The Graphic Arts Collection holds a proof of a wood engraving after a drawing by Hammatt Billings (1818-1874), which Billings intended as the frontispiece to the Second Part of Little Women. As the collector Sinclair Hamilton notes, Louisa May Alcott (1832-1888) disliked it intensely, as is made evident by her letter to Elizabeth B. Greene:

“Oh, Betsy! Such trials as I have had with that Billings no mortal creter [sic] knows! He went & drew Amy a fat girl with a pug of hair, sitting among weedy shrubbery with a lighthouse under her nose, & a mile or two off a scrubby little boy on his stomach in the grass looking cross, towzly, & about 14 years old! It was a blow, for that picture was to be the gem of the lot. I bundled it right back & blew Niles [of Roberts Brothers] up to such an extent that I thought he’d never come down again. But he did, oh bless you, yes, as brisk & bland as ever, & set Billings to work again. You will shout when you see the new one for the man followed my directions & made (or tried to) Laurie ‘a mixture of Apollo, Byron, Tito & Will Green.’ Such a baa Lamb! Hair parted in the middle, big eyes, sweet nose, lovely mustache & cunning hands; straight out of a bandbox & no more like the real Teddy than Ben Franklin. I wailed but let go for the girls are clamoring & the book can’t be delayed. Amy is pretty & the scenery good but—my Teddy, oh my Teddy!”

At the top of the proof is a penciled note from the publishers: “If Miss A. will return this Friday A.M. Mr. Niles will be obliged.” Under this, in ink, in Miss Alcott’s handwriting is written “Oh, please change em!” and, on the sides of the engraving, also in her handwriting, are the words: “Amy too old & no curls. Amy is 17, slender & picturesque. Teddy much too young and no mustache. He is 21 in the story & very handsome.”

At the bottom of the engraving Miss Alcott has written “Lazy Laurence.”
Hamilton’s second attempt is the one found as the frontispiece to “Part Second” of Little Women.

Louisa May Alcott (1832-1888), Little Women, or, Meg, Jo, Beth, and Amy. Part second (Boston: Roberts Brothers, 1869). Graphic Arts Collection (GAX) Hamilton 206(2)

Thanks to Ananya A. Malhotra, Class of 2020, for her help in locating this on her last day in RBSC.

See also: https://books.google.com/books?id=3cyHQqYWsr0C&pg=PA44&lpg=PA44&dq=little+women+illustrations+billings+steel+engraving&source=bl&ots=P-VX8AKh_Z&sig=ACfU3U0cthpQsnXvHoJhZpcfOnlljm4_nA&hl=en&sa=X&ved=2ahUKEwiqmfOgzM7mAhUOpFkKHYroDBYQ6AEwC3oECAcQAQ#v=onepage&q=little%20women&f=false

Fabricious’s Description of the Poets. Vide:Gil Blas—“People think that we often dine with Democritus and there they are mistaken. There is not one of my fraternity, not even excepting the makers of Almanacs, who is not welcome to some good table. As for my own part, there are two families where I am received with pleasure. I have two covers laid for me every day, one at the house of a fat director of the farms, to whom I have dedicated a romance, and the other at the house of a rich citizen, who has the disease of being thought to entertain wits every day at his table; luckily he is not very delicate in his choice, and the city furnishes him with great plenty.” Print by Thomas Rowlandson, text from: Alain René Le Sage, The History and Adventures of Gil Blas of Santillane (London, 1716).

The Miseries of Human Life, written in 1806 by James Beresford, a Fellow at Merton College, Oxford, had extraordinary success and became a minor classic in the satirical literature of the day. Dozens of editions were published and printmakers rushed to illustrate their own versions of life’s miseries.

Thomas Rowlandson (1756/57–1827) began drawing scenes based on Beresford’s book as soon as it was published and after two years, the luxury print dealer Rudolph Ackermann selected fifty Miseries in hand colored etchings for a new edition of the Beresford work. Fabricious’s Description of the Poets (1807) is one of Rowlandson’s interpretations of the miseries of social life.

Thomas Rowlandson, Miseries of Human Life. Fifty etchings after James Beresford’s book of the same title. London: R. Ackermann, 1808.

The exhibition The Miseries of Human Life and other Amusements: Drawings by Thomas Rowlandson opens at the Princeton University Art Museum July 1, 2017.

In 1860, Nathaniel Orr (1822-1908) began designing and cutting the wood engravings for the female author Metta Victoria Fuller Victor (1831-1885). Writing under the pseudonym Seeley Regester (as well as Corinne Cushman, Eleanor Lee Edwards, Metta Fuller, Walter T. Gray, Mrs. Orrin James, Rose Kennedy, Louis LeGrand, Mrs. Mark Peabody, The Singing Sybil, and Mrs. Henry Thomas), Victor created some of the earliest and most popular dime novels, beginning in 1860 with Alice Wilde, The Raftsman’s Daughter, and The Backwoods Bride.

Although Orr’s name is often left out of descriptions, his wrappers, frontispieces, and interior plates helped enormously to promote and endear these books to the American public.

Their best seller, Maum Guinea, and Her Plantation “Children,” was published in 1861 and received compliments from no less than President Abraham Lincoln for its abolitionist message. Perhaps even better remembered is The Dead Letter, serialized in 1866 and then published in 1867, with plates by Orr. The work is often credited as the first American full-length detective novel, by a male or female author.

