{"id":152,"date":"2015-05-24T04:18:42","date_gmt":"2015-05-24T03:18:42","guid":{"rendered":"http:\/\/wp.dnwfriends.nzl.org\/?p=152"},"modified":"2015-06-21T09:58:13","modified_gmt":"2015-06-20T21:58:13","slug":"nba4","status":"publish","type":"post","link":"https:\/\/dnwfriends.nzl.org\/index.php\/2015\/05\/24\/nba4\/","title":{"rendered":"NBA4"},"content":{"rendered":"

Friends of the Dorothy Neal White Collection
\nNotes Books Authors
\n1991<\/h1>\n

NOTES BOOKS AUTHORS
\nNUMBER 4
\n1991<\/h3>\n

Notes-Books-Authors
\nis edited by Trevor Mowbray
\nand published by
\nthe Friends of the
\nDorothy Neal White Collection
\nWellington
\nNew Zealand<\/p>\n

Copyright August 1991
\nISSN 0114\u20115428<\/p>\n

The Friends of the Dorothy Neal White Collection gratefully acknowledge the
\nassistance of the National Library of New Zealand in the preparation of this
\nissue of Notes\u2011Books-Authors.<\/p>\n

How Names Become People<\/h3>\n

Celia Dunlop<\/strong><\/big><\/p>\n

The aspect of research I like most is its creativity; the way every new
\ndetail fills in or leads onto another part of the puzzle and how, eventually, a
\nmere name fleshes out into a fairly rounded person. This essay is an outcome of
\nthis long research process, of gradually filling in the jigsaw about Edith
\nHowes (1872-1954) who came to New Zealand as a child, and later became one of
\nNew Zealand’s most loved children’s authors.<\/p>\n

I began this research by gathering information from published sources like
\nWho’s who, The New ZeaIand National Bibliography<\/em>, and newspaper and
\njournal articles. I then wanted to enhance the sketch that resulted, to gain a
\nfuller picture of the person Edith Howes. This was achieved in various ways: by
\nconversations with her descendants and one of her former pupils1<\/sup>; by
\naccess to collections of records about Edith Howes2<\/sup>; by responses
\nfrom people who knew her to a letter placed in The Press<\/em>
\n(Christchurch), and by browsing and fossicking. My extra information came
\nparticularly from unpublished sources like letters, family discussions, a tape,
\nand photographs, as well as newly discovered published material. There was also
\nan element of chance – like the time I came across an article by Howes that
\nexplained the love of nature and careful research which underpinned her writing
\nfor children.3<\/sup><\/p>\n

The result of this work is that I now have a reasonably comprehensive
\npicture of the author. I can now imagine her physically and in character, and,
\nthe following essay I document some of the activities she thought important or
\nenjoyed. My main sources of information in building a picture of Edith Howes
\nare indicated, where known, in the footnotes.<\/p>\n

Edith Annie Howes<\/h1>\n

From 1910-1930, Edith Howes and her contemporaries Esther Glen, Isabel
\nPeacocke, and Mona Tracy made a real impact on the New Zealand – and Australian
\n– literary scene4<\/sup>. Their books were in demand because they offered
\nchildren stories set in their own country with characters, dialogue, and
\nnatural life they could identify with, and relate to. This was an exciting
\nchange from the staple diet of English books that were strongly didactic in
\ntone, with lifestyles and settings unfamiliar to New Zealand children. A survey
\nof children’s favourite authors by the Canterbury Public Library in December
\n1926 showed that books by Howes, Peacocke and Glen were especially popular with
\ngirls.5<\/sup> Howes ranked fourth – ahead of Charles Dickens – and behind
\nonly Ethel Turner Angela Brazil, and L.M. Montgomery. Historically Glen’s books
\nare particularly important. Based on her family life including childhood
\nholidays on a South Island sheep station, these adventure stories are notable
\nfor their lack of instruction, fresh, vigorous style, and humorous realistic
\npicture of children rather than the stuffy portrayal typical in children’s
\nfiction of the day. Mona Tracy’s writing was also innovative. Her racy,
\nromantic tales showed the influence of her early life amongst Maori families
\nand featured not only strong Maori characters, but the issues of mixed
\nmarriages, loyalties and race.<\/p>\n

