. I still believe, though, there are things Bennett's life today, art was a significant part of you can't say any other way except in music. his university life. He frequently gathered his watercolors and brush and immersed himself in the Top left, Bennett at age three. Bottom left, beauty of the Willamette Valley countryside or the Bennett in 1940 Shakespeare production of hills of Ashland. "Much Ado About Nothing," in which he In 1942, Bennett enlisted in the Navy, but it was played the role of Verges. not until June 1943 that he was called to active duty. He entered Officer Training School at Park College in Parkville, Missouri. As his elective, he SOUTHERN OREGON HERITAGE TODAY 9 Feature

chose an art class nms~ums, and the melange of colors al1d taught by John configurations oft~ecityscape; he breathed them Tatschl. Tatschl was into his.werk. an important and Leap a!fhd to i999 in Bennett's gallery. timely beacon who Notice the grid motif runningthrough much of instilled in Bennett his work? Thank Chicago for that. The grids of the conviction that the the fire escapes,.the building conformations and love of art was not patterns, and even t~e graph paper used in a something separate, weaving class, well stitched indelibly into the but an inherent part of fabric of his creatifhy. They continue to life. It was also under underline his abstract; as well as his more Tatschl's influence traditional impressionistic work. that Bennett learned Each summer, from .1948 on, Bennett returned to recreate nature, not to Medford. His father sold him a lot adjacent to by direct imitation, their family home on Grape Street, including a but by stressing the small building that he. converted into a dwelling. unifying effects of During summer breaks, Bennett designed and pattern and color. built three more small houses on the property. Bennett was sent This group of homes, artistically built and placed to Officer Candidate School at Columbia within a lovely courtyarg, can be appreciated University in New York City, where he found a today on South Grape1Str~et. host of unexpected benefits in the Navy. Here Bennett taught landscape and still life painting were The Cloisters, the Metropolitan Opera, and to children and adults each summer. He Carnegie Hall, all to enjoy in his free ti~e. It remembers fondly thatten-year-old Peter Cotton was a cornucopia of advantages for a young was his very first student, and Emily Carpenter musician from the Wild West. UnfortUnately for Mostue was his youngest. Bennett, his talents did not include math 'and "I don't remember any particulars, but I know physics, or an interest in ballistics. After several I enjoyed taking those classes with Gene," recalls months he washed out. "It was very hard to Mostue. "I still remember the wonderful space take," Bennett remembers grimly, and no we painted in, and he always had music playing. wonder: it meant starting over in boot camp in I know, without a douot, Gene's classes helped Sampson, New York, as an apprentice seaman, to develop my appreciation of art and music." followed tiDy Yeoman School in Providence, Bennett especially liked teaching young Rhode Island. From there, Bennett was stationed children. "There's a carefreeness that's gone in in Newport, Rhode Island, where, with so much older children," he says. "Until I built the first to inspire him, he began the habit of carrying house, I held classes outside; the children used watercolors wherever and poster paint and water colors. My goal was to whenever he could. help them to see things in a different way than The summer of 1945, Bennett they'd always known." was transferred to the Naval Air In 1972, Judy Howard (owner of Hanson­ Station at John Rogers Field Howard Gallery in Asfiland) was art curriculum asijacent to Hickam Field in specialist for the Medford school district. She I{awaii. He became a yeoman saw Bennett's teaching skills make a difference first class in record time, and in many young lives. "I was seeking local artists spent his working hours as a for our 'Artists in Education' program," she said. legal secretary. He spent his "But I didn't ask Gene because he was such a liberties either in the Honolulu famous artist and so dignified. When I heard Museum, where he was first rumors that he would like to have been invited introduced to the work of Raoul I was elated, and we were all excited when he Dufy, or sketching Navy life on came. Through him the children learned to see Top, during high school, the island. He still re]Jlembers the freshness and things lorn their own unique and fresh Bennett paints while listening freedom he first saw J' Dufy's work. After '\ll, perspefive rather than copy and imitate. He to a Sunday symphony the art world was stilJimmersed in the accepted encounfged them to be original. We all loved concert on the car radio. theory "stay withint!11lines;' and here was Dufy him arid his sense of humor. It was a wonderful Middle, Yeoman First Class with washes of color and the~audacity to draw experiehce." Bennett pays a visit home to over them. ..« · Meanwhile, Bennett's work was receiving see his parents, Carl and Somehow, those years being shuffled around accolades in Chicago. A serigraph entitled Mable (Peart) Bennett. byth~Navy shifted ~ennett's direction from Segme1~ts was bought by the Museum of Modem musfc to an art career. After being discharged in Art in.NewYork and was included in an Bottom, Bennett, standing '*1jay 1946,he decided that an art school in\ exhibi~on of "Young American Printmakers" left, teaches an m1 class large city would offer the exposure and challenge shown!throughout the United States and Europe. for Abbott Laboratories he needed to test his.choice. The Art Institute of In •1950, the Portland Art Museum celebrated his employees while an instructor Chicago accepted him for the fall of 1947: accomplishments ~ith a solo show. at the Art Institute of He had made the right choice. Bell.n~it inhaled Bennett graduated from the Art Institute in Chicago, 1952. rich offefihgs of the concerts, · 19Sl and "Yent on tq receive his master's degree

