LOOK INSIDE: By Western Hands

Functional Art from the Heart of the West BY WESTERN

HANDS

Over the last thirty years, human activities and cultures have changed dramatically as the digital world allows all of us to enjoy faster and easier communication and transportation, unlimited sources of immediately accessible information and an insatiable appetite for quick satisfaction of our needs and wants.

As our world accelerates and changes at light-speed pace, our society is beginning to realize and appreciate the design talents and hand skills of artisans and their resulting art, much — though not all — of which have been affected by our binary revolution.

We believe that as designs, tools, and skills are taken over by technological advances to improve production costs, handcrafted works of art are becoming increasingly desirable and collectible. ‘Made by Hand’ brings the artisan and patron into a personal relationship. The artisan benefits from knowing that their work is desirable and appreciated by patrons, and the patron is fulfilled because they have purchased an original work of art. Additionally, in living with the art, patrons can appreciate and marvel at the artisan’s vision and skill on a daily basis. All the while, the patron knows they are only a temporary steward, one whose role is to preserve this art and thus enrich the next generation.

By Western Hands is honored to be the organization that sustains and educates the next generation of functional artisans of the American West. We are privileged to provide patrons of the arts with works by the most talented and skilled artisans of handcrafted American Western functional art over the last thirty years, as well as those creating today as members of By Western Hands.

We trust that this beautifully composed resource book, authored by Chase Reynolds Ewald, designed by Scott Morrison, and published by Goff Publishing, will be valued by patrons, architects, designers, and educators. We intend for it to inspire artisans and their interns and apprentices for decades to come.

We thank the many committed supporters who have so generously donated their time and financially supported the creation and publication of By Western Hands. And we welcome visitors to our gallery and museum in Cody, Wyoming — our place in the West where a 100-year legacy of fine art and traditional craftsmanship continues to flourish on the eastern edge of Yellowstone National Park.

Harris Haston Chairman, Board of Directors

By Western Hands

FOREWORD

When William F. “Buffalo Bill” Cody and his business partner and friends founded the town of Cody, Wyoming, in 1896, they had a vision of the community as not just a tourist town at the east entrance to Yellowstone Park, but as an artist community set within a beautiful, inspiring setting. Growing up in Cody I was influenced by this vision.

I was raised in a family of aesthetes. They appreciated beauty and knew quality. The furniture and furnishing of our lives in the West were and are a mix of from where and whom we have come. There are family heirlooms, antiques, and art. Every item has a story of the people who owned the pieces and/or who made them. There is an appreciation of history — of the past. And sprinkled amidst the history is contemporary craft and reimagined design.

In the 1940s in Cody my grandparents were friends with Thomas and LaVerne Molesworth. They enjoyed each other’s company and contributed to the culture of their community. My granddad and Tom loved to play cards and share happy hours together. In 1954 my granddad commissioned Tom to create a roomscape in the main room of the family ranch. It was his twenty-fifth-anniversary present to my grandmother. Although she was more interested in Victorian décor, she came to love it and was completely at home as she hosted family and guests in her “New West” room. Almost seventy years later it is still the place where our family gathers. It was and continues to be a setting made for conversation, games, and sharing.

The ranch is traditional, quintessentially western design. Log buildings are scattered throughout the property. Inside it is decorated with pieces that speak of style born of location, a confluence of diverse cultures, and a love of place. When I travel throughout Wyoming and the West visiting various homes and ranches, that same theme resonates for me. It is a sense of place and a love of place that informs western design, just as it helps define the independent spirits of the people who inhabit this country.

Western design uses natural materials inspired by location. It is the materials, and the spirit of the artisan who brought them together, that defines western design for me. It is living with the past, present, and future all at once.

Sue Simpson Gallagher

Simpson Gallagher Gallery, Cody, WY

“Mom loved riding but she didn’t really enjoy going to the ranch. It was in tough shape; it had been a dude ranch and was bought at a sheriff’s sale. But Dad had grown up spending time there and loved it. Dad said to Tom Molesworth, ‘Moley, Lorna doesn’t really relish this room; just do it up.’ He took her up there on their 25th anniversary, threw open the doors and she was trapped. There have been many word sessions of sharing and transparency in that room, there have been tears and cheers and lots of things...”

Comet Hale-Bopp tracking the night sky over Old Trail Town in Cody, Wyoming, April 1997.

