Author: Patricia Sanders

Patricia Sanders is a retired art history professor and local historian. She is a regular contributor to villageportland.com with her Montavilla Memories column.

Montavilla History Questions Answered:Academy Theater Part 2

Montavilla’s Academy Theater had been in business since 1948, when, in 1966, it faced a new challenge: the Eastgate Cinema opened at SE 82nd and Harrison, just a few blocks away.

The Eastgate, created by the future movie mogul, Tom Moyer (1919-2014), was bigger and more luxurious than the Academy. It also used the latest cinema technology. The Eastgate opened with a two-auditorium theater, then added another, single-screen building. Altogether, the complex could seat 2,200. The Academy seated a little over 600. The Eastgate closed in 2001. Today, the buildings are home to the Slavic Church Emmanuel.

A promotional poster announcing the grand opening of a theatre on Wednesday, October 26, with showtimes at 6:45 and 7:00. It highlights the availability of two complete auditoriums within one theatre.
Ad for the grand opening of the first Eastgate Theatre. Source: Oregon Journal, October 25, 1966

Despite the Eastgate competition, the Academy managed to stay in business for several years. It had one advantage: cheaper tickets. While the Eastgate screened first-run movies, the Academy showed cheaper second-run — and sometimes even third-run — films.

Jim Teeny found other ways to stay in business. He reduced screenings from daily to weekends. On Sundays, attendance was light, so he invented Portland’s first “dollar night” movies: for $1, you could see a double feature and cartoon, and drink unlimited amounts of free Boyd’s coffee. Another gambit was to book a lot of Clint Eastwood movies, which earned the Academy a reputation as the “Clint Eastwood house” of Portland.

A rugged man with a beard wearing a cape, standing in a western-themed environment
Clint Eastwood in The Man with No Name (1964). Source: Wikipedia

Jim stopped managing the Academy in 1972 and devoted himself exclusively to his fly-fishing business. The Teenys sold the Academy to Warren Stanley “Sam” Crawford, who continued to operate it as a movie theater until 1974. For a brief time, Crawford also used it as a concert venue.

Sometime after 1974, Crawford remodeled the building to produce a “penny-saver” newspaper called Nickel Ads. The auditorium was gutted and flattened to make space for the big six-unit printing press. According to Andrew Hessel, former manager of Nickel Ads, this advertising newspaper was successful, but it relocated in 2001.

Exterior of a storefront labeled 'NICKEL ADS' with stone facade and cars parked in front.
Nickel Ads occupied the Academy Theater building from about 1975 to about 2001. Photo courtesy of Heyward Stewart.

The Academy Theater was once again empty and available. In 2002, Ty DuPuis, owner of the Flying Pie Pizzeria, bought the vacated Nickel Ads building, with the idea of reviving the Academy as a theater-pub, a model that had saved many a neighborhood theater.

In 2004, DuPuis partnered with Heyward and Julie Stewart. Together they put a team of architects, contractors, builders, and designers.

Stephanie Brown, a Portland interior designer, helped restore the theater as closely as possible to its original Streamline Moderne style while also creating a theater that meets current standards of comfort, convenience, and safety. All this on a limited budget.

But restore it to what? It was unclear what parts of the original theater looked like. Portions of the entrance and lobby remained, but the auditorium was a mystery since it had been gutted and flattened to meet the Nickel Ads’ needs. Moreover, there were only a few old photographs to guide the restoration.

Interior of a large, empty warehouse space with exposed walls and a staircase in the background. There is a blue workbench in the foreground and construction materials scattered on the floor.
The auditorium before renovation. Photo courtesy of Academy Theater

The theater’s auditorium seated over 600 people, but this was considered too large for second-run moviegoers. The solution: divide it into three small theaters.

Interior of a movie theater featuring red curtains, black seating, and a large blank screen.
One of the three theaters in the remodeled Academy. Photo courtesy of Academy Theater

Fortunately, the original curved walls and round ceiling-well of the lobby remained and simply needed restoration.

Interior view of a lobby featuring a curved ceiling, teal walls, and a reception desk. There are two sets of double doors leading outside, along with decorative lighting and a carpeted floor.
The restored lobby. Photo by Julio Brown

Besides restoring the theater to its 1940s look, it was also upgraded to seismic standards.

Photos of the original Academy building guided the restoration of the exterior. The rock facing added by Nickel Ads was removed. The original marquee design was restored, down to the theater’s name in curvy letters.

A side-by-side comparison of two theater facades: the left shows an older design with a yellow section and stone accents, while the right features a modern blue design with the word 'Academy' displayed prominently.
Left: Academy Theater building as Nickel Ads. Right: The restored Academy Theater. Photos courtesy of Academy Theater

But what was the exterior color? There were no old color photos or accounts to guide the designer. The deep blue of the Streamline Moderne Greyhound bus terminals was an appropriate choice for both period and style.

Exterior view of a vintage Greyhound bus terminal, featuring a blue and white art deco design with a prominent Greyhound sign.
Blytheville, Arkansas Greyhound Bus Station, built in 1937. Source: Wikipedia

Not every detail of the original Academy design could be restored. The original curving pattern of the lights on the underside of the marquee could not be replicated with available materials. The ticket booth of the original Academy was not restored; it was too small to meet Americans with Disabilities Act (ADA) requirements. The original front doors had round windows, but these would exceed the renovation budget.

Although not every detail of the original Academy could be replicated, the design was so successful that in 2008 it won a Preservation in Action Award from the Architectural Heritage Center/Bosco-Milligan Foundation. It was one of 15 projects chosen by a panel of judges as outstanding examples of historic preservation created during the previous 20 years.

On March 11, 2006, the restored Academy opened to a sold-out crowd. The line stretched around the block an hour before opening. Old film buffs could choose the 1947 film “Tycoon” starring John Wayne, Laraine Day, and Cedric Hardwicke, the same movie featured on the Academy’s opening night in 1948.

The resurrected Academy Theater has become a Montavilla icon and a community favorite. In 2013, when Hollywood decided it was go-digital or die, a crowdsourcing campaign raised nearly $49,000 to buy the new projectors. The Academy was able to remain in business.

Not only did the historic Academy survive, but it also helped, along with Ya Hala, Flying Pie, and Bipartisan Café, to revitalize Montavilla’s historic downtown.

A mural in progress on a white building wall featuring a large hand outline, with workers on a lift painting and a few people nearby. Several parked vehicles are visible in the foreground.
Olivia Knapp, “On the Other Hand,” mural creation on the west exterior wall of the Academy Theater Aug, 29 2015. Photo by Jacob Loeb

The Academy Theater received an upgrade in 2015, with a mural added to its west side. At that time, Seattle-based artist Olivia Knapp added a pen-and-ink style mural called “On the Other Hand” to the very wall that Jim Teeny helped to repaint every year.

A large black and white mural depicting an outstretched hand releasing a few drops of water, located on a white wall.
Olivia Knapp, “On the Other Hand,” mural on the west exterior wall of the Academy Theater Photo by Thomas Tilton

Acknowledgments:

For this article, I am grateful to the following people for the information they generously shared with me: Heyward Stewart, co-owner and manager of the Academy; Jim Teeny, son of the original owners of the Academy; Stephanie Brown, the interior designer who helped with the Academy restoration; and Andrew Hessel, a general manager of Nickel Ads.

If you want to know more:

On the remodeling, see an excellent article by Inara Verzemnieks, “Trickle up effect tips the momentum on Stark Street,” The Oregonian, April 6, 2006

For a time-lapse video of the creation of Olivia Knapp’s “Other Hand” on the west exterior wall of the Academy, go to http://www.oliviaknapp.com/other-hand/2015/9/16/olivia-knapp-mural-time-lapse-forest-for-the-trees-mural-project.

Title image: Academy Theater marquee in its renovated state Photo by Jacob Loeb

Event: The Academy Theater will celebrate 20 years since reopening on March 11th, 2026, from 6:30 p.m. to 10 p.m.

Read Part 1

Montavilla History Questions Answered:Academy Theater Part 1

I think most would agree that the Academy Theater on SE Stark is one of Montavilla’s most outstanding historical buildings. When it opened in 1948, it could claim to be the most modern building on Montavilla’s main street. How it came to be and how it survived is a story with many twists and turns.…


This is part of Montavilla History Questions Answered, a series of history related articles. If you have questions about Montavilla’s past that you’d like answered, local historian Patricia Sanders will investigate your question. Please email your questions to history@montavilla.net and we may feature it alongside Patricia Sanders’ research in a future.

Montavilla History Questions Answered:Academy Theater Part 1

I think most would agree that the Academy Theater on SE Stark is one of Montavilla’s most outstanding historical buildings. When it opened in 1948, it could claim to be the most modern building on Montavilla’s main street. How it came to be and how it survived is a story with many twists and turns.

It began as the dreamchild of Fred Teeny (1914-1979) and his wife Lillian Mary Shaheen Teeney (1920-2009). Fred came from an entrepreneurial family—his father and brothers owned numerous businesses in Portland. This business orientation goes back to Fred’s father, Joseph Abraham Teeny (1885-1952), who had emigrated to the U.S. from Lebanon in 1906. Joseph soon opened a dry goods store on Foster Road, and his son Fred opened his own dry goods store in the 1930s at the southwest corner of Stark and SE 80th—now the location of the 2005 building where Tinker Tavern is today.

By the mid-1940s, Fred and Lillian started thinking about building a movie theater. They decided the opposite end of the block, where their dry goods store was located, would be a good location.