Edith Howes came to write for children through her work as a teacher. Her
\nfriend, Charles R. Allen noted ‘that the great body of her writing is coloured
\nwith this didactic instinct’.6<\/sup> Her aim in Nature-teaching was to
\n‘rouse interest… to give the children something simple and imaginative as
\nwell as technically correct’.7<\/sup> Between 1899 and 1917 (with the
\nexception of 1913 when she was granted a year’s leave of absence and a free
\ngovernment railway pass to gather more information for her books)8<\/sup>
\nHowes was infant mistress and headmistress at Gore Public School. Inspired by
\nNew Zealand landscapes, flora and fauna but lacking books to show children the
\nwonders and beauty of Nature, she wrote her own tales about local sea, plant
\nand insect life. Painstakingly and accurately researched but shrouded in fairy
\nfantasy, these stories lead the poetess Jessie Mackay to observe that Edith
\nHowes ‘clothed science in the green robes of Elfinland’.9<\/sup><\/p>\n

\"image<\/a><\/p>\n

\n

Edith Annie Howes as a girl<\/p>\n<\/div>\n

Howes’ first book, The Sun’s Babies<\/em> (1910) was publicly acclaimed
\nby Dr. W. B. Benham, Professor of Biology at the University of Otago. Its
\nsuccess lead to Howes being made in 1911, an honorary member of the New Zealand
\nInstitute (now the Royal Society) and the motivation to write many books that
\nwere not only popular at home but in demand internationally. They were also
\nrecognised as textbooks by Commonwealth education authorities and used widely
\nin Australia and New Zealand.10<\/sup> Some of the best remembered are
\nFairy Rings<\/em> (1911), Rainbow Children (1912), Maoriland Fairy Tales
\n(1913), The Cradle Ship (1916)<\/em> – which conveyed ‘the facts of life’ in a
\nway thought a little ‘ultra’ by some at the time11<\/sup> – ,The
\nSinging Fish (1921), The Dream Girl’s Garden (1923)<\/em> and a real New Zealand
\nadventure story set around Stewart Island,Silver Island <\/em>(1928). Howes
\nalso contributed to the Whitcombe’s Story Books series for schools and wrote
\nstories, poetry and playlets for journals including the American World
\nYouth<\/em>. Active in women writers’ groups and also writing plays for adult
\nmagazines and newspapers, she received the MBE in 1935 and the George VI
\nCoronation Medal in 1937 for her literary work.<\/p>\n

Howes’ approach to writing stemmed largely from the influence of her younger
\nbrother George (William George), a naturalist involved in establishing the
\nmarine biology centre at Portobello on the Otago Peninsula, and a Fellow of the
\nEntomological Society known for his fine, meticulous work. Edith and George
\nHowes enjoyed a life-long bond; George was Edith’s ‘great chum’.12<\/sup><\/p>\n

Following her brother’s example, Edith Howes spent much time observing and
\nrecording the plants and creatures she wrote about. Later she verified her data
\nwith the help of microscopes and authoritative texts. For The Singing
\nFish<\/em>, a story of seasshore life, she spent many months exploring the
\nbeaches and rock pools around Wellington and Stewart Island.13<\/sup>
\nPeople remember her at the Island sitting on rocks, gazing intently at the sea
\nlife around her and taking notes. The author always stayed with the Thomson
\nfamily at ‘Greenvale’ boarding house, in a room upstairs with a fireplace,
\nbasin and running water, and a glorious view across Halfmoon Bay. On one visit,
\nHowes befriended the Thomson’s ten-year-old grand-daughter, Enid.<\/p>\n

Edith wanted to make an aquarium to study sea creatures for a book she was
\nwriting, The Singing Fish<\/em>. I rowed her to the islands in the bay and
\nwe collected all the little sea creatures and took them back to Greenvale
\nwhere we had a large glass tank about two feet square and fairly deep. We had
\nbaby octopus, sea slugs, sea anemones… We fed them on pieces of fish at the
\nend of a long hatpin…they put out their tentacles and pulled the fish
\noff.14<\/sup><\/p><\/blockquote>\n

