Sepia-toned image of a farmhouse with several people standing in front of it. House is a white, cross-gabled home with three sections in a dog-leg floor plan. Covered porches with gingerbread and carved posts front the two smallest sections. Paned, doubled-hung windows appear in all visible facades, and doors lead out of the front of each section. A woman with white hair pulled severely back wearing a long black dress with a small bustle stands in front of one door on a small porch. A man sits on the step of a covered porch, two shelves with potted plants sit on the porch behind him. A woman in a light-colored gown, also with a bustle, and a dropped waist and S-figure stands in the front yard; Her hair is up in a loose bun, and a chicken is at her feet. A girl in a dark, ankle-length dress and a light-colored artist's tie stands in the yard; she has bangs and a dark hat with a brim. To her left is a man in work clothes, standing with his arms crossed. He has a chin curtain beard and a light-colored hat with a brim worn pushed back on his head.
Laminated photo postcard of a parade. The street side left of the image is lined with trees and parked wagons and cars; a water tower is visible in the distance. Two United States flags hang from lines across the street, and power poles are placed where the curb and dirt road meet on either side. The image right side of the street features two-story buildings with square facades. The fender of a car is visible in the right front of the image. Several floats proceed down the street toward the photographer. One is pulled by a two-horse team; the other is a car. Behind the car, a group of people march. The men watching alongside the street wear hats, and a girl in a white dress stands a bit further down the curb, watching the floats.
Thirteen girls sit in a row on the ground in front of two canvas tents. A number of pine trees and a rail fence fill the background, and two bicycles lean against trees. The girls wear skirts, headscarves, and beads. They are dressed as to imitate Roma people. One holds a guitar, several other tambourines. Their hair is long and loose. A wood stove sits directly behind them, with a teapot. A gramophone is attached to a tree behind the group.
A group of people dressed in Colonial-era clothing are arranged on a stage facing the camera. Bunting and\ flags drape the wall behind them, and a cradle sits on the floor at the front of the group. Several men wear wigs, and the women all wear colonial style gowns, most with shawls. The men wear Colonial-style cutaway jackets.
One of a pair of humorous images dating from the 1888 Presidential election between Harrison and Cleveland. A crowd of men and boys watches as a man who was carrying an American flag is dumped out of a wheelbarrow into the muddy street. A caption below the wheelbarrow reads, “Hurrah for Cleveland.” Cleveland, unlike the majority of Forest Grove at the time, was a Democrat; he won the election. A related image captioned “Hurrah for Harrison” shows the same man being carried down the street on the other end of the same block. The Oregonian printed a description of this scene on November 15, 1888, noting that two local men had made a bet about the outcome of the election and that the loser had to carry the other one in a wheelbarrow procession through town, but that the loser dumped out the winner as a joke. The man holding the wheelbarrow was Charles Fritz, who ran a local photography studio; the man riding in the wheelbarrow was Joseph Vaughn. This photograph was taken in downtown Forest Grove, just north of the present-day intersection of Pacific Avenue and Main Street, looking south. It is one of very few images showing downtown Forest Grove’s original wooden buildings. The building farthest to the right was a general merchandise store. The white building behind it housed a drugstore and meeting hall for the Odd Fellows; the Forest Grove National Bank building would later be built on that site. Neither of the buildings in the foreground survive today.
Main Street, Forest Grove, Oregon. A trolley car sits in the front of the image, with a conductor at either end. The street beyond is dirt, and lined on one side with two-story buildings, mostly brick, with square facades. Power poles line the street, and trees in full leaf are visible in the background and on the left edge.
Black and white image of the interior of a store. One side features a counter and various goods in glass cases and on shelves behind it. On the other side, bicycles are lined up in front of bolts of fabric and upholstery. Chairs and other furniture are stacked on a shelf above, and tires hang in the background. One mustached man in suspenders and a newsboy cap leans on the glass counter, while another man in a hat shows an elderly gentleman a bicycle.
Sepia-toned image of two men behind a counter. A bicycle leans against the counter and a rotating wooden bookshelf sits on top of the counter. The door through which the photo was taken frames either side of the image.
Image of a group of people gathered in a large meeting room. The women sit in chairs at the front of the group, with four small girls in white dresses standing in front of them. Boys sit to the left foreground of the image, and girls on the right. In the center is a small podium standing in the center of a rug on which part of a five-pointed star can be seen. Men fill the back of the room. Large light fixtures extend down from the ceiling and pictures hang from the walls. Clothing worn is typical of the early to mid 1890s.
Sepia-toned image mounted on dark card stock of a large group of people outdoors. The men and boys are largely grouped on one side, while the women and girls are on the other. One man with a clerical collar holds a small child wearing overalls; other children are seated on the ground at the front of the group. Clothing is indicative of the early 1900s; the women wear light-colored, high-necked blouses with full sleeves, tucked into long skirts and sport large, flat hats. The men wear wide neckties and suits, and their hats vary from Panama style to boaters to regular fedoras. A number of the boys wear newsboy caps and a couple have large straw hats.
Black and white image of Fred Ordermen of Hillsboro. He is in a dark uniform tunic with white pants, a cane, and a white pith helmet on a pedestal beside him. His hair is shaved close to the skull and he has a mustache.
Sepia-toned image of Judge Benton Killin. He attended Pacific University for one year but did not graduate from that school. He went on to become a Judge in Portland, and was married to Harriet Hoover Killin, who was the first woman to graduate from Pacific University (Class of 1869).
Black and white image of a butcher shop decorated for Christmas. Two men in white shirts, aprons and with newsboy caps stand behind a glass-fronted counter containing meat. A sign on the wall behind them appears to read 'positively no credit.' Along the wall beside the men, dressed portions of various animals have been stamped with images of bones and musculature and hang suspended from the ceiling with ropes and pulleys from the ceiling. A number have holly sprigs attached to their legs. Fowl hang from a rack against the wall, and Christmas trees stand beside the largest cut of beef.
Sepia-toned image of a row of men and women standing in a field with houses behind them. The men wear suits and the women have long dresses with fitted jackets and skirts pleated at the bottom and bustled at the back. Most wear robes, some with white collars and others with dark dollars sporting a number of medals. The men have removed their hats for the picture, but the women have not. the trees behind them have a few leaves, and pine trees are visible in the right image background.
A studio portrait of Elizabeth Martha McGary Lovejoy (1829-1904). Elizabeth was the wife of Asa Lawrence Lovejoy, who is remembered as the founder of the city of Portland, Oregon. According to a handwritten note on the back of the photograph, this portrait was taken in Hillsboro in 1872. The photograph formerly belonged to Charles T. Tozier, who collected images of "Oregon Whites," according to the notes.
The back of the photograph has additional notes written in a later hand which misidentify the subject as as the widow of Asa Munger and Henry Buxton, whose maiden name was Elizabeth Sarah Hoisington. However, this appears to be incorrect.