The timing must have seemed right. By this time, World War II had ended. Restrictions on non-war-related construction had been lifted. Movie theater attendance was rising, hitting a new box-office high in 1946. While Montavilla already had a movie theater—the Granada—but there wasn’t one on SE Stark, Montavilla’s main street.

Presumably, the Teenys wanted a modern building, not something with the old-fashioned exotic details of the Granada. But something with a little flash, something different from the early 20th-century buildings that dominated Stark Street. So, they hired Portland James William De Young (1885-1965), an architect known for keeping up with the new architectural trends. De Young had been in business in Portland for over 30 years, and he had designed several movie theaters. The Teenys must have liked De Young’s Gresham Theater–its striking winged cylinder above the marquee would reappear in the Academy design.

Sketch of a historical building with a large tower, people standing in front, and dramatic clouds overhead.
J. W. De Young’s Gresham Theater design. Source: Oregon Journal, December 15, 1935

For the Teenys, De Young designed not just a theater but a building complex. On either side of the theater, he planned spaces for stores, including one for a Fred Tenny shoe store.

Black and white image of a street view featuring various storefronts, including 'Montavilla Camera & Record Shop' and a cinema with a marquee displaying movie titles.
The Academy Theater and adjacent shops around 1948. The storefront on the left is yet unoccupied, but the others were occupied by the Montavilla Camera and Record Shop, Fred Teeny’s Montavilla Shoe Store, Fuller Wallpaper & Paint, and Gardner’s Restaurant. Photo courtesy of the Academy Theater

De Young’s plans were ready by September 1946, but construction was delayed until Fred Teeny could get a permit. His first permit was denied because the post-war U.S. government was prioritizing residential construction, but a few months later, Teeny got a permit, and his contractors, Knott, Rogers, and Dunbar, began construction.

When the theater was finished, it featured a single auditorium with a sloping floor and seats for six hundred. It also had air conditioning, a stylish lobby, and even a nursery for childcare. Behind the theater, there was a large parking lot.

The Teenys decided to name the Academy, so it would appear first in theater listings.

The grand opening took place on April 30, 1948.

A black-and-white photo of a large group of children and adults waiting in line outside a building, possibly a theater, with a marquee and ticket booth visible.
A crowd gathers for the Academy Theater’s grand opening. Note the ticket booth was then in the middle of the entrance. Photo courtesy of the Academy Theater

Initially, the Teenys did not manage the theater. They leased it to Al Myers (1909-1979), owner of Montavilla’s Granada Theatre. Al and his wife, Polly (1920-1996), managed both theaters until the late 1950s.

Like many neighborhood theaters, the Academy featured second-run movies. For opening night, it was the 1947 box-office hit, “Tycoon,” starring John Wayne, Anthony Quinn, and Loraine Day.

Movie poster for 'Tycoon' featuring John Wayne, showing a close-up of him with a serious expression.
Poster for “Tycoon” Photo source: Wikipedia
A woman stands with hands on hips and a scarf around her neck, while a man sits relaxed in a chair, both captured in a vintage black-and-white photo.
Managers Polly and Al Myers in the Academy lobby. Photo courtesy of the Academy Theater (donated by Polly Myers’ son, Vern Kjargaard)

Something special happened at the Academy in 1949. The May 28 edition of the Oregon Journal reported that movie star Janet Gaynor and her husband, fashion designer Gilbert Adrian, would be at the Academy for a screening of the 1937 movie “A Star is Born.” Gaynor starred in that movie and was nominated for an Academy Award. She did not win, but she had won the Academy’s best actress award for multiple movies in 1929.

Vintage movie poster for 'A Star is Born' featuring a man and woman in a romantic embrace against a colorful background, with actor names and production details.
Poster adverting the 1946 re-release of “A Star Is Born”. Source: Wikimedia

In 1958, Fred and Lillian Teeny took over the management of the Academy. At this time, they updated the theater by adding stereophonic sound and a wide, curved screen. They continued to manage the theater with help from their children, Sharon (1940-2014) and Jim (born 1945), until 1965.

A vintage advertisement announcing the grand re-opening of an establishment called 'Academy' located at 7818 SE Stark, highlighting new management and a new family policy, set for Wednesday evening.
Ad for the Academy’s “Grand Re-opening” in 1958. Source: Oregon Journal, January 20, 1958
A vintage black-and-white photo of a family consisting of a man holding a young boy, a woman with dark curly hair, and two children, one boy and one girl, all smiling at the camera.
The Teeny family, left to right: Sharon, Jim, Fred, and Lillian. Photo courtesy of Jim Teeny

In 1965, big-band leader Van Armitage (1917-1994) leased and managed the Academy for a brief time. But the theater did not do well, and Jim Teeny and his mother took over.

In 1966, a new problem arose. Montavilla’s first theater complex, Eastgate Cinema, opened just a few blocks away. Could the Academy survive?

To be continued in The Academy Theater Part 2.

Title image: Academy Theater marquee in its renovated state Photo by Jacob Loeb, digitally edited to remove power-line


This is part of Montavilla History Questions Answered, a series of history related articles. If you have questions about Montavilla’s past that you’d like answered, local historian Patricia Sanders will investigate your question. Please email your questions to history@montavilla.net and we may feature it alongside Patricia Sanders’ research in a future.

Montavilla History Questions Answered: Horse Ringbolts

Q – What are the metal rings in old Montavilla curbs?

A – Ringbolts, as these were originally called, were placed in Portland sidewalk curbs in the early 20th century as hitches for horses to stop them from running off. Individual horse owners needed hitches for private use. Merchants needed them even more for home deliveries of fuel supplies, ice, groceries, etc.

Advertisement for The Montavilla Meat Market featuring a ram's head, promoting fresh and cured meats, sausages, and choice country produce.
The Montavilla Meat Market on Base Line Road (now SE Stark Street) delivered to any part of the city. Source: Beaver State Herald, December 21, 1906

The iron ringbolts had the advantage of being more durable than the old wooden hitching posts and racks, which could decay. They also offered alternatives to the unfortunate use of trees as tethers. Tree-tethered horses liked to snack on tree bark, often damaging valued shade trees. Tree-hitching became illegal in Portland in 1877, yet as the Oregonian article below shows, it was still a problem in 1889.

An excerpt discussing the beauty of trees and the impact of careless behavior on their well-being, highlighting the importance of preserving natural beauty in urban areas.
The Oregonian, August 24, 1889

And still a problem in 1905, despite the threat of arrest or fines.

A sketch of a horse tied to a tree next to a carriage on a roadside.
Illustrated in the October 26, 1905 edition of the Oregonian.

Ringbolts became mandatory in new sidewalk curbs in 1902 when Portland City Engineer William B. Chase ordered concrete contractors to embed one ringbolt for every 25 feet of curb. Portland ordinances specified the exact dimensions and form of the ringbolts. (This law would apply in Montavilla after it was annexed to Portland in 1906.)

Text excerpt detailing specifications for ring bolts embedded in curbs for hitching horses.
Source: 1905 General Ordinances of the City of Portland
A metal ring embedded in a stone surface, surrounded by grass and fallen leaves.
The above photograph shows just the ring portion of the ringbolt. The bolt itself was embedded in wet concrete. Photo by Thomas Tilton

Today, we can see only the top portion of the ring bolts, as the lower part is embedded in concrete.

A rusted metal key with a circular ring attached, placed on a textured wooden surface.
This antique handmade iron ring bolt shows entire ringbolt. Found on Ebay on January 7, 2026.

As a means of secure attachments, ringbolts have a long history. The Oxford English Dictionary identifies 1599 as the earliest written example of the term ringbolt used to describe a means of fastening ships to walls.

Ringbolts, by the way, are still manufactured today for nautical uses.

A metal snap ring with a threaded pin attached.
A modern ringbolt. Photo courtesy of Sheridan Marine.

When automobiles replaced horses and hitching rings were no longer needed, they came to be seen by some as a public nuisance. In August 1938, for example, a man stumbled over a hitching ring in Portland and fractured his ankle bone. Portland City Attorney Lyman E. Lattourette told the City Council that these relics posed a public safety hazard and should be removed. He advised homeowners to bid their rusty hitching rings farewell and to chisel them away. One Oregonian reader, Spencer Akers, objected. To him, they were priceless antiques and links to the past.

But others saw them as useless. Oregon Journal columnist Dick Fagan, for example, ridiculed ringbolts in his “Mill Ends” columns of the 1960s. He called them “the most useless things in the city.” In 1967, he came across a jeep and a motorboat hitched to the rings.

As Fagan was proclaiming ringbolts useless, Portland contractors were removing the hitching rings when replacing or repairing curbs. The tide of destruction shifted in 1978 when a Ladd’s Addition homeowner, Paul C. Paulsen, objected to the removal of his horse ring. To him, they were not useless. They were pleasant reminders of the past.

An elderly man wearing a plaid shirt and hat stands near a mailbox with a note, alongside a signpost indicating 'City of Portland' and 'Dept. of Public Works.'
Paul C. Paulsen with his ringbolt still attached to his curb and a sign saying the rings may be needed soon. 

City Commissioner Connie McCready was also alarmed to learn about the ringbolt removals. She created a policy allowing homeowners to request replacement of the rings after curb work was completed, with a $5 fee to cover the additional labor. Thanks to Paulse and McCready, Portland is one of the few cities with an abundance of antique ringbolts.

