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This circa 1890 lithographic view of La Grande, Union County, Oregon, published in West Shore Magazine, presents a composite panoramic perspective of the town, highlighting its development and key landmarks. The illustration consists of multiple detailed vignettes that showcase La Grande’s residential, commercial, and industrial landscapes, set against the backdrop of the Blue Mountains.
The largest scene in the illustration provides an expansive view of La Grande’s First Ward, with the Second Ward visible in the distance, with tree-lined streets and agricultural plots interspersed among residential homes and public buildings. The surrounding landscape features cultivated fields, orchards, and small farmhouses, indicating the region’s agricultural prosperity. The Blue Mountains in the background frame the settlement, reinforcing its geographic location in the Grande Ronde Valley.
A circular inset details the Oro Dell mill and factory, located approximately a mile northeast of La Grande. The illustration captures the industrial use of the area's natural water power, with a mill situated along a riverbank and surrounded by cultivated land.
A second panoramic view focuses on the Second Ward, emphasizing the town’s growth beyond its original settlement. Notable features include the American flag flying over a central public building, a church with a prominent steeple, and numerous residential structures.
The Railroad Depot and Warehouse vignette shows a bustling transportation hub where horse-drawn wagons and carts converge. The Oregon Railway & Navigation Company (OR&N) was instrumental in the town’s economic growth, facilitating trade and movement of goods.
The Blue Mountain Hotel, operated by S.M. Reeves, is prominently featured as one of La Grande’s central accommodations.
The final vignette showcases the La Grande National Bank, housed in a striking brick structure with arched windows and decorative cornices.
La Grande, Oregon
Originally named Brownsville, La Grande was forced to change its name when it was discovered that another city in Linn County had already claimed the designation. Located in the Grande Ronde Valley, the city's name originates from Charles Dause, a French settler who frequently described the area's beauty using the French phrase La Grande. Situated east of the Blue Mountains and southeast of Pendleton, La Grande occupies a historically significant position in Oregon's settlement and development.
The Grande Ronde Valley had long served as a vital waypoint along the Oregon Trail, providing early emigrants with a fertile resting ground before continuing their journey west. The first permanent settler in the La Grande area was Benjamin Brown, who arrived in 1861. He was soon followed by the Leasey family and approximately twenty other settlers, who formed a small community. Initially, the settlement was informally known as Brown's Fort, Brown’s Town, or Brownsville in honor of its first settler. However, when the post office was established in 1863, a more distinctive name was required. "La Grande" was chosen based on Charles Dause's enthusiastic description of the valley's scenic beauty.
Before the post office’s formal establishment, William Currey provided an essential mail service, charging 50 cents per letter to carry mail on horseback to and from the nearest post office in Walla Walla, Washington. La Grande was incorporated as a city in 1865 and platted in 1868
La Grande experienced significant growth in the late 1860s and early 1870s, largely driven by the discovery of gold in the region and the valley’s agricultural potential. The town’s early business district developed along C Avenue, between what is now Fourth Street and the western hillside. The arrival of the railroad in 1884 marked a major turning point for La Grande, shifting its commercial center to the flatlands east of "Old Town". This new development, called "New Town," grew around Adams Avenue, which ran parallel to the railroad tracks.
By 1900, La Grande’s population had reached 2,992.
West Shore was a literary and illustrated magazine published in Portland, Oregon, from 1875 to 1891. Founded by Leopold Samuel, a German immigrant, the publication aimed to promote the Pacific Northwest and encourage economic development in the region.
Renowned for its high-quality literary content and illustrations, West Shore became one of the most influential publications in the Pacific Northwest during the late 19th century. It featured works by prominent authors and historical figures, including Joaquin Miller, Frances Fuller Victor, Thomas Condon, Lindsay Applegate, and Joseph Lane, alongside finely executed illustrations that documented the scenery, architecture, and commerce of Oregon, Washington, California, Idaho, Montana, British Columbia, and Alaska.
Leopold Samuel established West Shore after publishing a modestly successful directory and travel guide for Portland. The magazine's first issue was released in August 1875, featuring an eight-page newspaper-style layout with four columns of text per page and stock woodcut illustrations sourced from San Francisco and eastern printing houses. From its inception, Samuel sought to elevate West Shore into the premier literary journal of the Pacific Northwest, commissioning contributions from the region’s brightest minds. The magazine published poetry by Joaquin Miller, essays by historian Frances Fuller Victor, scientific studies by paleontologist Thomas Condon, and historical articles by pioneer Lindsay Applegate and former Oregon Governor Joseph Lane. George H. Himes, secretary of the Oregon Pioneer Association and later a founding member of the Oregon Historical Society, was a regular contributor, helping to chronicle the region’s early history.
In September 1878, West Shore expanded to 32 pages and began incorporating high-quality lithographic illustrations, a turning point in its evolution. By 1881, Samuel had hired Henry Epting as the magazine’s first full-time artist. Epting’s detailed wood engravings set a new standard for the magazine’s visuals, and his first works appeared in the July 1881 issue. Junius F. Whiting joined the staff in early 1882, followed by Albert B. Burr in 1883. These illustrators produced original images that replaced stock cuts, giving West Shore a unique visual identity. In 1884, Clarence L. Smith, a talented lithographer and artist, was hired to lead the art department, overseeing the production of hundreds of finely executed illustrations. William H. Byrnes replaced Epting in 1886, ensuring the continued high quality of the magazine’s artwork.
The artistic content grew steadily, with 282 illustrations published in 1883 alone. The magazine introduced color lithography in 1886, further enhancing its appeal. By the late 1880s, West Shore began experimenting with halftone photoengraving, a cutting-edge technology that allowed for more detailed and realistic images. The combination of exceptional illustrations and engaging literary content helped the magazine reach a peak circulation of approximately 15,000 in 1890.
Henry L. Wells joined as editor in 1883, shifting the magazine's focus from literary articles to feature stories that highlighted the Pacific Northwest’s industries, resources, and communities. This transition aligned West Shore with the region’s economic ambitions, as it sought to attract settlers, investors, and tourists. Under Wells’ leadership, the magazine grew in size and sophistication, adopting a 48-page format in 1884 and expanding further to 72 pages by 1887 to match Harper’s Magazine. In 1888, it adopted a quarto format, further elevating its stature among national publications. Notably, the magazine also included a women’s section edited by the poet and author Ella Higginson, who contributed her literary expertise to the publication during its later years.
Despite its success, the magazine’s high production costs, driven by its lavish illustrations and quality paper, created financial difficulties. In September 1890, Samuel reorganized the West Shore Publishing Company, bringing on a board of directors composed of Portland businessmen. Although Samuel remained as president and general manager, he was constrained by the board’s oversight. After failing to secure sufficient advertising revenue, Samuel resigned in February 1891. The new manager, J. M. Lawrence, attempted further changes, but without Samuel’s vision and leadership, the magazine lost public interest and ceased publication on May 2, 1891.
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