John Howell for Books
IOBA Virtual Book Fair
May 2-4, 2024

John Howell for Books

John Howell, member ABAA, ILAB, IOBA
5205 ½ Village Green, Los Angeles, CA 90016-5207
310 367-9720
www.johnhowellforbooks.com
info@johnhowellforbooks.com

THE FINE PRINT:
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We request prepayment by new customers. Institutional requirements can beaccommodated.
Shipping and handling additional. All items shipped via insured USPS Mail. Expedited
shipping available upon request at cost. Standard domestic shipping $ 5.00 for a typicaloctavo volume; additional items $ 2.00 each. Large or heavy items may require additional
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We actively solicit offers of books to purchase, including estates, collections andconsignments. Please inquire.

This list contains 30 items selected for the Independent Online Booksellers
Association 25th Anniversary Virtual Book Fair, May 2-4, 2024. Included is a
SIGNED letter from Henry Wadsworth Longfellow to Nathaniel Hawthorne and aphotographic portrait of John Muir and John Burroughs with the subject’s
signatures, 2 fore-edge paintings, several miniature books, and much more.

John Howell for Books

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FAIR HIGHLIGHT
1 LONGFELLOW, Henry Wadsworth (1807-1882) to HAWTHORNE,
Nathaniel (1804-1864). Autograph Letter, Signed. Cambridge, MA:, March 16, 1855.

Handwritten note on a folded bifold of paper, 7 x 4 1/2 inches. [4] handwritten pages, there is asmall blind stamp in the upper corner of the bifold, which has been folded twice more for mailing.
Comes in an envelope with ink notations “March 18th, 1855, H. W. Longfellow to N. Hawthorne, A.
L. S.” LSIBN10000. Very Good.

$6,500Henry Wadsworth Longfellow and Nathaniel Hawthorne graduated together in the
Bowdoin College class of 1825. Their friendship began in March, 1837, when
Nathaniel Hawthorne wrote to Longfellow, sending copies of Hawthorne’s writings
published in the periodical press. Hawthorne also sent along Twice-Told Tales.
Longfellow reviewed the latter volume in the July 1837 North American Review with thehighest praise. The two men continued their friendship during the years thatHawthorne was Surveyor for the District of Salem and Beverly and Inspector of the
Revenue for the Port of Salem. Although this employment hampered Hawthorne’s
writing, it provided for his growing family. After loosing this employment following
the presidential election of 1848, Hawthorne entered a period of literary productivity,
publishing The Scarlet Letter in 1850. From his residence in Lennox, Massachusetts,
Hawthorne published Mosses from an Old Manse, The House of the Seven Gables, The
Blithedale Romance, and A Wonder-Book for Girls and Boys. Soon, however, Hawthorne
was appointed United States Consul in Liverpool, as a reward for the campaign
biography, The Life of Franklin Pierce (1852). Hawthorne served in this position in
Liverpool, “second in dignity to the Embassy in London” (per Hawthorne’s wife).
Hawthorne was living in the Rock Park estate in Rock Ferry adjacent to Tranmere
Beach on the Wirral shore of the River Mersey. In 1852 in Concord Massachussetts,
prior to his move to Liverpool, Hawthorne had already met Henry Arthur Bright(1830-1884), a Liverpool merchant and banker. Bright was a collector ofcontemporary American literature. Bright was a member of the banking family whose
several generations of collectors built the foundation of the Christies’s July 2014
auction entitled “Yates, Thompson and Bright: A Family of Bibliophiles” which
netted nearly 5-million GBP. From the 1940s until 2014, the collection sat undisturbed
until the family decided to sell the house and its contents. This letter was among thematerials consigned to Christies. Back in the 1850s, Hawthorne recorded in his NoteBooks walking tours of Wales and Scotland with Henry Arthur Bright. Hawthorne
received this letter in Liverpool from his friend in the United States. Longfellow
encourages Hawthorne by remarking that “You still stand firm and strong in thehearts of your countrymen; and W. Bookman continues to cite you as a “standard ofgood English, in the Logis-latine at Albany, and elsewhere in Reports on Dieticieanist
and the like.” (these two longer words, 1 hyphenated and broken between two pages,
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are difficult for me to understand). Longfellow admits he prefers to remain at home in
America, rather than paying a visit to Hawthorne in England. Longfellow signs off:
“With kind remembrances to your wife, Yours ever. H. W. L.” Longfellow was aprofessor at Bowdoin College and at Harvard College. Longfellow retired fromteaching in 1854 to focus on his writing. Longfellow lived the remainder of his life in
the Revolutionary War headquarters of George Washington in Cambridge,
Massachusetts, where this letter was written.
https://www.johnhowellforbooks.com/product/5737
2 [Alembic Press, Peter and Donna Thomas] THOMAS, Peter (b. 1951). Beer
Will Help Your Shake: The Recollections of a Ninety-two Year Old Papermaker. Oxford, UK:
The Alembic Press; Santa Cruz, CA: Peter and Donna Thomas, 1990. Small 4to. 7 3/4 x

6 1/4 inches. [vi], 9-25, [3] pp. Half-title, title-page printed in blue and black inks, initials in blue, 2linocut illustrations of paper-making by Donna Thomas, section dividers in blue; text clean,
unmarked. Folded blue paper covers, printed paper front cover title label, manuscript vellum straps
from a vellum indenture; binding square and tight. SIGNED on the colophon by Harry Glanvilleand Peter Thomas. LH823-017. Fine. WITH: THOMAS, Peter (b. 1951). 2-Page Typed Letter
Signed. Santa Cruz, CA: Peter and Donna Thomas, 1991. Single sheet of Peter Thomas
handmade paper. 11 1/8 x 8 3/4 inches. Written with a word processor on a computer, printed witha dot-matrix printer on Peter Thomas’s handmade paper; folded with a dog-eared corner, some lighttoning to the outer margins of the paper. SIGNED by Peter Thomas and with a short note about
the paper. KJH1123-241. Very Good.

$ 400
FIRST EDITION, LIMITED to 114 copies, this is copy number 22 of the 100 regularcopies. “This book has been jointly produced by the Alembic Press of Oxford,
England and Peter & Donna Thomas of Santa Cruz, California.” Colophon. “In 1988
I went to England to meet Cyril Finn, a retired hand papermaker who had worked atthe vat his whole life, to learn the motions of the ‘papermaker’s shake.’ After theinterview, I asked if there were any other old papermakers around. He replied, ‘If you
want to meet a really old papermaker you should go up to Wookey Hole and meet
Harry Glanville, the man who trained me.’ I found Harry, who was the 92, in a rest
home in Wells. Harry could not answer my questions, but he could tell a good story,
which I tape recorded and, on returning home, transcribed. I made plans to return toEngland in 1990 to have another interview with Cyril. When I told Claire Bolton of
the Alembic Press about the plan she invited me to come visit, proposing we might dosome sort of collaborative book project while we were there. After some discussion,
we decided to print Harry’s transcribed interview on Wookey Hole handmade paper.
Claire hosted Donna and I, and our two daughters, for about a week, and in that time,
we got the pages printed. We had recently been introduced to the concept of making‘non-adhesive bindings’ and decided that that style of binding would be appropriate
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for this book. About this time, English law had changed and lawyers no longer needed
to retain centuries-old parchment indenture documents, so there were lots of them on
the market. Claire had just bought several dozen, and inspired by their raw beauty, weused them for the bindings of the special copies and also for the straps of the regularcopy bindings. We split the edition with Claire, each taking 57 copies.” Thomas, pp.
342-243. This copy of Beer Will Help Your Shake is accompanied by a 2-page typed
letter, SIGNED AND INSCRIBED from Peter Thomas to Mel Kavin. The letter sharesPeter Thomas’s experiences traveling in the United Kingdom and northern Europe
with his family in 1990. Peter tells Mel Kavin that at almost every location he visited
to share paper making and book arts experiences with the locals, it seemed likeeveryone knew Mel Kavin personally and had fond memories of Mel and his wife
Phylis. Peter Thomas also discusses the making of Beer Will Help Your Shake, which
was designed and executed with Claire Bolton at the Alembic Press. The inscription
reads, “P. S.: This paper is made from moldy old Russian hemp & abaca which hadtiny seeds so was no good for printing… Thus it became stationary. PT.”
REFERENCE: Peter and Donna Thomas, Peter and Donna Thomas: Bibliography, D2. 34
copies Worldcat.
https://www.johnhowellforbooks.com/product/5722
3 [Fore-Edge Painting] PEEL, Sir Lawrence (1799-1884). A Sketch of the Life andCharacter of Sir Robert Peel. London: Longman, Green, Longman and Roberts, 1860.

