Artistic, Political, Social, Unusual, and Fun Signs Around Ashland
2020 is a difficult year for Oregon Shakespeare Festival and Ashland. Due to coronavirus, the Festival Welcome Center is closed and the three theaters are dark. “Black Lives Matter” is the OSF message to the community in June 2020. I miss OSF people. I miss their creations. So I am opening and closing this Signs of Ashland article with Oregon Shakespeare Festival photos.
Going up or going down?
“Love Wins” and “Truth Wins”
We want bees to win too
Ashland is not just a town, it’s a community
We miss you OSF !!! (in 2020)
As I take more photos of signs as I walk the streets of Ashland, there will be a “Part 2” at some point in time.
If you enjoyed this photo essay, you might enjoy my photo essay about “Quirky Sights in Ashland: Part 1.” The link is below.
* 23 Homes more than 100 years old! * Oregon history comes alive at 531 Scenic Drive. * 30 Photos. * Garden of the Month, April 2020. * Tree of the Year 2004. * Modern architecture, and more.
I walked Scenic Drive wearing a mask in April of 2020, when the people of Ashland and the entire State of Oregon were being asked to “Stay Home, Save Lives” in order to slow the spread of the pandemic coronavirus. Going for walks was acceptable, as long as we didn’t gather in groups of people.
I began at the “beginning” of Scenic Drive, where it meets Strawberry Lane, and where the first house number is 5 Scenic Drive.
I was drawn to Scenic Drive this month for two reasons. My first motivation was the Ashland Garden Club’s Garden of the Month for April, located at 467 Scenic Drive. In addition, I counted 23 homes on Scenic Drive more than 100 years old, built between 1880 and 1915. I know WalkAshland readers love the local history I learn and share here, so be prepared for plenty of history, gardens and architecture in this article.
Old Ashland maps show part of Scenic Drive was originally called Woolen Street, named for Mr. Woolen, who subdivided his farm acreage here to create land for houses.
Before we explore historic houses, let’s start with the modern houses at this end of Scenic Drive. The first house that caught my eye was also the first house number. I spoke with a neighbor, who told me two architects live in and designed this house.
I spoke with Greg at 39 Scenic Drive. He built much of this attractive 1988 house himself. What really makes the house stand out is the moose antlers mounted on an outside wall. How often do you see moose antlers on the outside of a house? As for me, never before this. Greg told me he purchased the antlers in Alaska from someone who makes spending money by finding places where moose shed their antlers in the winter. I learned something new that day.
I also met the owner of the log cabin at 35 Scenic Drive. I think I got lucky meeting Scenic Drive neighbors out in their front yards because the day I walked was the warmest, sunniest day of the week. You can see from the house photo that it is made of round logs. This is different log-house construction than one I saw – and learned about – on Westwood Drive. You can read about the Westwood Drive log house made with tongue-in-groove D-logs at https://walkashland.com/2019/07/19/westwood-street-log-house-and-eco-house/
This is a lovely, modern Swedish-chalet style house. A neighbor told me it was made using straw bale construction for the exterior walls.
Now let’s continue down Scenic Drive, looking mostly at a variety of historic houses. I won’t describe and show photos of every one of the 23 houses more than 100 years old along Scenic Drive. I will show houses that either caught my eye or have unusual stories to go with them, then I will list the other historic houses at the end of the article. I will also point out a few modern houses that struck me.
The Craftsman style house set above the street at 79 Scenic Drive was built in 1910 by R.L. Coombe. Born in the Australian island state of Tasmania in 1874, somehow he found his way to Ashland in 1910. That same year, he and his wife Florence built this new home.
Coombe was one of the leading plasterers in the Rogue Valley, specializing in interior plaster and exterior stucco work. Among the local buildings he worked on were the 1910 Emil and Alice Applegate Peil House and the 1912 Ashland Carnegie Library. You can see in the photo that 79 Scenic Drive has a stucco exterior.
The National Register description of the house says, “As might be expected the exterior of the house was clad in delicately colored stucco with highly detailed quoins and other details, a veritable tour de force of a master craftsman. Sadly, upon leaving Coombe family ownership this original material was painted, forever hiding the original design intent.”
95 Scenic Drive was built about 1915. I talked with current owner, who was working in her beautiful large garden. She told me the house was originally one story with a basement. In the 1970s, downstairs was made into a separate entry apartment. Orange aluminum siding was added to the exterior! Orange? Aluminum? To a historic house?
In 1997, the current owners did a renovation to remove the orange aluminum siding (yay!) and restore the upper story gable. Let me say now that there was one benefit of the aluminum siding. When it was removed, the original Victorian-style fish scale decorative shingles were in good condition on the gable. These shingles indicate that this 1915 house was a transitional architectural style between Victorian style and the new Craftsman style.
240 Scenic Drive was built in 1977, so it’s not a historic house; but in a sense it is historic. It is noteworthy because it was long the home of Lenn and Dixie Hannon. Lenn was a long-time Oregon State Senator, and Southern Oregon University’s Hannon Library is named after him.
One of the oldest houses on Scenic Drive, the simple Vernacular style house at 345 Scenic Drive was built about 1886 by Lysander Sackett. The most notable owner of the house after that was H.C. Mecham. According to the Ashland Tidings of March 21, 1910, Mr. Mecham “recently invested in a home on Woolen Street” (the original name of Scenic) and also recently “purchased the planing mill from Carson-Fowler Lumber Company.” A planing mill took lumber that had been initially cut to size in a sawmill and finished it to meet the needs of different types of construction or furniture building.
The simple, attractive house at 365 Scenic Drive was built in 1885 and has a prime spot at the corner of Wimer Street. I’m not sure if the porch detail is original, but if not I expect it has been there a long time.
This beautifully renovated 1889 house at 407 Scenic Drive is independently listed on the National Register of Historic Places. It is one of the best examples in Ashland of the Queen Anne/Eastlake architectural style. It was built in 1889 by S. Pedigrift, a mason and plasterer who seems to have lived in Ashland only three or four years.
Notice especially the matching Queen Anne style bay windows. George Kramer wrote in the National Register nomination form that the bay windows are so typical of “Eastlake fancy work” style that Pedigrift may have purchased them from a catalog and incorporated them into the house design.
Through the mid-20th century, the owners of the house also cultivated orchards up the hillside behind the house. Robert Dooms, who owned the house and lived there from the mid-1950s to 1988, told George Kramer that when he was a child in Ashland, the previous owner Robert Johnson “paid him $1 a pound for picking cherries, apricots, and peaches behind the house.”
The architecture is not the only impressive sight at this address. The 2004 Ashland Tree of the Year lives here. It is a massive Monterey Cypress, possibly planted in 1889 when the house was built.
Ashland Garden of the Month for April 2020
467 Scenic Drive was chosen as the Garden of the Month by the Ashland Garden Club. Ruth Sloan of the Garden Club wrote: “The lovely garden at 467 Scenic Drive is the Ashland Garden Club’s Garden of the Month for April. It is a work-in-progress by homeowners Elaine Yates and Michael Costello who have had this property for 3.5 years. Although the yard had good bones, with handsome hardscape and fruit trees, the garden had been greatly neglected in recent years.”
Describing the garden, Sloan wrote: “Heathers, grape hyacinths, forsythia, azaleas (in the deer-proof back yard), and rosemary are the stars right now but soon the rhododendrons will burst forth so Elaine encourages readers to delay until late in the month or early next month visiting to admire the garden from the street.”
Before we move on along to the highlight of my Scenic Drive walk, I must mention that 467 Scenic Drive was built about 1903 in the Vernacular style of the early 1900s.
531 Scenic Drive, the oldest house on the street
When I got to this house, the oldest one on Scenic Drive, I felt like I stepped into a time machine. Come with me, and let’s journey together.
John L. Carter was a sign painter. When he moved to Ashland, he expanded his business to house painting as well. He and his wife Fannie were married in 1845, probably in the northeast where they were both born. I don’t know what year they arrived in Ashland, but the couple built this house around 1880. It was the first house on Woolen Street (now Scenic Drive), very near Orlando Coolidge’s nursery.
It was a simple house, built in the vernacular architectural style. The original 1880 house was a small two-story rectangular box — the gray building in the photo above — with 1 ¼” thick barnboard walls and layers of newspaper glued to the walls for insulation. Sadly, John Carter died only two years after they moved in, but his widow Fannie continued to live in the house until her death in 1905.