Portland’s reputation as a city of many ringbolts was augmented by Scott Wayne Indiana’s  Portland Horse Project, launched in 2005. At that time, he began attaching miniature toy horses to ringbolts in Portland’s older neighborhoods, where embedded ringbolts in curbs abounded. The idea caught on, and individual Portlanders began attaching toy animals of various sorts to their own ringbolts. It became a signature Portland idiosyncrasy. Today, Indiana’s Portland Horse Project Facebook page has 5.1 thousand followers. He even has a short video on his website showing you how to tether your own small creature to a ring (https://www.facebook.com/PortlandHorseProject). For more examples, you can find them in Scott’s book, Portland Horse Project.

A small plastic toy tiger with white fur and black stripes, attached to a leash, placed on a concrete surface.
A tethered toy tiger, 2007. Source: Wikipedia

End note: Do you have a miniature toy animal hitched to your ring bolt? If so, please share a photo of it with us.

Title image of Toy horses tethered to a ringbolt in Montavilla Photo by Thomas Tilton


This is part of Montavilla History Questions Answered, a series of history related articles. If you have questions about Montavilla’s past that you’d like answered, local historian Patricia Sanders will investigate your question. Please email your questions to history@montavilla.net and we may feature it alongside Patricia Sanders’ research in a future.

Montavilla History Questions Answered: Bicycle Usage in Early Years

Q – Was cycling popular in Montavilla’s early years?

A – Soon after the invention of the modern two-wheeler, the bicycle craze swept the country. It reached its peak in the 1890s and early 20th century. In Montavilla, there were not only local bicyclists but also Portlanders who liked to head for the countryside in east Multnomah County. A popular bicycle route, the Base Line Cycle Path, went right through Montavilla on what is now Stark Street. 

One sign of cycling’s rising popularity is the increase in bicycle sales in Portland. They grew from 2,000 in 1897 to between 14,000 and 18,000 in 1899. There was also an increase in Portland bicycle dealers: from 11 in 1895 to a high of 24 in 1899, then dwindling to 12 in 1905.

What accounts for the bicycle’s popularity? Partly, it was the thrill of riding fast and far wherever you wanted to go—at least, compared to walking. But, also, the availability of the new Safety bicycle and lower prices made bicycling less dangerous and more affordable. A new Vanguard, for instance, cost $85.00 in 1896, but by 1898, you could get a mail-order Acme for $39.50. This was still a high price for the average worker making less than $800 a year, with women, minorities, and laborers earning even less.

Portland cyclists liked to make excursions to the countryside for the fresh air, exercise, and scenery. But most roads were poorly maintained. They were also crowded with horse-drawn vehicles, whose drivers did not yield kindly to cyclists.

To solve this problem, bicycle organizations—particularly the United Wheelmen’s Association—advocated the creation of cycle paths along existing roads, like those already found in other U.S. cities. But who would pay for them? The answer was a road-poll tax on bicyclists who would use the paths. The United Wheeling Association issued tags to all its dues-paying members—1 dollar for men and 50 cents for women and minors—to help pay for bicycle paths. Then, in 1901, the Oregon legislature passed a bill requiring all those who used bicycles to pay an annual tax of $1.

Illustration of the United Wheeling Association's new tag from 1898, featuring a circular design with a radial pattern and the number '1' in the center.
The United Wheeling Association’s 1898 bicycle tag. Source: The Oregonian, August 19, 1898, page 10

One of these paths headed east from Portland and passed through Montavilla’s main commercial street on Base Line Road (now Stark Street). Multnomah County constructed four-foot-wide paths on either side of the road. By March 1900, they were completed from the Morrison Bridge to Montavilla. Later, they extended as far as Gresham.

An Oregonian reporter offered a preview of this new bicycle route in the newspaper’s March 26, 1900 edition:

“As the road is as level as any around Portland, and runs through a beautiful country, the route will no doubt be a favorite one. There is, to be sure, a stiff climb up the Mount Tabor hill, but there are no urgent reasons why the rider who is not inclined to exertion cannot get off and walk, and the view as the road swings around the north side of Mount Tabor is worth twice the climb. A dozen of the sinuous branches of Columbia Slough may be seen shining in the distance, the Peninsula country is spread before the rider, and closer at hand the cottages of Montavilla form a little city of themselves.”

The article was accompanied by a map showing the routes to the bicycle paths east of the Willamette River.

A historical map showing routes to bicycle paths in Portland, Oregon, detailing various streets and connections to the Willamette River.
“Routes to Bicycle Paths,” Morning Oregonian, March 26, 1900. North points right. The Stark St./Base Line route is the vertical line below the “R” in River at the top of the map. Source: Historic Oregon Newspapers

The Morning Oregonian of October 16, 1900, called the Base Line Road cycle path “the most popular and attractive drive out of Portland.” But what did Montavillans think of the throngs of weekend bikers whisking through their community? What did they make of those athletic wheelwomen—some undoubtedly wearing the new, shockingly “masculine” attire: bloomers, knickerbockers, and divided skirts? 

A woman in early 20th-century attire riding a vintage bicycle, showcasing the fashion and cycling style of the period.
A woman wearing knickerbockers on a lady’s bike. Such “masculine garb” marked the beginning of more functional clothing for women. Source: Maria E. Ward, Bicycling for Ladies, N. Y., Brentano’s, 1896 (Google book)

Whatever they thought of the bicyclists and the new, controversial clothing, some were definitely worried about the dangers of bicycle traffic. In 1901, 80 residents signed a petition complaining about frequent accidents involving children. The County Court sided with the petitioners and ordered bicyclists to use the middle of Base Line—rather than pathways—for three blocks in Montavilla.

Business owners who offered food and drink no doubt welcomed the weekend bicycle traffic. An article on the bicycle trend in The Oregonian of September 17, 1899, mentions farmhouses and booths along the Base Line Road bicycle route offering lunch and refreshments for bicyclists. In Montavilla, they could stop for sweet treats at Mrs. Winnie Burdett’s confectionery shop—located about where the Academy Theater is today. Or they might enjoy libations at William Grimes’ roadhouse or Captain Schneider’s beer garden, both at the corner of Base Line and 80th.

Historic photo of Grimes's 5 Mile Road House, featuring a man and woman posed outside the building on a dirt road corner with power lines in the background.
Grimes’ 5 Mile Road House at Baseline (Stark) and 80th Avenue. Photo courtesy of Bud Holland Collection

This boost to Montavilla businesses was short-lived. As the bicycle fad faded, fewer paid the bicycle license tax, so path maintenance began to slip. Still, in 1903, the Base Line path was one of the most used, even though it had not been repaired for a year. By 1906, Portland’s cycle paths were generally disappearing. The Base Line Road path continued a little longer, but it is not mentioned in newspaper accounts after 1908. 

Many Montavillans may have been happy to see the weekend bicyclists go, but soon new and faster vehicles—motorcycles and automobiles—appeared. An item in the local Beaver State Herald on February 27, 1913, described bicycle riding as a little better than walking and as requiring too much human energy. The motorcycle, on the other hand, needed only a little gasoline and some oil for the joints. “All you do is hold the reigns [sic] and do a little steering, no work, no danger of exhaustion, just like sailing.”

And then there was the automobile. In October 1902, a car traveling 35 miles per hour in Montavilla prompted locals to ask the Oregon legislature to impose speed limits on county roads. The world was changing from slow to high-speed propulsion.

Illustration of a race car with the number 23 on it, depicting a driver in action on a racetrack.
Sunday Oregonian, September 16, 1906 Source: Historic Oregon Newspapers

Title Image: “Cycle touring,” Harper’s Weekly, April 11, 1896 (artist, A. B. Frost):
Source: Library of Congress LC-USZ62-108253



This is part of Montavilla History Questions Answered, a series of history related articles. If you have questions about Montavilla’s past that you’d like answered, local historian Patricia Sanders will investigate your question. Please email your questions to history@montavilla.net and we may feature it alongside Patricia Sanders’ research in a future.

Montavilla History Questions Answered: Streetcar Lines

Q – Did Montavilla ever have streetcar service?

A – Montavilla was actually served by two separate lines, plus one very short-lived one. These routes were part of the expanding streetcar service east of the Willamette to provide transit for the Portland area’s rapidly growing population of the 1880s. 

Montavilla’s first subdivision—and its namesake Mount Tabor Villa Addition—went on the market in 1889. Buyers probably assumed that rail service would soon arrive. After all, advertising for the Addition included a map that showed a streetcar line to and from downtown Portland on Villa Avenue (now NE Glisan Street) and going directly through the subdivision.

A historic map from the Hart Royal Company featuring real estate details in Portland, including streetcar lines and subdivision layouts.
These details of the 1889 Hart-Royal Company broadside for Mount Tabor Villa Addition show an extension of the Morrison Street Bridge Motor Line going through the subdivision (the red rectangle on the right). Courtesy of the Oregon Historical Society

A streetcar line did not reach Montavilla until 1892. It was an extension of the City and Suburban Railway’s East Ankeny line to Montavilla. It traveled east on Glisan to what is now 82nd Avenue, but it did not go south through the Mt. Tabor Villa subdivision. Service began on July 26, 1892. The fare was then five cents for residents or property owners who had contributed to the construction, and ten cents for everyone else.