8vo. 7 1/2 x 5 inches. [vi], 314 pp. Occasional light foxing. Full Oxblood red diced calf, covers giltruled, with tied-arrow decorations in the corners, 5 raised bands, spine decorated and titled in gilt, alledges gilt, marbled end-papers, added plastic dust-jacket; binding square and tight, light shelf wear.
Bookplate of Henry Montagu Butler of Harrow School. TD22-085. Very Good.

$1,750FIRST EDITION. With a fore-edge painting labeled on the scene of “The Old Hall,
Gainsborough, Lincolnshire,” SIGNED and dated by the artist “S. St. C. S., 10.2.MM.”
This is the biography of Sir Robert Peel (1788-1850), Sir Lawrence Peel’s second
cousin. The Right Honorable Sir Robert Peel was a British Conservative statesman
who served twice as Prime Minister of the United Kingdom (1834-1835, 1841-1846),
who served simultaneously as Chancellor of the Exchequer (1834-1835), and twice asHome Secretary (1822-1827, 1828-1830). He is regarded as the father of modern
British policing, owning to his founding of the Metropolitan Police Service. He wasalso a founder of the modern Conservative Party. Sir Lawrence Peel was a judge inIndia, who served as Chief Justice of Bengal. The fore-edge painting hidden under
the gilding of this volume depicts The Old Hall, Gainsborough, Lincolnshire, which
is one of the best-preserved medieval manor houses in England. It was built by Sir
Thomas Burgh in 1460. The tower of the Old Hall is supposedly haunted by the Grey
Lady, thought to be the daughter of the Lord of the Manor, who fell in love with a
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poor soldier and planned to elope with him. Her father discovered the plan andlocked her away in the tower, where she died from a broken heart. According to local
legend, the girl’s spirit still wanders the tower, endlessly waiting for her lover to arrive.
PROVENANCE: Henry Montagu Butler (1833-1918) was an English academic andclergyman who served as headmaster of Harrow School (1860-1885), Dean of
Gloucester (1885-1886) and Master of Trinity College, Cambridge (1886-1918). See
Wikipedia for these historical and biographical references.
https://www.johnhowellforbooks.com/product/5808
4 [Fore-Edge Painting] MACAULAY, Thomas Babington (1800-1859). Lays ofAncient Rome with Ivry and the Armada. New Edition. London: Longman, Green,
Longman, Roberts, & Green, 1865. Small 8vo. 7 x 4 3/4 inches. (168) pp. Title page vignette;

text clean, unmarked. Blind-ruled oxblood morocco, 5 raised bands, spine titled in gilt, all edges gilt,
added plastic dust-jacket, gilt-dentelles; binding square and tight; minor rubbing to extremities.
Riviere binding with rubber stamp on front paste-down. Bookplate of Edward Thomas King.
Ownership signature of Edward Williams, Oct. 7th, 1867 Billesdon. TD22-058. Very Good.

$ 1,500
LATER EDITION. Macaulay’s Ivry (1824) and The Armada (1832) are ballads composed
whilst the author was a young man; these were later issued with Lays of Ancient Rome
(1842), a collection of narrative poems, four of which recount heroic episodes fromearly Roman history. The lays were composed while Macauley was the “legal member”of the Governor-General of India’s Supreme Council (1834-1838). Macauley’s
intention was to write poems resembling those that might have been sung in ancient
times. They were very popular and were publicly recited, a pastime of the English
middle classes. The Lays were standard reading in British public schools for more thana century. Presented here in a contemporary Riviere binding; Riviere binding with thesignature “Bound by Riviere indicates the dates 1840 to circa 1860. Riviere bindings
are acknowledged for the quality of the materials used, the forwarding, and the finishand delicacy of the tooling. The fore-edge painting in this book is of a rural scene
with 4 human figures in the foreground, the middle ground is a flat landscape ofcultivated green fields, and in the distance a wide urban landscape with a large domed
building. PROVENANCE: The Leicestershire Directory (p. 35) notes a Billesdon surgeon
and medical officer named Edward Williams who was also a public vaccinator toEastern district, Billesdon union, and medical officer to the workhouse.
https://www.johnhowellforbooks.com/product/5809
5 GERRY, Vance (1929-2005). Twenty-five Years of the Weather Bird Press. At Various
Locations but Under One Master: V. Gerry. With a Critical Introduction by Bunston Quayles(pseudo.). [Pasadena, CA]: The Weather Bird Press, 1993. 8vo. 10 1/4 x 6 3/4 inches. [Un310 367-9720

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paginated]. [44] pp. [including the colophon and the last blank]. Half-title, title page printed in terra
cotta and black inks, including a woodcut cityscape vignette, 13 illustrations in a variety of media
including woodcuts and linocuts and a couple of which are sample title pages some color, 4 samplesof various media included patterned papers and a color illustration from a miniature book, 2 plates 1 with a pochoir illustration from Dan Strehl’s The Spanish Cook which forms a conjugate stub uponwhich is mounted a folding plate which contains a large line drawing of disassembled hand-printingpresses being restored by Ernest Lindner; text clean, unmarked. Blue cloth spine, patterned paper
over boards, spine title in blue, dust-jacket in archival mylar; binding square and tight. SCARCE.
SBT224-011. Fine.

$ 750
LIMITED EDITION of “100 copies of which 20 are DE-LUXE.” Colophon. This is an
un-numbered copy. Describes 77 items printed by Vance Gerry at his Peach Pit Press
and his Weather Bird Press between 1967 and 1993. Printed with Linotype Scotch
type on Curtis Rag paper, bound by Mariana Blau. Entry number 77 of this volume isthe description of this book; here Vance states that 125 copies were printed, which ofcourse contradicts the colophon. “Accumulation of the press’ efforts, good and bad,presented for the edification of the dubious as well as the consolation of patrons andfriends.” Gerry. REFERENCES: Butcher, “Checklist” in Vance Gerry and the Weather Bird
Press, No. 103; Gerry, Twenty-five Years of the Weather Bird Press, No. 77.
https://www.johnhowellforbooks.com/product/5748
6 [Hoffman] PETKO, Edward Repan (b. 1937). A Tribute to the Work of Richard
John Hoffman: Master Printer. Los Angeles, CA: The Zamorano Club, 2002. 4to. 12 1/4 x 9

1/8 inches. (xvi), (160) pp. Half-title, color photographic frontispiece of Hoffman at work on his
Columbian press, text printed in multiple colors and with elaborate borders, lists 640 items printed
by Hoffman; text clean, unmarked. Full gilt-stamped red cloth, decorative end-papers; binding
square and tight, some light dust-soiling to the covers, no jacket as issued. Mel Kavin’s copy without
distinguishing marks. KJH1123-029. Very Good.