Casey Bright was working in the front yard when I walked up and started to take photos of the house. He told me that when he and his wife Jennifer decided to move to Ashland in 1992 with their two young girls, this was one of the properties they looked at. The house and yard were a wreck. The house had been abandoned and was falling apart. There were rusty old appliances scattered around the yard. The healthiest part of the scene was a thriving patch of blackberry vines, about 20’ wide and 50’ long and 10’ high. That’s not normally the kind of thriving one looks for in a property!
Casey laughed as he told me his wife was the visionary in the family. Back in 1992, as the two of them were standing looking at the wreck-of-a-yard, his wife turned to him and said, “This would be a great place for the girls to play.” Casey decided to trust his wife’s vision. He also was and is a contractor, so he agreed that the two of them would buy the house and take it on as a project.
One reason Casey trusts his wife’s vision when it comes to houses is because she is an interior designer. I found out that Jennifer’s business, Twist Design Studio, can be found online at http://www.twistdesignstudio.com.
The Bright’s could not find any early photos of the house, so they looked at other vernacular architectural-style houses built in the same period and incorporated those elements as they renovated their house. They were honored by the Ashland Historic Commission for their attention to detail with a Historic Preservation Award in 1997.
Once we started talking about the history of the house, Casey invited me in (keeping physical distance) and showed me a wall where newspaper had been used for insulation. To memorialize that history, Casey and Jennifer created a frame for a small section of one wall to show the newspaper, as you can see in the photo.
When I looked closely (see photo above), I saw page 1 of a newspaper called The New Northwest from Portland, Oregon, an issue dated September 29, 1871. After I got home, I looked up the name of the newspaper and began another journey.
Abigail Scott Duniway
The New Northwest is important in Oregon history. The newspaper was founded by pioneer Abigail Scott Duniway on May 5, 1871 to press for women’s right to vote (women’s suffrage). Northwest historian G. Thomas Edwards considered the founding of Duniway’s newspaper to be a key event launching the women’s rights movement in Oregon.
Duniway was also a rare voice standing up for the rights of all people in Oregon, including Native Americans and Chinese immigrants. She published the newspaper until 1887.
Women’s right to vote
Oregon voters (all male) defeated women’s right to vote measures in 1884, 1900, 1906, 1908 and 1910. When a women’s suffrage referendum finally passed in 1912, Oregon Governor Oswald West asked an elderly Abigail Duniway (seated in the photo) to sign the official Oregon Proclamation of Women’s Suffrage. She was also honored for her decades-long struggle by being the first woman registered to vote in Multnomah County.
For more of my time machine journey meeting women who led the women’s rights and women’s right to vote movement of the late 1800s (including the female 1884 Presidential candidate my grandmother was named after), see my in-depth article: History Converges at a House on Scenic Drive.
Now back to the house. In addition to some original walls and newspaper insulation, the fir wood floor in the living room is also from the 1880 house. Reviewing his long journey with this house, Casey told me with a smile, “28 years later, I’m still working on the house, now with the help of my teenage son.”
As I reached the end of Scenic Drive, I saw a family outside in their front yard at 546 Scenic working on their garden and building a new fence. I was happily surprised to see an unofficial Little Free Library artistically built in to the fence. You’ll notice that they have a section for children’s books on the lower level.
I will close with a quote from Abigail Scott Duniway that is as important today as it was more than 100 years ago.
“The young women of today, free to study, to speak, to write, to choose their occupation, should remember that every inch of this freedom was bought for them at a great price. It is for them to show their gratitude by helping onward the reforms of their own times by spreading the light of freedom and truth still wider. The debt that each generation owes to the past it must pay to the future.”
Abigail Scott Duniway
I would like to recognize the Scenic Drive houses more than 100 years old that I did not describe in the article:
* 67 Scenic Drive, built 1909, Craftsman style * 71 Scenic Drive, built c1910, Bungalow style * 101 Scenic Drive, built 1910, Bungalow style, 1990s remodel changed it so much that it’s no longer considered historic * 160 Scenic Drive, built 1910, Bungalow style, 1990s remodel changed it so much that it’s no longer considered historic * 125 Scenic Drive, built 1905, Craftsman style architecture, enlarged and modified in 1990s, but still has most of its historic characteristics * 275 Scenic Drive, built 1888, Vernacular style * 283 Scenic Drive, built 1884, added to in 1888, Rural vernacular style * 299 Scenic Drive, built c1886, Rural vernacular style, 1990s remodel changed it so much that it’s no longer considered historic * 309 Scenic Drive, built 1910, Bungalow style, according to the National Register, a 1890 house here was razed, then this house was built in 1910. * 319 Scenic Drive, built c1900, Craftsman style * 337 Scenic Drive, built c1905, Vernacular style, on a heavily landscaped lot * 338 Scenic Drive, built 1888, Vernacular style, this is one of the few 19th century houses on the downhill side of Scenic Drive. It has been beautifully restored, but the 1990s remodel changed it so much that it’s no longer considered historic. * 355 Scenic Drive, built 1911, Craftsman style * 361 Scenic Drive, built 1905, Craftsman style, the projecting bay windows are not compatible with the historic architecture * 447 Scenic Drive, built c1915, Bungalow style, but much altered and extended through the decades * 487 Scenic Drive, built c1910, Craftsman style, by Henry Leavitt who had orchards in the area. * 532 Scenic Drive, built c1890, Vernacular style
Bright, Casey, author interview, April 11, 2020.
Chambers, Jennifer. Abigail Scott Duniway and Susan B. Anthony in Oregon: Hesitate No Longer, The History Press, 2018.
Duniway, Abigail Scott. Speech given at National Woman Suffrage Association Convention, Washington, D.C. March 4, 1884 [Abigail Scott Duniway Papers*]
Duniway, Abigail Scott. “Ballots and Bullets,” speech given at National Woman Suffrage Association Convention, Washington, D.C., circa January 21-23, 1889 [Sunday Oregonian 9 Sept. 1906]
Edwards, G. Thomas. Sowing Good Seeds:The Northwest Suffrage Campaigns of Susan B. Anthony. Portland, OR: Oregon Historical Society Press, 1990; pg. 16, as noted in Wikipedia, April 14, 2020.
Kramer, George. National Register Nomination Form for 407 Scenic Drive.
Kramer, George and Atwood, Kay. National Register of Historic Places, Skidmore Academy Historic District, August 14, 2001.
Sloan, Ruth. “467 Scenic Drive, Garden of the Month, April 2020,” Ashland Garden Club.
Stone, Jason. Portland New Northwest 1871-1887, at Historic Oregon Newspapers, University of Oregon, accessed April 14, 2020. https://oregonnews.uoregon.edu/history/newnw/
Ward, Jean M. “Abigail Scott Duniway (1834-1915),” Oregon Encyclopedia, accessed April 15, 2020.
For people who love gardens and gardening. Many photos of flowers and native plants.
For people who love gardens and gardening. Photos of trees, flowers and gates.
I began my Forest Street walk at the intersection with Liberty Street, one block uphill from Ashland Street.
Deodar Cedar tree
A Deodar cedar tree on the uphill side provided my first uplifting moment and photo opportunity (photos on the left and top right, below). This is a young Deodar cedar. If you want to see an elder, go to the Safeway supermarket on Siskiyou Boulevard. There you will find Ashland’s 2002 Tree of the Year, a pair of majestic Deodar cedar trees (photo on bottom right, below).
This “gate with a heart” at 796 Forest Street next caught my eye. It doesn’t take much to transform a simple gate into something special.
The Japanese maples and rhododendrons at 776 Forest Street provide contrasting shapes and colors.
Ashland Garden Club “Garden of the Month” for May 2020
The highlight of my walk along Forest Street was the May 2020 Garden of the Month. Each month, the Ashland Garden Club chooses one garden in Ashland to feature. This is how Ruth Sloan of the Garden Club introduced the garden:
“The wonderful garden at 720 Forest St. is a labor of love for homeowners Vicky Sturtevant and Alan Armstrong and is the Ashland Garden Club’s Garden of the Month for May. They have deftly combined edibles with ornamentals in this space they have gardened since 1983. It is a heavily shaded lot, particularly the upper, forested quarter-acre parcel that they purchased separately. In all, they have a half-acre that they manage beautifully. The hardscape was designed by Covey-Pardee Landscape Architects in 2009. Eric Cislo welded the gates and Ted Loftus constructed the stone walls.”