A vintage streetcar ticket for Montavilla, featuring a map of the streetcar line with stops including Stark, Glisan, Ankeny, Morrison, and Yamhill.
Ticket for a Montavilla streetcar Courtesy of the City of Portland Archives
Historic street scene featuring a streetcar and vintage cars lined along a cobblestone road, flanked by old buildings and storefronts.
The Ankeny line to Montavilla was a convenient way for riders to get to downtown Portland. Montavilla car 472 is on the left. Courtesy of the City of Portland Archives
A historic black and white photograph of a streetcar motorman standing outside a trolley car. The motorman is wearing a uniform with a cap and a bow tie, holding a hand near his waist, with another person visible in the background inside the car.
Motorman standing next to a Montavilla car. Courtesy of the City of Portland Archives

Streetcars can be powered in various ways. The type that came to Montavilla was electricity-powered and called a trolley. The name comes from the wheel that travels along an electrified overhead wire. The trolley collects electricity and transmits it down a pole to the car’s motor.

A close-up view of a trolley pole and wheel connected to overhead wires, with a building and trees in the background.
Left: a trolley wheel and pole. Right: a trolley wheel. Source: Wikipedia

The Glisan car line had one problem. It was a bit of a hike for commuters living south of Stark. They did have rail service briefly after the Mt. Tabor & Eastern Railroad Company built a 2.5-mile track from the Mount Tabor terminal at 69th and Belmont to 102nd and Stark in Russellville. The service was available only in 1892 and 1893. The Oregonian of June 29, 1900, explained that the railway failed because Mt. Tabor’s steep incline made it too expensive to operate. The iron tracks were then removed and sold.

A historical map detailing the planned route for the Mount Tabor and Eastern Railroad line, featuring street names and neighborhood designations.
This detail from the 1891 Atlas of the City of Portland shows the planned route for the Mount Tabor and Eastern Railroad line. Source: Portland City Archives

Montavilla’s south-of-Stark residents had to wait until 1900 for more convenient trolley service. Until then, traveling to downtown Portland meant either walking to Glisan Street or trudging up Mt. Tabor to the 69th Avenue terminal. In 1899, The Oregonian declared that Montavilla needed better trolley service and recommended that the City & Suburban Railway Company build an extension from Glisan to Stark along 80th Avenue (then known as Hibbard Street).

The railway company agreed to build an extension (called a spur) on 80th. To reduce costs, they took track from Glisan between 80th and 82nd and used this for part of the construction. (In 1911, operators extended the Glisan Street rail to NE 90th Avenue.) The 80th-Avenue spur opened in October 1900.

The new spur rail did not satisfy the south-of-Stark folks for long. In 1912, pressure mounted for easier access to downtown Portland. They wanted an extension of the Mount Tabor line, which then still ended at 69th and Belmont. On September 11, 1912, Father James B. Fitzpatrick told the Portland City Council the need was urgent. Hundreds of his parishioners, he said, had to walk great distances through mud and dust to get to a streetcar. The South Montavillans prevailed. In early December 1912, crews extended the Mount Tabor line from 69th Avenue to SE 88th Avenue and Yamhill. Property owners paid $14,000 for the extension, and the Portland Railway, Light & Power Company paid approximately the same amount.

Map showing the routes of streetcar lines serving Montavilla, including the Glisan Street line and the Mount Tabor line, with street names and landmarks indicated.
Detail of a 1943 Trolley Map of Portland showing the two lines that once served Montavilla. At the top (marked MV) is the Glisan Street line, with its 80th Avenue spur and the extension to 90th Avenue. At the bottom is the Mount Tabor line (marked MT) extended to Yamhill and 88th. Source: Vintage Portland, May 4, 2010

In 1948, streetcar service ceased in Montavilla and other lines. Road crews covered rails with asphalt. Buses replaced trolleys. It was the end of Portland’s streetcar era. But if you look closely at the street on NE 80th between Glisan and Stark, you can detect where the tracks are buried. A small section of the rail used to be visible before the latest resurfacing of 80th Avenue.

Main article image “East Ankeny Line Streetcar.” Photo courtesy of the Oregon Historical Society


This is part of Montavilla History Questions Answered, a series of history related articles. If you have questions about Montavilla’s past that you’d like answered, local historian Patricia Sanders will investigate your question. Please email your questions to history@montavilla.net and we may feature it alongside Patricia Sanders’ research in a future post.

Montavilla History Questions Answered: Vestal School’s Namesake

Q – Who is Montavilla’s Vestal School named after?

A – Vestal School is named after John L. Vestal (1852-1925). In 1925, he bequeathed the vast majority of his estate to the Portland public school district. It was the largest donation ever given to the district, according to The American School Board Journal of May 1925. Vestal left assets then valued at $200,000—equivalent to nearly $3,700,000 today and twice the size of Simon Benson’s $100,000 gift to Benson Polytechnic School.

Vestal‘s will did not stipulate how the school board should use his donation. He trusted the board of directors to put it to its best use. Portland’s population had been expanding for several years, and schools had become overcrowded. Montavilla School on SE 76th Avenue was one of these schools. So, the board decided to allocate the bulk of Vestal’s bequest to building a new school in Montavilla that would be larger and more centrally located.

The board also decided to name the new school after Vestal, in gratitude for his generosity. But this may not have been to John Vestal’s liking. According to the Oregon Journal of March 22, 1925, he was a “modest and retiring” man and would not have wanted a school to be named for him. Nevertheless, his name—in large letters—was inscribed atop the school’s east facade.

Facade of the John L. Vestal School, showcasing its name on a brick and stone wall.
Photos of John L. Vestal School. Photo by Jacob Loeb

Today, John L. Vestal’s name is still an everyday sight in Montavilla. But who was he? What is his story? And why did he give almost his entire fortune to benefit generations of Portland school children?

Historic portrait of John L. Vestal, featuring a man with a beard and mustache, dressed in 19th-century clothing.
Photo of John L. Vestal.  Source: Portland Public Schools

Little is actually written about John Vestal. And it requires a lot of digging to gather just a few verifiable facts.

John Vestal first appears in public records in the 1860 U. S. census. At that time, John was nine and living with his mother, Elizabeth M. Fowler Vestal (1826-1874), in Lafayette, Tippecanoe County, Indiana. John was attending school. His mother was a seamstress. Both were born in Indiana. John’s father, Benjamin Elwood Vestal (1820-1892), was absent from the household. No other children appear in the 1860 census or in other records. John was apparently an only child. 

While John and his mother were living in Lafayette, an event occurred that probably lodged in John’s memories. On February 11, 1861, President-elect Abraham Lincoln stopped briefly in that town on his way to Washington, D. C. He gave a brief speech from the back of his railroad car before heading off to nearby Indianapolis. Maybe John and his mother were in the crowd — or, if not, surely heard about the exciting event. Later, when John registered to vote in Portland, he consistently identified as a Republican, then the party of Lincoln.

Illustration of Abraham Lincoln with a quote about unity, titled 'Lincoln in Lafayette'. The image includes historical context about Lincoln's visit to Lafayette, Indiana, mentioning his speech on February 11, 1861, and details about his funeral train.
Proposed “Lincoln in Lafayette” plaque.  Source: Lafayette Journal and Courier

Digging deeper into John’s family history, I found that he descended from a long line of Quakers. His father probably told his son about how he and his siblings joined the multitude of Quaker farmers who left North Carolina in the 1830s in opposition to slavery. Most of the Vestal family settled in Indiana.

Whether John was a practicing Quaker, I could not determine. I found only a few hints of an association. One is John’s relationship with his cousin, James Vestal, and his family. They were among many Quakers who moved to Newberg, Oregon, in the late 19th century. The James Vestal family arrived in 1889. From 1891, notices in the Newberg Graphic newspaper indicate that John was a frequent visitor. The Newberg Quaker church records show that John also made several small donations. Perhaps on his visits to Newberg, he was impressed by the community’s commitment to education. On his first visit in 1891, he probably noticed the recently built Pacific College. That college was later renamed George Fox University, in honor of the founder of the Society of Friends.

For his time, John Vestal was a well-educated man. Neither of his parents had attended school, and most people only attended elementary school. John, however, went to both elementary and high school. He attended elementary school in Lafayette, Indiana, and—for some unknown reason—went to high school in Decatur, Illinois. In 1870, John was one of only eight to receive his high school diploma.

By 1873, John and his mother had reunited with John’s father in Portland. Benjamin Vestal had been working there as a butcher since around 1865.

In Portland, John discovered another source of mental stimulation: the newly formed Philomathean Society. The Oregon Journal of October 9, 1923, described it as “a serious group of young men bent on self-improvement.” They met weekly to discuss challenging subjects, such as parliamentary law and current issues. Sometimes they debated other serious-minded groups. John was one of the surviving members who gathered to celebrate their 50th Anniversary in 1923.

By 1875, John was working as a clerk in Portland’s oldest drugstore, S. G. Skidmore. He worked there until 1886, when he opened his own drugstore on First Street in downtown Portland. 

I found out little about John’s life as a drugstore owner, just regular listings in Portland’s city directory. But I did come across his light-hearted contribution about a druggist’s life in The Spatula, a magazine for pharmacists. The February 1907 issue included six illustrations about an incident involving a bored pharmacist and a potential female customer. Readers were invited to provide appropriate captions. John sent in a few humorous, rhyming lines, and they appeared in the April issue. 

A comic strip depicting a humorous interaction between a pharmacist and a woman customer in a drugstore setting.
Illustrations 1, 2 and 6 published in the February 1907 issue of The Spatula. 
Excerpt from a humorous poem by John L. Vestal, detailing a dull day at a drugstore with a customer.
Above is a portion of John Vestal’s winning text published in The Spatula’s April 1907 edition.

The same year Vestal opened his drugstore, he married Ruth Almira Culver (1855-1889). Like John, she was a Decatur High School graduate. She received her diploma in 1873, but their attendance overlapped slightly since Decatur High required three years for a diploma in John’s time there and four years in Ruth’s. 

