Category Archives: prints and drawings

prints and drawings

Sorting out John William Orr and Nathaniel Orr

Princeton University Library holds 175 books with wood engravings by Nathaniel Orr (1822-1908) and 173 books with wood engravings by John William Orr (1815-1887). Are they related? Sinclair Hamilton guessed that Nathaniel was the younger brother of John but neither is mentioned in any of the other’s biographies published over the years, including ancestry records. Are they brothers or cousins or related at all? Why did they work together for three years and then, work separately for the next forty years?

john orr5Advertisement for John William Orr placed in the Illustrated American Advertiser, 1856

john orr4Advertisement for John William Orr placed in the U.S. Post Office Guide, 1851

john orr3Advertisement for John William Orr placed in the Michigan State Gazetteer and Business Directory, 1863

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Separate advertisements for Nathaniel Orr and John William Orr placed in The Literary World, June 1850 and each month following for about a year, usually side by side or one on top of the other. The Literary World was located at 109 Nassau Street, a block away from John Orr’s shop.

orr 11The only logo that has been found for Nathaniel Orr is the one below. From 1851 on, Nathaniel only placed small listings in the city directories, unlike John’s large advertisements.
john orr6From 1844 to 1847, several wood engravings are signed “J.W.&N.Orr,” although the advertisements only list John William Orr. Then, beginning in 1850, Nathaniel sets up his own shop on Fulton Street. Within a year or two, he moves to John Street where he remained for the rest of the 19th century.

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orr 1Illustrated Life of General Winfield Scott (New York: Barnes & Co., 1847) Hamilton SS305

In Sinclair Hamilton’s extensive index to wood engravers, he only lists John William Orr, with no a biography of Nathaniel: “Born in Ireland, [John] Orr was brought to America at an early age and lived in Buffalo. After studying in New York City with William Redfield in 1836, he set up his wood engraving business in Buffalo in 1837, moving to Albany in 1842 and finally to New York City in 1844. He was one of the best known wood engravers of his generation. He was the older brother of Nathaniel Orr, with whom he was in partnership in 1844-1846.”

The National Cyclopaedia of American Biography only has a listing for Nathaniel Orr, with no mention of John: “ORR, Nathaniel, engraver, was born at London, Ont., March 26, 1822, son of Nathaniel and Mary Ann (Donaldson) Orr. His father, a native of Armagh county, Ireland, came to New York, Aug. 20, 1816. Mr. Orr received his education in the public schools of Buffalo, N. Y. He studied wood engraving at Albany under John H. Hall, a noted engraver in his day. Upon Hall’s retirement from business he was succeeded by Mr. Orr, who conducted a large establishment in Albany for some years, but removed to New York city to take charge of the illustration department of Duyckinck’s Shakespeare and Harper’s Bible. Thereafter he remained in New York and his wood engravings were in most of the magazines and illustrated books for more than a generation. His large office at 52 John street became headquarters for many of the finest artists and designers, viz.: Stephens, White, Sol Eytinge, Darley, Harry Fenn, McLennan and others, whose best work he engraved, so that for forty years his office was noted as the centre of book and magazine illustration. . . .”

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orr 5The answer was found in the Orr Family Papers finding aid created by Jennifer Harrold, Jeffrey Barr, and James Cusick at the University of Florida Smathers Libraries Special and Area Studies Collections. That collection documents Nathaniel Orr’s family history and a note reads “Orr family history, copied from Uncle John Orr’s notes,” written by Nathaniel’s daughter.

John and Nathaniel were brothers.

 

 

 

Tsukurimono shukō no tane

tsukurimono4Title: Tsukurimono shukō no tane
Authors: Kanenari Akatsuki, 1793 or 1794-1861 and Rikimaru Kirotei, active 1830s
Artist: Matsukawa Hanzan, 1818-1882
Period: Edo period (1615–1868) Osaka. 1837.
Set of two woodblock printed books in four parts
Graphic Arts Collection GAX in process

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OCLC connects the Japanese illustrator Matsukawa Hanzan with 161 books, demonstrating the magnitude of this artist’s contribution to Ukiyo-e book publishing. This particular volume, however, is extremely rare and unusual among the artist’s work.