Viewing the garden from the street, you can only see a small part of what makes this labor of love special. So I will take you behind the scenes for highlights of the garden, some history of the garden, and share several of Vicky and Alan’s delightful family stories.
Garden in 1983 and 2020
The house was built in 1951. Alan and Vicky purchased it in 1983. When they bought the house, the yard consisted of lots of lawn, lots of concrete and not much else. In a story many of us can relate to, Vicky explained to me it was their choice. When they were looking for a home to buy, the couple had small children who were always outside riding tricycles, bicycles and other wheeled vehicles. “When we bought the house,” Vicky told me, “our real estate agent asked what we wanted, and I said ‘a lot of concrete.’” She got what she wanted…but…Vicky went on, “We spent the next 30 years getting rid of concrete!”
Here’s a visual for you. The first photo shows the house and front yard in 1983, when it had lots of lawn and lots of concrete.
The second photo shows the complete transformation. Taken in early May 2020, the front yard is now lush with blooming flowers and trees, a grape arbor, and a dozen varieties of vegetables not visible in this photo.
The white flowering tree on the right is a dogwood. The small plant to the left of the path with intense magenta blooms is a native penstemon. This beautiful slate pathway extends around to the back of the house.
My wife and I visited Vicky and Alan’s garden later in the month of May, so we saw different plants in bloom than Ruth and Larry saw during their early May visit for the Ashland Garden Club article.
More Larry Rosengren photos for the Ashland Garden Club
Larry took a photo of the Redbud tree at peak bloom in early May. By the time I toured the garden in late May, the tree was filled with green leaves rather than magenta blossoms.
In this back yard photo, Larry caught three species of rhododendron blooming at the same time, right next to each other. The rainbow of lavender, magenta and white flowers side by side is a treat.
Vicky and Alan love to discover and nurture plants native to the Pacific Northwest and Northern California. I took photos of seven native plants. The first one is special. I’ll tell you why.
You might be wondering, as I did, why this wildflower is called “Alice’s fleabane.” I have two explanations for you, so you can take your pick.
Number 1: When Vicky and Alan’s five year old granddaughter was introduced to this wildflower during a walk around the garden, she said, “This is my plant.” Now eight years old, every time she comes to visit her grandparents, she looks for Alice’s fleabane and loves to claim it: “This is my plant.” Why would she say this? I expect you already figured it out — her name is Alice.
Number 2: Born in 1859, Alice Eastwood was a pioneering botanist, a passion that began when she was very young. Here are the two books she received as high school graduation gifts: Porter and Coulter’s Synopsis of the Flora of Colorado (1874) and Gray’s Manual of the botany of the northern United States (1878).
After graduation, she lived in Colorado for 14 years, where she taught high school for income and spent every spare hour collecting plant specimens in the mountains. Her scholarly articles brought her attention, and she was asked to become the Curator of Botany for the California Academy of Sciences in San Francisco. She held this position from 1893 until 1949, a total of 57 years! “By the end of her tenure, she had added a total of 340,000 specimens to its collection and had built up a fine botanical library with her own funds.” [Mathrani]
A number of plants were named after Eastwood, including Alice’s fleabane (botanical name Erigeron aliceae), which is a wildflower native to the meadows and woodlands of the Pacific Northwest. If you walk the slopes of Mt. Ashland, you might see this wildflower.
Shrub tan oak
Shrub tan oak is native to the Oregon coast. It has abundant small acorns that are food for birds, squirrels, chipmunks, deer and other animals. The tan oak in this garden is a dwarf variety.
Now we go from small acorns to small berries. According to the Missouri Botanical Garden, “Birds and a variety of animals (e.g., squirrels, foxes, coyotes, raccoons, skunk, deer) love the fruit. Bears also eat the fruit as suggested by the common name of oso berry (oso from Spanish means bear).”
The large white fragrant flowers make the Western azalea (botanical name Rhododendron occidentale) a pleasure to have in the garden. This azalea is native to Oregon and the Pacific coast.
High bush cranberry
I visited the garden when white flowers were blooming on the High bush cranberry. Don’t confuse this plant with juice and cranberry sauce cranberries grown in bogs in the Northeastern U.S. and along the Oregon coast. High bush cranberries tend to be so bitter that even birds don’t readily eat them until winter, when they freeze and thaw several times and become a little sweeter.
Native to the Oregon coast, Salal is widely used to add greenery in floral arrangements. You can see how bright and shiny the leaves are.
Here is another wildflower that grows on the slopes of Mt. Ashland.
Wintergreen (not native)
Wintergreen is not an Oregon native, but is native to woodlands of Eastern North America. I love wintergreen scent and flavor, so when Vicky told me to crush a leaf and smell it, I went right for it. Ah, it was wonderful.
The lovely pond
The creation of the pond is another family story, starring their 11 year old twins. “Our kids dug the pond in 1993,” began Alan. “It started as a little hole to fill with water to put their frogs and salamanders in.”
My first observation – the “little hole” turned into a big project! My second observation – the parents must have done a lot of the digging.
Creating the back yard pond was a family project. After 20 years, the pond was leaking too much water, so they had the pond liner, pump system and waterfall professionally replaced in 2013. Bright yellow iris were blooming at the edge of the pond the day my wife and I visited.
The pond became a family project in another way. During the 1990s, as they made trips to the coast, the family would stop along the Smith River to collect round river rocks. You can see these around the bench, a relaxing place from which to enjoy the pond, koi and yard.
I asked Alan if they had problems with bears visiting the pond. He surprised me by replying that local bears were much more interested in their large compost pile up the hill than in the pond.
The forested “up the hill” yard
In 1986, Vicky and Alan were able to purchase the forested lot next door, up the hill from their house and yard. As you can see in the 1986 photo, the lot was thick with trees and brush. Vicky told me, “The back yard (cement and lawn) was dark and dank until we thinned the trees,” which they did gradually through the years. She explained, “Most of the manzanita, mountain mahogany, oaks and mountain laurel are gone – partly because of the shade but also the understory serves as ladder fuels.” As you can see from my 2020 photos, the forested slope is quite open now.
Berries, berries and berries
We had one more stop on our garden tour – the berry patch. They are not ready to eat in May, but here’s the order in which Vicky and Alan will be harvesting them.
Strawberries, planted along the driveway, come first. Rhubarb is growing behind the strawberries.
Blueberries are next, followed by marionberries. Note that these two varieties are under a netting to protect them from the birds.
The raspberries ripen later in the summer. Alan prunes them vigorously during the winter to slow their maturation, so they don’t have quite so many berries ripening and needing to be processed simultaneously.
My final photo in Vicky and Alan’s beautiful garden was a quirky one. I spotted a dramatic, deep purple bearded iris near the berry patch. Then I saw the purple garden hose on the ground behind it. I couldn’t resist the color combination. So this photo is offered for people who love purple.
The rest of Forest Street
Moving on along the street, I spotted an unusual garden gate at 682 Forest Street.
Then Forest Street ends at a fence in front of a large open field. Or does it? A sign by a narrow pedestrian opening in the fence says it’s private property, but walking through is okay.
From the opening, the path takes off in two directions. I can see that one way leads to Ashland Street. I follow the other path, and come to a street with three houses. But there is no street sign. I follow the street around a bend, up a steep hill, to the intersection with another street. Still no street sign. Frustrated with my inability to find the street name the old-fashioned, “shoe-leather” way, I go high tech.
Using my camera/phone/calendar/map, I zero in to my exact location on earth and learn that I am at the other end of Forest Street! I can imagine confused delivery drivers and guests trying to find these three Forest Street houses separated from the rest of the street by a large field.
Here is a view down the “west” section of Forest Street, taken at the intersection with Weller Lane.
Here, Forest Street looks more like “forest” Street than on the “east” section of the street.
Of the three newer houses in this section, this Japanese maple tree and the nearby front door stopped me with their beauty. Japanese maple trees are often lovely, but the leaves are usually either all green or all red. I tried to capture the variety of colors in this Japanese maple, but my camera was not able to do it justice.
The three house numbers on this isolated block of Forest Street are 615, 611 and 607 Forest Street. Right next door, I came to a house with big numbers 610 on the gate.
This must be 610 Forest Street, right? No, wrong. This is 610 Ashland Street, built on a flag lot three houses away from Ashland Street. I almost feel like I stepped into Ashland’s version of the Oregon Vortex.
Here is the path back to the east section of Forest Street and regular life.
If you liked this article, you might enjoy my article about the Garden of the Month on Ohio Street.