After Ruth graduated, she taught third grade in Decatur for several years. Then, in 1882, she moved to Portland with her mother and brothers, where she taught at Failing and Couch elementary schools. Very likely, Ruth shared her teaching experiences and philosophy with her husband. Perhaps when she was teaching at the old Failing School, she described the school’s deplorable conditions, such as the dirt floor in the basement that served as a play area and the lack of ventilation requiring windows to be perpetually open to the elements.

Unfortunately, John and Ruth’s marriage was short-lived. Ruth died in childbirth on March 26, 1889, and John never remarried.

Gravestone of Ruth Almira Vestal, wife of J. L. Vestal, engraved with her birth and death years, 1855-1889.
Grave marker for Ruth Almira Vestal in Riverview Cemetery, Portland, Oregon. Photo by Thomas Tilton

John experienced other close losses in Portland: his mother died in 1874 and his father in 1892. Perhaps John referred to these and other losses in his poem, “The First Violin.”

A poem titled "The First Violin" by John L. Vestal, featuring themes of nostalgia and childhood memories, typed in an old newspaper format.
Excerpt from “The First Violin,” published in the May 30, 1920 Oregonian, one of several of his poems this newspaper published in 1920.

Vestal closed his drugstore in 1907, but he did not leave the pharmaceutical trade. He went on to build a fortune by operating a string of drugstores and augmenting his wealth by investing in real estate and tax-exempt securities.

John Vestal died at age 73 on March 18, 1925, in Portland’s Glen Haven Rest Home. He was buried next to his wife, his mother, and his father in Riverview Cemetery. As soon as his bequest to Portland’s public schools became known, it made headlines in the Portland press. The Oregon Journal of March 22, 1925, for example, declared that his magnanimous donation was likely to make his name “a perpetual landmark in Portland.” 

Newspaper headline announcing John P. Vestal's $55,000 bequest to Portland schools, following his death.
Page-one headline in the Oregon Journal, March 20, 1925. The total value of Vestal’s gift is underestimated; it took some time to calculate the full value of his assets.

Vestal had no immediate heirs. He left a few small donations to friends and relatives, but most of his wealth went to the public-school board.

Vestal’s generous gift to public schools did not go unchallenged. Three of his second cousins claimed to be his rightful heirs. They filed a lawsuit in 1926, alleging that Portland’s school board could not legally receive real or personal property. They lost their suit and appealed. On May 22, 1928, the Supreme Court of Oregon ruled against the plaintiffs. Now, the Portland school district board was free to allocate the Vestal donation.

In 1928, the board proposed building a new school to replace the old Montavilla School and decided to name it the John L. Vestal School. In 1929, the board hired architect George Howell Jones (1887-1950) to design the school building. It was ready for students in April 1930. On April 4, the cornerstone was dedicated, and some 800 children marched to the music of the school orchestra from Montavilla School to the new Vestal School. 

Close-up of the stone inscription for John L. Vestal School, featuring the text 'JOHN L. VESTAL SCHOOL ERECTED 1929' against a brick wall.
John L. Vestal School cornerstone, erected in 1929. Photo by Thomas Tilton

Within months, the old Montavilla School was demolished and the salvage offered for sale in local newspaper want ads.

In February 1929, the school board authorized a monument commemorating John Vestal and his generosity. It was erected next to his grave in Riverview Cemetery. The monument is inscribed “He loved children and for their education gave his fortune to the public schools of his city.”

A gravestone dedicated to John L. Vestal, inscribed with a message highlighting his generosity towards the public schools of his city. Surrounded by a cemetery environment with grass and trees.
Monument honoring John L. Vestal.  Photo by Thomas Tilton

After the completion of Vestal School, John’s bequest was used for additional public-school needs. The school board set up an interest-bearing fund with the residuals of the original donation. This money was used periodically for other projects, such as the psychiatric clinic established in 1932 to assist school children.

One thing I never discovered in my research: what does the “L” in John L. Vestal’s name stand for?


This is part of Montavilla History Questions Answered, a series of history related articles. If you have questions about Montavilla’s past that you’d like answered, local historian Patricia Sanders will investigate your question. Please email your questions to history@montavilla.net and we may feature it alongside Patricia Sanders’ research in a future post on this page.

Possibly Montavilla’s Last Farm

In the days before Montavilla became a popular suburb in the early 1900s, it was largely farmland. Gradually, fruit, vegetables, nuts, and other crops were displaced by houses and commercial buildings. But as late as the 1920s, there were still pockets of arable land in sections of northeastern and southeastern Montavilla. I recently learned about the Newell and Matsen cut-flower farm on NE 87th Avenue that may deserve the distinction of being Montavilla’s last farm.

Three men stand in front of a building after a snowstorm, holding shovels. In the background, greenhouses are visible, and there is a large accumulation of snow around them.
The Newell and Matsen floral nursery after a snowstorm with owners Harry Newell (left) and Hank Matsen (right) and long-term employee Mel Wilkinson (center). Photo courtesy of the Matsen Family Photo Archive

Harry L. Newell (1891-1976) and Hank F. Matsen (1894-1962) established the business in 1922. Hank’s son, Kenneth H. Matsen (1921-2024), continued it until 1973.

I learned about this business from two of Kenneth Matsen’s daughters, Nancy Palomino and Marje Rhine. They suggested that I speak with their mother, 100-year-old Janice Urquhart Matsen, who knew a great deal about it. So, I interviewed Janice, and she generously shared her memories and allowed me to use photos from the extensive family collection. 

Janice Urquhart and Kenneth Matsen in a Newell and Matsen greenhouse shortly before their marriage in 1946.

Janice has a remarkable memory. She has stories to share about her life in Montavilla and about the flower business. She lived in Montavilla for most of her life, and her memories go back to her earliest years. She remembers, for example, entering Vestal School‘s first kindergarten class in 1930. In the 1930s, she walked to school along Glisan Street, and she can tell you stories about nearly every business on her route. She also told me about a Depression-era “shanty town” just west of NE 67th Avenue and how her father gave food to the men who knocked at the back door of their nearby home.

Janice’s memories of the Newell-Matsen flower farm date back to her marriage to Ken Matsen in 1946. At that time, he worked on the farm, and for a time, the newlyweds lived in his parents’ house located on the farm property. Ken worked on the farm until it closed in 1973. So even though Janice did not work in the business—although she lent a hand from time to time—she was in a position to know how it operated.

The business was founded by two young men, Harry Newell and Hank Matsen, just after their service in World War I. The two men had known each other for several years, and Newell married Matsen’s sister Rose in 1920. Newell had been employed in the floral business for several years, but Matsen had established himself as a dentist after the war. Somehow, Newell convinced his new brother-in-law that a flower business was worth trying.

Newell knew there was money to be made in this trade. He had worked for Rahn and Herbert, one of the largest nurseries in Oregon, with greenhouses in Clackamas. The flower trade was growing, according to the 1920 U.S. census. So, Matsen gave up his dental practice and purchased a large plot of land on 87th Avenue, just north of Glisan from his mother Christina Matsen Tranberg (1852-1934).

Historic photograph of a early 20th-century house with two people standing on the porch, surrounded by a fenced yard and landscape.
Christina Matsen Tranberg’s house and property before the Newell-Matsen greenhouses were built. Photo courtesy of the Matsen Family Photo Archive
Construction site of Newell and Matsen glass greenhouses with scattered building materials and trees.
Newell and Matsen glass greenhouses under construction. Photo courtesy of the Matsen Family Photo Archive
A plumbing permit dated September 18, 1922, for the Newell-Matsen greenhouses located at 750 NE 87th Avenue, detailing its construction and plumbing specifications.
This 1922 plumbing permit establishes a beginning date for the Newell-Matsen business. It shows that the dry well and rain drains needed for the greenhouses had been approved on September 30, 1922. Source: Portlandmaps

The 1928 Sanborn map below indicates the location and scale of the Newell and Matsen greenhouses. It was opposite another farm, the Benedict Nursery, which grew shrubs and trees. The Benedict Nursery, by the way, is now the eastern portion of the Multnomah University campus.

The Newell and Matsen nursery sold its flowers in a variety of ways. They supplied local florist shops. They did wholesale business through the Oregon Flower Growers Association warehouse on Grand Avenue. Some flowers were shipped by train to other locales. And they also created funeral sprays.

Ken Matsen continued working in the business after his father died in 1962, and he became the sole proprietor when Newell retired in 1967. He renamed the business Matsen Greenhouses.

The interior of a greenhouse filled with yellow snapdragons and pink carnations.
Newell and Matsen grew yearly crops. In this photo, the crops are carnations (left) and snapdragons (right). Photo courtesy of the Matsen Family Photo Archive

In the early 1970s, Ken faced at least two significant challenges. One was the deadly tornado that swept through Portland and Vancouver on April 5, 1972. Vancouver suffered greater losses — in both lives and property — but the Matsen greenhouses were among Portland’s few damaged properties. When the Portland tornado touched down on his property, it struck the greenhouses, breaking so much glass that it took months to repair, and lifted a tree into the air.

Newspaper clipping titled 'Portland Riverfront Hit Hard By Storm' describing the damage caused by a freak wind in Portland.
The Oregon Journal, April 6, 1972, page 6

Janice told me about another challenge to the Matsen business: the increasing competition from California flower growers, who did not have the expense of oil heating required during Oregon’s colder winters. By 1973, petroleum prices had skyrocketed due to OPEC’s oil embargo against the U.S. Consequently, California growers could ship flowers by rail and undercut Oregon prices. 