Victor wrote and Orr engraved many different genres, including mysteries, Westerns, romances, temperance novels, and rags-to-riches tales. These cheap little books brought tremendous financial success for both their author and illustrator, allowing Orr to move his family into a palatial estate along the Palisades, just west of present day Hoboken, with a view of the Manhattan skyline. Later, the Orrs and the Victors both moved to neighboring homes in Ho-ho-kus, New Jersey, and both families are buried in the nearby Valleau Cemetery.

Metta Victoria Fuller Victor (1831-1885), Maum Guinea, and Her Plantation Children (New York: Beadle and Company, 1861). F PS 3129.V58 M386 1861
Metta Victoria Fuller Victor (1831-1885), The Dead Letter, an American Romance (New York: Beadle and Company, 1867). F PS 3129.V58 D433 1867

Orr Family Papers, Special and Area Studies Collections, George A. Smathers Libraries, University of Florida, Gainesville, Florida

“If you would like,” wrote J. A. Adams, “I can give you constant work on these drawings for 18 or 20 months. I would rather you would come to this city, as it would be more convenient. Please let me know whether you can devote your whole time to them or how many you can do.” The offer was made in the summer of 1843 to Nathaniel Orr (1822-1908). Engraver Joseph Alexander Adams (103-1880) and in turn, the artist of the original designs John Gadsby Chapman (1808-1889), were both exceedingly pleased with the young artist’s work and thanks to this offer, Orr moved to New York City to work full-time on an Harper and Brother’s Illustrated Bible.

In the 1850s, Orr established his own firm and needed a logo. Various drawings survive leading to several wood engravings used in advertising, stationery, and other N. Orr and Company information. Two of his engraved blocks are held in the Orr Family Papers, collected by his daughter and donated to the University of Florida.

Woodblock seen above, at an angle with raked light and below, straight on from the top.

A second version of Nathaniel Orr’s company logo can be seen below. If it looks familiar, it was the logo borrowed by Sinclair Hamilton, Class of 1906, and stamped on the cover of his book: Early American Book Illustrators and Wood Engravers 1670-1870 (with the inner text changed to present his own information). It would have been kinder if Hamilton had included an entry on Nathaniel Orr either in his first volume or the supplement.

The earliest version of this design was printed in 1843 [seen below], when Nathaniel Orr first moved from Albany to New York City.

A third design was created for the head of Orr’s stationery near the end of his career. After several tries, seen below, the final design was printed.

Orr Family Papers, Special and Area Studies Collections, George A. Smathers Libraries, University of Florida, Gainesville, Florida

After appearing in 54 numbers (28 pages each), Harper’s Illuminated and New Pictorial Bible came out in all its morocco-bound, hand-tooled, gold-embossed, and gilt-edged glory in the early part of 1846. Frank Weitenkampf called it “the first richly illustrated book in the United States, the first attempt to produce a fine piece of book-making.” By 1859 the Bible had sold 25,000 copies at more than a half million dollars retail. –details from Eugene Exman, The Brothers Harper (Z473.H29 E9 1965).

The total edition is uncertain since a large number of copies were lost in their building fire of 1853.

The initial idea came from the engraver Joseph Alexander Adams (1803-1880), who contracted with Harper’s on the guarantee of half the final profits from the Bible.  According to Exman:

Adams was “concerned with the problem of printing wood engravings, especially to find a border that would both support and protect the blocks. In 1839, he developed a galvanic process whereby an electric current passing through a solution holding copper would coat a wax mold of his border engraving with a shell of copper. This shell, when affixed to a block, gave the necessary support to the engraving itself. This discovery, now known as electrotyping was simultaneously developed that same year by two Englishmen and a Russian.

Another mechanical aid was the development of the six-roller press by Isaac Adams (not related to the engraver) and his brother Seth of Boston. This press was first put into operation at Cliff Street in 1840. Since the Adams press could take a larger sheet than other presses, this may have been the reason for the decision to issue the Harper-Adams Bible in folio.”

John L. O’Sullivan of the Democratic Review wrote “We think it questionable taste to print the edition in the obsolete form of folio.”

John Gadsby Chapman (1808-1889) supplied 1,400 designs to be engraved, for which he was paid $2,121.80. In his volume of proofs for the bible Illustrations, Chapman lists the engravers as Roberts, Childs, Minot, Howland, Gordon, Butler, Morse, Orr Jr. (Nathaniel), Hall Hart, Kinnersley (Henry), Kinnersley (Augustus F.), Peckham, Bookhour, Holland, and Weeks. He goes on to say only a few can be definitely ascribed to Adams (such as the title page above).

John Gadsby Chapman (1808-1889), Bible illustrations ([New York? 1846?]). 5 v. Note: “These proofs, from the original cuts, were taken by hand by the Engravers thereof, in course of execution for ’Harpers Family Bible’ – New York 1843.-44. 45- and are, so far as I know, the only complete set existing. Presented by me to my Daughter. – Rome October 5. 1879. – John G. Chapman.” Sinclair Hamilton Collection of American Illustrated Books. Graphic Arts Collection (GAX) Oversize Hamilton 199q