John Carter: The Man Behind 'ABC for Book Collectors'

November 17, 2023 Courtney Ahlstrom Christy

Those involved in book collecting are likely to come across the name ‘John Carter.’ Perhaps it pops up in reference to bibliographies, the 20th-century book trade, or the Wise Forman forgeries.

As a prolific writer about books-on-books, Carter is best remembered as the author of ABC for Book Collectors. First published in 1952, the text converts dense bibliographical information into readable text for beginner's eyes. The dictionary-like guide gives concise descriptions of book terminology that combine definition, commentary, and sly humor. This popular reference is still being published and is now in its ninth edition. You can even find free versions to read online (click here).

So, who was the man behind this book-collecting classic?

Let’s meet John Warynfete Carter. Better known as ‘Jake’ among family and friends.

YOUNG UPSTART: EARLY DAYS AT SCRIBNER’S

After his prestigious schooling at Eton and King’s Cambridge, Carter’s entrée into the book trade was through his position at Scribner’s, an American publisher with an established presence in England. In 1927, Carter began as a retail assistant in the rare books department of their London office.

Full of aspiration, Carter quickly impressed his employers. His primary role was to acquire materials to be sold in the U.S. Along with gaining insight into the market, the young bibliophile frequented antiquarian bookshops scattered throughout the city. Establishments like Elkin Mathews and Birrel & Garnett acted as watering holes for book lovers, including Carter.

BIBLIO SLEUTH: DISCOVERING THE WISE FORGERIES

Carter soon became a respected figure in the book world. His reputation turned golden due to his contributions in exposing a decades-long scheme of forgery.

During the early 20th century, over fifty pamphlets were marketed as true “first editions” of 19th-century British literature. These imprints were later revealed to be creative forgeries. Someone had repeatedly copied a genuine first printing of a text and then presented it as if it were an earlier version printed for smaller, private circulation among the author’s family and friends.

Noticing something was amiss with these titles, Carter collaborated with Graham Pollard to discover their origins. Pollard was a London bookseller who also studied the history of book production. Although frustratingly difficult at meeting deadlines, [1] Pollard was nevertheless a superb researcher who tracked evidence for all kinds of minutia. For three years, the two men followed leads to discover the source of the fraud.

As a fan of a good detective novel, Carter must have enjoyed the plot twists and turns in revealing biblio misdeeds. The result was the explosive publication under the unassuming title An Enquiry into the Nature of Certain Nineteenth Century Pamphlets [2]. In the Enquiry, Carter and Pollard explained why these titles were deemed forgeries. Their reasoning was comprehensive and technical. And while they never outright identified the forger, their implication was clear to those in the book world: Thomas J. Wise.

Wise wasn’t just a fellow bibliographer; he was the preeminent English bibliographer of the era. Before the scandal, Wise was widely revered for his contributions to scholarship in 19th-century bibliographic literature. He was even sought after for authenticating rare books. In the eyes of many colleagues, the actions taken by Carter and Pollard were akin to tradesmen attacking an esteemed elder [3]. Yet the evidence spoke the ugly truth of Wise’s actions. An additional accessory to the crime was the bibliographer and bookseller H. Buxton Forman, who was later identified as an integral part of the scheme.

Carter and Pollard planned to publish a fully updated account with their later findings. It would have included Forman’s involvement and a significant Pforzheimer letter that was clear primary evidence of wrongdoing, which they had been prevented from disclosing to the public in 1937 [4]. Unfortunately, the drafted revisions spanned decades, with delays from Pollard and the eventual joint abandonment of the project. Instead, Nicolas Baker and John Collins wrote a sequel to An Enquiry in 1983.

Like most tales of forgery, the story is a good one. For anyone wishing to read more, consider The Two Forgers by John Collins. In the immediate aftermath of the exposé, it almost seemed that bookish prominence transferred from Wise to Carter.

‘NEW PATHS’ OF COLLECTING

When not sleuthing out pamphlet forgeries, Carter helped to reinvigorate the book trade by suggesting what he called ‘new paths’ for collecting. In the early 20th century, the majority of high-end buyers were interested in the same categories, such as widely esteemed authors of literary classics. To narrow the scope further, these collectors often only wanted to acquire titles considered high spots for each writer or field. In contrast, Carter suggested purchasing overlooked areas at the time, such as music, science, technology, and modern first editions.

Together with his American cohort David A. Randall, Carter created sales catalogues for Scribner’s that were cutting-edge in their selection and presentation of material. Some publications include First Editions of Famous Adventure Stories 1831-199 (1932) and Scribner's Presents the Modern Library in First Editions (1938). By way of example, Carter himself personally collected detective fiction, which was ground-breaking at the time. Not surprisingly, he was very fond of their catalogue Detective Fiction: A Collection of First and a Few Early Editions (1934). Such encouragement to discover alternative categories expanded collecting horizons and offered fresh avenues of bibliographic scholarship.