© Dewey Vanderhoff

— Alan K. Simpson

RUSTIC TRADITION

By Terry Winchell

As a young kid growing up in Eastern Wyoming/ Western Nebraska, some of my favorite times were those spent visiting our national parks and national monuments. My favorite of all places was Mount Rushmore and Custer State Park. I grew to love the log buildings with all their rustic furnishings and their connection to nature and the surrounding environment.

It became a dream of mine to live in the mountains and enjoy the synergy between environment and our surroundings. This became reality in 1980 when I moved to Jackson, Wyoming. At the time, forty-plus years ago, Jackson was still very much a summeronly tourist town near Yellowstone and Grand Teton national parks. There were still numerous dude ranches, most of them inholdings within Grand Teton National Park. Most of the ranchers had sold their property to the park but were allowed to stay and operate their ranches until they died.

We opened Fighting Bear Antiques in 1981 and managed to make it though the early years by operating a general-line antique shop. This all started to change as some of the guest ranches, such as the Bar BC and White Grass, were forced to close and sell off their contents. I had begun to really appreciate

the rustic handmade furniture that graced many of these ranches. Since Jackson had no rail spur, the ranchers had rustic furniture made to fill their lodges and cabins. It was also a way to bring the outside environment into the interior of the cabins. This connection with nature became very important as people fled polluted cities to vacation or live in the clear mountain air.

I well remember my first piece of rustic furniture, which I still own. I bought a wonderful tall

combination wardrobe/desk made by Albert Gabbey who owned the Square G Ranch, near Leigh Lake in Grand Teton National Park. Made entirely of lodgepole pine, the surface is covered in a mosaic twig style with handmade drawer pulls and latches. At the time I did not know the inspiration for the piece, but several years ago I bought Albert Gabbey’s library and there was a great book, titled Rustic Carpentry, by Paul N. Haskuck and printed in England in 1890, that I am sure inspired the design. I am sure Gabbey spent a long Jackson Hole winter preparing all of the small poles to cover the exterior. This started a love affair with western furniture that has never ended.

So the story begins…

In 1988 I was called to go look at an estate that had been left by Eileen Hunter to our local school district and hospital. Hunter Hereford Ranch was an inholding in Grand Teton National Park that had a great log lodge and several guest cabins with 360-degree views of the Grand Tetons. The interior of the lodge was filled with pole furniture, couches, chairs, and tables with robust colored leather in neon green, raincoat yellow, and red. Navajo rugs covered the floors and walls, along with western paintings and photographs.

Although I did not know who had made the furnishings, I knew that I loved them and would have to own them. I purchased all of the contents and soon found out who’d made them. The owners had purchased all of the furniture at Gump’s Department Store in San Francisco right after World War II and had it delivered to their ranch, not knowing at the time that it had come from Cody, Wyoming, a mere ninety miles away. Tom Molesworth himself came to help install the furnishings and Navajo rugs. Molesworth even sold them the curtains, which had been custom loomed in England with western patterns. My first

collection of Molesworth furniture was an extensive one. Molesworth provided the lighting, fireplace screens, and even the china.

I quickly learned all that I could about the Shoshone Furniture Company and Thomas Molesworth, and the success of Thomas Molesworth as a businessman became quickly apparent as I traveled the country buying collection after collection of almost 4,000 pieces to date.

Thomas Molesworth first became acquainted with rustic furniture while living in Billings, Montana and working at Rowe Furniture. Billings had an active group of woodworkers and hobbyists. In an early photo from the 1930s, Molesworth is pictured along with E.W. Keene at the 4-K Ranch in Dean, Montana. The 4-K (Keene’s Kozy Kabin Klub) was a weekend retreat, not far from Billings. E.W. Keene built a large lodge and a number of weekend cabins and furnished

INTERIOR WEST: DECORATIVE ARTS IN THE HOME

From the earliest days, western furniture has been about practicality — no doubt starting with logs being dragged over to the campfire to make do as seats. Western functional art, on the other hand, has been about crafting an environment and creating an atmosphere. (If furniture maker Thomas Molesworth could have taken a page from architect’s Frank Lloyd Wright’s book — if he could have designed not just the furniture, but the dishes for entertaining, and even the outfit the hostess would wear when welcoming guests — he no doubt would have leapt at the opportunity.) But the experience of handmade rustic furniture goes well beyond its totally immersive quality and the overall effect of a room, from the anchoring statement pieces to the smallest details and varied textures of fur, leather, beadwork, and fringe. The work’s made-by-hand nature imparts an ineffable quality that elevates the lived experience. Whether the visitor knows the work is handmade is irrelevant. Handmade works are by their very nature tactile, unique, and possessing of some intangible character that conveys honesty and authenticity. And in some way, whether subtle or overt, they speak to the grand spaces of the American West and they bring the natural world indoors.

