This collection consists primarily of pencil and watercolor sketches and drawings made by artist and cartographer Cleveland Rockwell from 1862 to circa 1905. The materials include eight bound sketchbooks, as well as loose sketches, many of which have handwritten page numbers that suggest they were once part of bound volumes. Rockwell's sketches predominantly depict landscapes, particularly coastal and mountain scenes, in Oregon, Washington, California, and Alaska, as well as British Columbia and Alberta, Canada. Of particular note is a panorama of Lassen's Butte from Big Meadows at Prattville (folder 3), and sketches of British Columbia and California in volume 7. In addition to landscape scenes, the collection features a significant number of sketches depicting Pacific Northwest and California wildflowers, some of which were drawn by Cornelia F. Rockwell, Cleveland Rockwell's wife. The sketches also include ships and boats, as well as portraits of unidentified people. Many sketches throughout the collection have handwritten notes about light and color in the scenes depicted.

In addition to artwork, the collection includes a small quantity of family and biographical materials. The family materials are a photograph of Cleveland Rockwell and Cornelia F. Rockwell's two daughters, circa 1898, and an original 1949 letter from their younger daughter, Cornelia Rockwell Kearney, to "Eleanor," probably Eleanor Graves, who donated many of the materials in this collection to the Oregon Historical Society Research Library. The letter discusses Cleveland Rockwell's life and career, his artistic process, and outings that he and Cornelia F. Rockwell took to sketch wildflowers. Other materials include handwritten notes, made circa 1965, with biographical information about Cleveland Rockwell and his family, including information from 1863 and 1864 U.S. Coast Survey reports, and from obituaries for Rockwell in the Oregonian newspaper on March 22 and March 23, 1907.

This oral history interview with Lee Kelly was conducted by Marian W. Kolisch at Kelly's home in Oregon City, Oregon, on August 18, 1987. The interview was part of a series conducted by Oregon photographer Marian W. Kolisch to accompany portraits of Oregon artists, businesspeople, and politicians.

In the interview, Kelly briefly discusses his early life in McCall, Idaho, and his experience in the U.S. Air Force during the Korean War. He talks about studying art at Vanport College, which later became Portland State University, and at the Museum School, which later became the Pacific Northwest College of Art. He discusses his art and sculpture, including working with metal and his East Asian influences. He talks about the history of using paint in sculpture, his creative process, and creating art for commissions. He closes the interview by discussing the challenges in making a living as an artist.

This oral history interview with Clyde Rice was conducted by Rick Harmon at Rice's home in Clackamas, Oregon, from January 22 to March 13, 1985. The interview was conducted in seven sessions. The audio on tapes 3, 4, 6, and 13 is affected by speed issues.

In the first interview session, conducted on January 22, 1985, Rice discusses his family background, particularly his father's flavor extract business. He talks about his early life in Portland and Salem, including his family's Christian Science faith, his social life, and his relationship with his family.

In the second interview session, conducted on January 29, 1985, Rice continues discussing his early life in Portland and Salem, including his family's Christian Science faith. He tells several anecdotes about his early school life; describes racism he observed; and shares his memories of World War I.

In the third interview session, conducted on February 7, 1985, Rice discusses his involvement with the Portland Art Museum School (now known as the Pacific Northwest College of Art), including the professors and curators. He talks about the artistic community in Portland and discusses his own art. He revisits the topic of racism that he observed and Portland politics in the early 20th century.

In the fourth interview session, conducted on February 14, 1985, Rice continues discussing Portland politics in the early 20th century. He then talks about homesteading in Clackamas County during the 1930s and describes clearing the land, hunting, and farming. He discusses returning to Portland a few years later and working for his father's flavor extract business. He talks about his marriage to Marguerite Evelyn "Nordi" Nordstrom, and about meeting his second wife, Virginia Lee Broms.

In the fifth interview session, conducted on February 21, 1985, Rice describes building a rammed earth house in the Mt. Scott neighborhood of Portland during the late 1930s. He speaks at length about his affair with Virginia Lee Broms. He also revisits the topic of working for his father's flavor extract business. He talks about spending time in Alaska before his divorce from Nordi Rice, his marriage to Virginia Lee Broms, and how both events affected his son.