10 VOL. 1, NO. 12 conveyance. Moreover, he wm1tea to give was building in Gleneden Beach, to the valley he loved. "I knew the place; Oregon. They'd come to the Shakespeare I grew up here. Nowhere is it more Festival with a group of friends. "We beautiful than the drive to Crater Lake, were intrigued with Gene's work, having the Applegate, or the hills around rented and bought several pieces from the Ashland. Above all, I knew there were Pmtland Art Museum," Betty says. many enthusiastic and talented mtists in "When we saw a poster advertising his the Rogue Valley with so few possibilities sale, we had to go. We found so many to study or show their work. I wanted to pieces we wanted that our friends helped help provide that oppmtunity for them." us transport them to Portland. We And that's just what he did. He especially liked a large painting that Gene returned to Grape Street, resumed insisted needed more work before he'd teaching, and quietly worked to organize part with it. When he offered to deliver it, Jacksonville's circa-1856 Eagle Brewery the Rogue Valley Art Association, we eagerly accepted. We'd already and Saloon as it appeared in the established in 1959. Bennett insists, "It chosen a location for it and he was nineteenth centUly. The renovated brewery would never have flown had not so many pleased with our choice." is now Bennett's home and studio. others pulled together to make it happen." According to Robettson Collins, ftiend there in 1954. During that time, he and former vice chairman of the National taught at the Art Institute and at New Trust for Historic Preservation, "Gene Trier Township High School in Winnetka, mobilized us. He has the ability to catch Illinois, a school famous for progressive others up in his enthusiasm for art, education. In the fall of 1954, he took a whether it's for fun, a hobby, or a serious leave of absence from New Trier. He took interest. That was a key to his classes himself to Italy, moved into a four-story as well." walkup on the banks of the Arno River The opening of the Rogue Gallery in Florence, and embraced the ancient meant that local and regional mtists now city and all its grandeur. The art and had a space in which to exhibit their architecture and milieu of Florence, as work. It meant, too, that those who would well as Paris, southern France, Rome, never be exposed to work by artists Venice and Sicily-places he zealously outside the m·ea could now see explored-were electrifying inspiration exhibitions by artists like Picasso. The and grist for experimentation. "It was a gallery also provides a variety of art very productive time," Bennett recalls. classes for children and adults. As much "When it was time to leave, I shipped a as anything, Bennett's dream was to tnmk filled with photographs, drawings stimulate a more spirited enthusiasm for and watercolors, and cmried my luggage visual arts in the valley. Though he and a huge roll of canvases." continued to exhibit in Chicago, New On his return in 1955, Chicago York and San Francisco, he was pleased applauded his growth and honored him to have a place to exhibit locally. with many exhibitions! His painting of Not long after his return to Medford, Notre Dame won the prestigious Pauline Bennett bought and renovated a house Palmer award in the Alt Institute's next to his Grape Street property. In 77-3, 1977, COLLAGE. "Chicago and Vicinity" show. 1962, he bought and took on an even Three years later, Bennett surprised lm·ger renovation-the everyone by leaving Chicago and condemned Eagle Brewery returning to the Rogue Valley. As Edith Saloon in Jacksonville. Weigle, a Chicago Tribune art critic Before moving, Bennett wrote, "It is a loss to ~hicago's art world had some housecleaning to have Mr. Bennett leave, for he is one to do. In his unwavering, of our outstanding young modernists." precise and meticulous She praised his recent one-man show as manner, he'd saved and proof that Bennett was a "truly brilliant, documented the sum total original and creative artist." of his life's work, and now So why did he leave a city that virtually he was overwhelmed by assured him of success? As Nancy Jo the immensity. What could Mullen, former director of the Rogue he do but have a "Three Gallery, said, "He was returning to a Grand Days Gigantic Art cultural wasteland. He was committing Sale" at his studio? himself to a purpose instead of living a And that is where John cushy life with an even wider and Betty Gray found a appreciation." bonanza of art they If it's true that an artist paints to give admired, a good friend, and BEEKMAN HOUSE, 1946, WATERCOLOR AND FELT-POINT PEN. freedom to his own visions and emotions, an artistic arbiter for the This piece is one of a series of watercolors Bennett painted Bennett needed the landscape as a Salishan Lodge that Gray of landmark buildings in Jacksonville. SOUTHERN OREGON HERITAGE TODAY 11 Feature