Night excursions to the bush with George gave Howes some of her most magical
\noutdoor experiences. In the following passages, she conjures up the
\nscene.15<\/sup><\/p>\n

\"image<\/a><\/p>\n

William George Howes collects insects at night<\/p>\n

The Entomologist said: “Come collecting with me tonight.” I watched his
\npreparations. Into a satchel went a brush and a jar of treacle and stale beer
\nmixed – a heady allurement, the ‘sugar’ of entomologists; into it went also a
\nchloroform bottle to bring swift and painless death to the captives, with
\nsmall boxes and tubes to hold caterpillars, beetles, eggs… An acetylene
\nlamp on his bicycle, and a butterfly net of green muslin with a jointed
\nadjustable handle completed his equipment. We set off on our bicycles for the
\nnearest edge of the bush. Its scents stole out delightfully as we left
\nbicycles and the setting sun behind us…Through the darkening tracks we
\nwaIked softly…Dusk deepened, grew stiller, more fragrant…<\/p><\/blockquote>\n

\"image<\/a><\/p>\n

Edith Annie Howes, author and teacher<\/p>\n

A swoop of the great muslin net and a dozen moths fluttered in its green
\ndepths of gauze. The brilliant light of the lamp shining through the
\nglistening mesh disclosed unexpected loveliness: tremulous moths exquisitely
\nmade, fine-limbed and feather-feelered and rose-eyed, fairy-like small
\ninhabitants of the night, all gleam and grace and balanced poise.<\/p>\n

The Entomologist turned his lamp on a tree trunk. In the broad viscid
\nstreak left by his brush, tawny moths fed, eagerly sucking up the odorous
\nsweetness of the lure…” There is so much to explore” he said…”here’s
\nanother world out in the dark…and it’s crammed with fascination.”<\/p>\n

He talked in his quiet voice of the lives of the insects, of their dangers
\nand vicissitudes, the marvels of their metamorphoses, their tragedies and
\ntriumphs until the darkness became a pulsing worId of enchantment and
\nromance.<\/p><\/blockquote>\n

This description is also indicative or the ‘romanticised
\nscience’16<\/sup> by which Howes introduced children to biology and botany
\n(but which eventually dated her work). When Charles Allen suggested that this
\napproach was foreshadowed in Charles Kingsley’s Water Babies, he received a
\nstern reproach.17<\/sup><\/p>\n

‘Dear Stodge (C.R.Allen), Do l like to be called the Charles Kingsley of
\nNew Zealand?. I do not, nor the anybody else of New Zealand. I like to be
\njust myself, not aspiring to high places, Doesn’t it strike you that there is
\na tinge of depreciation in such a title?. As if one were being labelled a
\ncopyist, or, at least, as if one wrote under the undue influence of someone
\nelse.<\/p><\/blockquote>\n

There is, of course, the name of my first book, The Sun’s Babies… I have
\nneglected to count the times someone has said, “O, Yes, Miss Howes, you wrote
\nthe Water Babies didn’t you”. …One grows tired of repudiating such high
\nhonours…Egoism you think? or the desire to retain some spark of
\nindividuality in an overpowering world.<\/p><\/blockquote>\n

Yours sincerely
\nEdith Howes<\/em><\/p>\n

This was not an isolated case of assertiveness. Edith Howes can be seen as
\nan early feminist, a member, for example, of ‘that pushful circle’18<\/sup>
\nthe New Zealand Penwoman’s Club who gave much time to the promotion of women’s
\nwriting. One event she organised was the ‘remarkable’ collection of women’s
\nwork on view at the South Seas Exhibition in Dunedin in 1926.19<\/sup>
\nHowes showed too, in her award-winning play Rose Lane<\/em> which was first
\nperformed in New Zealand in Dunedin in 1936, that she was mindful of the
\nextreme hardships endured by women plucked from their British homes and thrust
\ninto the stark primitiveness of pioneering New Zealand.<\/p>\n