When a house is designed around an existing collection of western furniture, as happened with Carolyn and Scott Heppel’s Montana home, the result is the ultimate crafted environment. In 1994 the Memphis-based couple had purchased property but not yet hired an architect when they came across the work of furniture maker Jimmy Covert. When Carolyn called Covert Workshops to inquire about a commission, she recalls, “Lynda said, ‘Jimmy likes to know the people he makes furniture for.’” If they wanted him to build for them, they’d need to come to Cody. Once they’d arrived, as is the way in Cody, one introduction led to another. They met with the Coverts, Mike Patrick, Lester

Santos, and John Gallis; toured workshops; and started commissioning pieces. Over the ensuing years, they added works by many additional artisans. Meanwhile they started acquiring a wide variety of western art in subjects ranging from landscapes and wildlife to Native American scenes and Edward S. Curtis photogravures. By the time the house was nearing completion, eighty percent of the furniture had been hand built specifically for its purpose. In the

office alone, Jim Covert made two desks and a chair, Brad Greenwood built a table, John Gallis built a coffee table and small side chair with ‘boot’ stitching, and Chris Chapman created a leather console table. A bronze moose sculpture by Tim Shinabarger, an antler floor lamp and mooseantler chair by Dan MacPhail, and an original Thomas Molesworth barrel chair complete the space. The interiors are thoughtfully conceived, with livability as high a priority as aesthetics.

“One of our goals was to make it a comfortable house,” explains Carolyn. “We bought the furniture to live in. It was designed to be used, and after twenty-five years, it’s held up really well. And what’s the point of having these things if you don’t use them and love them?”

Beyond the functionality, adds Scott Heppel, the personal relationships with the makers add a layer of meaning and significance that’s impossible to quantify. “We’re well acquainted or good friends with everyone who made our furniture,” he says, “and that has kept us collecting. We love the furniture and want to keep supporting this form of art.”

A suite of bedroom furniture by Scott Armstrong includes a contemporary western vanity; hand-stitched ottoman with hand-cut fringe by Anne Beard.

Like the Heppels, a Nashville couple also started collecting furniture before building their western home. It’s been a process that has now lasted more than twenty years. After visiting a Cody dude ranch, they found they really enjoyed the people, the lifestyle, and the contrast to their life in Nashville. They bought their first piece of western furniture in 2000 and purchased land a year later. By the time they built their house in 2003, they’d fostered quite a few friendships and had started a significant collection of works from the artisans of By Western Hands, along with an equally comprehensive collection of western art. For some years, recalls the wife, “Every time we needed a piece of furniture we’d simply touch base with the craftsman we

Right: In Terry and Claudia Winchell’s Jackson Hole living room, a circa 1935 Monterey Furniture sofa with a Scott Armstrong coffee table and Covert Workshops table set between Roche Bobois orange upholstered chairs. Terry Winchell made the corner table. In the dining room, table and chairs by Scott Armstrong, china cabinet by Covert Workshops.

BY WESTERN HANDS ARTISANS

Appliqued and embroidered chair with nesting footstools, winner of the 2002 Switchback Ranch Award. Wool gabardine, deer-hide fringe, and tassels.

“I’m inspired by the landscape and wildlife of the West, the working-ranch lifestyle, my garden, old photographs, advertising — everything, really. This magpie approach to inspiration has resulted in a voluminous folder of ideas I will probably never get to, but because I only create one-of-a-kind pieces ensures I will never repeat myself.”

Wool gabardine appliqued and embroidered hearth screen accented with pictorial nail heads and backed with stamped leather.

Elaborately appliqued and embroidered wool gabardine coffee table ottoman accented with whipstitched welt and leather fringe.