In the seventh and final interview session, conducted on March 13, 1985, Rice continues discussing his development as an author. He describes the years-long process of writing and publishing his first novel, "A Heaven in the Eye." He also talks about plans to publish his other writings.

This oral history interview with Dorothy H. Thornton was conducted by Nancy Hawver from September 10 to December 13, 1991, as part of the Oregon Historical Society Research Library's oral history program. The interview was conducted in four sessions.

In the first interview session, conducted on September 10, 1991, Thornton discusses her family background and early life in Tillamook, Oregon, including her parents' involvement with the Tillamook Creamery Association. She talks about her early education, her recreational activities, and her early interest in art. She discusses a trip she took to Europe in 1935. She talks about her experiences in high school and at the University of Oregon. She also revisits the topics of the Tillamook Creamery Association and her early life in Tillamook. She discusses her marriage to Robert Y. Thornton and talks about his legal and political career.

In the second interview session, conducted on October 17, 1991, Thornton discusses her experience during World War II and talks about working in the blimp factory in Tillamook. She also talks about Robert Y. Thornton's service in the U.S. Army during the war. She discusses Robert Y. Thornton's study of Japanese and her own study of art. She then discusses living in Tillamook at the end of the war, talks about her involvement in the Tillamook Library Board, and about raising her son, Thomas Wells Thornton.

In the third interview session, conducted on November 22, 1991, Thornton discusses living in Salem after Robert Y. Thornton was elected to the Oregon State Legislature in 1950 and talks about her experiences as a wife of a politician, her involvement with the Bush House Auxiliary, and her interest in art and photography. She also talks about cases Robert Y. Thornton worked on as state attorney general.

In the fourth and final interview session, conducted on December 13, 1991, Thornton continues to discuss living in Salem, including her involvement in early childhood education. She also continues to discuss Robert Y. Thornton's career as state attorney general. She talks about her involvement in the Arts in Oregon Council and other arts organizations; describes her cornea transplant surgery; and discusses taking art classes. She talks about a trip she took to Japan in the late 1950s, about attending attorneys general conventions, and about the establishment of the Grove of the States in 1967. She closes the interview by discussing her involvement with the Portland Art Museum and other arts organizations.

This oral history interview with Kathy Delumpa Allegri was conducted by Sankar Raman and Briana Ybanez on November 2, 2017. The interview was recorded for The Immigrant Story, an organization that documents and archives the stories of immigrants and refugees in the United States. In this interview, Allegri discusses her father's work as a Philippine Scout for the U.S. Army during World War II; her family's subsequent immigration to the United States from the Philippines in 1949; and her early life on a military base in Georgia, including her family's experiences with racism. She describes moving to Palo Alto, California, in the early 1950s, growing up in a diverse community in the California Bay Area, and her high school experience. She talks about dropping out of college to help her sister raise her family after her sister's husband was killed during the Vietnam War. She discusses her marriage to Bill Allegri and living in Midwest while he completed his education and then taught high school. She describes the racism she experienced in the Midwest; returning to the Bay Area; and working as a freelance artist. She talks about completing her college degree at Colorado State University in 1989. Allegri talks about moving to Oregon in 1991, operating a wine shop with her husband from 2000 to 2014, and being diagnosed with breast cancer in 2015. She talks about her art, teaching watercolor classes, and some of her exhibits. She closes the interview by talking about her art collection and how her Filipino heritage influenced her art.

This oral history interview with Sabina Haque was conducted by Sankar Raman on November 11, 2017. The interview was recorded for The Immigrant Story, an organization that documents and archives the stories of immigrants and refugees in the United States. In this interview, Haque discusses her family background and early life in Karachi, Pakistan, including living under the U.S-backed dictatorship of President Zia-ul-Haq; being raised as a secular Muslim; and her education. She also talks about the changes in Pakistan during her lifetime, particularly in regard to women's rights. Haque discusses leaving Pakistan to attend Smith College in Massachusetts and adjusting to life in the United States. She then talks about going on to study art at Boston University and the disapproval of her parents. She also talks about her marriage. Haque discusses her art and how her cultural and ethnic identities inform her work. She talks about her experience as a Pakistani with white American heritage and the uncertainty her family has felt in the political climate of President Donald Trump's administration. She closes the interview by discussing maintaining relationships with racist family members, the importance of art in bridging political divides, and her hopes for a more diverse Portland City Council.