Letters from people who knew Edith Howes picture her as a dainty woman with
\na crown of red-gold hair, shining eyes, and bright step. She is said to have
\nhad a ‘Peter Pan’ quality,20<\/sup> to be not unlike a fairy
\nherself.21<\/sup> Her warmth and infectious smile are especially remembered
\nby former pupils. She was also however, a disciplinarian who gave Alex Dickie
\nhis first ‘strap’. He recalls;22<\/sup><\/p>\n

What the misdemeanour was all about I just don’t remember.. but the sequel
\nhas certainly stayed with me… Way back in 1912 when we were passing back
\ninto our own room from Miss Howes singing class session, a girl comes up to
\nme, places her hand on my forearm and looking up at me with her sweet little
\nface said, ‘You got the strap’ (it didn’t really hurt) …that expression of
\nsympathy from Winnie Cullen was to remain with me all through the years.<\/p><\/blockquote>\n

Edith Howes’ teaching skills showed early. In 1888 at age sixteen she became
\nthe pupil teacher at Kaiapoi Borough School. During her four and’a half years
\nthere, ‘she did her work excellently…[and] showed very commendable diligence
\nin her teaching’. On her departure,’her sterling principles… thorough
\ntrustworthiness and skill as a teacher’ were recommended23<\/sup><\/p>\n

These qualities were further in evidence at Gore Public School. Here Howes
\nmanaged classes of 220 children assisted by only five or six young women whom
\nshe had to train herself. She also learned and gained official acceptance for
\nMontessori teaching methods and introduced other innovations for the benefit of
\nher young pupils. Alex Dickie remembers her getting a local building firm to
\nmake small individual chairs, and tables to accommodate four pupils – a big
\nimprovement on the old-fashioned forms and desks. The action concert by Howes’
\npupils to raise funds for these was ‘an event in itself. The boys and girls all
\ndressed in white made a colourful spectacle as they went through their action
\nand marching songs’.24<\/sup> Songs were an important part of Howes’
\nteaching programme. Some of her own featured in scrapbooks of games and songs
\nshe made up for the younger members of her family. In tone these ranged from
\nthe heavily instructive The Bad Little Bird<\/em>) to the ethereal,
\nSnowdrops<\/em>.25<\/sup><\/p>\n

Snowdrops, snowdrops, did the snowflakes make you?
\nDoes the spring wind come to you,
\nAnd lift you, and shake you,
\nAnd peep in your shy white bell?
\nDid the sunbeams play round you,
\nAnd laugh when they found you,
\nAnd whisper they would not tell?<\/p><\/blockquote>\n

Several letters about Edith Howes refer to her attractive homes and love of
\ngardening. In Gore, she had her home built near the reservoir on the top of
\nGore Hill. Though squarish from the outside, the house inside was intriguing
\nwith a central room leading to others which captured the sun and housed hot
\nplants. Howes built sod walls rather like stone walls in England, around this
\nhouse, and grew daisies and primroses all over them.26<\/sup> Later in
\nDunedin she lived in a long cottage at 35 Rawhiti Street, Sunshine, a ‘bright
\nlittle home that seemed to speak of her personality.27<\/sup> Here, Howes
\nhosted dances and play readings for both younger and adult circles. Roey Winn
\nrecalls that the property’s steep section was terraced and gay with
\nnasturtium-coloured flowers… the same shades were in the house and in the
\nglassed-in porch…There were hanging baskets of nasturtiums.28<\/sup> At
\nher last home in Motu Street Dunedin, Howes created a smaller but similarly
\nvibrant garden.<\/p>\n

Gardening and entertaining were just two of her loves. She also found time
\nfor woodwork, to sew, paint, cook. and latterly, to play bridge. It seems that
\nEdith Howes was a woman of ‘rare charm’29<\/sup> and enterprise who loved
\nlife, made the most of it and brought much pleasure to others, particularly the
\nyoung readers of her books. While her books are saccharine by modern standards,
\nit has to be remembered that with Esther Glen, Isabel Peacocke, and Mona Tracy,
\nshe paved the way for an indigenous literature which has gradualy blossomed
\ninto the exciting developments in New Zealand children’s books that are very
\nmuch in evidence today.<\/p>\n