the restoration and revitalization of Jacksonville. He knows art, history, and culture ar·e key components of a healthy conununity. Gene is quick to suppmt and praise efforts that benefit the community, but he's also quick to express his concerns with city fathers, neighbors, or f:tiends over any lessening of the standards that provide for that healthy community. "One way Gene serves is by teaching art, but he contributes in many other ways. He's designed checks, stationery, and posters; he even painted a door on

GARDEN SUITE: A GATHERING, 1982, OIL ON CANVAS.

One might think an artist would be children's stuffed animals, that was satisfied to sell his work, never mind too much!" where it might hang. Well, not this artist. After lightening his possessions According to Bennett friend Marjorie considerably by the sale, Bennett moved Edens of the Southern Oregon Historical to Jacksonville. His love affair with the Society, "Gene analyzes everything, and city had begun in the 1940s when he his artist's eye demands perfection in all painted a series of its landmark buildings. aspects. Each part of the whole is equally Ethical and aesthetic excellence in his important. He may be shy, but enter his personal life, his work and his immediate Bennett created these pole sculptures for artistic paradigm-look out." stmoundings were paramount in his life, the 1962 Seattle World's Fair. They now Dunbar and Jane Carpenter, friends and and Jacksonville was to benefit by his grace the garden of his Jacksonville studio. patrons of Bennett, would agree. "His ideals. sense of perfection is so strong; he haunts According to Edens, "Gene is a born the ptinter until his work is reproduced to teacher and car·es deeply about his the U.S. National Bank safe as part of the meet his standard," Jane muses. community. He was an integral player in restoration of the U.S. Hotel in Bennett hovers over his work like a Jacksonville. He's also served on the protective parent. He's given birth to a Jacksonville Planning Commission. Gene beautiful creation, he's given it the best has been supportive of B1itt from the part of himself, and now he sends it out onset. He opened his studio for their into the world. Of course, he wants to be rehear·sals, and again after the concetts. assured its final destination is exactly He also opens his studio for tours to where it belongs. benefit his community. Gene is a very The Grays also commissioned several private man, but he's been a catalyst to wood sculptures, including a back bar for make things happen in the Rogue Valley." the lodge. "We were inspired by the fence Bennett has sketched many scenes of he'd made out of mill ends on Grape the Britt musicians rehear·sing. His 1963 Street," Betty says. painting of the Britt Festivals was It turned out to be an architectural reproduced as a poster to commemorate masterpiece. Bennett used Canadian its thirtieth anniversary. cedar to construct the bas-relief forming Robertson Collins would agree with the back bar. Different sizes and shapes Edens. "Gene has played a major of wood protrude at different lengths community leadership role. His first creating a perfect place for the bartender interest is art, so he was 'stepping out' to to stash bottles. "He wouldn't do that work in the community." Collins is would he?" David Pugh, ftiend and adamant that, what he calls Bennett's Pmtland architect, remembers Bennett ensemble-the buildings, the flies and asking in astonishment. records, the gallery and the studio, be "Actually," Bennett says, "the bottles retained and maintained. "It is all of a were okay, but when he started to add piece and it should be preserved intact, on site," he stresses. "Gene's successful 78-1, 1978, COLLAGE. 