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.

 

 

 

Illustrated with 72 original watercolors by Blanche Odin

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Jules Lemaître (1853-1914), Contes blancs, illus. à l’aquarelle de Mlle. Blanche Odin (Paris: A. Durel, 1900). With an extra suite of uncolored illustrations. Copy no. 45 of 210 copies, for Leon Rattier, with his name printed below the limitation statement and his leather bookplate. Graphic Arts collection GAX in process

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Lemaître’s short stories are illustrated with 72 original watercolors by Blanche Odin (1865-1957). In his prospectus for the book, Octave Uzanne writes:

“Ces Contes Blancs de Jules Lemaître au nombre de trois sont intitulés : La Cloche, la Chapelle blanche et Mariage blanc. Ce sont trois exquises et tendres petites nouvelles qui valent par leur grâce ingénue, par la douce pitié qui s’en dégage et par la saveur de style délicieusement simplifié qu’y employa le maître écrivain. Pour illustrer ces trois contes pleins de candeur, il fallait un talent naturel, instinctif éclos dans le recueillement, mûri par l’observation directe, un talent délicat et fleuri de jeune femme n’exprimant rien du chiqué des écoles, mais tirant tout son charme de l’étude consciencieuse de la nature. – Mlle Blanche Odin, une jeune artiste qui développa ses qualités innées de dessin dans les solitudes de la campagne, semblait désignée mieux que personne pour décorer page à page ces jolis contes de Jules Lemaître, pour interpréter et même paraphraser ces textes d’essentielle poésie.”

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[Jules Lemaitre’s Whites Tales are three in number, entitled: The Bell, the White Chapel and White Wedding. These are three exquisite and tender short stories that speak with ingenuous grace, through gentle pity that emerges with the master writer’s delightfully simplified style. To illustrate these three tales full of candor, he had a natural talent, instinctive hatched in recollection, matured by direct observation, a delicate flowery talented young woman expressing no false academics but drawing its charm from the conscientious study of nature. — Miss Blanche Odin, a young artist who developed here innate qualities of drawing in the solitude of the countryside, seemed better than anyone designated to decorate page to page these pretty tales of Jules Lemaitre, to interpret and even paraphrase these essential poetic texts.]

lemaitre1The volume is bound in a contemporary binding by Marius Michel (1821-1890), signed in gilt on front doublure, of gray goatskin, the covers with a border of onlaid strips of purple goatskin. The spine divided into six panels, lettered in gilt in the second and third, the others with onlaid strips of purple goatskin, light brown goatskin doublures tooled with a repeated impression of a gilt flower with gray goatskin onlaid petals, textured light blue silk endleaves, marbled paper flyleaves, original covers bound in.

 

Boubouroche Madelon Margot

courteline4Georges Courteline (pseudonym for Georges Moinaux), Boubouroche Madelon Margot.  Pochoir and hand colored illustrations by Joseph Hémard (Paris: Georges Briffaut, [1927]). Copy no. 10 of 50. Graphic Arts Collection GAX in process

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During the 1920s, the French artist Joseph Hémard (1880-1961) was in demand for his humorous book and magazine illustrations with bright pochoir color. He became so well-known that he published an autobiography in 1928, including a self-portrait as a frontispiece [see below. Joseph Hémard (1880-1961), Joseph Hémard (Paris: H. Babou, 1928). Graphic Arts Collection (GAX) NC248 .H44]
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In addition to Hémard’s plates, the Graphic Arts Collection’s new copy of Boubouroche Madelon Margot has a contemporary binding by René Kieffer (1875-1963). It is signed in gilt on the front turn-in and with his label in tan goatskin.

The covers have a black goatskin onlay in each corner and a larger octagonal onlay in the center blocked in gilt to a floral design and outlined in gilt with six gilt roundels around the sides.