1. The assistance of Mr. E.T. Beardsley in taping a discussion with his
\nmother, Mrs Connie Beardsley, an early pupil of Howes, is gratefully
\nacknowledged.
\n2. The co-operation of Mrs Dorothy Thomson, Mrs Claire Schoon, and Sally Schoon
\nis gratefully acknowledged; also the assistance of material by the late Eileen
\nSoper.
\n3. Howes, Edith ‘An Enchanted Evening’ The Wooden Horse Vol. 1. No. 2
\n(July) 195O.<\/em>
\n4. I have written biographical essays on Edith Howes, Mona Tracy, and Isabel
\nPeacocke for the Book of New Zealand Women<\/em> and I am currently
\npreparing an in-depth profile of Esther Glen.
\n5. Is Yours Here?. Children’s Favourite Authors’ Sun<\/em> (Christchurch) 16
\nApril, 1927. p.20.
\n6. Allen. C.R. ‘Miss Edith Howes M.B.E.’ Newspaper clipping. unsourced. Likely
\nsource Otago Daily Times ca.1935-1936. Collection of Dorothy Thomson.
\n7. M.E.F. ‘Miss Edith Howes’ The Lone Hand<\/em> 2 Februay 1914. p.171.
\n8. ibid.
\n9. Art in New Zealand<\/em> March, 1929. p.165.
\n10. Grinling. A.H. ‘Edith Howes’ The Bookman<\/em> December.1914. p.70.
\n11. Allen. C.R. op. cit.
\n12. Grinling. A.H. op. cit. p.69 Also, Dorothy Thomson has repeatedly mentioned
\nthis special bond.
\n13. Phillips, Enid B.V. ‘New Zealand’s Rich Store of Children’s Books’ New
\nZealand Journal of Agriculture<\/em> December, 1948, p.631.
\n14. Enid (surname unverified) Letter to Eileen Soper. 3 July 1983.
\n15. Howes, Edith op. cit. pp. 18, 19.
\n16. Allen. C.R. op. cit.
\n17. Stodge ‘A to Z in New Zealand Letters’ The Wooden Horse<\/em> Vol.2,
\nNo.4 [1951], p. 18.
\n18. The Recorder ‘Progress of a Penwoman’ Aussie<\/em> October 15 1926, New
\nZealand Section, p.VIII.
\n19. Taraire ‘Edith Howes’ Aussie<\/em> April 15 1926, New Zealand Section,
\np.XII.
\n20. Winn, Roey (Aroha) Letter to Celia Dunlop 22 December 1989.
\n21. Robertson M.B. ‘Edith Howes. M.B.E.’ Woman Today<\/em> Vol.2 no. 1 1938
\np.304.
\n22. Dickie. Alex Letter to Eileen Soper, 16 July 1983
\n23 Chairman. Kaiapoi Borough School Testimonial, 8 October, 1894<\/p>\n

24. Dickie, Alex op. cit.
\n25. Howes, Edith From a family scrapbook. Collection of Claire Schoon.
\n26. Beardsley, Connie A memory, recorded in a letter from Eric Beardsley to
\nCelia Dunlop. 7 January, 1990.
\n27. Allen, C.R. op. cit.
\n28. Winn, Roey (Aroha) op. cit.
\n29. ‘Edith Howes – The Fairy Godmother’ Newspaper clipping, unsourced
\nCollection of Dorothy Thomson.<\/p>\n

\n
EDITH ANNIE HOWES (1874-1954)
\nA bibliography of her works for children
\nCompiled by Joan McCracken, 1991.
\nWith thanks to Mary Atwood and David Reeves for their assistance.<\/h5>\n