12 VO L. 1, NO. 12 Feature career was truly a boot-strap operation; can recognize some of the same motifs outside. Injections of Botox, a quiet achievement without flash or in his photographs of scenes along the administered periodically by a San trendy marketing. He and his work are Medford railroad tracks, and of rock Francisco neurologist, offer some relief. disciplined, cautious and exacting. Gene formations. "I grew up loving trains," As yet, there is no known pennanent pursued his career alone, but he is not a he says, "and I'm fascinated with rocks. cure, but Bennett is hopeful. "I haven't loner. He refused to get an agent or join Basalt fom1ations rn·e very much like given up the idea of once again painting the commercial development and paintings. Some rn·e as small as postage outdoors." marketing world of art. His work is stamps. I'm sure that influenced my When asked what he did when faced severely his; he doesn't care if we like technique." with a ill-y period, Bennett replied, it or not. That's his strength." Photography is very important to "Visual things usually stimulate me and "He's been especially loyal and Bennett, but his passion is being on site get me going again, but I won't waste supportive of other artists," Nancy Jo in the landscape with his oils - something time. Discipline is the foremost thing. Mullen adds. "I like to sit at his little he no longer can do, at least for the time There is no compromising. I've always table in the back and see what's hanging being. Sadly, five yern-s ago, Bennett done whatever it took." on the wall going upstairs. That's where developed benign essential blepharospasm "I can't think of anyone else who did he rotates other artists' work. It shows -a disorder that creates an involuntrn-y it his way," said Collins. his connection to others." spasm making it increasingly difficult Move over, Frank Sinatra. i "I keep discovering new artists," to keep his eyelids open. Since light Bennett says. "It's exciting to find that intensifies the condition, Bennett is Nancy Bringhurst writes children's one special painting that grabs you, then forced to work inside under an overhead books, music and articles from her that one enables you to see more. It adds light, and to wear wraprn·ound drn-k Ashland mountain top. interest to life-like old friends, or coming glasses and a plastic visor when he goes back home where you have connections you didn't realize you had." In a gallery within the original saloon space, Bennett hangs his own work on walls built from weathered barn wood. The idea originated in Chicago, where he hung his work on board fences-a petfect way to rotate his rn1 without worrying about nail holes. The gallery is a testament to the man's incredible range of genius. There are works in oil, watercolor, gouache, sculpture, pen and ink, collage and assemblage; some created by a systematic and methodical application of color and brush strokes; others apperning effortlessly spontaneous. Many avoid a single focus, but rather illustrate the vitality and complexity chrn·acteristic of the scene. There me totem-like wooden posts with geometrical rhythmic patterns inspired in prn1 by lrn-ge mrn·kers in the Jacksonville cemetery and the totem poles of Northwest Indians. There is humor: take a look at Gene's Jeans, FIREBRAND, 1967, OIL ON CANVAS. an assemblage done in 1997, or the pair of 1950s chairs he Bennett's work has been shown, among decorated in wild and dazzling other places, at: colors. Count the number of The Museum of Art, University of Oregon bits and pieces, like girnp tacks, Southem Oregon Historical Society glass and wood beads, sand, or Schneider Museum of Alt, Southern Oregon mirrors, he uses in collage. University Compare Midnight Ride of Brooklyn Museum Paul Revere, done in the style Museum of Modern Alt, New York City of a Persian miniature, with the Chicago Alt Institute San Francisco Museum of Art btilliant and expressive use of Alba, Italy color in Garden Suite: A State Capital Museum, Seattle Gathering, 1982. Galleria State Capital, Salem Bennett is known for his rich Expo, Seattle Slllface patterns, grids and Haseltine Collection of N.W. Alt, Coos Art thick black lines, geometric Museum, Coos Bay shapes, and the intense colors SHAKESPEARE IN ASHlAND, 1982, BRUSH DRAWING (OIL). Rogue Gallery, Medford that permeate his work. One