Ken Matsen closed the nursery business in 1973, but he stayed in the flower trade, working for flower wholesalers on Swan Island.

An elderly man resting in a wheelbarrow, wearing a blue hat and a blue t-shirt, with a garden in the background.
Kenneth Matsen resting from greenhouse work. Photo courtesy of the Matsen Family Photo Archive

If you want to see a remnant of the Newell and Matsen flower farm, you can find the remodeled 1908 Matsen farmhouse at 750 NE 87th Avenue. Now it’s surrounded by mostly single and multifamily housing. But a bit of the more open, rural land is preserved in Montavilla Park and the Multnomah University campus.

The remodeled Matsen home at 750 NE 87th Avenue, featuring a green-trimmed gabled roof, surrounded by well-maintained landscaping and flower pots.
The remodeled Matsen home at 750 NE 87th Avenue today. Photo by Thomas Tilton

Note:

Some of you may remember when Montavilla still had open spaces other than parks and school playgrounds. Please feel free to share your memories about remnants of Montavilla’s rural past. You can email them to me at history@montavilla.net.

Acknowledgements:

Much of the information in this story was generously supplied by Matsen family members. I want to thank Janice and her daughters for their help. Janice shared her invaluable memories with me in two interviews. Her daughter Marie Matsen sorted through thousands of family photos and selected most of the ones appearing in this article; she also provided additional details about the Newell-Matsen business. Janice’s daughters, Marje Rhine and Nancy Palomino, brought my attention to the Newell and Matsen flower business, setting me on this quest.

Correction: An earlier version of this article had Janice Urquhart Matsen’s first name typed at Joyce in several locations and Marje Rhine’s first name spelled as Marjae. The text is now corrected and Montavilla News regrets this error.

Montavilla History Questions Answered: Notable Residents Pt3

Q – Have any notable people lived in Montavilla?

A – Yes. Movie Star Jewel Carmen.

In the era of silent films, a beautiful face and expressive gestures could turn you into a matinee idol: enter Jewel Carmen. A 1916 edition of Moving Picture World magazine called her “a queen of blonds” and “the girl who photographs like a million dollars.” A year later, The Oregon Journal pronounced her “the belle of Montavilla.”

Jewel Carmen was one of three professional names adopted by Florence Lavina Quick (1897-1984). She was born on July 13, 1897, in the rural town of Blaine in Tillamook County, Oregon, the seventh child of Amos William Quick (1858-1932) and Minerva Gray Quick (1862-1934). (Sometimes, her birthplace is given incorrectly as Danville, Kentucky, or Portland, Oregon.) By 1901, her parents and siblings lived in Portland, a few blocks from Montavilla’s current western boundary. These boundaries were established in 1974 when the City of Portland created neighborhood associations. In earlier days, Montavilla boundaries were imprecise. So, we can accept the Journal’s designation and claim Jewel Carmen as a Montavilla notable.

A promotional still from the silent film 'A Tale of Two Cities' featuring William Farnum and Jewel Carmen in a dramatic embrace.
William Farnum and Jewel Carmen in A Tale of Two Cities, 1917. Source: Wikimedia

In 1911, Vina completed her eighth-grade education at Mount Tabor School. The same year, her parents separated or divorced. By February 1912, her mother and four of her siblings—Alice, Fred, Vina, and Alberta—had moved to Los Angeles. 

Why Los Angeles? They apparently had no relatives there. Was it the movie industry that drew them? In the 1910s, Los Angeles was the new center of the movie industry. Silent movies were exploding in popularity, drawing actor “wannabes” to southern California. Did Vina and her older sisters dream of getting into pictures? There are reasons to think that might be true.

There is evidence of family interest in the performing arts. Vina’s two older sisters, Alice and Edna, had attended Portland’s Western Academy of Dramatic Art, Elocution and Music. They performed in the Academy’s live productions. Edna may have had connections with the acting community since she married a British actor, William Henry Strong (born c.1870) in November 1911—which, of course, prevented her from going to L. A. in 1912. A few years later, Alice and Edna got acting jobs, but their younger sister, Vina—the one with no performance experience—quickly rose to stardom on the silver screen.

A historical illustration depicting a group of elegantly dressed people exiting an upscale movie theater, showcasing early 20th-century fashion.
Movie fans attending an up-scale movie theater. Source: The Oregonian, November 1, 1908

This era was a time when movies were growing in popularity. Movie theaters were proliferating. They had grown from three in 1907 to 16 by 1908 in Portland alone. Getting to a downtown theater would have been easy for the Quicks. They lived close to the Glisan Street trolley, which could take them downtown, where they could go to a five-cent Nickelodeon or one of the bigger ten-cent theaters. The Quicks also had the option of two new movie theaters in Montavilla: the Scenic Theatre at Stark and SE 79th and the Idle Hour at SE 81st and Stark. (For more on Montavilla’s earliest movie theaters, see Village Portland:Montavilla Memories )

An advertisement for the Majestic Theatre, featuring a special program with the film 'The Golden Wedding', and listings for other performances including 'The Price' and 'The Baseball Bug'.
A Majestic Theatre ad in the Oregon Journal of November 26, 1911

Within months of the Quicks’ arrival in Los Angeles, Vina was making her first movies. While many women stormed movie offices daily looking for work as extras, Vina later related that she was discovered by movie producer Gaston Melies (1852-1915), the brother of the famous French filmmaker George Melies (1861-1938). According to Vina, she was sitting one day in a Los Angeles soda fountain when Gaston Melies approached her and handed her his card. He asked if she would like to be in motion pictures. Despite being under California’s legal adult employment age of 16, she said yes. She turned 15 in July 1912. But her family needed the money, so she accepted his offer of $25 a week.

For the Melies company, she adopted the professional name Florence La Vinci. She made at least two short films for Melies. In both, she played adult romantic roles. Her first Melies film, The Will of Destiny, was released on August 1, 1912. In this film, she plays Alice, who vies with her sister Mary for John’s love. Alice wins but then elopes with a millionaire. With this film, Vina (as Florence La Vinci) drew the attention of the movie press: a mention in The Moving Picture World of August 17, 1912, and a photograph in the August 1912 edition of The Motion Picture Story Magazine.

A historical image featuring two portraits of Evelyn Quick and her professional name Florence La Vinci, surrounded by decorative elements.
Vina Quick as Florence La Vinci (lower right) in the August, 1912 edition of The Motion Picture Story Magazine. Source: Internet Archive

Her work for Melies was short-lived. In July 1912, the Melies film company left California to make movies in the South Pacific. By February 1913, she worked for the new Keystone studio founded by Mack Sennett (1880-1960). Now, Vina has adopted a new professional name: Evelyn Quick. Sennett’s Keystone Studios specialized in comedies, and Evelyn Quick performed in at least eight of them.

Historical photograph of the Keystone Film Company studio with Mack Sennett's portrait, showcasing early American film production.
Panoramic view of the Mack Sennett Keystone studios in Edendale near Los Angeles. Source: Wikipedia

In 1913, actress Evelyn Quick gained a new kind of notoriety when she was called to testify in a “white slavery” lawsuit in Los Angeles. Several wealthy men were accused of contributing to the delinquency of minors, including Quick. She testified under her professional name against William LaCasse (1884-1923) —a wealthy automobile salesman—who she accused of contributing to her delinquency. Newspapers across the country reported on the trial and Quick’s shocking testimony. She was, indeed, underage—15 at the time of the alleged abuse—but the defense attorney falsely claimed she was 23. The jury was deadlocked: two of the twelve voted against conviction. A new trial was set, but charges were later dropped when two witnesses, including Quick, failed to appear.

A newspaper article featuring a portrait of Evelyn Quick, tagged as a victim of white slavers, with an ornate border.
The Shreveport (Louisiana) Times of May 18, 1913 misidentifies Evelyn Quick as an orphan.

Despite the negative publicity of the investigation and the trial, Evelyn Quick continued to play leading roles in several short comedies released by Keystone and then the Nestor Film Company through November 1913. Then, her career seemed to stall. I found no record of her whereabouts or new movies until 1916. Then, her career restarted with Triangle Films. She created a new professional name: Jewel Carmen, the one she used until the end of her career and by which she is best known.

At Triangle, she began to play starring roles with the popular Douglas Fairbanks (1883-1939), including the five-reeler Flirting with Fate (1916) and The Half-Breed, a short comedy based on a Bret Harte story. (As of this writing, The Half-Breed is available at https://www.youtube.com/watch?v=P_vdJyHZrR4 .)

Douglas Fairbanks and Jewel Carmen in a scene from the silent film 'The Half-Breed.'
Jewel Carmen and Douglas Fairbanks in “The Halfbreed.” Source: Photoplay Magazine, October,1916

In 1917, The Oregonian described Jewel Carmen as “one of the rapidly rising stars of the film firmament.” By this time, she was playing leading roles with super-star William Farnum (1876-1953)—including Manhattan Madness—for Triangle as well as Les Miserables and A Tale of Two Cities for Fox Vaudeville. In 1918, she starred in at least six movies for Fox.