A smooth spine is lettered in gilt on a black label at the center and a black onlay blocked in gilt at the head and foot and two gilt roundels. The turn-ins and matching inside joints are tooled with two gilt fillets and a quatrelobe, silver and black woven textile doublures and endleaves.
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How Mr. T Square Prepared His Picture for the Academy

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t squareAttributed to John McLenan (1827-1865), “How Mr. T Square Prepared His Picture for the Academy,” The New York Journal: An Illustrated Literary Periodical, Volume 1 (August-December 1853)

 

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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Down the Islands

down the islands2William Agnew Paton (1848-1918), Down the Islands, a Voyage to the Caribbees, with illustrations from drawings by M. J. Burns (New York: C. Scribner’s Sons, 1887). Graphic Arts Collection (GAX) 2003-0365N
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William Agnew Paton (1848-1918) worked as publisher of the New York World from 1877 to 1881; served as trustee of the National Republican from 1881 to 1885; and finally, the first business manager of Scribner’s Magazine from 1885 to 1887.

When he left work for health reasons Paton made an extended trip to the Caribbean and on his return, published Down the Islands, a narrative of his travels. Paton commissioned Milton J. Burns (1853-1933) to illustrate the book, an artist who not only worked for St. Nicholas Magazine, Scribner’s, and Harpers but had also served on fishing vessels and was known for his seascapes.

In 1911, Paton gave Princeton University Library his ‘Paton Spanish War Collection’ of newspapers and magazines. After his death, his brother David Paton, Class of 1874 (1854-1925), donated the entire Paton Library to Princeton in honor of William Agnew Paton.

We also received the entire collection of Milton Burns’s paintings, drawings, and photographs for Down the Islands. It is particularly interesting to see the variety of mediums Burns used, from pen and ink to watercolor to charcoal, in order to accomplish the right artwork for each section of the book. Here are a few examples.

down the islands13Milton J. Burns collection of drawings, [1880s]. 5 linear ft. (1 solander box). Consists of approximately 75 drawings and sketches, as well as several small oil paintings by Burns that were used as illustrations in William Agnew Paton’s Down the Islands (New York, 1887). Graphic Arts Collection GC093
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1861 Broadside

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Special thanks to Special Collections Assistants Allison Hughes and Miriam Jankiewicz for adding a little perspective to this post.

From 2008 to 2014, we cleared material out of a storage space known locally as the “iconography vault.” Over 100 posters were crumbled up on top of the cabinetry, which have slowly been flattened and conserved by our staff. Yesterday, we discovered we had this treasure from 1861.

The broadside is for a special performance at the Howard Athenæum, also known as Old Howard Theatre, in Boston, Massachusetts. For over 100 years, from 1845 to 1953, the Howard was one of the most famous theaters in Boston history. This single performance featured and benefited the American stage actress Charlotte Saunders Cushman (1816-1876) who was known for playing both male and female parts (including a celebrated Hamlet).
shakespeare poster8Note the separate seating required for Black and White audience members. This is just days after the beginning of the American Civil War.

Read : Emma Stebbins (1815-1882), Charlotte Cushman: her letters and memoires of her life (Boston: Houghton, Osgood and Company, 1878). Firestone Library PN2287.C8 S7 1878
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cushman2George B. Black (active 1844-1880) after a painting by William Henry Watkins (active 1847), Charlotte Cushman as Mrs. Haller. “I cannot understand this!” 1845. Lithograph. Graphic Arts Collection GA 2013.00361

cushman1Frederick Gutekunst (1831-1917), Charlotte Cushman, 1874. Albumen silver print. Theater Collection photographs TA 2013.00547.

Combat Paper Exhibition in Robertson Hall

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Separate from this exhibit, the Graphic Arts Collection holds one portfolio prepared by Combat Paper, which can be viewed in the RBSC reading room. Drew Cameron, You Are Not My Enemy: Combat Paper Portfolio Volume IV (Burlington, Vt.: People’s Republic of Paper, 2008). Copy 8 of 8, accompanied by 18 uniform fragments (including seven embroidered patches, names, emblems, etc.), seven buttons, and a ribbon. Graphic Arts Collection (GAX) Oversize 2009-0009E

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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