This bibliography lists all the books for children by Edith Howes that could
\nbe found in theNew Zealand National Bibliography, the Australian National
\nBibliography<\/em>, Ian McLaren’s Whitcombe’s story books: a trans-Tasman
\nsurvey<\/em> (Melbourne. 1984 and Supplement. 1987), and the catalogues of the
\nAlexander Turnbull Library and the National Library’s Children’s Historical
\nCollection. The holdings of both of these collections have been noted. Many of
\nEdith Howes’ stories were published as Whitcombe’s story books and reprinted a
\nnumber of times. Often these reprints had different covers although the text
\nand illustrations remained the same. The Whitcombe’s numbers for these separate
\nprintings (eg G3605) are given at the end of the entries. McLaren’s
\nbibliography gives a full history of Whitcombe’s story books and a full listing
\nof their dates of publication. Other Edith Howes’ books were also reprinted in
\nformats different from their first editions. These reprint dates are given
\nwhere known.<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
TITLE<\/td>\nHELD BY<\/td>\n<\/tr>\n
Cradle ship,illustrated by Florence May Anderson. London: Cassell
\n[1916]
\nReprints: 1916, 1918, 1920, 1922, 1924, 1925, 1926, 1927, 1929, 1930
\n1933, 1936<\/td>\n		ATL DNW 1916 1916 1936<\/td>\n<\/tr>\n
Cradle ship, illustrated by Florence May Anderson. 1st Australian ed.
\nMelbourne: Cassell. 1944 3d Australian ed. Melbourne: Cassell. 1946<\/td>\n		DNW 1946<\/td>\n<\/tr>\n
The dream-girl’s garden, [illustrated by D. Osborn]. London: Ward
\nlock, 1923<\/td>\n		ATL DNW<\/td>\n<\/tr>\n
Drums of the sea: the story of Captain Cook. [illustrated by D.
\nGibson]. Auckland: Whitcombe & Tombs [1952] (Whitcombe’s story book
\nno.572) (G3605)<\/td>\n		ATL DNW<\/td>\n<\/tr>\n
The enchanted road, illustrated by Janet Smalley. New York: William
\nMorrow, 1927 Reprints:1927,1928,1929,1934<\/td>\n		ATL 1934<\/td>\n<\/tr>\n
Fairy rings, illustrated by Frank Watkins. London: Cassell, 1911
\nLater reprints including 1 921<\/td>\n		ATL DNW? 1911 1911 1921<\/td>\n<\/tr>\n
The golden forest, illustrated by M. Lee Thompson. London: Dent, 1930<\/td>\nATL DNW<\/td>\n<\/tr>\n
Little make-believe and other stories, illustrated by Alice Polson.
\nAuckland: Whitcombe & Tombs E1 91 9]<\/td>\n		ATL DNW<\/td>\n<\/tr>\n
Little make-believe. [illustrated by Alice Polson]
\nAuckland: Whitcombe & Tombs [ca.1921] (G37235) Whitcombe’s story
\nbook no.205) Reprints: 1924(G42454),1925(GQ3521),1933(G339)
\n1939(G1623), 1945(G2990), 1948(G3526)<\/td>\n		ATL DNW 1939 1945 1948 1948<\/td>\n<\/tr>\n
Lizzie Limpet and other stories, [illustrated by M. Matthews].
\nAuckland: Whitcombe & Tombs [1928] (G43284) Whitcombe’s story book
\nno.431 )<\/td>\n		ATL DNW<\/td>\n<\/tr>\n
The long bright land: Fairy tales from southern seas, illustrated by
\nDorothy P.Lathrop. Boston; Little Brown, 1929<\/td>\n		ATL<\/td>\n<\/tr>\n
The lovely lady and other stories. [illustrated by M. Mathews].
\nAuckland: Whitcombe & Tombs [1928] (G43282) 1928 Whitcombe’s story
\nbook no.337) Reprints: 1939(G1620)<\/td>\n		ATL<\/td>\n<\/tr>\n
Maorland fairy tales. London: Ward Lock 1913
\nReprints: 1913, 1916, 1920, 1936, 1939, 1950, 1952, 1958<\/td>\n		ATL DNW 1913, 1916, 1920, 1936, 1939, 1950, 1952,
\n1958<\/td>\n<\/tr>\n
Mrs Kind Bush, illustrated by Anne Anderson. London: Cassell
\n[1933]<\/td>\n		ATL DNW<\/td>\n<\/tr>\n
More tales of Maori magic. [illustrated by M. Inglis] Auckland:
\nWhitcombe & Tombs [1931] ([G48428]) Whitcombe’s story book
\nno.435)
\nReprints:1953(G3725), 1957(G4535)<\/td>\n		ATL DNW 1931, 1953, 1953, 1957, 1957<\/td>\n<\/tr>\n
Out in the night, [illustrated by M. Matthews]. Auckland: Whitcombe
\n& Tombs [1928] (G43283) Whitcombe’s story book no.534)<\/td>\n		ATL DNW<\/td>\n<\/tr>\n
