Snohomish County Sights

  1. Herald Photos of the 50s and 60s

    The photographs found in this collection were taken for the most part by three photojournalists who worked for the Everett Herald. They are Jim Leo, Ray Waters, and Ken Knudson. These 131 digital images come from several film formats but mostly 4 x 5 black and white sheet film negatives. They were selected from a collection of roughly 7,000 stored at the Herald. To help narrow down the selection process, it was decided to focus on the 1950s and 1960s.

  2. Family Photos

    We begin our “Family Photos” online collection with two groups of images scanned from 4” x 5” glass negatives, and one photo album. In the 1980s, Everett Public Library purchased glass plate negatives taken by an unknown photographer from antique dealer Bill Skinner. These appear to have been taken in the first decade of the 20th century. A second group of 4” x 5” glass negatives was given to the library, and most likely was taken by ship’s carpenter Severin Pettersen and/or his wife Anna. These photos date from around 1900, although a few were taken as early as the 1890s. A photo album from the Spriestersbach family was loaned to us long enough to scan its pages, adding to our WWI-vintage era photos.

  1. Juleen Studio

    The J. A. Juleen Studio operated as one of Everett’s most important commercial photo studios from 1908 to 1954. John Juleen ran the business from 1874 to 1935; John’s wife Lee (Lena Dalquist Juleen) took over after John's death, and ran the studio until she died in 1955. During its years of operation, the studio produced thousands of images of Everett businesses, industry, residents, street views, and local scenery. Juleen's street and scenery photography was so popular that many images were issued in a successful postcard collection in the 1930s.

  2. Kirk's Studio

    When George W. Kirk arrived in the Pacific Northwest, he was forty years old and ready to retire as a photographer. He settled in Chehalis in 1888 and began raising raspberries, soon expanding his burgeoning fruit business to Puyallup. By 1891 he boasted of a four-ton yield from a single 1-½ acre tract, and, at that point, it could be truly said that G.W. Kirk had abandoned photographic art for agriculture. His re-entry into the world of lenses and acetic acid a few years later can only be understood as a response to needs that ran much deeper than simple matters of vocational choice.