$ 120
LIMITED EDITION of 250 copies printed for the Zamorano Club on the occasion of
the Joint Meeting with the Roxburghe Club in 2002, printed on 80-pound Mohawk
Superfine paper using Garamond types, bound by Bruce and Mel Kavin at KaterCrafts Bookbinders. Foreword by Doyce B. Nunis, Biographical Memoir, profusely
illustrated, lists 640 items printed by Hoffman, bibliography, indexes. The mostcomprehensive bibliography of the printed work of Richard John Hoffman, Los
Angeles’ master-teacher of printing, Richard J. Hoffman.
https://www.johnhowellforbooks.com/product/5803
7 [Samuel Johnson] LUCKOCK, Herbert Mortimer (1833-1909). A Popular Sketchof Dr. Johnson’s Life and Works. London: Simpkin, Marshall, Hamilton, Kent & Co.;
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Lichfield: A. C. Lomax’s Successors, The “Johnson’s Head,” 1902. Small 8vo. 7 1/4 x 4

3/4 inches. (41) pp. Johnson’s Head printer’s device on title page; text clean, unmarked. Roger deCoverly binding (signed with rubber stamp) in half navy morocco, marbled paper sides, gilt-ruled
covers, spine titled in gilt, all edges gilt, marbled end-papers, original wrappers bound in; binding
square and tight, some toning to the marbled paper on the covers. INSCRIBED BY THE
AUTHOR on the front wrapper, “Ashton Thompson Yates, From HML on his 60th Birthday.”
Bookplate of Samuel Ashton Thompson-Yates. FB1223-126. Very Good.

$ 75
FIRST EDITION. This text was delivered as an Inaugural Address of the Thompson
Library Museum at Whitchurch in the diocese of Lichfield. The author sought togenerate greater interest in Lichfield own Samuel Johnson amongst a popularaudience. Herbert Luckock was a British Anglican Priest in the Church of England.
He was educated at Marlborough College, Shrewsbury School, and Jesus College,
Cambridge. He was ordained a deacon in 1860 and a priest in 1862, and received an
M.A. in 1862. He became Vicar of All Saints’ church, Cambridge, 1862-1875; he wasmade canon of Ely Cathedral and principal of Ely Theological College. In 1892 he
was appointed Dean of Lichfield Cathedral where he remained until his death in 1909
at age 75. This cataloger has not established the relationship between Luckock andSamuel Ashton Thompson-Yates, but the town of Litchfield was significant in the lifeof the latter, with many associations between Thompson-Yates and characters who
lived in Lichfield. The Thompson Library at Whitchurch was funded by Edward
Philips Thompson, the youngest son of Samuel Henry Thompson, and the brotherof Samuel Ashton Thompson-Yates. Edward Philips Thompson paid for an art
gallery, public library, reading room and museum on Whitchurch High Street, funding
its building and establishing an endowment for its upkeep. Samuel Ashton
Thompson-Yates dedicated his book of poetry Thoughts by the Way. Sicily (1891) to his
brother E. P. T., “whose companionship the journey in Sicily owed so much of its
pleasure.”https://www.johnhowellforbooks.com/product/5807
8 KAVIN, Mel (1917-2006), compiler. A Catalog of the Thirty-Three Miniature Designer
Bindings of You Can Judge a Book by its Cover by Bernard C. Middleton. Pico Rivera, CA:
Kater-Crafts Bookbinders, 1998. Oblong 4to. 8 3/4 x 11 1/4 inches. [x], (76) pp. Half-title, title

page printed in two colors, title-page vignette, color photographs throughout of the 33 designbinders and the bindings, names and addresses of the binders; text clean, unmarked. Blind-, copperand black-stamped two-toned cloth, brown end-papers, clear plastic dust-jacket, comes in theoriginal mailing envelope; soiling to the envelope, otherwise fine. From Kater-Crafts Bookbinders
close of business inventory. INSCRIBED by Mel Kavin on the half-title, “To Peggy with love, Mel.”
BH1223-001. Fine.

$ 150

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LIMITED EDITION of 500 copies, designed by Vance Gerry, typography by Pall

Bohne using Minion and Boulevard typefaces, printed on Sterling Litho Glass paper,
binding designed by Rick Kavin, J. Rae Fox and Bruce Kavin, bound at Kater-Crafts
Bookbinders. The text includes a Foreword by Mel Kavin as well as the Foreword to
You Can Judge a Book by its Cover; “Miniature Binding Problems” by Bernard C.
Middleton; “On Small Books” by Marianne Tidcombe in addition to the illustrationsof the 33 bindings and portraits of the designer binders with their commentary on
their challenges and choices in making the bindings for each of the 33 miniature text
blocks. I searched perhaps half of the binders whose work is featured in this catalog. I
was finding that about half of those have passed.
https://www.johnhowellforbooks.com/product/5804
9 KINGSTON, Maxine Hong (b. 1940). Hawai’i One Summer, 1978. Woodcuts by Deng
Ming-Dao. San Francisco, CA: Meadow Press, 1987. 4to. 12 1/8 x 9 1/4 inches. [xii], 52, [8]pp. Half-title, folding color woodcut frontispiece opens to 2 1/2 panels is 1 of 4 color woodcut eachwith its own tissue guard, the text is printed in red and black inks with red initials; text clean,
unmarked. Paste paper over boards, split-board binding with exposed sewing over tapes, Gutenberg
Laid Endsheets, slip-case covered in red cloth over flexible boards; binding square and tight, somelight soiling to slip-case, else fine. SIGNED by the author, the illustrator and the printer on thecolophon. GIL921-023. Fine.

$ 450
LIMITED EDITION, this is number 62 of 75 deluxe copies of a total edition of 150
copies. Printed by Leigh McLellan with partial funding by a Small Press Assistance
Grant from the National Endowment for the Arts, using Times New Roman types on
Korean Kozo paper, little page lettering and text initials drawn by John Prestianni,
binding designed by Betty Lou Chaika, Klaus-Ullrich Roetzscher case-bound theedition and made the slipcases. Maxine Hong Kingston is an American novelist andprofessor Emerita at the University of California, Berkeley. She has written threenovels and several works of non-fiction about the experiences of Chinese Americans.
Among her many awards, Ms. Kingston has won the 1997 National Humanities medal
and in 2014, the 2013 National Medal of the Arts. This book contains eleven pieces
that previously appeared in The New York Times in 1978, except “A Sea Worry,”which appeared in a weekly column entitled “hers,” published here with thepermission of The New York Times and Alfred A. Knopf. The text is about anadventure that took place in Hawai’i twenty years prior to publication; the distance oftime reflects both the facts that the original writing often took place years prior, andthe author’s understanding of events with hindsight. A beautiful, and colorful, book.
42 copies OCLC.
https://www.johnhowellforbooks.com/product/5827
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10 LANDACRE, Paul (1893-1963). Flight Through the Forest. [Los Angeles, CA: Paul
Landacre, 1932, 1933]. Electrotyped wood engraving reused on a holiday greeting card. Image: 2

1/16 x 6 1/16 inches. Greeting Card is a Bifold, 8 3/16 x 6 1/4 inches. Corner-mounted so noadhesive is used to hold the bifold to the stiff paper board that measures 16 x 13 inches; small stain
at the top margin of the bifold. The stiff sheet of board is hinge mounted to the bottom board, thisupper board with a window to expose the front of the holiday card; there is also with a small plastic
sheet hinge-mounted to the bottom stiff board to offer protection to the artwork beneath; somelight soiling to the top board and minor shelf wear. LL723-010. Very Good.