Or my article about the Garden of the Month on 8th Street.
Armstrong, Alan and Sturtevant, Vicky. Personal communication, photos and garden tour, May 2020.
Anon. Oemleria cerasiformis (common name Oso berry or Indian plum), Missouri Botanical Garden website. (accessed 5/27/2020)
Mathrani, Varsha. “Alice Eastwood: Pioneering botanist, explorer & naturalist, lifelong lover of flowers & plants, California Academy of Sciences Curator of Botany,” Living and Working with Nature website. (accessed 5/27/2020)
Name of each person who modeled for Street Scene. Life and work of sculptor Marion Young. Complete with 35 photos!
Street Scene: the sculpture today
This engaging 14-foot-high bronze sculpture is located downtown on East Main Street near Pioneer Street, next to the Ashland Chamber of Commerce office and old Black Swan Theater. So far, this is my favorite sculpture in Ashland, primarily because it is filled with vibrant, life-like people. They are so life-like both because of artist Marion Young’s talent, and also because she found vibrant locals to model for her. She came to Ashland in 1988 to sculpt an earlier version of Street Scene, and lived here until her death in 2019.
In this article, I will tell you how the sculpture Street Scene came to be, a little about each person who modeled for the sculpture, and give an introduction to Marion Young’s life and body of work.
Street Scene: how it came to be
Marion Young moved from Los Angeles to Ashland in order to sculpt the Street Scene commission. She was literally surrounded and inspired by the cauldron of creativity at Oregon Shakespeare Festival (OSF). For four years, her studio was located within the Old Scene Shop at OSF. Therefore, it is not surprising that many of the live models Young used for Street Scene were associated with OSF, most of them in the acting corps.
Marion Young created two versions of Street Scene. The first was commissioned by Atherton Place, an elegant retirement center in Marietta, Georgia. It was 4’ wide by 9’ tall, done in white resin, and included nine people in the sculpture.
Inspired by Ashland culture, she decided to stay and sculpt a larger version of Street Scene. The larger Street Scene sculpted for Ashland is done in bronze, contains twelve people (plus three Shakespeare characters) and stands 14’ tall.
Young always used live models in her sculpting. Her “work,” however, began even before choosing the models. A lifelong student of Carl Jung’s psychology, Young thought in terms of archetypes (universal themes that influence our personalities). She began each sculpture with these themes in mind. As she envisioned Ashland’s Street Scene piece, she created specific universal characters to represent in the sculpture, she thought about relationships between the characters, and she tried to capture the spirit of Ashland.
Street Scene: Young is “discovered”
As I mentioned above, Young sculpted Street Scene in the old scene shop at OSF. “Word spread of her work as her life-size figures slowly emerged above the beams of this building’s massive interior.” The city of Ashland was at the time creating a new Downtown Development Plan. Planning Director John Fregonese appreciated the value of public art. It was Fregonese who spearheaded the 1987 renovation of the lovely Butler-Perozzi Fountain, which had deteriorated badly since its installation in Lithia Park in 1916.
Fregonese thought Street Scene would be a wonderful addition to Ashland’s downtown, and the Ashland City Council agreed. The city provided $5,000 seed money for acquiring the sculpture, but the rest of the funds had to be raised through private donations.
Street Scene: the funding challenge
The overall budget for Street Scene was $125,000, which did not leave much for Marion Young’s years of work. She was able to sell bronze casts of individual busts from the sculpture to help provide income.
Over 800 individuals, businesses and foundations contributed money toward the project. Many donated their services at no charge, or for a very low fee. For example, since bronze casting for the 2,000 pound statue was done at Artworks Foundry in Berkeley, California, Medford Fabrication and the Thorndike family donated all the transportation costs between Ashland and Berkeley, then helped install the sculpture.
Local attorney, businessman and art lover Lloyd Matthew Haines was Chairman of the funding committee. He was, and still is, a strong proponent of public art in Ashland. He was also a friend and strong supporter of Marion Young and her work. When funding for Street Scene fell short even after hundreds of donations, Haines contributed the balance that was needed.
Street Scene: dedication on July 6, 1994
Creating and putting up the massive concrete wall that Street Scene is attached to was a huge project in itself.
Once that was done, the sculpture was attached. A community dedication took place on July 6, 1994. “As Ashland gallery owner and artist Judy Howard said at the dedication, ‘Art tells a story of a particular culture and reflects the life of those in that culture. This sculpture reflects the spirit of our community and will tell the Ashland story for generations to come.’”
Street Scene: who are these people?
If you have looked closely at the Street Scene sculpture, you may have already identified one or more of the local actors and residents who modeled for Young. When I decided to write about the sculpture, I thought it would be simple to find a list of the twelve people who modeled for Young. No…not simple. In fact, it has been a surprisingly long and frustrating journey.
Fortunately, I had fellow Ashlander Tom Woosnam on the journey with me. He became intrigued with Street Scene when he noticed that his good friend Lee Carrau was one of the twelve people in the statue. Woosnam and Carrau had acted together with The Palo Alto Players when they lived in California. Woosnam also recognized Rex Rabold and Shirley and Bill Patton as models for the statue, and wondered who the other eight people were. That put him on a parallel track to mine, and then we began to cooperate.
We researched on the internet and through newspaper articles. I tracked down Marion Young’s niece Robyn Jones, who helped fill in some blanks and kindly shared photos with me. Jones introduced me to Matthew Haines, the driving force behind fundraising for Street Scene. Haines was kind enough to fill in more blanks and share his collection of information and photos with me.
Getting the correct names for the two children was the most difficult part. Each time Woosnam and I thought we had the correct names, another possible name would come up. Does this article provide the definitive list? I think so. However, if we learn something new in the future, I will update the article.
Here are the names of the models for Street Scene, with a brief note about each of them, starting from the bottom of the statue:
Smaller than the humans above, the three whimsical figures at the bottom left are characters in Shakespeare’s play “A Midsummer Night’s Dream.”
*The Fairy Queen was modeled by Seva Anthony, aerialist and Green Show dancer for OSF.
*Bottom was a weaver who was given a donkey’s head by the mischievous fairy Puck. Anthony de Fonte, who played Bottom in the Festival’s 1993 production of “Midsummer,” was the model.
*Peaseblossom was one of Fairy Queen Titania’s fairies who waited upon Bottom. Liz Wood (now Liz Finnegan), a Green Show dancer at OSF, modeled for Peaseblossom.
*Kate Sullivan, OSF actor — (The inviting spirit) With her arm extended and hand open, actor Sullivan portrays the pivotal figure who draws us in. “She is the spirit who invites us into the piece, into the magic of living.”
*Virginia Kooiman, local child — (The child) She was in kindergarten at Briscoe School. “A crack Old Maid player at age 5, she was the sculptor’s most eternally figity [sic] model and became the child of this young family. She holds a ball covered with stars.”
*Marco Barricelli, OSF actor — (The hero-father) A “leading man of prodigious presence and talent,” Barricelli’s role in the sculpture is the hero-father. He was described as having “a 2000-year-old classic Roman head.”
*Marie Baxter, Hanson Howard gallery co-owner — (The ethereal young mother) Young discovered Marie Baxter at Ashland Food Coop. After they got to know each other, the gallery started to represent Young’s sculptures in Southern Oregon, and Baxter agreed to model for Street Scene.
*Phyllis Courtney, OSF actor — (The charming middle-aged aunt) Courtney renovated John and Lizzie McCall’s beautiful 1883 historic home on Oak Street and opened McCall House B&B there in 1981. Also a long-time actress, she portrays half of the charming middle-aged couple, everyone’s favorite aunt.
*Lee Carrau, writer-producer — (The charming middle-aged uncle) As a career, Carrau produced industrial and scientific films. He also loved acting for the fun of it. Young chose him to model as the other half of the charming middle-aged couple, everyone’s favorite uncle.
*BlackStar, Native American healer — (The healer, and connection to the land) Young felt called to include a Native American female elder in the sculpture. She found BlackStar (Eunice E. Rotz), born 1918 in Texas and trained as a Comanche traditional healer. BlackStar lived the last decades of her life in Southern Oregon, creating silver jewelry and providing healing, before she passed away in 2007.
*Robert Barnett, OSF actor — (The story teller) When Young saw Barnett perform in an OSF play, she thought “his Norman Rockwell face and Harold Lloyd smile were irresistible…filled with warmth and friendliness.” Barnett is signing “I love you” to the viewer.
