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. 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.
A large block print created by local artist, Jeanne Fenimore Levy, during Forest Grove's 150th Celebration "Print Day", hosted by the Valley Art Association. This print is based on a photograph in the Pacific University Archives titled: "Spokane students, 'new recruits' to the Indian Training School". The original photograph depicts a group of Spokane students forcibly taken to the Forest Grove Indian School.
An acrylic painting on canvas by Ceija Stojka. Stojka was a Romani Holocaust survivor from Austria. She became an artist later in life with much of her art depicting Roma life prior to the Nazi occupation of Austria.
A 6-strand Ni'ihau shell lei with a large shell pendant likely created between 1900 and 1960. According to Ni'ihau Cultural Heritage Foundation, the term 'Ni'ihau shell' legally refers only to shells gathered on the shores of the Forbidden Island, or Ni'ihau in Hawaii. Access to this island is highly restricted to preserve its unique culture and environment, making this style of lei both culturally significant and highly valuable.
There are three different shells that are commonly used to make Ni‘ihau shell lei: kahelelani, momi, and lāiki, as well as a fourth one, kāmoa, which is frequently used to add contrasting color.
This particular lei appears to be made primarily of momi or lāiki shells with a pōleholeho lenalena pendant.
Donated by Charlotte Phillips in honor of her mother.