JENNY BOOTH

A lifelong outdoorswoman and former competitive equestrian, Jenny Booth grew up in Pennsylvania and headed west at a young age to work on ranches. Having lived in several mountain states, she now lives and works in Burlington, Wyoming. Jenny started experimenting with her art in 1985. Her first works were belt buckles and bolo ties from elk-antler ‘burls’ (the wide piece at the base of an antler). She progressed to increasingly difficult and ambitious projects, culminating in such recent works as an elk antler candelabra hand carved entirely in a classic Sheridanstyle leatherwork pattern. She draws inspiration from animals and nature, but also from leather artists; in another candelabra project, for instance, she inlaid tooled leather into elk antlers. She considers Keystone Joni her signature piece. The longhorn skull is carved in its entirety, including both horns, in an intricate, flowing pattern that speaks to the life force of the animal. These pieces are technically demanding, physically grueling, and incredibly time consuming. And they allow no room for error. Rather than repeating ideas, Jenny loves developing a concept over a long period of time then executing it with precision and grace, honoring the materials she collects from the mountains that inspire her.

Naturally shed carved Wyoming elk antler with hand-tooled leather inlay finished with antique sterling-silver candleholder cups.

Keystone Joni is a longhorn skull carved entirely tip to tip in a classic Sheridan style on the skull and in an acanthus-leaf pattern with dogwood flowers on the horns. Finished with custom-tooled leather cuffs.

“Nature is always the best teacher.”

Walnut hutch with doors featuring walnut feathers and hand-carved raised panels.

Maple dresser with burl legs, antler knobs, and routed and hand-painted panels.

Walnut and juniper desk with pencil tray made from mulberry, one-piece walnut top, and mulberry drawer fronts. Antler pulls and hand-carved edges on desk top.

Bridle bit with inlaid gold and sculpted high-relief metalwork.

Sterling-silver bolo with high-relief engraving.

Buckaroo spurs with heart piercings, silver inlays, and nitrate blue finish.

Inlaid silver California-style spade bit.

ABOUT THE AUTHOR

Chase Reynolds Ewald first discovered the work of furniture-designer Thomas Molesworth when she came to Cody at age eighteen to work at Valley Ranch, located in the fabled Upper South Fork Valley of the Shoshone River. Three summers spent in the Molesworth-decorated log cabins, as well as the Washakie Wilderness backcountry, led directly to the work she has done since, which includes fifteen books, two Western Design Conference Sourcebooks, and hundreds of magazine articles for westernlifestyle publications.

Chase has worked on various ranches and for backcountry outfitters in the Yellowstone region and ran the nonprofit Breteche Creek Ranch in Wapiti, Wyoming, for eight years. A graduate of Yale and the Graduate School of Journalism at U.C. Berkeley, she works as a consultant and writer, helping private clients craft their stories. She was present at the first Western Design Conference thirty years ago and has been writing about the artisans of By Western Hands — and their commitment to time-honored techniques and quality craftsmanship — ever since.

ABOUT THE DESIGNER

A fifth-generation Montanan, Scott Morrison began an outdoor career as a wrangler and fly fishing/ hunting guide at the historic Valley Ranch. Scott continued as a guide in Wyoming and Idaho before finding his niche in graphic design and combining his passion for the outdoors with his artistic talents. Along with his wife, Gina Morrison (a Cody native whom Scott met at Valley Ranch), Morrison Creative Company (MC²) was founded in 1995 in Bozeman, Montana, as a full-service creative agency. In 2005, MC² moved back to Cody where the Morrisons raised their two children. Today, Morrison Creative is happily at home in Livingston, Montana.

MC² combines a thirty-plus-year legacy of creative work specializing in the outdoor industry. MC² offers graphic design, branding, photography, illustration, packaging and more for a wide variety of brands and clients on a national and international basis. Scott currently designs Tail Fly Fishing magazine, Strung magazine, the BTT Journal, and is designer and editor of Wild SheepTM magazine and has contributed design, editorial, photographic and advertising content to hundreds of magazine titles, publications and books. www.morrisoncreative.com

Chase, Scott, Gina and BWH-artist Jenny Booth met and worked together in the early 1980s at Valley Ranch. They have remained close over the years as their respective lives and careers have diverged — and now have coalesced together again in this book.