*Elijah Apilada, local child — (The typical kid) Young found an Ashland Middle School boy with a feisty but smart attitude.
*Rex Rabold, OSF actor — (The wisdom of Shakespeare) With so much of Ashland’s creative and economic life intertwined with the Oregon Shakespeare Festival, Young introduced these elements in her figures at the top of the sculpture. A beloved OSF actor, Rabold died in 1990 at the age of 39. In Street Scene, he modeled for Young in his role as Shakespeare’s Richard II.
At the top of Street Scene are Shirley and Bill Patton. “As the magical figure at the bottom of ‘Street Scene’ draws us into the spirit of Ashland, the sculptor wanted an elegant dancing couple at the top to take us on into life, to remind us that life has more potential than we ever dreamed possible.”
*Shirley Patton, OSF actor — (The elegant dancing couple) Shirley Patton has touched thousands of lives through her 75 years of acting (30 years of it at OSF), her vivacity, her kindness and her lifetime of service. Many people know Shirley as the voice of Jefferson Public Radio’s “As It Was” history spots, which she has narrated five days a week since 2005, almost 4,000 in all!
*Bill Patton, long-time OSF Executive Director (The elegant dancing couple) Bill Patton worked at OSF from 1948 to 1995, including 42 years as General Manager and then Executive Director, helping to guide OSF. After Bill died in 2011, Paul Nicholson, who followed Bill as Executive Director, said of him: “Under his astute guidance the Festival grew from 29 performances and an audience of 15,000 to 752 performances and 359,000 in attendance the year he retired. He was a gentleman in every way, kind, thoughtful and caring.” Haines recalls Young holding the intention of having Bill Patton “walk into the sunset” at the top of the sculpture, since he was only a few years from leaving his post at OSF when she sculpted him.
Marion Young’s life story and key sculptures
Sculptor Marion Young was born in California November 25, 1934 and died in Ashland April 12, 2019. She had happy years as a child living on a farm in the Oakland hills. Her niece Robyn Jones remembers Young speaking fondly of hours exploring redwood forests near her home with her collie dog Bruce at her side.
Young grew up in a very artistic family. Her mother was a poet and musician, her father a painter and musician. She attended San Francisco State University, with a major in biology and a minor in art. Her plan was to become a medical illustrator. Instead, she became an actor. After a few years, she transitioned to co-owning a bronze artworks foundry and then an art gallery in Los Angeles with Thomas Holland, her romantic as well as business partner for a time.
Her artistic and life journey finally brought her to creating sculpture, where she was able to express all of her skills. Holland was her first sculpture teacher. She continued to study on her own, including spending months absorbing every nuance she could of Auguste Rodin’s genius through the Rodin sculpture collection at Stanford University. Young sculpted primarily in clay from live models.
Her biography notes that she was “an ardent student of the writing and thought of [Carl] Jung.” This quote from Carl Jung, a favorite of Marion Young, expresses in very philosophical language what Young tried to capture in the physicality of her sculptures.
“Whoever speaks in primordial images speaks in a thousand voices: he enthralls and overpowers, while at the same time he lifts the idea he is seeking to express out of the occasional and the transitory into the realm of the ever-enduring. He transmutes our personal destiny into the destiny of mankind, and evokes in us all those beneficent forces that ever and anon have enabled humanity to find refuge from every peril and to outlive the longest night.” Carl Gustav Jung
I had to read Jung’s quote at least three times to understand it! And then three more times to understand how it could apply to Marion Young’s Street Scene sculpture. The depth of her study of human nature helps take the feeling of the sculpture out of “the occasional and the transitory” and out of the “personal” into a universal feeling.
How did she achieve that depth of understanding human nature? From what I have learned of her, it was a combination of factors. As with most of us, it began with the role models provided by her parents, who were artists in multiple mediums of expression and creativity. It expanded as Young took dance lessons beginning at age four. Later, as an actor after graduation from college, she explored the emotional and psychological aspects of human nature from the inside of multiple roles. After beginning to sculpt, she took a deep dive into exploring the physical aspects of what it means to be human. How deep? How about not only taking anatomy, but also dissecting human bodies at UCLA School of Medicine? As her biography put it: “In order to obtain the kind of knowledge necessary for her work, Marion found that she had ultimately to perform her own dissections on the human body.”
That experience led to the creation of her sculpture called Essentia, which is now at the Columbia University School of Medicine (in the anatomy department). The sculpture accurately portrays the anatomy of a young woman, both muscles and fascia without the covering of skin. It captures the beauty of the essential, beneath the surface. Young went on to capture the beauty of essential aspects of human nature in Street Scene, but in a different way.
How Marion worked: insights from the Van Gogh bust
If you visit the Ashland Library, you have surely noticed another one of Marion Young’s sculptures. Just within the library front doors is a life size bust of Vincent Van Gogh. Henry Woronicz, former OSF actor and Artistic Director, served as the model. But he didn’t just “sit there,” nor did she “just sculpt.” This sculpture provides a good example of her deep preparation for a piece, combining her Jungian studies, her theater background, and her desire to capture universal rather than superficial feelings.
First, Woronicz and Young created a half-hour script edited from Van Gogh’s letters to his brother Theo. Then, studying Van Gogh’s paintings, Young reproduced his bedroom in her studio, using OSF props. Only after all this preparation did Woronicz get into his “role,” sit on the “set,” and model for Young!
Bronze bust on the left and clay model on the right, of “Henry Woronicz as Vincent Van Gogh,” by Marion Young. (photographers unknown, photo on left courtesy of Robyn Jones, photo on right courtesy of Matthew Haines)
How Marion worked: insights from Shirley Patton
As mentioned above, Shirley and Bill Patton both modeled for Young’s Street Scene sculpture. Shirley shared these memories with me that illuminate Young’s internal and external process.
I was an accidental model. Marion had chosen her models, I believe, in a number of ways. She had a cast of characters in mind and found the people through conversations with friends and townspeople, and she was influenced by the Festival’s plays. It was in the OSF souvenir program that she discovered Bill. She was attracted to Bill’s face and bone structure. She’d had in mind a couple out on the town, enjoying the area’s nightlife. Dressed up with a tux and top hat! (Not our usual dress for an evening in town, is it?)
I think I was introduced to Marion after the work had begun. I came by where they were working to pick him up one afternoon, and she looked at me and said, “Oh, you can be Bill’s dancing partner!” So I was added to her “cast.” And I must confess that I’m glad it is me up there rather than another model.
I remember the time Marion asked me to stop by her makeshift studio in the old scene shop building. She was almost done with Bill’s likeness but she wasn’t satisfied. It was missing a certain “spark.” She said she had noticed that when I’d stop by the studio during his sittings that his eyes lit up, so she wanted me to come to his appointments so she could watch us interact.
She was looking for an elusive quality that would bring animation to a static piece of clay. It’s a mystery to me but Marion kept at it until there was life in Bill’s eyes. There was a difference. She said it was the spark she was looking for. She’d noticed that it came when we were laughing and talking together. Now that was a dear thing for her to say.
The Hero’s Journey
Marion Young’s major unfinished work is called The Hero’s Journey. She described it as “about 60 inches tall with a walnut base. Each of the 12 characters that circle this sculpture is a representation of one of the archetypes of the journey of life.” As in Street Scene, Young used OSF actors as models. Sadly, Young developed mental health problems and early dementia at a relatively young age, and quit sculpting shortly before she completed The Hero’s Journey.
Matthew Haines learned of The Hero’s Journey from Young’s niece Robyn Jones. Jones told Haines it was still in clay form, and was in the basement at a friend’s house. Haines retrieved the unfinished sculpture and brought it to local sculptor Jack Langford to repair. Now, in May 2020, Langford is casting it in bronze at his Talent studio.
Ashland enriched Marion Young’s later years, and she continues to enrich Ashland beyond her time on earth. Each year, thousands of people see and are moved by her Street Scene sculpture on East Main Street and her Van Gogh bust at the Ashland Library.
“Stay tuned” for more articles about public art in Ashland.
Quotes not credited are from unsigned written information about Street Scene and about Marion Young, provided to me by Robyn Jones and Matthew Haines.
When I walked Scenic Drive recently, I was interested in the oldest house on the street. 531 Scenic Drive was built in 1880. Little did I know the learning adventure on which this house would take me. Come join me on a trip through time, space and Oregon history.