$ 250
Paul Landacre’s wood engraving Flight Through The Forest was conceived for The
Limited Editions Club edition of Green Mansions by W. H. Hudson. It was createdduring the winter of 1932-33. It is here reused to decorate a holiday card tor
Catherine and Leigh Harline. Text printed letterpress above and below the image
reads “All the better wishes for the New Year, from Catherine & Leigh Harline.” “PaulLandacre” is printed below the abstract image. “The edition size and date of printingof the card are unknown.” Wien. Leigh Adrian Harline (1907-1969) was an Americancomposer and songwriter. He was known for his musical sophistication that was
uniquely Harline-esque by weaving rich tapestries of mood-setting underscores andpenning memorable melodies for animated shorts and features. After graduating fromthe University of Utah where he studied piano and organ, Harline moved to
California where he worked at radio stations in San Francisco and Los Angeles as acomposer, conductor, arranger, instrumentalist, singer, and announcer. In 1931, heprovided music for the first transcontinental radio broadcast to originate from theWest Coast. He was then hired by Walt Disney where he scored more than 50 tunes,
including the Silly Symphonies cartoon series of the 1930s. He is perhaps best-known
for the song When You Wish Upon a Star.” from the film Pinocchio (1940). Other
notable tunes to his credit include Whistle While You Work, Heigh-Ho, and Some Day My
Prince Will Come from the film Snow White and the Seven Dwarfs (1937). Wikipedia.
REFERENCE: Wien, 124. Other examples of the Harline’s holiday card are to befound at the William Andrews Clark Memorial Library, the Occidental College
Library, and UCLA (Zeitlin Papers).
https://www.johnhowellforbooks.com/product/5640
11 LANDACRE, Paul (1893-1963). Desert Wall. [Los Angeles, CA: Paul Landacre,
1932]. Wood engraving. Image: 5 1/2 x 7 1/16 inches. Printed on a sheet of wove Japanese paperthat measures 9 x 11 7/8 inches. Hinge-mounted on stiff board 13 x 16 1/4 inches that has a hinge
mounted top board with a display window and a hinge-mounted plastic protective sheet; probably as
issued in the 1980s; should be framed for presentation and conservation. The sheet printed by Paul
Landacre bears the petrel estate stamp. Mel Kavin’s copy. KJH1123-156. Fine.

$ 550
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SECOND EDITION of 10 unsigned impressions, Signed with Paul Landacre’s initials inthe block. Bears the petrel estate stamp. REFERENCE: Wien, 107; Zeitlin & Ver

Brugge, Catalogue 289, No. 21.
https://www.johnhowellforbooks.com/product/5817“A gem.” Jake Wien.
12 LANDACRE, Paul (1893-1963). The Gold Fields. [Los Angeles, CA: Paul Landacre,
1933]. Wood Engraving. 7 15/16 x 9 15/16 inches. Printed on sheet that measures 9 1/16 x 11

15/16 inches. Hinge-mounted on stiff board 16 x 20 inches that has a hinge mounted top board
with a display window and a hinge-mounted plastic protective sheet. The sheet printed by Paul
Landacre has both an Origins of Art rubber stamp, a red kestrel rubber stamp, and a pencilled
annotation “ForML” in Landacre’s hand. Some soiling and the outer corners of the stiff boards, theboards are bumped at the corners, not affecting the print. LL723-011. Fine.

$ 2,500
UNSIGNED PROOF outside the edition of 30. “A Gem,” Jake Wien. “‘The Gold
Fields’ was printed in a signed, titled and numbered edition of 30, although only 22
such impressions are recorded. In addition to this very small edition, Ward Ritchie
printed 500 to 525 impressions of ‘The Gold Fields’ for insertion into a new editionof A Gil Blas in California. These impressions are folded in the middle and tipped into
the book opposite the first page of the first chapter.” Jake Wien notes that in themonths following Paul Landacre’s death the Origins of Art rubber stamp was placedon the verso of prints “found in Landacre’s studio.” Here, the Origins of Art rubber
stamp is in the margin of the recto of this print, as is the red kestrel (or petrel) stamp.
Both are described by Wien as a “form of estate stamp.” Neither of these stamps “inno way detracts from the beauty or value of a Landacre print.” Personalcorrespondence from Jake Wien. However, the most interesting aspect of thisparticular print is the pencil notation in the lower right margin, “ForML.” Wien writes
that Landacre “annotated many different prints this way as a kind of life insurance ofMargaret [Gertrude McCreery Landacre (1891-1963)]. But, as you know, Margaret
died first. Prints so annotated ‘For ML’ are generally superb impressions.”
REFERENCE: Wien 138; Zeitlin & Ver Brugge, Catalogue 289, No 34.
https://www.johnhowellforbooks.com/product/5638
13 LANDACRE, Paul (1893-1963). Smoke Tree. [Los Angeles, CA: Paul Landacre,
1953]. Wood engraving. Image: 7 7/8 x 5 15/16 inches. Printed on a sheet of wove Japanese paperthat measures 11 1/4 x 9 1/16 inches. Hinge-mounted on stiff board 20 1/4 x 16 inches that has ahinge mounted top board with a display window and a hinge-mounted plastic protective sheet; there
is some soiling to the top board, and probably as issued in the 1980s; should be framed forpresentation and conservation. The sheet printed by Paul Landacre has pencil notations in a later
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John Howell for Books

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hand, and a red dot Landacre’s hand. Some soiling the margins of the stiff boards. Mel Kavin’s copy.
KJH1123-155. Fine.

$ 600
SECOND EDITION of 10 unsigned impressions. Pencil notation in the margin. The
pencil annotation in the lower right margin reads, “Signed after P’s death by ? OOA
R. L. by Th. B.” The Origins of Art Research Foundation was Mildred Blanding’s(MB) organization. She was hired by the estate to organize the prints for a complete
listing after Landacre died. Paul Landacre red dot in the lower lefthand corner which
was applied by Paul Landacre to distinguish the impressions he believed to besuperior. REFERENCES: Wien, 290; Zeitlin & Ver Brugge, Catalogue 289, No. 107.
https://www.johnhowellforbooks.com/product/5818
14 [Landacre] RITCHIE, Ward (1905-1996). Paul Landacre. (San Francisco): The
Book Club of California, 1982. Series: Book Club of California Publication, No. 169.

12mo. 7 5/16 x 4 5/8 inches. (60) pp. Half-title, Richie’s bull and anchor printer’s device by Landacreon title page, examples of Landacre’s woodcuts throughout (including an initial in green), list of
Landacre’s engravings, bird image on colophon; text clean, unmarked. Black cloth spine, illustrated
paper over boards with 8 Landacre vignettes, illustrated end-papers from California Hills; binding
square and tight, LACKS dust-jacket. Prospectus included. From Mel Kavin’s personal collection.
KJH1123-039. Very Good.