A still image of a woman sitting on a bed, wearing a light-colored outfit with fringe details, conveying an emotional expression. The setting includes a decorative lamp and a mirror in the background.
Jewel Carmen as Alice Carter who is forced to marry a vicious criminal in “The Bride of Fear,” 1918, Fox Films. Source: Wikipedia

In mid-1918–while still under contract with Fox—Jewel signed on with Keeney Pictures, which offered her a much higher salary—$450 a week. When Frank A. Keeney learned about the Fox contracts, he voided his contract with Jewel. In late 1918, she sued Fox in the U. S. District Court of New York for interfering with her ability to find employment. She claimed the Fox contract was not legally binding since she was a minor, i.e., under the adult age of 21 in New York law. The lower court ruled in her favor, but Fox appealed. The litigation dragged on for years and ended in November 1926 with a victory for Carmen. The New York Court of Appeals awarded her $60,682 in lost salary plus interest to be paid by Fox Films.

Jewel may have won in the end, but the litigation hurt her career. She did not act in another movie until 1921. In late 1918, she married director and producer Roland West (1885-1952). She talked about giving up acting for good, but West persuaded her to return to the screen. She made three more movies, all for her husband’s company: The Silver Lining (1921), Nobody (1921), and The Bat (1926); all are suspenseful crime movies and all silent.

A black and white still from a silent film featuring four characters: three women in 1920s attire and a man in a suit with a bowler hat. They are gathered around an empty chair, with expressions of surprise or intrigue.
Jewel Carme (left) with the cast of “The Bat,” her last film. Source: Wikipedia

Jewel never performed in a talkie, although she had a speaking role in a radio play based on West’s 1929 talking picture, Alibi. Sometime between 1930 and 1934, Jewel and Roland separated. For the remainder of the 1930s, they litigated over a settlement agreement. Finally, in December 1939, she was granted alimony of $170 a month and was awarded a $50,000 property settlement a year later. 

The 1940 U.S. Census shows she lived in the Holly-Vista Apartments in Los Angeles. At some point, she moved to El Cajon in San Diego County, where she died in March 1984. She was cremated, and her ashes were scattered.

Jewel Carmon died in obscurity. I found no obituary honoring the Montavilla belle’s contribution to the world of silent film. However, she lives on in the writings about her and in her surviving films. Some of her films are currently available on YouTube and the Internet Archive.

Title image: William Farnum and Jewel Carmen in A Tale of Two Cities, 1917. Source: Wikimedia


This is part of Montavilla History Questions Answered, a series of history related articles. If you have questions about Montavilla’s past that you’d like answered, local historian Patricia Sanders will investigate your question. Please email your questions to history@montavilla.net and we may feature it alongside Patricia Sanders’ research in a future post on this page.

Montavilla History Questions Answered: Oregon Women’s Suffrage Movement

Q – Did Montavilla help women get the right to vote?

A – Yes, there were both women and men in Montavilla who supported the effort to give women the right to vote. However, they entered the decades-long women’s suffrage campaign near its end. The battle commenced at the first American women’s rights convention in 1848. Oregon suffragists joined the effort in 1870. The first Montavilla suffrage group met for the first time in 1905. By then, an Oregon suffrage measure had been on the ballot in 1884 and 1900. It lost both times, although in 1900, by a mere 2,000 votes. Women could already vote in Wyoming, Utah, and Colorado by this time. Western states were leading the way! Hopes were high that equal suffrage would succeed in the 1906 Oregon election.

In this hopeful moment, a group of Montavilla women came together in March 1905 to create a local chapter of the Equal Suffrage Association. They elected Rachel C. Ring (1850-1932), a seamstress and former teacher, as their president.

The Oregon Journal of April 18, 1905 announces the recent formation of a Montavilla Equal Suffrage group.

The events and strategies leading up to the 1906 ballot were described by Abigail Scott Duniway (1834-1915) in her autobiography, Path Breaking (1914). She founded the Oregon Equal Suffrage Association in 1873 and published the New Northwest newspaper from 1871 to 1887 to champion the cause. Ironically, Duniway’s brother Harvey W. Scott (1838-1910), the editor of The Oregonian, was an opponent of women’s suffrage.

Abigail Scott Duniway, President of the Oregon Equal Suffrage Association. Source: Wikipedia

In 1904, the Oregon Equal Suffrage Association (OESA) was already strategizing about how to win on the 1906 ballot. Its leaders saw an opportunity to promote the suffrage cause during the Lewis and Clark Exposition in 1905, where a huge crowd was expected—in fact, it drew over 2.5 million people. At first, they had just planned to have space in the YMCA building. Then they had a more ambitious idea: why not invite the National American Woman Suffrage Association (NAWSA) to hold its annual convention in Portland during the Fair? They asked, and the NAWSA agreed.

Entrance gate to the Lewis and Clark Centennial Exposition, held from June 1 to October 15, 1905. Source: Wikimedia.

Before the Fair opened in June, the Oregon Equal Suffrage Association was devising ways to draw attention to their cause. On May 27, 1905, the OESA decorating committee reported that Portland’s large stores would decorate their windows with the suffrage color–yellow–during the suffragist convention. Two representatives of the Montavilla suffrage group–Rachel Ring, president, and Maud C. Gilman (1866-1957), treasurer, attended. Perhaps the Montavilla group could persuade Montavilla business owners to do the same. Perhaps their own member, Winnifred Burdett King (1857-1918), who operated a grocery store on Stark Street with her husband, Francis, would display the suffrage color. And maybe Olive Tolls (1863-1934) would persuade her husband to decorate their shoe store. Perhaps other businesses would follow suit. Unfortunately, if there was such an effort, it was not mentioned in the press.

It’s also unknown whether members of the Montavilla suffrage club attended the national suffragist convention held in Portland from June 28 to July 5 at the First Congregational Church, just a short streetcar ride away. Perhaps they stood in the long reception line to shake hands with the famous suffragist, 85-year-old Susan B. Anthony (1820-1906), or maybe they attended some of the rousing speeches by notable suffragists.

Susan B. Anthony. Source: Wikipedia

Suffragist leaders at the convention were pleasantly surprised by how warmly they were received by politicians and clerics, which was so different from past “welcomes.” Oregon’s Governor, George E. Chamberlain (1854-1928), spoke at the convention and declared himself an advocate of equal suffrage. Portland’s Mayor, Harry Lane (1855-1917), was also in favor.

After their convention, NAWSA organizers stayed on to take charge of the Oregon suffrage campaign for the 1906 ballot, much to the chagrin of Duniway, who resigned as president of the Oregon Equal Suffrage Association in protest but was soon re-elected to that post.

One member of the NAWSA who remained in Oregon to help with the 1906 ballot campaign was Laura Clay (1840-1941), president of the Kentucky Equal Rights Association. She was the daughter of Cassius Marcellus Clay (1810-1903), a Kentucky abolitionist and Abraham Lincoln’s ambassador to Russia during the Civil War. In 1905 and 1906, Laura traveled around Oregon promoting yes-votes for the suffrage ballot issue. The Montavilla suffrage group was lucky to be addressed by this speaker who was described by the press as gifted, logical, and brilliant. She spoke to the Montavilla suffrage group at Grace Baptist Church on December 2, 1905.

Photograph of Laura Clay by the Gerhard Sisters, 1916. Source: Wikipedia
Oregon Journal, January 18, 1906

Miss Clay spoke to the Montavilla suffrage group at Grace Baptist Church on December 2, 1905. I wonder if she shared her belief that someday a woman might occupy the White House?

After the December 2, 1905 meeting, I found no further mention in the press of additional activities of the Montavilla suffrage group. Did they disband? Did more exciting issues attract the press?

Despite intensive campaigning, equal suffrage lost again on the 1906 Oregon ballot. It captured only 43.9% of the vote. The no-vote dropped even lower—38.6%– in 1908 (only 38.6%) and slightly lower still in 1910 (37.4%). Abigail Scott Duniway blamed the Woman’s Christian Temperance Union–which supported women’s suffrage but also wanted prohibition–for the losses. Duniway long thought that the two issues—prohibition and suffrage—should be kept separate in order to win the suffrage vote. She believed that alcohol consumption was up to the individual. The fear of potential women voters favoring a prohibition law was, in fact, one argument that deterred some men from voting for equal suffrage.

If the Montavilla suffrage group did cease to exist, that does not mean the issue lost support in that community. Several Montavillans were members of the nearby Russellville Grange, a farming and social organization open to men and women. There, the woman’s vote was a frequent topic.

Furthermore, The Beaver State Herald, a Montavilla and Gresham newspaper, kept its readers apprised of the current status of the woman’s vote in the U.S. and abroad. Harper’s Magazine’s “Woman-Suffrage Map of the World” in its April 25, 1908 issue graphically shows explicitly how slow the international pace of equal suffrage was.

Harper’s Magazine, April 25, 1908 Source: Wikimedia

Despite the losing campaign of 1910 and the slow rate of global progress, Oregon’s suffragists did not give up. So high was their enthusiasm on the eve of the 1912 ballot that a throng turned out on August 11 for a College Equal Suffrage League event in Oaks Amusement Park. Newspaper estimates of attendance ranged from 10,000 to 25,000. Surely at least some Montavilla suffragists were among these numbers. The event was just a short streetcar ride away. The women and men who attended heard impassioned speeches and stirring anthems. The suffrage color, yellow, appeared everywhere: in bouquets, decorations, banners, and campaign cards. 

Suffragist gathering in Oaks Amusement Park, August 11, 1912. Source: The Morning Oregonian, August 12, 1912

Perhaps to show their support for women’s rights, the Montavilla Board of Trade opened membership to Montavilla women in August 1912.

On election day, November 5, 1912, it was raining all over Oregon, yet voter turnout was heavy. Multnomah County had the largest number of registered voters in its history. By the time all the votes were counted, it was clear that the suffrage measure had passed. In Montavilla (Precinct 74), 105 men voted yes, and 81 voted no.