The original 1880 house was a small two-story rectangular box with 1 ¼” thick barnboard walls and layers of newspaper glued to the walls for insulation. When Casey and Jennifer Bright bought the house in 1992, it was abandoned and falling apart. They lovingly restored it and received a Historic Preservation Award in 1997 from the Ashland Historic Commission.
Casey invited me in (keeping physical distance) and showed me a wall where newspaper had been used for insulation. To memorialize that history, Casey and Jennifer created a frame in a small section of the wall to show the newspaper, as you can see in the photo.
When I looked closely, I saw the masthead of a newspaper called The New Northwest from Portland, Oregon, an issue dated September 29, 1871. After I got home, I looked up the newspaper, stepped into the time machine, and began my history journey, which I will share with you.
Abigail Scott Duniway
The New Northwest is important in Oregon history. The newspaper was founded by pioneer Abigail Scott Duniway on May 5, 1871 to press for women’s rights, especially women’s right to vote (known as women’s suffrage). Northwest historian G. Thomas Edwards considered the founding of Duniway’s newspaper to be a key event launching the women’s rights movement in Oregon.
Abigail Scott Duniway was born into a farm family in Illinois in 1834. Though she had only about one year of formal schooling, she learned to read and write. More important – she loved to read and write. When her parents and their nine children took the long Applegate Trail to Oregon in 1852, 17-year-old Abigail was given the responsibility of writing a daily journal of their trip. Their wagon train was led by Jesse Applegate, part of the family that blazed the Applegate trail.
In Oregon, Duniway married, farmed, taught school and owned a millinery (hat) shop. When she founded a weekly newspaper in 1871 at the age of 36, she broke with the past and made writing her career.
Her newspaper was based in Portland, but she had large aspirations, as evidenced by the paper’s name: The New Northwest. The paper’s motto was “Free Speech, Free Press, Free People.” Here’s how she described her newspaper in an 1884 speech:
“No sooner had we begun to agitate the question of equal rights than men responded to our plea; and the result was, first, the establishing in 1871, and its maintenance ever since, of a weekly journal, the New Northwest, devoted to the promulgation of equal political and financial rights between the sexes; and secondly, to the respectful bombardment of biennial legislatures with the pleas, plans and purposes of women, who made the paper their standard-bearer, and who had learned to recognize the ballot as the basis of all rights under any government claiming to be ‘of the people and by the people.’”
Duniway was also a rare voice standing up for the rights of all people in Oregon, including Native Americans and Chinese immigrants. She published the newspaper until 1887.
Though lacking formal schooling, she sounded like a politician and psychologist. In an 1889 speech, she referred to 15 years of travel throughout the Oregon Territory (later the states of Oregon, Washington and Idaho) speaking on behalf of women’s right to vote:
“The Declaration of Independence and the Preamble and constitution of the United States formed the basis of my many sermons through all those weary years. … we can only secure our right to vote by and through the consent of voters; and we have only gone ahead in the prosecution of our case when we have succeeded in gaining men’s consent. Whenever our demand for our right to vote is based upon an alleged purpose to take away from men any degree of what they deem their liberties, or own right of choice, we simply throw boomerangs that recoil upon our own heads.”
As noted in her speech excerpt above, Duniway recognized the uncomfortable fact that in Oregon only men voted (white males, actually). In order to pass women’s right to vote, women had to convince male voters they would gain more than they would lose by allowing women to vote. How to accomplish this led to large conflicts within the Oregon women’s suffrage movement, often pitting Duniway against the majority of women activists.
In 1871, Duniway had invited national women’s suffrage leader Susan B. Anthony to do a speaking tour in the Northwest. They traveled around Oregon for six weeks, then went north to the territory of Washington. Being seen with Anthony gave Duniway’s fame in Oregon a huge boost.
Oregon women first got women’s suffrage on the state ballot for the 1884 election. In this first opportunity to decide whether women should have the right to vote, only 28% of male voters (11,223 men) said yes.
Was the low “yes” vote the fault of the anti-liquor Woman’s Christian Temperance Union, or was it the fault of Duniway’s unwillingness to collaborate with others who did not share her approach?
The Woman’s Christian Temperance Union (WCTU) and Oregon
The nationwide movement that became the WCTU began on December 22, 1873 in Hillsboro, Ohio. Inspired by an evening talk, 50 women began the very next day to ask every druggist, grocer, physician, innkeeper and saloon owner in town to sign a pledge that they would no longer sell alcohol. The thirteen businesses that did not sign found groups of women praying and singing in their establishments. This shook up the patrons and owners so much that within a few weeks, nine of the thirteen non-cooperating establishments were out of business.
The news from Hillsboro, Ohio swept across the country. In August of 1874, the formal Woman’s Christian Temperance Union was formed in Lake Chautauqua, New York. The primary goal of the organization was prohibition of alcohol, in order to protect women and children, and to improve men.
Like today, domestic violence was often fueled by drunkenness. Unlike today, wives had no legal recourse and little or no community support. Women of the 1870s had few legal or property rights. In most states, the home, the land, the family possessions, even the wife’s earnings if she made money, all belonged to the man.
These simple, stark facts explain two important points. One, women of all social classes had friends whose lives were devastated by the effects of alcohol, so the WCTU message touched a nerve – and a real need – and swept like wildfire throughout the country. Second, despite what most of us learned in history class, the WCTU was not solely an anti-alcohol crusade. It was actually one of the strongest forces for women’s rights in the late 1800s.
According to Sarah Gelser: “While suffragettes appealed mainly to middle- and upper-class white women, the WCTU also served and attracted working class women and women of color. The participation of working class women was demonstrated by the organization’s support of the noon rest hour, employment agencies, labor unions, and vocational training. The participation of women of color was just as striking, with large numbers of African American and Native American women officers and members.”
Thinking about this in hindsight, it seems as though Duniway would have benefited greatly by building bridges with the Oregon WCTU and expanding her base of support for women’s suffrage in the 1884 election and beyond. Instead, she was angry that WCTU didn’t support her tactics of quietly lobbying men’s groups behind the scenes in order to convince men to vote for women’s suffrage.
Granted, the WCTU could be “in your face” when it came to their tactics. On top of that, in 1883 the Oregon chapter invited national WCTU President Frances Willard for a large convention. Because of Willard’s presence and inspiration, the Oregon WCTU was very active in the years 1883 and 1884.
Duniway believed, and some historians have written, that the WCTU scared the liquor industry (nationally and in Oregon), and also scared many traditional beer and whiskey drinking males in the state of Oregon.
One could make a case that increased WCTU activity made the liquor industry (with lots of money to spend) more active campaigning against women’s suffrage. The industry and many male voters may have believed that allowing women to vote would lead to a law banning the sale of alcoholic beverages.
Whatever the reasons, Oregon’s male voters defeated women’s right to vote measures on the ballot four more times – in 1900, 1906, 1908 and 1910. Oregon women’s suffrage finally passed at the ballot in 1912.
In light of the discussion in the last few paragraphs, it is interesting to note that in 1914, the first election after women got the right to vote, statewide prohibition passed by a vote of 136,842 to 100,362. As of “January first, 1916, the manufacture and sale of intoxicating liquors within the State of Oregon, except upon prescription of a physician or for scientific, sacramental or mechanical purposes” was prohibited.
When the women’s suffrage referendum passed on the sixth try in 1912, an elderly Abigail Duniway (seated in the photo) was asked by Governor Oswald West to sign the official Oregon Proclamation of Women’s Suffrage. Though it was the sixth try here, Oregon still gave women the right to vote eight years before women achieved that right nationally. Duniway was also honored for her decades-long struggle by being the first woman registered to vote in Multnomah County.
A quote for all young women
Here is an important quote from Abigail Scott Duniway that is just as applicable today as when she said it more than 100 years ago.
“The young women of today, free to study, to speak, to write, to choose their occupation, should remember that every inch of this freedom was bought for them at a great price. It is for them to show their gratitude by helping onward the reforms of their own times by spreading the light of freedom and truth still wider. The debt that each generation owes to the past it must pay to the future.”
Our journey next leads us to the connection between fellow-suffragist Marietta Stow of California and Abigail Scott Duniway of Oregon. In San Francisco, Marietta Stow had also founded a newspaper (Women’s Herald of Industry) that featured women’s issues. The paper only lasted from 1881 until 1885, but it gave her a strong platform.
Both the Republican and Democrat parties of the time ignored women’s rights. Some leading suffragists, such as Susan B. Anthony, believed their best hope for success was to work with one of the major political parties, despite being ignored. Others, like Stow, thought women needed to take the lead and form their own political party. In July 1884, Stow took the big step of forming the Equal Rights Party.