$ 125
LIMITED EDITION of 650 copies with 50 reserved for collaborators, designed by
Ward Ritchie and printed at the Castle Press in Pasadena using handset Goudy Thirty,
bound by Kater-Crafts. This must be a copy reserved for the collaborators, as boundby Kater-Crafts and in Mel Kavin’s personal collection. This is the third bookpublished by the Book Club of California with support from the Special Fundestablished in memory of Dorothy and David Magee. The 16 engravings throughout
the text were printed directly from the original blocks. Paul Landacre (1893-1963) “is
now regarded as one of this country’s finest wood engravers, although his early career
was a struggle. Ritchie, as both a friend and a patron, is particularly qualified to write
this appraisal and appreciation.” Rounce & Coffin Club Exhibition of Western Books.
REFERENCE: Harlan, The Two Hundredth Book, No. 169.
https://www.johnhowellforbooks.com/product/5800
15 [Laguna Verde Imprenta] RITCHIE, Ward (1906-1996). Jane Grabhorn: The
Roguish Printer of the Jumbo Press. (Laguna Beach, CA: Laguna Verde Imprenta, 1985).

8vo. 8 3/16 x 5 1/2 inches. (48, last blank) pp. Half-title, title page with 7 color swatches, 8
illustrations in various colors most are reproductions of pages designed by Jane Grabhorn for
Jumbo Press publications (5 full-page, 1 double-page), printer’s device in slate-blue on the colophon;text clean, unmarked. Quarter navy morocco, black-and-blue checkered patterned cloth over boards,
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gilt-titling on front cover; binding square and tight, leather on spine faded. JR22323-005. Very
Good.

$ 550
FIRST EDITION, LIMITED to 70 copies, set in Goudy 30 type, printed on Tovil paperon an Albion hand press. Ward Ritchie’s reminiscences of Jane Grabhorn and herwork as a printer, book designer, and bookbinder. “In 1928 when I decided I wanted
to become a printer, I had no practical experience setting type or running a press. The
first printers I sought for advice and possibly a job were the Grabhorn brothers of
San Francisco. Ed was the older brother, whom I admired, but it was with Bob, who
was closer to my age, that I became more intimate. After his marriage to Jane Bissell
in 1932 we would get together each time I was in San Francisco or they came south.
These gatherings were often riotous. Jane had an acidic wit. She was extremely loyal tothose she liked but was intolerant of others. She loved to toy with type, ridiculingpretentiousness in many of her caustic effusions. When I was asked to give the Goudy
Lecture at Scripps College I chose Jane as my subject since she had attended there.
This book developed from that talk.” Ritchie. REFERENCE: Ritchie, Laguna Verde
Imprenta, No. wr25. 39 copies OCLC.
https://www.johnhowellforbooks.com/product/5796
16 LOGAN, Herschel Cary (1901-1987). The American Hand Press: Its Origin,
Development and Use. Whittier, CA: The Curt Zoller Press, 1980. 8vo. 9 7/8 x 6 1/2 inches.

(xii), 48, [2] pp. Half-title, frontispiece, title page vignette, text printed throughout in brown andblack inks, with illustrations by Herschel Logan, bibliography; text clean, unmarked. Dark chocolate
cloth over boards, printed paper spine label, map drawn by Logan in the end-papers; binding squareand tight. Mel Kavin’s copy, SIGNED by Herschel Logan and Ward Ritchie on the colophon.
KJH1123-064. Fine.

$ 100
LIMITED EDITION of 300 copies, this is a binder’s copy out of sequence, printed by
Grant Dahlstrom, Castle Press in Pasadena, CA, set in Mergenthaler Aldus, printed on
Mouldmade Arches Text paper, and bound by Kater-Crafts Bookbinders. Foreword
by Ward Ritchie. SIGNED by Ward Richie and Herschel C. Logan on the colophon.
Chapters include: “The Hand Press, Its Origin;” The Hand Press in the New World;”“The American Hand Press, Its Development;” “The Hand Press, In Retrospect;”“List of Makers.” With technical drawings by Herschel Logan. 130 copies OCLC.
https://www.johnhowellforbooks.com/product/5797
17 [Logan] LEHMAN, Anthony Lewis (1935-1988). Herschel Logan: Man of Many
Careers. Los Angeles, CA: The Westerners, Los Angeles Corral, (1986). Series:
Westerners, Los Angeles Corral, Keepsake, No. 23. 8vo. 9 1/2 x 6 1/4 inches. (32) pp. Half-title,
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frontispiece, title page printed within a ruled border and with a half-tone portrait of Herschel andAnne Logan, illustrated throughout in black and white with Logan’s woodcut illustrations, a halftone portrait of Anne and Herschel, 2 HL caricatures, list of woodcuts by HL; text clean, unmarked.
Blind-stamped black cloth, spine titled in gilt; binding square and tight. Mel Kavin’s copy.
KJH1123-045. Fine.

$ 65
LIMITED EDITION of 500 copies printed by Richard J. Hoffman under the directionof the Los Angeles Westerners Publications Committee, Abraham Hoffman,
Chairman. Herschel Cary Logan (1901-1987) was an American artist and founding
member of the Prairie Print Makers. His is known primarily today for his woodcutsof serene, nostalgic scenes of Midwest small towns and farms - mostly Kansas
subjects - rendered in precise, clean lines. He earned both international acclaims aswell as the nickname “The Prairie Woodcutter.” In 1940 Logan built a small-scale
working model of Gutenberg’s press out of wood for a display as part of the 500th
Anniversary of Printing. In 1973 he purchased a Baby Reliance Hand Press andstarted a new career as a publisher of Miniature books. The Log-Anne Press, named
after him and his wife, berated out of a studio behind their Santa Ana home. The
company published some 50 miniature books. See: Wikipedia. 39 copies OCLC.
https://www.johnhowellforbooks.com/product/5794
18 [Miniature Book] MASSMANN, Robert E. (1924-2013), compiler. Dard Hunter:
Miscellaneous Thoughts and Reflections. New Britain, CT: REM Miniatures, 1984. This object

consists of a book that comes in 2 volumes, a miniature ream of Dard Hunter handmade, hand cut
deckle edge paper tied up with red string, laid into a hand-colored paper and cardboard model ofDard Hunter’s paper mill at Lime Rock, Connecticut, covered with handmade Dard Hunter paper.
The title for this work is printed on the title page of Volume 1. Vol 1: 2 3/8 x 2 1/16 inches, die cut
to the outline of Hunter’s paper mill. Unpaginated. [36] pp. Frontispiece half-tone black-and-white
illustration of Hunter’s paper mill, printer’s device on title page, the printed text is mounted onto theleaves of the text block which is also shaped like the paper mill; text clean, unmarked. Red-moroccocase, hand-colored boards; binding square and tight. Vol. II is circular in shape2 3/16 incircumference. The cover title is Dard Hunter: Thoughts, Volume Two, Grist From Hunter’s Mill.
The text block is attached on a circular board, and opens on two sides. 8 ff. of text and contains 2
samples of early hand-made papers by Dard Hunter. The model mill is mounted on a box coveredin crimson morocco, the base (box) is open on one side where the two-volumes are housed, thehand-colored model of Hunter’s mill is built-up from the base; some insect damage to the back-sideof the model. SIGNED three times by Robert Massmann. Mel Kavin’s copy without distinguishingmarks. KJH1123-234. Very Good.

$ 450
FIRST EDITION, LIMITED to 100 copies. Publication, design, typography, layout,
carpentry, and hand coloring by Robert E. Massmann. The text consists of quotations
and remarks made by Dard Hunter from various sources, reflecting on various
incidents during his life and development. Hunter’s Mill was destroyed by flood in
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1955. All materials used in the creation of the piece were harvested from the last lotof paper taken from the mill before its destruction. It would appear that thispublication included a plastic bag that held confetti made from Dard Hunter handmade paper which is not present here. REFERENCE: Bradbury, 20th-Cent. US Miniature
Books, No. 1978.
https://www.johnhowellforbooks.com/product/5806
19 [Miniature Book, Perishable Press Limited] HAMADY, Walter (1940-2019).
The Quartz Crystal History of Perry Township Since the Earliest Creation of Life. Mount
Horeb, WI: Perishable Press Limited, 1977. Miniature Book. 3 5/16 x 2 1/2 inches.
Unpaginated. [32] pp. Illustrated throughout with typographic ornaments; text clean, unmarked.
French-fold printed wrappers; binding square and tight. CRW224-001. Fine.