This oral history interview with Farooq Hassan was conducted by Sankar Raman on August 10, 2018. The interview was recorded for The Immigrant Story, an organization that documents and archives the stories of immigrants and refugees in the United States. In this interview, Hassan discusses his early life in Basra, Iraq, including the history and culture of Iraq before 1958, and his early art education. He then talks about studying art at universities in Baghdad, Iraq, and Rome, Italy. He discusses returning to Iraq in 1980 and his experience during the Iran-Iraq War. He describes some of the atrocities of Saddam Hussein and how he managed to evade the militias. He also talks about his marriage to fellow artist Haifa Al Habeeb. Hassan discusses his artwork, including his influences and methods, and his career after the end of the Iran-Iraq War. He also talks about designing stamps for the Iraqi government and giving some of his works to the Iraq Museum. He describes his life after the U.S. invasion of Iraq in 2003. Hassan and Raman discuss an exhibition of Hassan's artwork planned for later in 2018. Hassan talks about his reasons for immigrating to the United States in 2010, and discusses his daughter and her family. Hassan talks about the materials he uses in his painting and drawing, the development of his art technique, and the loss of several of his paintings during the looting of the Iraq Museum in 2003. Hassan and Sankar look at some of Hassan's artworks and discuss them. Hassan closes the interview by talking about his career as an artist in the Pacific Northwest.

This oral history interview with Zsuszanna Vamos was conducted by Sankar Raman and Briana Ybanez on August 20, 2018. The interview was recorded for The Immigrant Story, an organization that documents and archives the stories of immigrants and refugees in the United States. In this interview, Vamos discusses her family background and early life in Budapest, Hungary, including conditions under the Communist government, her education, and listening to American radio as a teenager. She talks about her interest in chemistry and her admiration for Marie Curie, as well as her experiences attending Semmelweis University to study pharmacology. She discusses her marriage to Istvan Adany and his career, and she talks about her career in biomedical research and frustration at her inability to do the research she wanted. She then talks about applying for jobs in other countries, which led to a job offer from Kansas University Medical Center. She describes the process of immigrating to the United States and adjusting to life afterward. She talks about her children, their careers, and their families. She discusses getting her green card in 1997, Istvan Adany's career in the U.S., and their move to Hillsboro, Oregon. She closes the interview by talking about her work as an artist, her thoughts on the American Dream, and her reaction to the treatment of refugees at the time of the interview in 2018.

This oral history interview with Sarah Rikaz was conducted by Sankar Raman on January 11, 2019. The interview was recorded for The Immigrant Story, an organization that documents and archives the stories of immigrants and refugees in the United States. Rikaz Thaha and an unidentified man were also present and contributed to the interview.

In this interview, Rikaz discusses her family background and early life in Colombo, Sri Lanka, and shares her memories of the civil war in Sri Lanka. She talks about her cultural and ethnic identity, about her education, and about her early interest in art. She speaks about studying graphic design online through the Institute of Business Management, about her career in graphic design in Sri Lanka, and about the 2004 tsunami. She discusses her marriage to Rikaz Thaha in 2008, and immigrating to the United States in 2010. Rikaz Thaha talks about his career and about the immigration process. Sarah Rikaz talks about adjusting to life in the U.S., about working and raising a family in the Portland, Oregon, area, and about her career as an artist. She closes the interview by discussing her plans for the future.

This oral history interview with Vera Prasilova Scott was conducted by Shirley Tanzer at Scott's home in Portland, Oregon, on April 7, 1990. In this interview, Scott discusses her family background and early life in Churdim, now known as Vyoske Myto, Czech Republic, and speaks at length about her education. She then talks about studying photography with Frantisek Dritkol in Prague and at the Graphic Arts School of Munich in Germany just after the end of World War I. She also talks about meeting Arthur F. Scott in Munich, describes inflation in Germany in 1922 and 1923, and talks about her experiences in New York City the next year, including meeting Arthur F. Scott again. She speaks about her marriage to Scott. She talks about living in Houston, Texas, about running a photography studio, and about her friendship with the family of Robert Autrey. She discusses studying drawing and sculpture at Portland State University and closes the interview by talking about her parents' deaths and the arrival of her sister, Nadja Munk, in the United States just before the outbreak of World War II.