The poppy seed and other nature stories [illustrated by B.J.
\nParlane]. Auckland: Whitcombe & Tombs [1925] (G39733) Whitcombe’s
\nnature story book no 213) Reprints: 1926(G46557) 1928(G50013) 1937
\n(G998) 1943(G2679)<\/td>\n		ATL DNW 1928 1928 1937 1943<\/td>\n<\/tr>\n
The rainbow, [illustrated by Gwyneth Richardson] Auckland: Whitcombe
\n& Tombs [ca 1922] (G39380) 1924 (G42451) Whitcombe’s story book no
\n105) Reprints: ca. 1923(G39380), 1924(G42451),
\n1927(GG48129),1936([G908]), 1943(G2576)<\/td>\n		ATL 1922 1927 1936<\/td>\n<\/tr>\n
Rainbow children, illustrated by Alice B. Woodward. London: Cassell.
\n1912<\/td>\n		ATL DNW<\/td>\n<\/tr>\n
Riverside Family, illustrated by McGregor Williams. London Collins
\n[1944]<\/td>\n		ATL DNW<\/td>\n<\/tr>\n
Safe going, [illustrated by M. Matthews] Auckland:Whitcombe &
\nTombs 1931 ([G52452]) – Whitcombe’s story book no.543)<\/td>\n		ATL DNW<\/td>\n<\/tr>\n
Sandals of pearl, illustrated by Audrey Chalmers. London: Dent
\n[1929]<\/td>\n		ATL DNW<\/td>\n<\/tr>\n
Silver island: a New Zealand story, illustrated by Kathleen W.
\nCoales. Auckland: Whitcombe & Tombs, 1928<\/td>\n		ATL DNW<\/td>\n<\/tr>\n
Silver island. [illustrated by Gwyneth Richardson]. Auckland:
\nWhitcombe & Tombs [1938] (G 1257) 1938 (Whitcombe’s story book
\nno.553) Reprints: 1944(G2744) 1951(G3732)<\/td>\n		ATL 1938 1944 1951<\/td>\n<\/tr>\n
Silver island. illustrated by Alan Gilderdale. Auckland: Hodder &
\nStoughton, 1983 (Kotare Books)<\/td>\n		ATL<\/td>\n<\/tr>\n
The singing fish. illustrated by Florence May Anderson. London
\nCassell [1921 ]<\/td>\n		ATL DNW<\/td>\n<\/tr>\n
Snowdrop [retelling] [illustrated by Gwyneth Richardson] Auckland:
\nWhitcombe & Tombs. [ca.1922] (G37400) (Whitcombe’s story book
\nno.103) Reprints: ca. 1923(G38965) 1924(G42431), 1926(G45541)
\n1934(G379) 1939(G1 460),1944(G2858)<\/td>\n		ATL DNW 1939 1939 1944<\/td>\n<\/tr>\n
The sun’s babies. illustrated by Frank Watson. London: Cassell, 1910
\nReprints 1922<\/td>\n		ATL DNW 1910 1910 1922<\/td>\n<\/tr>\n
Tales of Maori magic: Book 1, illustrated by M. Inglis. Auckland:
\nWhitcombe & Tombs [1928] (G47182) (Whitcombe’s story book no.428)
\nReprints: 1938(G1383), 1953(G3724)<\/td>\n		ATL DNW 1928 1 953<\/td>\n<\/tr>\n
Willie Wagtail and other tales. [illustrated by M. Mathews].
\nAuckland: Whitcombe & Tombs [1929] (G43286) (Whitcombe’s nature
\nstory book no.430)<\/td>\n		ATL DNW<\/td>\n<\/tr>\n
Wondewings and other fairy stories, illustrated by Alice Polson.
\nAuckland: Whitcombe 8 Tombs [1918]<\/td>\n		ATL DNW<\/td>\n<\/tr>\n
Wondewings and other fairy stories, illustrated by Alice Polson.
\nAuckland: Whitcombe & Tombs [ca.1921] (G32658) (Whitcombe’s nature
\nstory book no.203) Reprints: ca.1921 (G33066) ca.1921 (G37234)
\n1924(G42391) 1925(G43526),1927([G47870]) ca.1932(G246), 1939(G1393)
\n1942(G2453)
\nNB: The word ‘fairy’ does not appear in the title of all – reprints<\/td>\n		ATL DNW 1927 1939 1939<\/td>\n<\/tr>\n
The world so full. London: Cassell, 1922<\/td>\nATL<\/td>\n<\/tr>\n
Young pioneers. [illustrated by G. M. Richardson] Auckland: Whitcombe
\n& Tombs [1934] (G52671) (Whitcombe’s story book no.545) Reprint:
\n1940(G1780)<\/td>\n		ATL 1934<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
The Society of Friends of the Dorothy Neal White Collection Inc
\n1990-1991<\/h5>\n\n\n\n\n\n\n\n\n\n\n\n
Patron<\/td>\nDorothy Ballantyne<\/td>\n<\/tr>\n
President<\/td>\nMary Hutton<\/td>\n<\/tr>\n
Secretary<\/td>\nMary Atwool<\/td>\n<\/tr>\n
Treasurer<\/td>\nTrevor Mowbray<\/td>\n<\/tr>\n
Committee<\/td>\nAudrey Cooper<\/td>\n<\/tr>\n
<\/td>\nLorraine Crozier<\/td>\n<\/tr>\n
<\/td>\nAlison Grant<\/td>\n<\/tr>\n
<\/td>\nCarmel Jones<\/td>\n<\/tr>\n
<\/td>\nJoan McCracken<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

