A woodframe, one-story structure with a cover over the front door is seen. The belfry is in the center of the roof. It is encircled by a wooden fence. The school was built in 1871 and enlarged twice before closing in 1910. It was located on Broadway Street.
Greenville was founded in the 1870s by Franklin Pierce, who emigrated to Oregon in 1852. It was a supply center for those who lived between Buxton and Forest Grove, and the town was located 2 miles south of present-day Banks. A post office was established in 1871, and Franklin Pierce opened a store in 1874. The Post Office closed in 1907, and the town is now virtually non-existent.
Portrait of the Honorable Jesse Clemens Moore (September 3, 1830-October 11, 1905). He served two years as the Washington County Assessor and in the 1860s was elected and served three successive terms at the Washington County Sheriff. He later was elected and served two terms in the Oregon State legislature. He lived in Greenville, Oregon.
John Schlegel Jr. (born 1849 in Wisconsin and died 1926 in Woodburn, Oregon) and Sarah Ann (Luther) Schlegel (born 1853 in Missouri and died in 1904 in Banks, Oregon). He was a business man and agriculturalist. The couple came to Oregon in 1876 and founded a farm in 1877, which is still in the family and is now a Century Farm.
Greenville, Oregon in the 1870s. The town had growth enough by this time to justify a post office, but the town dwindled as Banks and Forest Grove prospered, and the post office in Greenville was moved to Banks in 1907.
Group portrait of Jesse Clemens Moore and his family in front of their house in Greenville. Moore was a successful politician in early Washington County. The people in the photo with Mr. Moore appear to be his first wife, Rachel S. (Wilson) Moore, and their three children William, Anna and Fred. The identity of the young woman (3rd from left) is unknown.
A man and a woman, identified on back as Calvin and Catherine Adams, stand separately before a 2-story house and behind a wooden plank fence. He wears a jacket, vest, and hat and is bearded. She wears her hair pulled back and up, and is clothed in an ankle-length dark dress with a lighter colored apron and dark shoes. The house has two sections, one with a long covered porch featuring carved posts, corner scrollwork, and climbing vines. Leafy trees and bushes front the house; a boardwalk runs in front of the fence.
Portrait of Thomas R. Cornelius, son of early Oregon pioneer Benjamin Cornelius. Born in Missouri in 1827, he travelled with his family on the Oregon Trail in 1845. He became a colonel during the course of his service in the Oregon Volunteers during the Indian Wars of the 1840s and 1850s. After the war he served in the Oregon State legislature and became a successful farmer and businessman. In 1872, the town of Cornelius was founded and named after him. He lived there with his family; in 1850 he married Florintine Wilkes, and after she died in 1864 he married Missouri Smith in 1866. He had six children, and lived the rest of his life in Cornelius, dying there in 1899.
Downtown Cornelius, Oregon around the 1880s. This photograph was taken looking west at what is now the intersection of Alpine Street and 12th Avenue, on the south side of the railroad tracks. On the right side of the photograph is a large grain warehouse belonging to the town’s namesake, T.R. Cornelius. According to notes on the back of the photograph, the buildings from foreground to background on the left side of the photograph are: St. Joseph Hotel; Dr. Clark Smiths’ Drugstore; a store owned by T.R. Cornelius; a warehouse; a saloon; and Keim’s store. None of the buildings pictured appear to have survived today. Notes identify several of the people standing in the photograph: “T.R. Cornelius, black hat, in front of door; Scott Cornelius in doorway; Dr. Smith, tall man near corner of hotel; Alec Couture sitting on platform, first in picture.” Several horse-drawn wagons appear in the background. The grain warehouse was the place where farmers from surrounding communities brought their wheat so that it could be moved to market via the railroad nearby. The photograph was taken by the I.G. Davidson Studio of Portland. This appears to be a black-and-white copy print of an earlier albumen card print. It was donated to the museum by Lester Mooberry, a prominent area resident who wrote a book on the history of Forest Grove and Cornelius.
Sepia-toned image of a group of children arrayed on a boardwalk outside a dark wood building. The smallest children sit with their feet dangling over the edge of a boardwalk, with larger children (mostly girls) seated and then standing in rows behind them. The girls in the front two rows wear full, short dresses of varying light prints with pantaloons; the boys wear dark short pants and jackets, most with jackets. The third and fourth rows the girls wear dark dresses with white collars, the boys dark suits with white shirts beneath them. Some of the girls have bonnets, almost all have their hair pulled back in the front and loose down their backs. Two adult women to the right of the image have hats, and one wears a dark jacket over a long white skirt. The building has glass-paned windows and the two small trees on either side of the children are in full leaf. The foreground is a grassy yard.
Sepia-toned image of a group of children arrayed on a boardwalk outside a dark wood building. The smallest children sit with their feet dangling over the edge of a boardwalk, with larger children seated and then standing in rows behind them. The girls in the front two rows wear full, short dresses of varying prints and colors, some pinafores and many with shoulder ruffles. The boys wear dark short pants and jackets. The third and fourth rows the girls wear dark dresses with white collars, the boys dark suits with white shirts beneath them. Some of the girls have bonnets, almost all have their hair pulled back in the front and loose down their backs. The girls in the back row wear shirts tucked into skirts, some dark and some light. All the girls war their hair parted in the middle and either pulled back entirely or fastened back above their ears and hanging loose. Two women at the right end of the back row wear dark dresses with full sleeves, and their hair is parted in the middle and pulled back. Four men stand in the back of the group against the building; they wear dark suits and white shirts, and most are bearded. Three children peer through a window next to the group, on holding a small child sitting on the sill with her feet outside. A man to the side of the image wears a dark suit and a bowler hat. and the two small trees on either side of the children are in full leaf. The foreground is a grassy yard.
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.
Sepia-toned image of a group of men in suits and hats arrayed in two rows on the Hillsboro train-station platform. One man kneels on the train tracks; he has a long beard and wears a narrow sash across his chest and a sword. Most of the men's hats are pinned up on their left side with rosettes or ribbon. A fringed sign on the left of the platform identifies the group as 'Montezuma Lodge, No. 50, Hillsboro, Ore.
Sepia-toned image of a two-story, cross-gabled building behind a picket fence along a plank road. The building has a covered porch running along both stories on the main section, and double-hung windows along each story in the second section. A man in a suit and hat stands on the step of the front porch, and a young girl in a hat and short dress hangs over the fence beside the building. Two trees in front of the hotel are in full leaf; another, larger tree to one side appears to be just leafing out. Just beyond the building is another, smaller, single-story building with a square front, and then another single-gabled, two-story building with a covered porch and a team tied to the posts. A sign bearing the legend 'Tualatin Hotel' hangs from the second floor porch.