This oral history interview with Art Bimrose was conducted by Jim Strassmaier on April 26, 1989. The interview was conducted in conjunction with a 1989 exhibition of Bimrose's work at the Oregon Historical Society. The interview was conducted in one session.

In this interview, Bimrose discusses his family background and early life in Spokane, Washington, and in Portland, Oregon, including his early interest in art. He discusses his early career in art, particularly commercial art, during the Depression. He also talks about his summer jobs with the Southern Pacific Railroad during his high school years, the effect the Depression had on his family, and his early political beliefs. He discusses working for the Oregonian newspaper, first as a photo re-toucher and later as a cartoonist. He talks about developing his art style, his process in creating political cartoons, and the editorial policies of the Oregonian. He also briefly talks about his experience in the U.S. Army during World War II, particularly the effect it had on his personality and home life. He also talks about the difficulty in drawing cartoons for the Oregonian that were supportive of the Vietnam War, despite his personal opposition to it. He describes his use of symbolism in his cartoons; talks about politicians he admired; and discusses the Oregonian editorial conferences that he attended. He also talks about some of the controversial topics on which he drew cartoons and working with the Oregonian editorial page editors. He closes the interview by discussing his retirement activities.

This oral history interview with Gordon W. Gilkey was conducted by Jim Strassmaier from January 19 to April 1, 1998, as part of the Oregon Historical Society's oral history program. The interview was conducted in seven sessions. The transcript includes additional information provided by Gilkey.

In the first interview session, conducted on January 19, 1998, Gilkey discusses his family background and early life in Albany, Oregon, including his education, his early interest in art, and working on the family ranch. He talks about teaching art classes at Albany College, about spending a summer as a fire lookout in the Santiam National Forest, and about his marriage to Vivian E. Malone. He discusses studying art at the University of Oregon, and also talks about his work on the official book for the 1939 New York World's Fair.

In the second interview session, conducted on January 28, 1998, Gilkey shares his experiences in New York City from 1936 to 1939, and speaks further about his work on the official book for the 1939 New York World's Fair. He discusses the development of his taste in art while in New York, shares anecdotes about Salvador Dali, and talks about the type of art he worked on. He shares his experience as an art professor at Stephens College in Columbia, Missouri, and talks about some of his students. He then talks about his service in the U.S. Army Air Corps during World War II, including his training in Texas, and writing to President Franklin D. Roosevelt to suggest forming a unit to protect art in the European theater.

In the third interview session, conducted on February 4, 1998, Gilkey continues to discuss his service in the U.S. Army Air Corps during World War II. He speaks at length about commanding a unit of soldiers tasked with recovering artworks stolen by the Nazis, as well as collecting Nazi propaganda art and the politics involved in returning recovered art. He talks about the people he met while in Europe.

In the fourth interview session, conducted on February 11, 1998, Gilkey continues to speak at length about recovering artworks stolen by the Nazis. He talks about his living situation and social life while in Europe, about the many German artists he met, and about meeting displaced European people. He discusses his return to Oregon in 1947 and chairing the art department at Oregon State College, which is now Oregon State University. He speaks about his work as dean to develop the college of humanities into the college of liberal arts, and about developing an international exchange program.

In the fifth interview session, conducted on February 18, 1998, Gilkey revisits the topic of German artists that he met while recovering stolen art in Europe. He also describes witnessing the Nuremburg trials and learning details about the Holocaust. He talks about how his art style changed after his war experiences, about post-war hostilities with Russia, and about displaced people in Europe. He then talks about some of his artworks and his printmaking process. He speaks further about his work as dean at OSU to develop the college of liberal arts, and about developing an international exchange program. He also talks about his relationship with OSU President Robert W. MacVicar, and about student protests in 1969 and 1970.

In the sixth interview session, conducted on February 25, 1998, Gilkey discusses his retirement from OSU in 1977. He talks about his work as a curator for the Portland Art Museum and as a part time professor at the Museum Art School, which is now the Pacific Northwest College of Art. He talks about the construction of the Vivian and Gordon Gilkey Center at the art museum, about his art collection, and about other Portland art collectors. He speaks about some of his OSU students, about some of his colleagues at the Portland Art Museum, and about his personal philosophy.