$ 385
LIMITED EDITION of 225 copies printed with hand-set Sabon types on Shadwell
paper. “Walter Samuel Haatoum Hamady was an American artist, book designer,
papermaker, poet and teacher. He is especially known for his innovative efforts inletterpress printing, bookbinding, and papermaking. In the mid-1960s, he founded
The Perishable Press Limited and the Shadwell Papermill.” Wikipedia. The text of thisalmost-miniature volume relies heavily on Hamady’s creative writing as a poet. It is a
fanciful alphabet book rendition of the history of a small township in Wisconsinfrom “the earliest Creation of Life.” I just had to buy it, and own it at least for a little
while, when I read his chapter for the letter X, which reads, “Xenophobia. may havebeen part of the difficulties our government had in allowing Life, Liberty & the pursuitof Happiness for the people living in a perfect harmony with all the natural forces ofthe planet. Hitler learned so many techniques about destruction of entire races ofhuman people from the Federal Government’s Indian policies.” That one quote alone
is worth the price of admission. REFERENCE: Bradbury, 20th-Cent. US Miniature
Books, No. 1287.
https://www.johnhowellforbooks.com/product/5811
20 [Miniature Book, Santa Susanna Press] CORWIN, Norman (1910-2011). A
Date with Sandburg. Northridge, CA: Santa Susana Press, 1981. California Masters Series,
No. 4. Miniature Book. 3 x 2 3/16 inches. [vi], 20, [4] pp. Half-title, 1978 13-cent Sandburg postage

stamp as frontispiece, sea-blue rule on title page; text clean, unmarked. Taupe cloth titled in brown
ink; binding square and tight. SIGNED by Norman Corwin on the colophon. BR324001–028. Fine.

$ 75
LIMITED EDITION, of 100 copies, this is number 27, designed and printed for the
Santa Susana Press by Patrick Reagh and Vance Gerry, printed with monotype
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Deepened on Ragston paper, bound by Bela Blau. Norman Corwin was an American
writer, screenwriter, producer, essayist and teacher of journalism and writing. His
earliest and biggest successes were in the writing and directing of radio drama during
the 1930s and 1940s. Corwin wrote and directed two plays produced on Broadway,
The Rivalry (1959) and The World of Carl Sandburg (1960). This short volume is a brief
account of the life and career of Carl Sandburg. REFERENCE: Butcher, “Checklist,” inVance Gerry and the Weather Bird Press, No. P12.
https://www.johnhowellforbooks.com/product/5810
21 [Miniature Book, Peter and Donna Thomas] THOMAS, Peter (b. 1951). A
Story of the Tree Keeper’s Wisdom. Santa Cruz, CA: Good Book Press, 1985. Miniature

Book. 2 9/16 x 1 7/8 inches. Unpaginated. [26] pp. Half-title, title page linoleum cut, 7 linoleum cutsby Donna Thomas (1 hand-colored); text clean, unmarked. Full vellum over boards, spine titled ingilt, vellum end-papers, housed in a slipcase covered in dark-blue calfskin with top and bottom edgesof wood; binding square and tight. BR324-003. Fine.

$ 800
LIMITED EDITION of 200 copies this is copy number 5, 1 of 19 copies bound in fullvellum and printed on vellum. Printed using hand-set Bernhard Modern Roman. “Thetext is a fairy tale I wrote. This was the first book we printed on vellum We were
inspired by the Bromer Booksellers’ interest in print on vellum (we met them throughthe Miniature Book Society) and a copy of a Doves Press book Anne Bromer had
shown us. We figured that if the Doves printer could do it, so could we.” Thomas,
Bibliography, p. 37. A broadside was also created of this text made from the standing
type (before the type was distributed). REFERENCES: Bradbury, 20th-Cent. US
Miniature Books, No. 2899; Thomas, Peter and Donna Thomas Bibliography, A32.
https://www.johnhowellforbooks.com/product/5812
22 [Miniature Book, Peter and Donna Thomas] THOMAS, Peter (b. 1951).
Shakespeare on Papermills. Santa Cruz, CA: Good Book Press, 1988. Miniature Book. 1

15/16 x 1 7/8 inches. 64 pp. Half-title, title page vignette is one of 8 line drawings by Donna
Thomas, reduced reproduction of the title page of Digestum Novum opposite the colophon; text
unmarked, but the antique paper has occasional defects such as small holes in the margins. Black
sheepskin spine, boards and end-papers are also antique paper taken from Digestum Novum withtext printed in black and red, spine titled in gilt; binding square and tight. BR324-002. Fine.

$ 200
LIMITED EDITION of 200 copies this is copy number 67, 1 of 100 copies printed on
paper recycled from an edition of Digestum Novum in 1576. “The text discusses
Shakespeare’s reference to a paper mill in Henry VI, Part 2: Act 4, Scene 7. This was
my first attempt at scholarly writing since college and necessitated the editorial help of
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many friends. The information was gathered while researching my role at theRenaissance Pleasure Faire as papermaker in an Elizabethan village. The copy ofDigestum Novum was also acquired at the Faire: one day a visitor gave it to us as a gift.
It was water-stained and disbound, but it was made during Shakespeare’s lifetime andcutting off the generous empty bottom margins provided the perfect paper to use forthis miniature book. This was made before personal computers or printers werecommonly available. I gave my handwritten manuscript to [a] local phototypesetting
company. They typed it into their machine that generated positive printouts. Those
were sent to a photoengraving company and made into type-high, wood-mounted
copper plates that we could use in our printing press.” Peter Thomas, Bibliography, p.
54. REFERENCES: Bradbury, 20th-Cent. US Miniature Books, No. 2897; Thomas, Peterand Donna Thomas Bibliography, A50.
https://www.johnhowellforbooks.com/product/5813
23 [Miniature Book, Peter and Donna Thomas] SHAKESPEARE, William(1564-1616). Where The Wild Thyme Blows. Santa Cruz, CA: (Donna Thomas), 1991.

Oblong Miniature Book. 1 11/16 x 2 1/2 inches. Unpaginated. [22] pp. The text is hand-written in a
Carolingian hand, hand-illustrated with a variety of vignettes and full-page botanical vignettes, text
on the rectos only; text clean, unmarked. Full morocco over boards, leather onlays on the front
cover which is titled in gilt, 2 raised bands, marbled end-papers; binding square and tight.
BR324-004. Fine.

$ 650
LIMITED EDITION of 3 copies, this is number 3. Colophon states that “Calligraphy,
painting and binding by Donna Thomas on Peter’s handmade paper.” The text is from
Shakespeare’s A Midsummer Night’s Dream. REFERENCE: Not in Bradbury; Thomas,
Peter and Donna Thomas Bibliography, B64.
https://www.johnhowellforbooks.com/product/5805
24 [Miniature Book] MIDDLETON, Bernard Chester (1924-2019). You Can Judgea Book by its Cover: A Brief Survey of Materials. [Pico Rivera, CA]: (Kater-Crafts
Bookbinders, 1994). Miniature Book. 2 15/16 x 2 7/16 inches. 163, [5 blanks] pp. Half-title,

double-page title page printed in black and gilt, 6 wood engravings by John de Pol, gilt headpieces,
headpiece and gilt rules at colophon; text clean, unmarked. Full black morocco with leather inlays
and foil stamping of various colors, top edge gilt with various sized dots in 2 colors, marbled endpapers, housed in the original black-cloth clam-shell box with black leather spine, red leather spinelabel titled in silver, and lined with Japanese paper; binding square and tight. SIGNED by the 8contributors on blank leaves at the rear. KJH1123-403. Fine.

