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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.