A newspaper article regarding a protest against the Vietnam War which took place in Forest Grove, Oregon on October 15, 1969. The photograph shows part of the estimated crowd of 250 protesters, which according to the article, included Pacific University faculty, students and local residents. The march occured in downtown Forest Grove. They were protesting "the United States involvement in Vietnam, and urging a rapid withdrawal of United States troops," following a silent vigil on campus. This was one of many Peace Moratorium marches that had been coordinated to occur on the same day across college campuses in the United States. The coordinators asked Pacific University to close classes for the day, although they appear not to have done so.
An alternate cast of the "Boxer II" bronze statue by sculptor Pat Costello, sitting in a box surrounded by packing paper. Pat Costello was commissioned by Pacific University students in 1982-83 to create Boxer II as a replica of the original "Boxer" statue, the mascot of Pacific University, which had been missing since 1969. Costello made two casts of Boxer II. The first cast was given in 1983 to the students who had commissioned the work. While the first cast of Boxer II went missing from public view in the mid-2000s, the second cast was kept as a yard ornament in one of the Costello family members' homes. The Costellos donated this second cast of Boxer II to Pacific University in the Spring of 2025. This photograph was taken while the statue was being transported from their home to Pacific.
The "Boxer III" bronze statue sitting on a photocopy machine in Tran Library on the Pacific University campus in 2022. This image plays on the idea that Boxer III was a "copy" of the original Boxer statue. At the time that this photograph was made, the original Boxer had not been seen in public for 53 years.
The "Boxer III" bronze statue (middle, steel-colored) sitting in between a larger decorated Boxer statue (created mid-2000s) and a small rubber replica of the "Boxer II" statue. This photograph was taken in the atrium of Tran Library on the Pacific University campus in 2022.
The "Boxer III" bronze statue on a plain white background. This photograph was created between 2018-2022, and was edited to delete the background so that the image could be more easily used for outreach purposes. Boxer III was made and donated to Pacific University in 2018.
Two Pacific University alumni posing with the foot of the original "Boxer" statue, sometime after its return in 2008. Pieces of the original statue had been repeatedly broken off and then re-welded back onto the statue repeatedly during its history. This foot was most likely last broken off in 1968 or1969, just before the statue disappeared from public view for 55 years. Another foot remained in the hands of another group of alumni.
Two women, probably the mothers of Pacific University students, pose in their home with the original "Boxer" statue. This snapshot was taken around June, 1957.
Two wax casts of "Boxer III" in the studio of the sculptor, Pat Castello. Creating a wax cast is an intermediate step in the process of creating a bronze sculpture: After making a clay model, the clay is wrapped in a mold, from which a wax cast is made. The wax casts are corrected and given finer details by the scupltor, who then chooses the best example, creates another mold around it, and then pours bronze into the mold. The wax melts out of the mold, leaving the bronze behind as the final stage of the sculpture.
The rubber and caster plast of "Boxer III," which has been cut open in preparation for the next phase of work on the sculpture, in the studio of Pat Costello.
Pat Costello working on the mold of "Boxer III" in his studio. A finished clay version of the sculpture is being wrapped in a rubber-like substance and then covered in plaster to create a mold from which the next phase of the sculpture would be cast.
Preparatory work on the mold of "Boxer III" in the sculptor Pat Costello's studio. A finished clay version of the sculpture is being wrapped in a rubber-like substance in preparation for the creation of a plaster cast, from which the next phase of the sculpture would be made.
Sculptor Pat Costello building the armature (or skeleton) of "Boxer III." A life-size reference image is posted behind his work table, while a diagram is visible under the armature, showing the intended dimensions of the finished sculpture.
Sculptor Pat Costello displays the armature (or skeleton) of "Boxer III," while holding a reference image on which he has written notes and calculations. The armature will be used to support the first form of the sculpture in clay. A diagram is visible under the armature, showing the intended dimensions of the finished sculpture.
A side-view of Pacific University's original "Boxer" mascot statue, circa 1950. The photograph is in black-and-white, making the statue appear to be the color of steel: but it was in fact bronze, with gold-toned welding marks. In this image, Boxer is missing one leg and his tail. Welding marks are visible on his other leg and neck. This damage was sustained during "Boxer Tosses," when students would fight over possession of the statue. This photograph may have been taken by Ellis Lucia (Class of 1944), as it was found in his archival papers. Lucia became a photojournalist after graduating from Pacific, and may have taken this photograph in the late 1940s or early 1950s.
A white knitted sweater that belonged to a member of Pacific University's "Boxerettes" women's organization, probably in the 1950s. The Boxerettes were an honorary service organization made up of sophomore women from Pacific University, which was active from approximately the late 1940s through the early 1970s.
Boxerettes were elected and "tapped in" to the service club in the fall of their sophomore years. The women organized and/or volunteered to run many activities on campus, such as setting up and chaperoning dances, ushering during plays, co-hosting the annual Christmas Wassail party, selling tickets and programs at sports events, and assisting with new student orientations. They were regarded as being some of the most active and visible students on campus.
A beadwork, screenprint, and acrylic painting on paper, depicting a black rat with a round, blue "window" in its abdomen which contains another smaller, golden rat, by artist Stella Nall. Stella Nall is a Montana-based multimedia artist and poet. Her website states, "She is a First Descendant of the Úuwuutasshe (Greasy Mouth) clan of the Apsáalooke (Crow) Tribe, and her Crow name is Bisháakinnesh (Rode Buffalo) and was given to her by Ronnie Yellowmule. Her work often engages with current issues pertaining to Indigenous identity, visibility and representation; while also inviting connection from people of all backgrounds by discussing ubiquitous human experiences such as love, loss, joy and grief."
"Original hand colored limited edition drypoint etching on paper," per a certificate mounted on the verso of the frame. The image by artist William Papas is also signed and numbered on the front. Papas was a political cartoonist and caricaturist, book author and illustrator, and watercolorist. In the 1960s and 1970s he worked for The Guardian, The Sunday Times, and Punch. This particular image is done in a caricature-like style, and depicts two male coal miners wearing red helmets, standing in front of a mining structure and vehicle. The image dates from 1987. Several notes on the verso dated 2020-2022 refer to the print's sale and framing.
Signed limited edition print of a watercolor depicting a purple and green horse on a white background, by artist William Papas. Numbered 33/35. Papas was a political cartoonist and caricaturist, book author and illustrator, and watercolorist. In the 1960s and 1970s he worked for The Guardian, The Sunday Times, and Punch.
Signed limited edition print of a watercolor depicting a horse resting in a seated position looking over its right shoulder, by artist William Papas. Papas was a political cartoonist and caricaturist, book author and illustrator, and watercolorist. In the 1960s and 1970s he worked for The Guardian, The Sunday Times, and Punch. The horse is a chestnut color on a white background. Numbered 2/35.
Signed limited edition print of a watercolor depicting two horses on a white background, by artist William Papas. Papas was a political cartoonist and caricaturist, book author and illustrator, and watercolorist. In the 1960s and 1970s he worked for The Guardian, The Sunday Times, and Punch. Numbered 12/50. A certificate of authenticity is mounted on the back. Framed.
Signed limited edition print of a watercolor depicting four horses running on a white and multicolored background, by artist William Papas. Papas was a political cartoonist and caricaturist, book author and illustrator, and watercolorist. In the 1960s and 1970s he worked for The Guardian, The Sunday Times, and Punch. Numbered 6/295.