“Tsukurimono” is a type of folklore art of Japan which are made by ceramic, metal, vegetables or flowers. Matsukawa has created a variety of objects for theatrical props or other displays, but he does so by assembling mundane, everyday objects. Fish are built out of dried foods and an insect is made out of a broom and other cleaning tools. See if you can decipher not only the subject of the plate but also the materials that went into the making of each one.

For those who can read the Japanese you will understand that for each prop, there is an explanation of the materials employed along with a kyoka poem critiquing the object, each signed by various poets.
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Architecture hydraulique

hydroliqueBernard Forest de Bélidor (1698-1761), Architecture hydraulique, ou l’Art de conduire, d’elever, et de menager les eaux pour les differens besoins de la vie … ([Paris]: C.A. Jombert, 1737-1753). Graphic Arts Collection recap in process

A check of the open stacks recently brought this 18th-century engineering textbook to our attention. Written by Bernard Forest de Bélidor (1698-1761) and published by Charles-Antoine Jombert (1712-1784), under his royal imprint “libraire du Roi pour l’artillerie et le génie,” the four volumes contain over 200 plates by some of the best French engravers of the period, including Antoine Hérisset (1685-1769), Robert François Bonnart (active 1726-1759), Jacques Rigaud (1681-1754), and many others. The books have been moved to our secure department holdings.
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Princeton Club of New York City

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James Sanford Hulme (1900-1974), The Princeton Club, Park Ave, N.Y.C., May 28, 1957. Color serigraph. Graphic Arts Collection. Gift of Sandra T. Brushart and Arthur H. Thornhill, III, in memory of their father Arthur H. Thornhill, Jr., Class of 1946.

princeton club nyc5In 1961, The Daily Princetonian announced that the Princeton Club had broken ground for a new home at 15-21 West 43rd Street [where it remains today]. “Ever since a small group from the Class of 1895 leased the third floor of a building on West 24th Street, shortly after graduation, the dream of a Princeton Club, fully equipped and housed in its own building, has been in the minds of alumni,” wrote Robert Lanza.

“Since that date, the club has been a floating institution. Expiration of the lease in 1897 caused the club to be abandoned in fact, but not in thought.

After two years of planning, on December 7, 1899, the Princeton Club of New York was incorporated. And less than four months later, in March 1900, the members entered their new Club House in the old Vanderbilt home on the corner of 34th Street and Park Avenue, where the Vanderbilt Hotel stands today. By 1908, the lease had run out, and the 1400 residents and nonresidents, requiring more room, decided not to renew.

Instead, they moved to larger quarters at Gramercy Park North and Lexington Avenue, into the former residence ‘of the noted architect, Stanford White. There the club stayed for 10 years. Pressures caused by the war years resulted, in 1918, in a decision to accept an invitation by the Yale Club to share its quarters at 44th Street and Vanderbilt Avenue. The decision proved an advantage to both.

In 1922 the Princeton Club was able to purchase the residence on the corner of 39th Street and Park Avenue, where the club has remained for 39 years. In 1929 the adjoining residence of the late Austin G. Fox was added to the club property. Financial difficulties brought on by the depression made it mutually practical for the Brown Club to share the Princeton Club facilities, starting in March 1933. Later, similar arrangements were made with the Dartmouth College Club, which moved into the former Fox residence on April 1, 1942. Thus, the present facilities at 39th Street and Park Avenue accommodate 3200 members of the Princeton Club, over half of whom are non-resident, 1200 members of the Dartmouth College Club and 800 members of the Brown Club.”
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Friedrich Wilhelm Kloss’s Sketchbook

