Photograph of Annemarie Henle (Pope), assistant director of Portland Art Museum, seated on a stone bench. She is wearing a hat, and her arms are crossed on her lap. She was the founder of the International Exhibitions Foundation, spending her life working with art exhibitions (negative 2 of 2).

Artists Ansel Adams, Minor White, and Rene Weaver, judging photographs for the Portland Art Museum’s “Oregon Photography - 1950” exhibit. Adams and White both hold photographs while facing towards one another, with Weaver in between. A photograph from this series was published in the Oregon Journal on Thursday, January 25, 1951 (negative 3 of 4).

Artists Ansel Adams, Minor White, and Rene Weaver, judging photographs for the Portland Art Museum’s “Oregon Photography - 1950” exhibit. They kneel down, looking at photographs that have been placed along a wall, with Adams resting one arm on the wall molding. A photograph from this series was published in the Oregon Journal on Thursday, January 25, 1951 (negative 2 of 4).

Northwest artist Carl Morris, standing with a piece of art during a class taught with his wife Hilda Morris, most likely at Portland Art Museum School. He points at the piece of paper with one hand, most likely demonstrating for the class (negative 12 of 12).

Students painting in a class taught by Northwest artists Carl and Hilda Morris, most likely for the Portland Art Museum School. A woman and two men are seated at a low table, laden with paints and paper. The woman is holding a board and paintbrush (negative 2 of 12).

Photograph looking downward, showing art students seated in front of Northwest sculptor Hilda Morris, during a class taught with her husband, Carl Morris. She stands on a makeshift table (stage), hung with sheets. Students sit at low tables in front of Morris (negative 3 of 12).

Artist Carol Morris, speaks to an art student during a class being taught with his wife, Hilda, most likely for the Portland Art Museum School. The student is seated and looking up at Morris, who wears a sweater while holding his hands to his waist (negative 4 of 12).

Northwest artist Carl Morris standing with an art student, most likely at the Portland Art Museum School, during a class taught with his wife Hilda Morris. He leans downward towards the student while pointing with one hand. The seated student is in front of a table laden with art supplies (negative 7 of 12).

Northwest artist Hilda Morris, standing with art student during a class taught with her husband Carl Morris, most likely at Portland Art Museum School. She holds a cigarette and board, while looking towards a female art student. The other students are holding teacups and standing next to a table laden with art supplies (negative 11 of 12).

An art student during a class with Northwest artists Carl and Hilda Morris, most likely for the Portland Art Museum School. She sits at a table with paintbrush in hand, looking downward at a piece of paper. A cigarette and ash tray are in front of her (negative 5 of 12).

An art student during a class with Northwest artists Carl and Hilda Morris, most likely for the Portland Art Museum School. She sits in a chair while leaning towards a table, holding a paintbrush. Other students can be seen in the background (negative 6 of 12).

An unidentified man points at the arm of a Rodin sculpture at the Portland Art Museum, in preparation for a new exhibit. The sculpture appears to be resting on a wooden cart, as a woman, wearing a smock, intently gazes at its arm (negative 7 of 9).

An unidentified woman rests her hand on a Rodin sculpture at the Portland Art Museum, in preparation for a new exhibit. A man stands next to her, looking upward at the metal sculpture. The woman wears a work smock and holds a paint brush in one hand (negative 6 of 9).

A man shows two children a hand puppet during an exhibit at the Portland Art Museum in Portland. The man is seated and holding the horned doll towards two girls, one is which is holding two dolls (negative 1 of 12).

Four children playing on a wooden play set during an exhibit at the Portland Art Museum in Portland. One boy, wearing a suit and bow tie, stands at the top of the structure, while two girls stand at the front. A younger boy stands on the ground looking towards the others (negative 11 of 12).

Sculptor Hilda Morris, holding a plate of cookies, during a class with husband Carl Morris, most likely for the Portland Art Museum School (negative 1 of 12).

Photograph showing Japanese prints on display at the Portland Art Museum. A label below the print at far right reads: “Japanese prints, selected from the MARY ANDREWS LADD COLLECTION, containing about seven hundred and fifty prints, presented on the opening of the new museum.” Image note: Photograph shows discoloration due to deterioration of the negatives.

Tape 1, Side 1. 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.

Tape 1, Side 2. 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.

Tape 2, Side 1. 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.

Tape 2, Side 2. 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.

Tape 3, Side 1. 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.

Tape 3, Side 2. 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.

Tape 4, Side 1. 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.

Tape 4, Side 2. 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.

Tape 5, Side 1. 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.

Tape 5, Side 2. 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.

Tape 6, Side 1. 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.