In 1920, women’s right to vote became the law of the land with the passage of the 19th Amendment to the U.S. Constitution. However, Native American, Chinese, Japanese, and other Asian men and women had to wait for the repeal of U.S. exclusion laws to gain their right to vote.

Oregon suffragist leader, Abigail Scott Duniway, is the first woman to registers to vote in Multnomah County. Source: Wikimedia

PBS has a documentary on Abigail Scott Duniway available at www.pbs.org.

Title image “The Awakening” illustration by Henry Mayer in the Puck Magazine of February 20, 1915 identifies the states that had already legalized women’s right to vote. Source: Library of Congress, https://www.loc.gov/item/98502844/


This is an installment of Montavilla History Questions Answered. If you have questions about Montavilla’s past that you’d like answered, local historian Patricia Sanders will investigate your question. Please email your questions to history@montavilla.net and we may feature it alongside Patricia Sanders’ research in a future post.

Montavilla History Questions Answered: Notable Residents Pt2

Q — Have any notable people lived in Montavilla?

A — Yes. One truly admirable example is the eminent physician and civil rights champion Dr. DeNorval Unthank (1899-1977).

Dr. Unthank lived in Portland from 1930 until his death in 1977. For a short time, in the early 1930s, he and his family made Montavilla their home.

Dr. Unthank with children in Unthank City Park, Portland, Oregon. Photo courtesy of Multnomah County Library

Dr. Unthank was born in Allentown, Pennsylvania, the son of a railroad and hotel cook and the grandson of North Carolina enslaved people. When his mother died in 1909, he was sent to live with his uncle, Dr. Thomas Unthank (1867-1932), a prominent doctor and civil rights advocate in Kansas City, Missouri. DeNorval would follow in his uncle’s footsteps. He chose a career in medicine and graduated from his uncle’s alma mater, the Howard University School of Medicine. He then set up his own practice in Kansas City in 1927. And in Portland, DeNorval Unthank would also be a major civil rights champion.

Sometime in 1929, the young and newly married Dr. Unthank learned that Portland’s Black community was losing its only physician, Dr. James A. Merriman (1870-1946), who was relocating to Phoenix. So, Dr. Unthank decided to move his practice, his nurse wife, Thelma Shipman (1906-1959), and his two-month-old son, DeNorval Unthank Jr., to Portland. He arrived alone the first week of January 1930, and The Advocate, Portland’s African American weekly newspaper, gave Dr. Unthank a page-one welcome.

The Advocate of January 11, 1930, p. 1. Source: Historic Oregon Newspapers

Before he decided to relocate, Dr. Unthank wanted to know if he would be welcome in Portland. To find out, he wrote to the Portland Chamber of Commerce and was assured he and his family would be welcome. 

While Portland’s Black community was grateful for Dr. Unthank’s presence, the doctor soon found that renting office space was another matter. At first, this seemed assured. Dentist Elbert L. Booker agreed to share offices with him in the Panama Building downtown. Dr. Booker had been a tenant there since 1928. But in 1927, as a Black man seeking office space, it took months to find a landlord willing to rent to him. He was turned down 15 times. Unthank and Booker announced the opening of their shared offices in the February 1, 1930 edition of The Advocate. However, when Panama Building tenants protested, Dr. Unthank had to move out, although Dr. Booker was allowed to return to his previous office suite in the Panama Building. Dr. Unthank moved to the nearby Commonwealth Building, then had to move again twice before settling in the downtown Arata Building in 1931.

Announcement of the opening of offices shared by Dr. E. L. Booker and Dr. DeNorval Unthank in the Panama Building in The Advocate, February 1, 1930, p. 1. Source: Historic Oregon Newspapers

Because of the Depression, at first, Dr. Unthank had few patients, and many of these, he later said, were loggers, who were among the few with paying jobs. Income may have been lean, but that did not slow down Dr. Unthank. Within weeks of stepping foot on Portland soil, he spoke on health topics at the Bethel A. M. E. and the Mount Olivet Baptist churches. Dr. Unthank was committed not just to helping people with ailments, he wanted everyone to be healthier. Besides giving speeches, he began publishing a column in The Advocate called “Keeping Fit” in March 1931. In 1932, he organized a Health Week event.

Dr. Unthank published a column called “Keeping Fit” in The Advocate for several months in 1932. Source: The Advocate, March 14, 1931, page 4

Besides his medical practice and health advocacy, he was soon involved in civil rights efforts. He was elected to the local NAACP chapter board of directors in December 1930, then vice president in November 1931, and finally president in 1940. In 1931, he helped to prevent yet another Portland screening of the racist movie “Birth of the Nation.”

Just after arriving in Portland, the Unthank family lodged with Urskin S. Reed, a railroad mail clerk and NAACP member. By June 1930, the Unthanks had moved to Montavilla.

The Unthanks lived in this 1902 house at 212 NE 76th Avenue in Montavilla for several months in 1930. Photo by Thomas Tilton

Although Montavilla was a mostly White community, there had been a small Black population there since at least 1900. The Unthank home had been owned by a Black couple, Prestin and Laura Claybourne, since at least 1920. There were several Black couples in the immediate neighborhood as well as the majority-Black Shiloh Baptist Church just a block away. Many Portland neighborhoods east of the Willamette had similar communities with just a few Black residents in contrast to the denser population of Albina, as shown in the 1936 map below.

This 1936 Portland map shows the distribution of Black-occupied dwellings. The detail on the right shows the distribution in the Montavilla area. The densest population of Albina is in the center of the large map. Source: Portland City Archives 

The Unthanks did not stay long in their first Montavilla home. In the spring of 1931, they bought a house in Westmoreland. Although this was an all-White neighborhood, their realtor assured them they would be welcome. Instead of a welcome, however, the neighborhood presented the Unthanks with a petition asking them to leave. The Unthanks refused. And when they arrived at their new home, all the windows were broken.

The local press covered the Unthank-Westmoreland story blow-by-blow.

The Advocate expressed outrage:

The Advocate, April 25, 1931, page 1

The Oregon Journal was baffled:

Source: The Oregon Journal, April 26,1931, page 10

Things calmed down for a while in Westmoreland until another window-stoning occurred at the end of June. The Unthanks thought the Jones couple next door was responsible, and a shouting match ensued between the two couples. Mrs. Jones accused Mrs. Unthank of threatening to shoot her. The issue ended up in court on July 17. Mrs. Unthank was acquitted.

But enough of Westmoreland was enough. By August 1931, the Unthanks were living with friends, and Mrs. Unthank left for an extended visit with relatives in the Midwest.

For a little over a year, the Unthank family lived in this 1923 house at 221 NE 76th Avenue in Montavilla. Photo by Thomas Tilton

By August 1932, the Unthanks were back in Montavilla and living in a house just across the street from their previous residence. They lived there until at least September 1933. By March 1934, they lived in a rental house on Division Street.

This detail from Portlandmaps shows the locations of the two Unthank Montavilla residences on NE 76th Avenue, first at 212 and later at 221.

In the 1930s, Dr. Unthank’s practice continued to grow. He was so busy, reported The Northwest Enterprise of December 9, 1938, that he wouldn’t even stop for a sprained ankle. Still, he was blocked from practicing at local hospitals and joining medical societies for many years. He was finally admitted to the Emanuel Hospital staff in 1955 and joined its board of directors in 1971.

Despite his busy practice, he still had time for charitable and civic work. In 1940, he opened a day nursery and health clinic for the children of Black workers in collaboration with the St. Vincent de Paul Society of Portland. From 1970-1976, he was the medical consultant to Oregon’s workmen’s compensation board, commuting daily to Salem even though he had retired from practice.

In the 1940s, Dr. Unthank was a major civil rights advocate, drawing attention to racial discrimination in jobs and housing. As head of the Emergency Advisory Council, he advocated for equal opportunities for wartime employees. As the first Black member of Portland’s City Club in 1943, he drew attention to Portland’s discriminatory practices. He co-founded the Portland Urban League, a civil rights and social services organization, in 1945. In 1953, Unthank played a substantial role in the passage of Oregon’s Civil Rights Bill, overturning the Oregon law banning interracial marriages.

Dr. DeNorval Unthank at the time of his retirement. Source: The Oregonian, November 30, 1970

The Oregonian of July 16, 2018, quoted Dr. Unthank’s personal philosophy: “I have always felt in my life that a person should set his own goals and then head toward them. You may have some bad experiences along the way, but if you’re determined you can make it.”


Some of Dr. Unthank Awards 1945-1975

  • 1945 Progressive Democratic Club’s First Citizen award
  • 1958 Doctor of the Year, Oregon Medical Society
  • 1962 Citizen of the Year, Portland chapter of the National Conference of Christians and Jews
  • 1969 dedication of Unthank Park
  • 1971 University of Oregon distinguished citizen award; Metropolitan Human Relations Commissions plaque
  • 1973 B’nai B’rith (Portland Chapter) Brotherhood Award
  • 1975 Concordia College Citizenship Award

The extraordinary life of Dr. DeNorval Unthank deserves a book-length biography. But alas, this does not yet exist.


Title image: Dr. DeNorval Unthank, 1950. Courtesy OSU Special Collections & Archives Research Center, Oregon State University. “Portrait of DeNorval Unthank” Oregon Digital

This is part of Montavilla History Questions Answered, a series of history related articles. If you have questions about Montavilla’s past that you’d like answered, local historian Patricia Sanders will investigate your question. Please email your questions to history@montavilla.net and we may feature it alongside Patricia Sanders’ research in a future post on this page.


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