SOUT H ERN OR EGON HERITAGE TODAY 13 Rooted in History Oregon Grape AN EMBLEMATIC EVERGREEN

by Nan Hannon and Donn L. Todt

n 1865, Ashland pioneers decked brilliant Irish-American botanist the halls with boughs of Oregon grape Bernard McMahon, a close friend for their community Christmas of Thomas Jefferson. Proud of their celebration.' The shmb reminded the floral connection to McMahon, Isettlers of traditional holiday greens. Oregonians liked to perpetuate the Oregon grape's prickly leaves resemble story - possibly tme - that those of holly, and like holly, its evergreen McMahon hosted the planning leaves brighten the winter months. meetings for the Lewis and Clark This year marks the 1OOth anniversary expedition to Oregon at his home. of the designation of tall Oregon grape as Mahonia Hall became the name of Oregon's state flower. George Himes, a the official governor's mansion when nineteenth century curator at the Oregon the state of Oregon acquired the Historical Society, believed that the tough, Thomas and Edna Livesly home in beautiful and useful plant embodied Salem in 1988 to serve as the Oregon's best virtues. He enlisted the aid residence for the state's highest of the Oregon Horticultural Society in official. The 1924 Tudor Revival Tart Oregon grape berries make a lobbying legislatures on behalf of the style mansion, with its formal delicious jelly. Pioneers in southern shrub, and in 1899, the Legislature voted landscaping, ballroom and wine cellar, Oregon also used them in pies. to make tall Oregon grape the state seemed ideal for the governor's official flower. 2 It was a good choice. Except for entertaining. Neil Goldschmidt was the Whatever you call the genus, make a salal, tall Oregon grape and low Oregon first governor to live in Mahonia Hall, and place for at least one specimen of the grape are the most common evergreen today Governor John Kitzhaber and his species in your garden, for they are truly shrubs west of the Cascades, and creeping family call it home. plants for all seasons, and there is a Oregon grape grows east of the Cascades, Unfmtunately, controversy and variety for almost all Western Oregon so the plant is one that most Oregonians confusion exist over the actual botanical garden situations, including sun, shade or know welJ.3 name for Oregon's state flower. Years dry soil. On all of the species, clusters of prior to the naming of tall yellow flowers brighten late winter and Oregon grape Mahonia spting days, bronzy new foliage emerges aquifolium for throughout spring and summer, dark blue McMahon, an English benies crowd the stems in fall, and many botanist had christened a varieties get a purple or bronze color to specimen of the same the leaves in winter. On mature tall shmb Berberis Oregon grapes, red leaves appear aquifolium. The throughout the year. All tolerate drought International Botanical and cold. Tall Oregon grape (Berberis Congress, which makes aquifolium) grows to six feet and makes a the final decisions on strong, crisp, evergreen foundation plant, Latin names for plants, while creeping Oregon grape (Berberis recognized the nervosa) becomes an attractive ground precedence of the cover. You'll be proud to show off Berberis name, and also Oregon's state flower. lit thought it wise to group all the barberry shrubs in Anthropologist Nan Hannon and the genus Berberis, and Yellow Oregon grape flowers bloom in Mahonia no longer officially existed. ethnobotanist Donn Todt grow several late winter and spring. Oregon grape However, the name Mahonia has species of Oregon grape in their Ashland contains the alkaloid berberine, which is proved remarkably persistent with garden, not only for their beauty, but used phannaceutically. Berberine also Western gardeners and commercial because deer don't eat them.

repels deer. nurseries, and even in that bible of Oregon ENDNOTES gardeners-The Sunset Western Garden I. Ashland Tidings, 3 December 1915. At the time it became the state flower, Book. Prickly as their state flower, most 2. Portland Oregonian, 8 August 1999. Oregonians aren't about to be pushed the botanical name widely used for the 3. Rhoda Whittlesey, Familiar Friends: Northwest genus to which the different Oregon grape around by the International Botanical Plants, Rose Press, Portland, Oregon, 1985, species belonged was Mahonia. The Congress, nor change the name of their p. 126. genus was named in 1818 to honor the governor's residence to Berberis Hall.