Because she knew and respected Duniway, Stow nominated Abigail Duniway as the Equal Rights Party candidate for President. Surprisingly, she did this in a newspaper article without consulting with Duniway first!
Duniway responded in her own newspaper, The New Northwest, saying she would not accept the nomination. She believed women running for office in 1884 would distract from and weaken the movement for women’s right to vote. Duniway wrote that “a disenfranchised candidate of a disenfranchised people will make a sorry run for any office.”
My grandmother and Belva Lockwood
After Duniway’s refusal, Stow turned to Belva Lockwood as the 1884 Presidential candidate for the Equal Rights Party. Lockwood was nationally known, and her life story was quite extraordinary.
This gets us to the connection with my paternal grandmother. I feel a special affinity for women who fought for the right to vote in the late 1800s because my grandmother Belva Finkle, born in 1891, was named after Belva Lockwood. My great-grandparents must have been strong supporters of women’s right to vote.
Belva Lockwood’s life
Lockwood was born into a farm family in 1830. She went to college, became a seminary teacher, then at the age of 40 decided to attend law school. Every step was a battle. At this time, there were only a handful of female lawyers in the entire country, and law schools refused to admit her. She was finally admitted to the National University law school in Washington DC. When she graduated in 1873, they refused to give her a diploma! Frustrated, she sent the following letter to the ex officio president of the law school, none other than the President of the United States, Ulysses Grant.
You are, or you are not, President of the National University Law School. If you are its President, I desire to say to you that I have passed through the curriculum of study in this school, and am entitled to, and demand, my diploma. If you are not its President, then I ask that you take your name from its papers, and not hold out to the world to be what you are not.
Very respectfully, Belva A. Lockwood
According to an article at The George Washington University (formerly National University) website, “She never received a direct reply—but a week later, her diploma arrived in the mail.”
She became a successful lawyer, but she was denied the ability to practice law in Federal courts because she was a woman. Again, she was not one to give up. “In 1879, a bill was passed through both houses of Congress and signed by President Rutherford B. Hayes which allowed Belva to become the first woman to practice before the Supreme Court of the United States.” [N.Y. Library] By the way, President Hayes and his wife visited Ashland the following year, in September 1880.
The 1884 Presidential election
“I cannot vote, but I can be voted for.”
Belva Lockwood, 1884
When Marietta Stow asked Belva Lockwood to be the Equal Rights Party candidate for President, Lockwood said yes. Stow was her Vice-Presidential running mate. Lockwood campaigned for equal rights for all Americans in order to make the United States “the land of the free and the home of the brave.” In addition to rights for women, she believed Native Americans should become U.S. citizens. She went further than most reformers by her opposition to the discriminatory Chinese Exclusion Act of 1882, which halted most Chinese immigration for decades. She called it “anti-Christian and unconstitutional.” This was diametrically opposed to the position of Stow, who was very racist despite advocating for women’s rights.
Lockwood was officially on the ballot of only eight states, though that in itself was a huge accomplishment. Nevertheless, she campaigned nationwide. Lockwood and Stow received 4,194 votes in those eight states. Remember, this was a time when women could not even vote for President of the United States.
I am honored that my grandmother was named after such a trail-blazing woman, who along with many other courageous women and men contributed to the increase of liberty, freedom and mutual respect we continue to fight for today. I am glad that my visit to 531 Scenic Drive in Ashland, Oregon took me on this learning journey.
My thanks to the Ashland Tidings for publishing an edited version of this article on April 30, 2020.
Anon. “Women show ability,” The Sunday Oregonian, September 29, 1912, Section Five, p5, at https://thebrewstorian.tumblr.com/post/172330891121/mrs-conklin-miss-louie-church-some-things-i/embed
Anon. “State Suffragists Prepare for Fight Part 1,”Oregonian, November 1, 1912, 4.
Ashland High School outdoor art. Cheryl Garcia’s metal art. The Inspire House classroom.
I took photos on Morse Avenue, which runs between Siskiyou Boulevard and East Main Street, in April 2018 and again May 2020. Most of the east side of Morse is taken up by the Ashland High School track and field.
Homes and apartments fill the west side of the street. Morse Avenue is only a couple blocks long, as are many streets in Ashland, so this will article will be mostly photographs.
The garden highlight on Morse Avenue was 33 Morse. This home used to belong to Southern Oregon artist Cheryl Garcia and her husband Criss. Cheryl specializes in metal art, and you can still see her work around the garden.
Cheryl Garcia’s website is www.greatmetalwork.com. I have had the pleasure of knowing Cheryl for the past few years. She does create great metal art projects, both small and large. You may have seen her huge flowers just inside the main entrance of the Britt Music Festival, at Walker School in Ashland or the bright yellow-orange metal poppies in the vineyard as you drive into Jacksonville on South Stage Road (photo below).
When Cheryl and Criss sold the home on Morse, she told me that she hoped the new owners would honor and keep her artwork in the garden – and they have. Here are more photos of her art at 33 Morse.
There is an unusual tree at the corner of the garden where Morse Avenue meets East Main Street. I think it’s a weeping Blue Atlas Cedar that has been trained to grow in two directions from the sturdy trunk. It is dramatic!
Ashland High School track
During my 2018 walk, the deer of Ashland were represented on Morse. I was admiring the new AHS track recently installed after a huge community fundraising campaign. Then I noticed that three deer were also admiring the track, perhaps discussing how fast they could run a 100 yard dash.
The track was declared unfit for use in May of 2017, so a huge community fundraising campaign began. $360,000 of private funds was raised to replace the understructure of the track and lay down a state of the art surface layer. It looks great to me. I hope the high school athletes love it.
AHS Inspire House
The Ashland High School Inspire House on Morse Avenue serves a small number of students. I found this explanation at the school website: “The AHS INSPIRE Program serves students who have special needs, with an emphasis on hands-on activities that directly transfer into independent life skills.”
Rebecca Bjornson is the teacher for Inspire House students. I didn’t know about Inspire House when I first wrote about Morse Avenue in April 2018. Since then, I had the pleasure of leading Rebecca and the Inspire House student group on an Ashland History Walk through the Railroad District.
AHS Morse Avenue artwork
I enjoyed seeing this mosaic at the high school as I walked the sidewalk on Morse Avenue. If someone knows the story behind the mosaic, please share it in the comments.
The house that moved one block. How can Liberty Street start and end at Siskiyou? Two Little Free Libraries…and ending with humor.
This is a greatly expanded version of my April 2018 Liberty Street article. Liberty Street has an Ashland Tree of the Year, architecture from historic to modern, not just one but two “Little Free Libraries,” and access to Ashland’s extensive trail system.
Here’s how Liberty Street can start and end at Siskiyou — it goes from Siskiyou Boulevard to the Siskiyou Mountain Range.
You’ll find tiny Triangle Park where Liberty meets Siskiyou Blvd.
You might have wondered why this tiny, triangular park is here. Marjorie O’Harra in her book gave credit to Ashland’s newly formed Woman’s Civic Improvement Club. Formed in April 1908, this large group was described by the Ashland Tidings at the time as promoting “civic improvement agitation.” That agitation led to the creation of Lithia Park, among other accomplishments. But that is another story.
According to O’Harra, here is the Triangle Park story: “When the Temple of Truth Society announced plans to build a structure on Siskiyou Boulevard — on a triangle lot between Beach and Liberty Streets — the ladies believed such a building would ruin the view from the homes on Iowa Street, so they bought the land for $550 and developed it into a park.”
The Temple of Truth Society ended up building its church in 1909 or 1910 on Siskiyou Boulevard, where the expanded Fire Station #1 is now located.
Triangle Park tends to be quiet. You might see high school students eating lunch in the charming gazebo during the school year, or young people walking slack lines attached to the posts in the park. The one day Triangle Park comes alive with a “boom” and a “bang” is the 4th of July. When Ashland’s huge Independence Day celebration rolls around, parade headquarters is at Triangle Park. It becomes a beehive of organizers, marching band members and honored guests ranging from locals, to Oregon’s U.S. Senators, to our Sister-City Queen and city council members from Guanajuato, Mexico.
2-story camellia and healing massage
At the corner of Alaska Street, Joseph and Janie enlisted some of their friends to turn a large lot into a beautiful cooperative vegetable and fruit garden. Let’s see how many of the fruits in their garden I can remember: cherries, blueberries, raspberries, mulberries and gooseberries. Yes, they like berries. Sorry, they are not for public consumption!