kloss sketchbook6The Graphic Arts Collection is pleased to have acquired a rare sketchbook belonging to the architectural draughtsman Friedrich Wilhelm Kloss (1805-1875). The small volume’s 40 foliated leaves hold 78 drawings, mostly city and landscape views but also a few genre scenes, plant studies, costume sketches, and other fascinating details Kloss recorded around 1828.
kloss sketchbook4Kloss spent most of his life in Berlin in the circle of the architect Friedrich August Stüler (1800-1865) who, with royal patronage, transformed Berlin. Kloss specialized in highly finished topographical and architectural watercolor views. Thanks to this sketchbook, we can now chronicle his time in Rome, which he captured in seventeen architectural views including Vesta Temple; view of St. Peter from the Gianicolo; view of St. Peter with Castel san Angelo and Tiber; Porta dell Popolo; bridge over the Tiber; Forum Romanum; Venus Temple; Concordia Temple; Sant’Onofrio; Temple of Antonio; the lake in Villa Borghese gardens; Villa Pamphili; gardens of Villa Medici; courtyard view of a Roman palace; and several unidentified views. He also visited Tivoli, Venice, Florence, and the ruins in Paestum and Portici.
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kloss sketchbook7There are also four pages of autographs, where German artist friends living in Rome recorded their names at the end of Kloss’s sketchbook as a sign of friendship. He notes, “Am latten Abend im Künstlerverein hier Roma, als ich den Künstlern Lebewohl sagte, haben dieselben ein Gleiches gethan und zur Erinnerung ihre Namen hier eingetragen” (on the last evening at the German Artists Society in Rome, when I [i.e. Kloss] said farewell, the artists did the same and in memory of our friendship signed their names).

This is a very early document showing that there was a formal association, a Künstlerverein, of German artists in Rome. A total of seventeen German artists residing in Rome, mostly painters, but also the odd sculptor or etcher, signed their names and some also gave the city of their birth. They are listed here in the order they appear in the sketchbook:

August Hopfgarten – Zur Erinnerung an Rome (i.e. ‘in memory of Rome’) [lived in Rome 1827-32]; J[ohann] Bravo [lived from 1827 in Rome]; G. Baumgarten aus Dresden; Friederich Peller aus Weimar [Rome 1826-31]; Dr. Carl Schunterman; Adolph Loehser; Adolph Kaiser aus Weimar [Rome 1828-30]; H[erman] W[ilhelm] Bissen [Rome 1823-35, sculptor, favourite pupil of Thorvaldsen]; August Riedel aus Bayreuth [Rome March 1828-29, and again from 1832]; Kühne aus Eisleben; August Richter aus Dresden [Rome 1826-30, draughtsman]; [Franz] Nadorp [Rome from Jan. 1828, etcher]; A[nton] Draeger aus Trier [lived in Rome since 1821]; Friedrich Mosbrugger aus Konstanz [Rome Dec. 1827-1829]; Bernhard Neher von Biberach [Rome 1827-31]; Eduard Erhad aus Graudenz in Westpreussen [Rome 1826-30]; Rudolf Freytag zur Erinnerung Rom ’28 [Rome 1825-30, again 1840-43, sculptor]; Joseph Anton Koch Rome [Rome 1795-1812, and 1815-1839], Kloss has written above Koch’s name ‘Ausgezeichneter Landschaftsmaler’ (i.e. ‘excellent landscape painter’), while Koch himself, a notorious womaniser, used the opportunity to greet a lady friend, Louise Oesterreich, from afar in the knowledge that Kloss would report his greetings to her in his native Berlin, he helpfully also furnished her address, ‘Louise Oesterreich, Mauerstra[sse] no. 65, eine Treppe hoch, bitte ich höflich zu grüssen’; [August] W[ilhelm] Schirmer [Rome 1827-31].

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Friedrich Wilhelm Kloss (1805-1875), Sketchbook of Rome, Tivoli, Florence, Venice, and the ruins of Paestum, ca. 1828. Pencil, pen and wash drawings. Graphic Arts Collection GAX 2016- in process

Thorington pastels

thorington pastel5Our paper conservator, Ted Stanley, recently completed the cleaning, flattening, and rehousing of 42 charcoal and pastel drawings by J. Monroe Thorington, class of 1915 (1895-1989).