In the seventh and final interview session, conducted on April 1, 1998, Gilkey revisits the topic of student protests at OSU in 1969 and 1970. He speaks further about his work at the Portland Art Museum and about his colleagues, and talks about the museum's administration. He discusses his work developing the Oregon Arts Commission, the reasons the Museum Art School left PAM and became the Pacific Northwest College of Art, and about the construction of the Gilkey Center. He describes curating the International Print Show at PAM in 1997 and talks about the future of PAM. He closes the interview by discussing the careers of his students at PNCA, OSU, Stephens College, and Albany College.

This oral history interview with Thayne J. Logan was conducted by Linda S. Dodds and Richard E. Ritz at Logan's home in Portland, Oregon, on January 3, 1990. Helen S. Logan was also present and occasionally contributed to the interview.

In this interview, Logan discusses his family background and early life in Joplin, Missouri, and in Portland, including his education at Benson High School and his early interest in architecture. He then talks about working for Northwest Steel as a draftsman during World War I. He discusses his early career as an architectural illustrator in Idaho and Oregon, including architects he worked with, particularly Carl L. Linde, and buildings he helped design.

This oral history interview with Marjorie McDonald was conducted by Edna Kovacs in Corvallis, Oregon, on October 21, 1989. Kovacs begins the interview by presenting McDonald with a birthday present and by showing photographs to McDonald. McDonald then discusses her family background and early life in Indiana and Portland, Oregon, including her education. She also discusses her love of fishing. She reads and discusses some of her poetry. She talks about living in London, England, to learn Russian and discusses teaching Russian to high school students in Portland. She speaks about her collage artwork, describes some of her pieces, and talks about her art techniques. Kovacs then talks about some of her students and closes the interview by further discussing her own artwork.

This oral history interview with Art Bimrose was conducted by Roberta Watts at the Oregonian Building in Portland, Oregon, on November 29, 1977, as part of the Oregon Historical Society Research Library's oral history program. In this interview, Bimrose discusses his early life, education, and early jobs. He speaks about his career as an editorial cartoonist for the Oregonian newspaper; describes his artistic process; and reflects on some of the cartoons he drew. He closes the interview by talking about the training an editorial cartoonist should have.

This oral history interview with William H. Givler was conducted by Charles Digregorio at Givler's home in Portland, Oregon, on May 17, 1978, as part of the Oregon Historical Society Research Library's oral history program. In this interview, Givler discusses his early life in Portland, including his early art education. He talks about studying art in New York. He then speaks about his career as a teacher and dean at the Museum Art School in Portland and talks about the development of the school. He discusses the future of the school. He also talks about his work in painting and printmaking, including his art style and artistic process. He closes the interview by discussing how he has changed as an artist.

This oral history interview with Milton W. Wilson was conducted by Charles Digregorio at the Oregon Historical Society in Portland, Oregon, on May 25, 1978, as part of the oral history program at the society's research library.

In this interview, Wilson discusses his early interest in art. He talks about studying art at the Museum Art School in Portland. He speaks about his career as an artist in Portland and in San Francisco, his art style, and his artistic process. He also talks about struggling with alcoholism, selling his art through galleries, and the art community in Portland.

This oral history interview with Agnes Barchus was conducted by Karen A. Reyes at Barchus' home in Portland, Oregon, on March 3, 1980. In this interview, Barchus discusses the art career of her mother, Eliza R. Barchus, including her exhibits at the Portland Hotel and the 1905 Lewis and Clark Exposition in Portland, as well as her innovation of selling prints of her paintings on postcards. Barchus also shares her memories of the 1905 Lewis and Clark Exposition, describing many of the buildings and exhibits in detail. She describes some of the houses that her mother built in Portland, her mother's practice of paying her bills in trade, and her mother's efforts to save several boxwood trees from a construction project. She talks about the renewed interest in her mother's artwork after Eliza Barchus' death in 1959, exhibitions of her mother's work in the 1960s and 1970s, and the passage of a resolution naming Eliza Barchus "The Oregon Artist."

This oral history interview with Wayne McDonald was conducted by Ray Neufer around 1980. The spelling of McDonald's name is inferred from the audio.

In this interview, McDonald discusses his painting process. He talks about the mural he was painting at the Beaver Acres Elementary School in Beaverton, Oregon, at the time of the interview. He also talks about other murals he painted on buildings of businesses in the Beaverton area.