Joseph and Janie are both massage therapists with the business name Advanced Myotherapy. Janie also teaches Eden Energy Medicine all over the world, but I have benefited from her healing skills in both massage and energy medicine, without going any farther than Liberty Street.
They have the most amazing camellia bush I have seen in my life, and I have seen many. Is it still a “bush” when it’s two stories tall? The dramatic two-story camellia is hard to see from the street, so I am including photos of it here, taken in April 2018.
Houses historic and modern
According to the National Register description of historic properties in Ashland, “the Whitaker house [at 285 Liberty Street] is a fine example of the bungalow style, with the shallow pitched roof, broad eaves, large porch, massive posts and brackets and other elements of the style.”
Anyone who walks or drives on Liberty Street will remember this colorful house. Some people love it and some think it sticks out like a sore thumb. I’m in the “love it” camp. Traditional neighborhoods where all homes are built in the same style or similar colors can be aesthetically pleasing. But there is freshness that comes with variety, and Liberty Street has variety.
I would like to point out the beautiful, colorful tulip garden in the front yard of this colorful house, at its peak in early April. Notice the deer fence, without which the tulip garden would not exist.
Short Ashland deer rant
I may go on a rant about the Ashland deer from time to time as I write my Walk Ashland articles. The number of plants that Ashland deer do not eat seems to be shrinking from year to year. For example, during the first 15 years I lived in Ashland, the deer did not touch the Hypericum or Star jasmine in my front yard. Now they eat both, and I have even seen them nibble on ivy! At least rosemary, lavender, daffodils and iris seem to be safe for the present.
Little Free Library
A few steps up the street, I came to the first of two “Little Free Library” stands on Liberty Street. This book sharing movement began in 2009 when Todd Bol of Hudson, Wisconsin placed the first Little Free Library in his front yard. There are now over 65,000 registered Little Free Libraries in over 80 countries around the world! (And many more not registered with the official group.)
The City of Ashland has a map of Little Free Libraries in town. It shows the locations of 14. I think there are many more than that. Just in April 2020, I have seen two new Little Free Libraries as I walk around town.
Though this house is not set far back from the street, the dense vegetation gives it a secluded feel. I especially like the entry arbor and vines.
This house moved one block
John and Artemisia Easterling moved from Kentucky to Ashland in 1903. During the next few years, he bought and sold properties and businesses around town, especially in the Railroad District. In 1909, the family bought an orchard with a home on Beach Street. They lived there until 1925, when they sold the property to the school district for construction of Lincoln Elementary School. This was to be a training school for teachers educated at nearby Southern Oregon Normal School (now Southern Oregon University), which reopened in 1926.
The Easterlings then purchased a lot one block over on Liberty Street and decided to move their Beach Street house to the new location. Easterling was known as a wheeler-and-dealer. He decided to upgrade his house when it was moved. He found a college building that was being demolished and purchased the columned porch of the building. You can still see it at the front of this Liberty Street home.
I met homeowner Bill Quassia as I was taking a photo of his historic 1921 house at 390 Liberty Street. It was in bad shape when he got the house, so he had to do major work on parts of the ceilings and floors. In the older part of the house, he was able to keep the original wood floors and original horsehair-infused plaster interior walls. Yes…horsehair. One hundred years ago, hair from the mane and tail of horses was used in making plaster for walls. These long, strong horsehair fibers provided strength and stability to the plaster.
A previous owner of the house, Louise Antz, moved to Ashland from New York. She had been the Chair of the Department of Education at New York University. According to Bill, she realized her dream of “living out West” when she retired from teaching. She is the one who enclosed the old porch. Doing so created a hothouse room for growing orchids and other tropical flowers.
Look closely at the 1972 photo above that I am holding in my hand. Do you see the variegated-color window shades behind the two ladies? Now look at the blinds on the current porch, just above the 1972 photo. If they look similar, that’s because they are the same blinds! As with the photo, Bill found them in the old barn/garage behind the house as he went through boxes of possessions Louise Antz had left behind.
Can you see the tree?
This made my jaw drop, so I want to share it with you. As we were standing out in the front yard, Bill pulled the photo above from the box of old photos Louise Antz had left in the house. He had me look at the tiny tree just behind the man with his shirt off. I thought to myself, “okay, that doesn’t look like much.”
Then Bill said, “Look at that,” as he pointed to a nearby tree. “What!,” I exclaimed as I put two and two together and realized the connection. Take a look at the photo below and see if you make the connection.
I expect you figured it out by now. That is the same tree! It is now 50 years old, very tall and very healthy.
More dramatic trees
Liberty St is home to two other trees that caught my eye. The first, at 391 Liberty Street (the house moved from Beach Street), was Ashland’s 2001 Tree of the Year. Each year residents nominate favorite trees around town, the Tree Commission narrows the selection to a few, and then residents vote for their top choice. The 2001 choice was a majestic Blue Atlas Cedar. My photo through the electric wires doesn’t do it justice. I hope you will see it for yourself.
The other tree, toward the top of Liberty, is a very unusual Ponderosa pine. Most Ponderosa pines I see are straight as an arrow, reaching for the sky. Not this one. It forks, and then forks again. With tall trees, I have read that a lightning strike can destroy the crown of the tree and lead to a forked top as the tree strives to continue growing. This tree looks like it just decided to be different.
More contrasting architecture
Ascending Liberty Street, I took photos of houses with contrasting architectural styles, showing the variety of houses on Liberty.
If you like traditional, here is one of the original farm houses on Liberty Street, built in 1886.
If you prefer modern, you might like to view this one on the 600 block.
“The Road Goes Ever On and On”
Finally, arriving at the top of Liberty Street, you have the option to leave the city streets for the world of trails. From here, you can connect with a variety of trails and forest service roads that will take you almost anywhere.
As Bilbo said to Frodo in Lord of the Rings: “It’s a dangerous business, Frodo, going out your door. You step onto the road, and if you don’t keep your feet, there’s no knowing where you might be swept off to.”
From the top of Liberty Street, as well as from many other streets in Ashland, you can follow trails to the top of Mt. Ashland. If you are really swept off your feet, you could end up walking all the way to Canada or Mexico on the Pacific Crest Trail.
Thank you for reading all the way to the end. If you are not already a subscriber and would like to be notified each time I publish a new article, please write your email address where it says “Subscribe to our Newsletter.” That will be at the top right if you are reading this on a computer screen, or below the article if you are reading this on a mobile phone.
Now follow this trail to a ghost story
There is a connection between 391 Liberty Street and another article I wrote. John Easterling, who moved his house from Beach Street to 391 Liberty Street, also owned the Peerless Rooms on 4th Street from 1904 to 1908. I wrote an article about the ghost of the Peerless: “Mystery of the Peerless Hotel Marbles.” I think you will enjoy it.
Enders, John. Lithia Park Centennial 1916 – 2019: The Heart and Soul of Ashland, Ashland Parks Foundation, 2016. National Register of Historic Places, Siskiyou-Hargadine Historic District, September 14, 2002. O’Harra, Marjorie. Ashland: the first 130 years, Northwest Passages Publishing Inc. 1986.
Tulips so bright, I could hardly believe my eyes! Walkable neighborhood, with trees, flowers and paths “New urbanism” is the model
Takelma Way winds its way between Tolman Creek Road and Clay Street. It is a quiet neighborhood, with the houses built in the late 1990s and early 2000s. I walked Takelma Way once in February, when deciduous trees were bare and front yards were low key. I walked the street again in April and found the neighborhood ablaze with bright colors, both the street trees and the yards. I captured a bit of that colorfulness for you in my photo essay of Takelma Way.
There are 61 houses in the Clay Creek Gardens HOA (homeowners association), which encompasses Takelma Way, Clay Creek Way and Mickelson Way. The neighborhood was built following the principles of “new urbanism.” The HOA website describes new urbanism as “a concept that encourages walkable communities, compact design with a focus on smaller lots, extensive shared community spaces and homes that encourage neighbors to interact with each other.” Practically speaking, the houses have covered front porches that face the sidewalk to encourage communication with neighbors who are out for a walk. There are narrow streets with wide sidewalks, so it doesn’t feel like cars dominate the space. The architecture of the houses is not “cookie-cutter,” but encompasses a variety of styles. There is even a neighborhood community garden where people can have a plot for growing vegetables.