The Society of Friends of the Dorothy Neal White Collection Inc
\nDorothy Neal White Room
\nNational Library of New Zealand
\nTe Puna Matauranga 0 Aotearoa
\nCnr Molesworth Street & Aitken Streets
\nPO Box 1467
\nWellington 6000
\nNew Zealand<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Friends of the Dorothy Neal White Collection Notes Books Authors 1991 NOTES BOOKS AUTHORS NUMBER…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3],"tags":[],"_links":{"self":[{"href":"https:\/\/dnwfriends.nzl.org\/index.php\/wp-json\/wp\/v2\/posts\/152"}],"collection":[{"href":"https:\/\/dnwfriends.nzl.org\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/dnwfriends.nzl.org\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/dnwfriends.nzl.org\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/dnwfriends.nzl.org\/index.php\/wp-json\/wp\/v2\/comments?post=152"}],"version-history":[{"count":4,"href":"https:\/\/dnwfriends.nzl.org\/index.php\/wp-json\/wp\/v2\/posts\/152\/revisions"}],"predecessor-version":[{"id":814,"href":"https:\/\/dnwfriends.nzl.org\/index.php\/wp-json\/wp\/v2\/posts\/152\/revisions\/814"}],"wp:attachment":[{"href":"https:\/\/dnwfriends.nzl.org\/index.php\/wp-json\/wp\/v2\/media?parent=152"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/dnwfriends.nzl.org\/index.php\/wp-json\/wp\/v2\/categories?post=152"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dnwfriends.nzl.org\/index.php\/wp-json\/wp\/v2\/tags?post=152"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}