$ 450
LIMITED EDITION of 500 copies, this is number 403, one of 100 copies withheld
from sale. Edited by David Pankow, designed by Ward Ritchie, illustrated by John de
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Pol, typeset by Patrick Reagh, printed by Henry Morris of the Bird and Bull Press, andbound by Kater-Crafts Bookbinders from a design of Keratin Tini Miura, withendpapers by Einen Miura. SIGNED by 8 contributors on 2 blank pages at the rear.
The text of this book was used in the commission by Mel Kavin to have 33 designbinders to produce their own interpretation of Bernard Middleton’s text on bookbinding. The 33 design bindings now reside at the Julian Edison Department ofSpecial Collections at Washington University in St. Louis. The 33 volumes thus
commissioned also became the basis for Mel Kavin’s oblong 4to volume, A Catalog of
the Thirty-Three Miniature Designer Bindings of You Can Judge a Book by its Cover, (1998).
Bradbury records: “Mel Kavin published one miniature book under the imprint of
Kater-Crafts Bookbinders, Pico Rivera, California. ‘While attending an exhibition ofminiature books in 1992, an inexplicable urge possessed me to publish one of myown, and it seemed only natural to ask those friends and acquaintances whose work I
have so long admired and collected, to help turn my wish into reality,’ Kater [sic]wrote. Ward Ritchie (Laguna Verde Imprenta) designed this miniature magnus opus
while Henry Morris (Bird and Bull Press) printed it.” Bradbury, pp. 112-113.
REFERENCES: Bradbury, 20th-Century U.S. Miniature Books, No. 2077; Fraser & Fridl,
John DePol, p. 66.
https://www.johnhowellforbooks.com/product/5740
25 [Muir and Burroughs] KING, George R., photographer. John Burroughs and John
Muir in Pasadena, CA. Pasadena, CA: George R. King, 1909. Silver Gelatin Photographic

Portrait. 14 x 9 7/8 inches. Matted and glazed. With SIGNATURES of BOTH Muir and Burroughs.
Image clear and robust. Signatures also clear and robust. Newly framed and glazed. KD123-045.
Fine.

$ 3,000
The Los Angeles Daily Times, April 13, 1909, in a feature entitled “Notable Pair
Honored. Dinner is given for Famous Nature Lovers,” records that John Muir andJohn Burroughs gathered on April 11, 1909 at a dinner given by Col. A. H. Sellers at
the Maryland Hotel in Pasadena, California. Included in the article is a photograph ofthe two men (but not this image), with a caption that gives the copyright to George R.
King, Pasadena. The manuscript collections at Azuza Pacific University indicates thatin the nineteen-teens, George R. King was a “Los Angeles-based stock photographer
who specialized in photographs of the Sierra Nevada and particularly Yosemite.” The
University of the Pacific holds a John Muir Photographs collection and identifies thephotographer of the image offered here as George R. King, and dates the image“circa 1909.” There has been some manipulation of the image offered here in thedark room in the lower right hand corner of the image. Our framed enlargement of
this image also contains two bold firm signatures of both the well-known naturalists,
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taken from an unidentified source. REFERENCE: Kimes and Kimes, John Muir, A
Reading Bibliography, A21.
https://www.johnhowellforbooks.com/product/5816
26 [Ward Ritchie] D’AMBROSIO, Joseph (1934-2009). Happy 80th Birthday Ward
Ritchie. [Los Angeles, CA]: Imprenta Glorias, 1985. Broadside. 15 1/8 x 11 inches. 1 page.
Some light shelf wear. KJH1123-137. Very Good.
$ 50
LIMITED EDITION of 100 copies, hand-numbered by Joseph D’Ambrosio. This
broadside contains a large woodcut portrait of Ward Ritchie, surrounded by a printed
list of names of 23 persons who played a large role in Ritchie’s life. Gloria Stuart’s
name is front and center directly below the portrait. Beginning at the bottom left handcorner oriented perpendicular to the portrait is Lawrance Clark Powell, other names
include Paul Landacre, Francois-Louis Schmied, Gregg Anderson, Jake Zeitlin, andothers. Numbered 38/100 and signed by “D’Ambrosio, ’85.” REFERENCE:
D’Ambrosio, A Memoir of Book Design, page 205, “Graphic Art Prints, a list of posters,
broadsides, and prints,” under the date 1984.
https://www.johnhowellforbooks.com/product/5819
27 RUSKIN, John (1819-1900). The Stones of Venice. Volume the First. The Foundations.
London: Smith, Elder, and Co., 1858. WITH: The Stones of Venice. Volume the Second. The
Sea-Stories. London: Smith, Elder, and Co., 1867. WITH: The Stones of Venice. Volume theThird. The Fall. London: Smith, Elder, and Co., 1867. Three Volumes. Tall 8vo. 10 1/2 x 7

1/2 inches. Vol. I: (xvi), 400 pp. A-Z8, AA-CC8. Half-title, 72 figures, 21 plates (4 color),
appendices; foxed throughout. Bookplates of Samuel Ashton Thompson-Yates (with his ownershipsignature dated 1870) and Hugh Bright. Vol. II: [viii], 394 pp. A-Z8, AA-BB8, CC4, DD1. 38 figures,
20 plates (2 color); text unmarked, foxing throughout, partially, unopened. Vol. III: [iv], 362 pp. A2,
B-Z8, AA5. 12 plates, 4 figures; foxing throughout, partially unopened. All 3 volumes in original
publisher’s blind- and gilt-stamped brown cloth, top edges gilt; bindings square and tight, corners
softened. Each volume with bookplates of Samuel Ashton Thompson-Yates and Hugh Bright,
Volume I with Thompson-Yates’ ownership signature dated 1870, Vol. II with blank note card of
the Rev. Hugh Bright, King Cross Vicarage, Halifax. BF1223-119. Very Good.

$ 150
SECOND EDITION. The Stones of Venice is a three-volume treatise on Venetian art andarchitecture by English art historian John Ruskin, first published from 1851 to 1853.
The Stones of Venice examines Venetian architecture in detail, describing, for example,
over eighty churches. Ruskin discusses the architecture of Venice’s Byzantine, Gothic,
and Renaissance periods, and provides a general history of the city. Ruskin set out toprove how Venetian architecture exemplified the principles discussed in his earlier
work, The Seven Lamps of Architecture. Ruskin made two visits to Venice with his wife
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Effie, socially to research the book. The first visit was in the winter of 1849-50. The
first volume of The Stones of Venice appeared in 1851 and Ruskin spent anotherwinter in Venice researching the next two volumes. His research methods included
sketching a photography. In 1849 Ruskin had acquired his own camera so that hecould take daguerrotypes to enhance his research. See: Wikipedia. Printing and the Mindof Man states that Ruskin’s work on the function and aesthetics of architecture“proved a revolutionary success.” p. 191. OCLC lists 2 copies of this Smith, Eldersecond edition.
https://www.johnhowellforbooks.com/product/5780
13 Ruskin items to be found here:
https://www.johnhowellforbooks.com/media/BFRuskinB.pdf
28 THOMAS, Peter (b. 1951). Memento Mori. Santa Cruz, CA: Peter and Donna
Thomas, 2018. Flap Book. 9 3/4 x 3 11/16 inches. [13] pp. 3 linocut illustrations by Peter

Thomas; text clean, unmarked. Case-bound in black morocco, linocut illustration on front cover,gray paste-downs are hand-made papers by Peter Thomas, label with title printed pasted to front
paste-down upon which is mounted a tin milagros (a symbol wishing good luck, good health, andhope for the future, mounted on the rear paste-down are two oblong ebony blocks in which aredrilled holes with a down inserted to the ebony block, the text is suspended by the dowel, the text is
printed in various colors and is illustrated with Peter’s linocuts and wood types; text clean,
unmarked. PDTP224-001. Fine.