14 VOL. 1, NO. 12 Jean E. Maack, Medford PIONEER/PATRON Jan Wright Maryann Mason, Ashland Donna Colvig Straight, Auburn, CA Dr. William E. Matthews, Medford Thomas Williams, San Francisco, CA EDUCATION COLLECTION Patricia Bartlett Mr. and Mrs. David K. Maurer, CURATOR Medford Winnie Folts Henry Calvin Fabrics, Medford Robert M. Perlson, Medford Herbert E. Robb Barbara P. Raber, Central Point PIONEER/CURATOR Jan Wtight Mary Robertson, Medford Mr. and Mrs. Pete Stemple, Billianne Thomas Jacksonville Ellen Scannell, Ashland SPECIAL CONTRIBUTIONS Anne T. Seaman, Ashland PIONEER/DIRECTOR Patricia Cook Elizabeth Byrne Shirley, Malin Tom Hamlin, Medford Lois Tokar, Medford IN-KIND GOODS & BUSINESS New Members Jacksonville Inn, Jacksonville SERVICES PIONEER/FRIENDS Deli Down FRIENDS Brice Farwell, Ashland *Indicates upgraded membership Charleen Brown, Butte Falls Early Day Gas Engine & Tractor Ardeen Parkinson Hack, categmy or monetru.y contribution in Association, Branch 81 Brenda Carver, Ashland Belvedere, CA addition to membership dues for Wayne Inget Mr. and Mrs. John Hazeltine, Central Mr. and Mrs. Albert Hueners, Medford Society programs. Old Time Fiddlers Association Point Edna Knudsen, Medford Rogue Disposal & Recycling, Inc. Mr. and Mrs. Wayne Turner, Medford Bernice V. Lindsay, Ashland Tom Smith Janet A. Walter, Eagle Point Katherine Wilkinson, Portland Southern Oregon Draft Horse PIONEER/FRIENDS Donors Association FAMILY Patricia Adams, Mechanicsburg, PA *Mr. and Mrs. Charles A. Beck, Valley Web Printing Mr. and Mrs. Gerald Doran, Phoenix Medford GENERAL COLLECTION Camp White Historical Association SOUTHERN OREGON Kathleen Dougherty, Medford Mr. and Mrs. Thomas B. Drescher, &Museum Medford HISTORICAL SOCIETY Cindy Tilly Faubion, Gold Hill Crater Lake National Park Bruce Eliason, Medford Dodie Hamilton, Medford Margarette Miller FOUNDATION Don Pursel, Jr., Bellevue, WA Martha Foster, Ashland Marcia Houghton Padgham Endowment Fund *Onnis and Martha Grieve, Lebanon Charlotte Seely, Medford Mike Reid Contributors Richard G. Hoskins, Medford Herbert E. Robb Mr. and Mrs. Dan Hull, Talent FAMILY Lawson F. Inada, Ashland Dr. and Mrs. John Brandenburg, Herbett Robbins Mrs. Alicia MacArthur, Medford Medford Mr. and Mrs. Potter Lombard, Medford Maria Pecheny, Central Point Susan C. Maesen, Jacksonville Mark and Krissy Millner, Jacksonville *Mr. and Mrs. Blair , Medford PIONEER/FAMILY Judy Neyt, Jacksonville Mr. and Mrs. Jack Holmes, Medford Mr. and Mrs. H. K. Turner, Medford Dr. and Mrs. Thomas E. Upton, PATRON Medford Mr. and Mrs. George Fox, Medford *Mr. and Mrs. John Veteran, Medford WINA$50 CURATOR GIFT CERTIFICATE Mr. and Mrs. Charles H. Frost, PIONEER/FAMILY Portland Helen F. Althaus, Ashland Phyllis M. Axtell, Medford DIRECTOR *Grace M. Blanchard, Grants Pass Holiday Contest! Pacific Power & Light, Medford *Elizabeth Carter, Santa Monica, CA BUSINESS *Rodney 0. Fety, Medford Each ti111e you give a gift membership Rogue Federal Credit Union, Medford Peggy A. Foy, Medford to SO!Tieone special, your name will be Tom B. Henshaw, Portland entered into a drawing for a$50 gift Renewing Members *Mr. and Mrs. Dan Hull, Talent certificate at the History Store in the FRIENDS *Frank A. Knox, Central Point Kay Atwood, Ashland *Mr. and Mrs. Walter Marquess, mall. Memberships start as low as $20 Dr. W.D. Barnes, Tucson, AZ Medford ~ndmajor credit cards are accepted. David S. Chirgwin, Medford Mr. and Mrs. Robert D. Milam, Contest ends December 23, ·1999. Evelyn J. Davis, Grants Pass Sacramento, CA Enter today by calling Mr. and Mrs. Rudy Miner, Ashland Jill E. Dobson, Eagle Point 541:-773~6536 and ask for John Purdin, San Diego, CA Mary Fleming, Bend Membership Coordinator Ray Glass, Corvallis Dr. and Mrs. Daniel D. Sage, Syracuse, NY Susan Cox-Smith. Dr. Christian P. Hald, Ashland Patiicia Taylor, Jacksonville Joan E. Hall, Central Point Vicki Keeney, Central Point PATRON Mr. and Mrs. Don Kleinhesselink, Helen Daun, Medford Medford Kathleen D. Green, Sacramento, CA Theodora P. Lilligren, Medford Dr. and Mrs. William C. Husum, Sandra Lilligren, Moscow, JD Medford MEMBERSHIP CATEGORIES Freda D. Linder, Aurora, CO Alicia MacArthur, Medford Friend ...... $20 Curator or Business ..... $120-$200 Ira D. Luman, Portland Dolores G. Marx, Ashland Family ...... $30 Director ...... $250-$500 Kathryn Lundquist, Medford Oregon State University Library, Corvallis Patron ...... $60-$90 Lifetime ...... $] ,000