In his book, The Glittering Mountains of Canada: A Record of Exploration and Pioneer Ascents in the Canadian Rockies, 1914-1924, Thorington describes one of his many mountain trips:

“As the Freshfield Group, where we spent the days following, is described later, we shall here continue on the Waputik trails. It was July 21st when we descended Howse River to a point below the Glacier Lake stream. Alpine flora gives the river-flats a gay appearance and game tracks are everywhere—moose, bear, deer, and goat trails winding back and forth. Every evening we had watched, through binoculars, the big billy-goats come out to feed on the high alpland above the cliffs. And once, as we came late into camp, a cow moose with her calf plunged back into the timber.”

Here are a few of his almost life-size drawings of the Canadian wildlife.

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The Hagenbeck-Wallace Shows Combined

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“Performers and crowd at Hagenbeck-Wallace shows. Holding forth a promise of elephants upon which to ride, popcorn to chew and the other attractions which time never dims, the Carl Hagenbeck and Great Wallace Shows combined will arrive in Indianapolis Sunday Aug. 23 for two performances … Three rings, two stages and a mile hippodrome track are included in the outfit.”

“…Strange as it may seem clowns are among the highest paid circus performers. The smallest salary paid to a clown with our show is $20 a week, which of course, includes board and transportation. There are more than half a dozen that are paid more than $100 a week and one who draws $400. Clown novelties are difficult to get. The funmakers tell us that a funny face will note always get a laugh. They must do the unusual thing.” –“Scenes In and Out of the “Big Top.” Indianapolis Star 16 Aug 1914: 3.

 

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The Hagenbeck-Wallace Shows Combined, in Motion Pictures, 4 Big Reels. [below] Fifty Funny Fellows in Original Foolish Frolics,” 1911-1912. Circus Posters TC193.

The Hagenbeck-Wallace Circus was founded in 1907. Benjamin E. Wallace of Peru, Indiana, purchased the Carl Hagenbeck Circus and merged it with his own. The circus became known as the Hagenbeck-Wallace circus at that time, even though Carl Hagenbeck filed a lawsuit against the use of his name. Ultimately Wallace won the case and the name remained.
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Oliver Twist with Cruikshank’s original plate

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George Cruikshank (1792-1878), “A Fast [first?] Sketch, George Cruikshank, Oliver Twist” ca. 1838. Pencil on paper. Graphic Arts Collection

dickens oliver6 dickens oliver5Charles Dickens (1812-1870), Oliver Twist; or, The Parish Boy’s Progress. By “Boz”. [1st ed.] (London: R. Bentley: 1838). 3 v. Illustrated by G. Cruikshank. Contains the “fireside” plate, canceled in later issues and the plate substituted. Graphic Arts Collection (GA) Cruik 1838.2

In preparing for a visit from ENG 343 Word and Image: 19th Century Literature and Art, several editions of Charles Dickens’s Oliver Twist have been pulled. Dickens famously did not like the final illustration and asked his artist, George Cruikshank, to draw another plate. Various editions over the years include one or the other of these illustration, etched in metal. 

The matter supplied in advance of the monthly portions in the magazine, formed the bulk of the last volume as published in the book; and for this the plates had to be prepared by Cruikshank also in advance of the magazine, to furnish them in time for the separate publication: Sikes and his dob, Fagin in the cell, and Rose Maylie and Oliver, being the three last. Non of these Dickens had seen until he saw them in the book on the eve of its publication; when he so strongly objected to one of them that it had to be cancelled. “I returned suddenly to town yesterday afternoon,” he wrote to the artist at the end of October, “to look at the latter pages of ‘Oliver Twist’ before it was delivered to the booksellers, when I saw the majority of the plates in the last volume for the first time. With reference to the last one—Robe Maylie and Oliver—without entering into the question of great haste, or any other cause, which may have led to it being what it is, I am quite sure there can be little difference of opinion between us with respect to the result. May I ask you whether you will object to designing this plate afresh, and doing so at once, in order that as few impressions as possible of the present one may go forth? I feel confident you know me too well to feel hurt by this enquiry, and with equal confidence in you I have lost no time in preferring it.” John Forster (1812-1876), The Life of Charles Dickens (Leipzig, Tauchnitz, 1872-74): 191-92. Firestone Library (F) PR4581 .F677 1872

dickens oliver4 dickens oliver3 dickens oliver2Bentley’s miscellany ([London : Richard Bentley], 1837-1868). (Cruik) 1837.6 vol. 5