$ 650
LIMITED EDITION of 20 copies, text printed from hand-set Anglo and Verona types.
“The text juxtaposes the Latin phrase found in Euripides’s tragedy Alcestis, ‘No one
can say for certain they will still be living tomorrow,’ with lyrics from a song written by[Peter Thomas entitled ‘Live Like You’re Going to be 100.] After I completed thebook and started showing it, and while giving a talk about how the ‘great’ artists’ book- like a ‘great’ poem - will need to have many possible interpretations and layers of
meaning, I realized there was an opportunity to add one more layer to this book. Latercopies have a paper flap (made of the same stock as the inside cover paper) pasted tothe inside back cover panel behind the flap text. If that is noticed and lifted, thereader will find an additional printed page with the text ‘Amor Fati’ (Love of Fate)
printed on it, a contrasting concept espoused by Stoic Epictetus and later by
Nietzsche.” Peter Thomas. This copy, the last copy of the sold-out edition, contains
the Amor Fati quote. REFERENCE: Peter and Donna Thomas, Peter and Donna Thomas
Bibliography, No. A162. 15 copies OCLC.
https://www.johnhowellforbooks.com/product/5814
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29 [Yosemite] WHITNEY, Josiah Dwight (1819-1896). The Yosemite Guide-Book: A
Description of the Yosemite Valley and the Adjacent Region of the Sierra Nevada, and of the Big
Trees of California. [Sacramento, CA]: Published by Authority of the Legislature, 1870.
At Head of Title: Geological Survey of California, J. D. Whitney, State Geologist. 4to.

9 1/4 x 6 3/4 inches. 155, [last blank] pp. Half-title, frontispiece (Plate VIII), title page printed in red
and black inks, tables, 20 woodcut figures, 8 plates all with tissue guards (this includes thefrontispiece), two maps in pockets inside front and rear boards; text clean, unmarked, thepreliminaries are foxed, the maps have toning and small tears at folds, the rear map has chips in theouter margins. Gilt-stamped dark green cloth, brown coated end-papers; binding square and tight,
rubbed, lower corner of front board showing. KD623-014. Good.

$ 850
FIRST EDITION, SECOND PRINTING, consisting of 800 copies. Stereotyped from theplates used for the first edition, first printing. Same text and collation, but title page isdated 1870. “The most influential publications of the California Geological Survey
were the series of Yosemite guide books between 1869 and 1874. These publications
were intended to serve as tourist guides to the Yosemite region and various groves ofgiant sequoia.” Currey and Kruska, p. 50. “Although these guide-books are long outof date, they have a literary quality that preserves their value,” Farquhar, “TheLiterature of the High Sierra,” in The Quarterly News-Letter of the Book Club of California,
2 (December 1934), p. 8. The second printing of the first edition of The Yosemite
Guide-Book was stereotyped from the plates used for the first printing. Same text andcollation, but the title page is dated 1870. The Map of the Yosemite Valley was
redrawn for this printing. The two maps are present here: 1) “Map of a portion of the
Sierra Nevada adjacent to the Yosemite Valley, 24 x 33 inches, “with. J. Bien, NY. 2)“Map of the Yosemite Valley from surveys made by order of the Commissioners tomanage the Yosemite Valley and Mariposa Big Tree Grove by C. King and J. T.
Gardner, 1865.” 19 1/8 x 28 1/4 inches. Engraved & Printed by Julius Bien, NY. The
Yosemite Guide-Books were a re-working of Whitney’s The Yosemite Book (1868); in allthese works, Whitney advocated the protection of Yosemite, and was one of the firstto propose creation of a national park. REFERENCES: Currey & Kruska, Bibliographyof Yosemite, No. 61; Farquhar, Yosemite, the Big Trees and the High Sierra, No. 7c; Rocq,
California Local History, 5171.
https://www.johnhowellforbooks.com/product/5815
30 [Yosemite] KNEELAND, Samuel (1821-1888). The Wonders of the Yosemite Valley,
and of California. Boston, MA: Alexander Moore, Lee & Shepard; New York, NY: Lee,
Shepard & Dillingham, 1872. 4to. 10 1/2 x 7 inches. 98 pp. Half title, text printed within red-

ruled borders, 20 mounted albumen photographs (including the frontispiece) with tissue guards, 2maps, 3 woodcut figures, index; text unmarked, LACKS tissue guard at page 35, foxing to tissue
guards. Blind-, black- and gilt-stamped dark green pebbled cloth two medallions on front cover in
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John Howell for Books

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colors, all edges gilt; binding square and tight, rubbed, corners and spine ends showing. Bookplateof G. Ducharme on front paste-down. Date “December 25th 1872” inked on front free end-paper.
Rubber stamp in red ink on title page is mostly obscured. RARE. KD823-002. Good.

$ 17,500
THIRD EDITION, revised and enlarged, second printing with 20 original photographic
illustrations by John P. Soule as listed in the index, instead of the more commonly
found copies with only 10 photographs. Samuel Kneeland was a professor of zoology
and physiology at the Massachusetts Institute of Technology. This is one of the better
early guide books to the Yosemite region and also includes an account of traveling thetranscontinental railroad from the east coast to California and back in July 1870. Each
edition of this guide book included new information. The second edition added an
account of the 1872 earthquake, and a a section entitled “The Yosemite in 1872”
which is based on information directly supplied by John Muir, which is the first
appearance of Muir’s writings in a book. The third edition incorporates material
gathered by Kneeland during his second trip to Yosemite in the summer of 1872 andaccount of “Winter in the Yosemite Valley” and “The Yosemite Glaciers,” are basedon observations by Muir, who is quoted at length. The second printing of the third
edition increased the number of mounted photographic prints supplied by Soule from10 to 20. Photographer John Payson Soule (1828-1904), was a photographer andpublisher in Boston, MA and Seattle, WA. Soule published works by Martin M.
Hazeltine and others. The title page of this work states “With Original Photographic
Illustrations by John P. Soule. However, the photographs in this volume” haverecently been re-attributed to the photographer Martin Mason Hazeltine”(1827-1903). Soule purchased many of Hazeltine’s California negatives, copyrighted
them in 1870, and began selling them in Boston.” See: Ogden. PROVENANCE:
Gonzague Ducharme was a noted Canadian collector and bookseller. His bookstore
opened in Montreal in 1914. He died in 1950 with an inventory of more than 300,000
books in French and English. See Gerson, History of the Book in Canada, Vol. 2, p. 400.
REFERENCES: Cowan, Bibliography of the History of California, (1952 ed.), p. 131; Currey
and Kruska, Bibliography of Yosemite, No. 225; Kimes and Kimes, John Muir, A Reading
Bibliography, p. 3; Ogden “God’s Great Plow and the Scripture of Nature,” California
History, Vol. 71, No. 1 (1992), p. 99; Rocq, California Local History, 5218.
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