SOUTHERN OREGON HERITAGE TODAY 15 The Pioneers

erchants were vital to with most of downtown Talent. 6 Southern Oregon Later that year, Wolters rebuilt his store communities. Who else and bank on the comer of Wagner and I carried those all-important streets, this time using concrete block. He nails, flotrr, sugar, dry didn't run it for long, however, as he died Mgoods, dishes and other necessities? May 25, 1912. His son, Chester, ran the C.W. Wolters, of Medford and Talent, store for a while after that, McGrew said. was one of those merchants, according to The bank pmtion became a part of Valley his great-grandson, Jeny McGrew of Lockers, later razed to make way for a Jacksonville. "He was strictly a remodeled Rick's Market in Talent.7 businessman," said McGrew. 1 So were Merchant to other family members. Wolters's father, merchant, the Wolters John, was a baker in Jacksonville; his son, farnily served Wolters had moved to Talent in C.C. (Chester) worked in the Groceteria Southern Oregon 1901, operating a general store in Ashland; his brother, Herman, ran a quietly but well. i and adding a bank in 1910, meat market in Ashland.2 above. The store's walls and Louise Watson is a John Wolters and his wife, Christina, shelves were well-stocked with came to Southern Oregon via San general merchandise, right. Medford free-lance writer. John Wolters ran a bakery; he died there E NDNarES in 1894 and was buried in Jacksonville 1. Interview with author, 20 August, 1999. Cemetery.5 2. Ibid. McGrew's records show that C.W. 3. McGrew interview; abstract, Ashland Tidings, Wolters became a foreman on Gang No. Vol. 23, p. 23, 1912; abstract, The Medford Mail, 49 on the Oregon & Califmnia Railroad Vol. I, p. 77. in 1884. By the time he had manied 4. John Wolters lineage chart, property of Jerry • Amanda Ollie Alford in 1886, he was a McGrew. businessman in Medford, selling groceries, 5. The Medford Ma i ~ Vol. I, p. 77. cigars, and dishes. McGrew believes the 6. Carol Malcolm, Early Businesses and Industries That's C. W Wolters, at right in the store was in the Hamlin Building, on of Talent, (Talent Histmical Society, 1975) p. 5. doorway, with his daughter Cora in front Main Street, opposite what is now the 7. Malcolm, p. 6. of his grocery in the Hamlin Building on U.S. Bank. Main Street in Medford in 1893. By 1901, Wolters and his family had moved to Talent, where he opened a Francisco and Crescent City, California, general store on I Street. By 1910, he'd in 1861. McGrew believes C.W's birth on added a bank vault to the store and opened February 1, 1861, occurred as the ship the State Bank of Talent. Flames destroyed bearing his parents arrived in Crescent City the wooden store on Jan. 31, 1911, along harbor. 3 The family already included Herman H. (Ham), born in 1856; John, When .fire destroyed his .first Talent store, born in 1853; and Sophia, born in 1860.4 Wolters rebuilt, raising this more When the family moved to Jacksonville, substantial structure in 1911.

Thi~ month's issue sponsored in part by Ram Offset Lithographers. Non-profit Org US POSTAGE PAID Permit No. 164 Medford, OR

d.!.~ SOUTHERN llll OREGON llll HISTORICAL J!!!. SOCIETY 106 N. Central Ave. Medford, Oregon 97501-5926 SOUTHERN OREGON HERITAGE TODAY