Cruikshank replaced the final plate with this “Rose Maylie and Oliver (the Church version),” which is found in most copies.

dickens oliver8 Charles Dickens (1812-1870), The Adventures of Oliver Twist; or, The Parish Boy’s Progress. With twenty-four illustrations on steel, by George Cruikshank. A new ed., rev. and cor. (London: Pub. for the author, by Bradbury & Evans, 1846). “For this edition the plates were ’touched up’ by Findlay and changed in several details with sometimes new backgrounds added.” cf. J. C. Thompson, Bibliography. In the 10 original numbers, with all the green pictorial wrappers, in perfect condition, uncut; green morocco case. Graphic Arts Collection (GA) Cruik 1838.21

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La Milagrosa Imagen de Nuestra Señora del Carmen.

copperplateOur Lady of Mount Carmel is the title given to the patroness of the Carmelite Order, also the patron saint of Chile. Her image with triangular robes is ubiquitous throughout Catholic communities of Central and South America. Even José Guadalupe Posada (1852-1913) drew several prints of the Virgin Mary in this pose, as have countless others.

Within the Graphic Arts collection of plates, blocks, and stones is this unsigned etched and engraved copper plate, dated 1852, with the image of the Virgin Mary and the text: La Milagrosa ymagen de [Nuestra Señora] del Carmen, ano de 1852 (The miraculous image of Our Lady of Mount Carmen). Very possibly it was for the printing of a holy card.
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The Punishments of China / Les Punitions des Chinois

punishments of china5“Burning a man’s eyes with lime” in Les Punitions des Chinois, représentés en vingt-deux gravures: avec des explications en Anglais et en Francais (London: Guillaume Miller; Printed for W. Miller by W. Bulmer, 1801). Twenty-two hand colored stipple engravings by John Dadley (1767-1817). Graphic Arts Collection GAX in process. References:  Abbey Travel 532 (1804 edition); Colas 2010; Cordier Sinica 549
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Preface. The Chinese code of penal laws is compiled in such a manner as to have a punishment appropriated for every crime; a series of these is displayed in the following Plates. The wisdom of the Chinese Legislature is no where more conspicuous than in its treatment of robbers, no person being deomed [sic] to suffer death for having merely deprived another of some temporal property, provided he neither uses, nor carries, any offensive weapon. This sagacious edict renders robbery unfrequent; the daring violator of the laws, hesitating to take with him those means which might preserve his own life, or affect that of the plundered, in the event of resistance, generally confines his depredations to acts of private pilfering; and a robbery, attended with murder, is, of course, very rarely perpetrated.

punishments of china9The manner of beheading.
punishments of china8Conducting an offender into banishment.
punishments of china7Close confinement.
punishments of china6Punishment of the wooden collar.
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punishments of chinaGeorge Henry Mason, The Punishments of China. Illustrated by twenty-two engravings: with explanations in English and French (London: Printed for W. Miller by W. Bulmer, 1801). Graphic Arts Collections GAX in process.

1. A culprit before a magistrate; 2. A culprit conveyed to prison; 3. A culprit conducted to trial; 4. An offender undergoing the bastinade; 5. Twisting a man’s ears; 6. Punishment of the swing; 7. Punishing a boatman; 8. Punishing an interpreter; 9. The rack; 10. Torturing the fingers; 11. Burning a man’s eyes with lime; 12. A malefactor chained to an iron bar; 13. Punishment of the wooden collar; 14. A man fastened to a block of wood; 15. A malefactor in a cage; 16. Punishment of a wooden tube; 17. Hamstringing a malefactor; 18. Close confinement; 19. Conducting an offender into banishment; 20. A malefactor conducted to execution; 21. The capital punishment of the cord; 22. The manner of beheading.