SUE SIMPSON GALLAGHER

A fifth-generation Wyomingite, in 1994 Sue Simpson Gallagher returned to her hometown of Cody, where she and her husband, John Gallagher, opened Simpson Gallagher Gallery. There they feature some of the finest representational art and artists in America with a focus on plein-air landscape painting. Sue holds a B.A. in art history from Colorado College and a master’s degree in art history from Columbia University. She was the first Curator of Art at the National Museum of Wildlife Art in Jackson, Wyoming, and spent three years researching and writing a television program on the Hermitage Museum in Russia. Past chairwoman of the Buffalo Bill Art Show & Sale and a former member of the Advisory Board of the University of Wyoming Art Museum, the Wyoming Arts Council and the Park County Arts Council, Sue has co-chaired the Cody Culture Club and is a member of the Cody Public Arts Committee. She currently serves as a trustee for the National Museum of Wildlife Art and as an Advisory Board member of the Whitney Museum of Western Art at the Buffalo Bill Center of the West.

WALLY REBER

Originally from Minnesota, Eugene W. “Wally” Reber is a graduate of the University of North Dakota, with degrees in art and art history, and a Vietnam veteran and former infantry captain. Reber joined the Buffalo Bill Center of the West (formerly the Buffalo Bill Historical Center) in 1981 as its first public relations/development director and went on to serve three times as the Center’s interim director. In addition to a long career as the Center’s Associate Director, he designed more than twenty special exhibit installations including Interior West: the Craft & Style of Thomas Molesworth, an exhibit that kindled renewed interest in rustic western furniture and which he co-curated. Now retired, Reber remains passionately involved with traditional and contemporary craft art of the West and currently volunteers as Curator of Cody’s By Western Hands museum.

TERRY WINCHELL

Terry Winchell grew up in western Nebraska/eastern Wyoming. His love affair with Native Americana and ranch-style furniture started when he visited Colonel Cook with his grandfather and saw Colonel Cook’s amazing collection. He founded Fighting Bear Antiques in Jackson, Wyoming, in 1978. Today the business specializes in rustic western furniture, Native American artifacts and Plains Indian beadwork, Navaho textiles, Mission furniture such as Stickley, Limbert and Roycroft, and western lodge furniture, including Thomas Molesworth. Terry is the author of Molesworth; the Pioneer of Western Design and the co-author of Living with American Indian Art: The Hirschfield Collection. He and his wife, Claudia, continue to run Fighting Bear Antiques in a log cabin located a few blocks from downtown Jackson.

ACKNOWLEDGMENTS

By Western Hands; Functional Art from the Heart of the West, represents the culmination of a year of work by a dedicated team. But more than that, it represents decades of commitment from a band of artisans and their supporters, going all the way back to the early 1991 when a small group of Cody artisans decided to get together and exhibit their work in the Irma Hotel under the banner of the Master Artisans Guild. To those who have been in it since the beginning — and to those who were there in the beginning and are no longer with us — this is for you.

A special thank you to collectors and supporters, including Harris Haston and Carlene Lebous, Scott and Carolyn Heppel, and Trevor Rees-Jones. We are also grateful to the By Western Hands artisan members who give so generously of their time, whether opening their workshops to visitors, helping host events, teaching their craft to aspiring makers, or leading demonstrations. We also owe a huge shout out to the many volunteers who keep the By Western Hands gallery staffed and open to the public all year round. We literally could not do it without you.

This book would not be what it is without the writings of Thomas Molesworth experts Terry and Wally Reber and author Elizabeth Clair Flood, whose 1992 book Cowboy High Style; Thomas Molesworth to the New West captured the early days of this nascent group. They have contributed so much to the scholarship surrounding Molesworth’s legacy and the Cody School of western functional art. Special thanks goes to Allison Merritt, Executive Director of the Western Design Conference, who has carried the torch for western functional art in Jackson Hole with passion and positivity for fifteen years.

As for the Simpson family, who have represented Cody and Wyoming to the world so ably and colorfully for so many years, and whose story is so closely aligned with that of Thomas Molesworth and his followers, we couldn’t have been luckier in writers for the book’s Foreword. Having access to the Lodge at Cook Canyon’s incredible collection of contemporary western functional art and western-art masterworks added an important

layer of depth to this work. We are truly grateful to Trevor Rees-Jones for sharing his home and art and to architect Greg Wyatt of Wyatt & Associates and interior designer Casey Lasky for sharing their creative process in both our special exhibition and this book. We also deeply appreciate the homeowners/collectors who have not only acted as patrons of this work for decades but allowed us to come into their homes to photograph their collections. (You know who you are!)

This book would not have happened without plenty of coffee and weekly meetings with the book team: writer Chase Reynolds Ewald; designer Scott Morrison of Morrison Creative; the ever-cheerful Mary Sims, Executive Director of By Western Hands, who corralled a disparate herd of almost fifty creative types over the course of a year; and Graham Jackson, who kept the core team organized and moving together in the right direction. Claudia Bonnist Winchell of Fighting Bear Antiques was incredibly helpful in gathering information and sharing photographs of original Molesworth pieces; Leslie Molesworth Callahan was kind enough to talk to us about her grandfather, Thomas Molesworth, and his legacy. We would like to thank Jake Anderson and Gordon Goff of Goff Publishing/Oro Editions for their publishing professionalism.

Special thanks goes to photographers Dewey Vanderhoff, Audrey Hall, Elijah Cobb, Kevin Kinzley and Rob Wilke for the work they do in capturing the beauty and detail of the craftsmanship and the landscape and wildlife that has served as its inspiration over so many years. Mack Frost, a talented photographer in his own right, helped immensely in sourcing archival images from the Buffalo Bill Center of the West.

As an organization, By Western Hands appreciates the support and enthusiasm of its myriad volunteers, its generous benefactors, and its professional and civic colleagues at the Buffalo Bill Center of the West, Cody Chamber of Commerce, Rendezvous Royale, Simpson Gallagher Gallery, Big Horn Gallery, and other downtown hotels, restaurants, and retailers. When they say it takes a village, they could be talking about Cody!

Goff Books

Published by Goff Books. An Imprint of ORO Editions

Gordon Goff: Publisher

www.goffbooks.com info@goffbooks.com

Copyright © 2022 Gifted Hands, LLC

All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, including electronic, mechanical, photocopying of microfilming, recording, or otherwise (except that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press) without written permission from the publisher.

You must not circulate this book in any other binding or cover and you must impose this same condition on any acquirer.

Author: Chase Reynolds Ewald

Photographs courtesy of the Buffalo Bill Center of the West: pages 22 (top), 23 (all), 26, 27, 28 (left).

Photographs by Elijah Cobb: pages 32 (top), 47 (right), 48 (right), 96, 97 (left), 98, 99.

Photographs courtesy of Fighting Bear Antiques: pages 14 (left and right), 15, 16, 17, 43.

Photographs by Audrey Hall: pages 2, 6 (left), 13, 21, 31 (right), 32 (bottom), 37, 45 (left).

Photographs by Chase Reynolds Ewald: pages 22 (bottom), 32 (right), 35 (right), 230.

Photographs by Michael Jackson: page 97 (top and right).

Photographs by Kevin Kinzley: back cover and pages 6 (right), 40, 46, 48 (left), 49.

Photographs by Teresa Marsh Photography: pages 168-171.

Photographs by Scott Morrison, Morrison Creative: Dust cover (back flap), pages 4-5, 28 (right), 36 (right), endsheets.

Photographs by Dewey Vanderhoff: front cover (background) and pages 9, 10, 18, 19, 24, 25, 29, 33, 34 (top), 38-39, 42-43, 50-51, 58, 224, 236-237, 238, 241.

Photographs by Rob Wilke: pages 31 (left), 42, 44, 45 (right), 47 (left).

Photographs courtesy of Wyatt & Associates: pages 52-57.

Back Cover photo: A Wyoming great room is anchored by a suite of contemporary Molesworth-inspired applied-pole furniture hand crafted by artisans John Gallis of Norseman Designs West and Anne Beard.

Foreword by Harris Haston

Book design by Scott Morrison, Morrison Creative, Co. Inc., Livingston, MT Managing Editor: Jake Anderson

10 9 8 7 6 5 4 3 2 1 First Edition

ISBN: 978-1-957183-16-9

Library of Congress Control Number: 2022910158

Color Separations and Printing: ORO Group Inc. Printed in China.

Goff Books makes a continuous effort to minimize the overall carbon footprint of its publications. As part of this goal, Goff Books, in association with Global ReLeaf, arranges to plant trees to replace those used in the manufacturing of the paper produced for its books. Global ReLeaf is an international campaign run by American Forests, one of the world’s oldest nonprofit conservation organizations. Global ReLeaf is American Forests’ education and action program that helps individuals, organizations, agencies, and corporations improve the local and global environment by planting and caring for trees.