A PERFECT MATCH: ERNESTINE

Upon returning from a business trip to New York in 1937, Carter surprised many in his circle by introducing his American bride, Ernestine (née Fantl) Carter. Ernestine had southern roots in an affluent Savannah family and professional ambition in New York as a curator at the Museum of Modern Art (MoMA). She was the perfect match in cultural sophistication for Carter, with surviving records indicating a happy partnership throughout the years.

Upon learning about the betrothal, Charles Scribner gifted the couple an amusing wedding present: the infamous Reading edition of the Browning Sonnets, [5] viewed as the centerpiece of the forgery investigation (this copy sold at Christie’s in 2005).

Ernestine continued a successful career of her own, most notably as editor at various publications, including The Sunday Times and Harper’s Bazaar, among others. Her involvement with British fashion was especially influential, as indicated by some of her clothing now held in the collections of the Fashion Museum in Bath and the Victoria and Albert Museum in London. The dapper Carter as husband complemented Ernestine’s intellectual and sartorial passions.

BRITISH LOYAL: WORLD WAR II & EMBASSY

During the Second World War, Carter divided his time between his work at Scribner’s and his service for the British Ministry of Information. By June 1940, with sandbags in the basement and blackout curtains over the skylight, [6] Carter was left in charge of keeping the publishing office operating as much as possible. Simultaneously, he worked on various assignments for the Ministry, making it difficult to pay attention to the book business.

Meanwhile, Ernestine also worked for the Ministry in creating exhibitions and editing the photography book Grim Glory: Pictures of Britain Under Fire. The couple was then assigned to the U.S. Office of War Information in 1943, where Carter supervised the production of books and pamphlets.

As the war concluded, Carter undesirably closed a chapter of his professional life. After twenty-six years of employment at Scribner's, the London office closed. During that time, Carter had risen through the ranks to become Managing Director and was heartbroken by the company's decision. Fortunately, he found a new and engaging role as the assistant to Sir Roger Makins, the English ambassador to the United States at the time.

Living in postwar Washington D.C., Carter and Ernestine thrived. They participated in a very active social life with a constant rotation of cocktail parties, formal dinners, ballet, and theater. It was a delightful but brief period in which Carter utilized his charm to nurture a growing network.

AN AMERICAN AGENT: SOTHEBY’S IN NEW YORK

After two years at the British embassy, Carter decided to become an international liaison of sorts himself for Sotheby’s. Thanks to his strong connections and debonair demeanor, Carter was an excellent choice to help establish the first New York office for a British auction house in 1955.

The position as an American agent well-suited Carter as he highly valued professional autonomy. This desire for freedom to choose scholarly projects was the main reason he previously turned down several coveted offers, like the role of curator of rare books at the Library of Congress. When declining the post of librarian at Cambridge University, Carter explained in a letter to a friend: “It would severely reduce that freedom of movement and maneuver which derives from my being more or less master of allocation of my own time and attention.” [7]

Working somewhat independently with the occasional reporting back to geographically distant London directors, Carter could continue his bookish interests while gaining a foothold for the auction house. He and his colleague Peregrine Pollen focused on garnering American clientele, leaving auction catalogues in their wake as calling cards.

They were especially keen to court the trust and estate crowd as well as those involved in the art world. Another responsibility was to keep an eye on their local competitor Parke-Bernet, who was eventually bought out by Sotheby’s in 1964. After ten years, Carter had successfully brought several important collections for consignment and wished to return to London.

Yet as years passed, Sotheby’s seemed puzzled about where to place Carter within the company hierarchy. From American agent and London book specialist to board member of publications and finally requested author of the firm’s history (a project he deemed a nightmare), Carter never quite obtained a satisfactory senior position despite his contributions. Biographer Donald Dickinson describes it well:

“He was respected, of course, for his work in establishing the firm’s strong base in the United States and for his bibliographical accomplishments, but it was a little like the old joke about the Senator and his constituents - sure you got us seventy million dollars to build a dam last year, but what have you done for us lately?” [8]

By 1972, Carter and Ernestine both decided to retire. They downsized to a small house in Chelsea, where they entertained and shared remembrances with friends they had met over the years.

FRATERNITY OF BOOKHOOD

During every phase of his career, Carter remained deeply involved in a vast network of bibliophiles from all facets of the rare book ecosystem: dealers, collectors, bibliographers, librarians, curators, writers, etc. He was on friendly terms with many, such as Michal Sadlier, Graham Pollard, Phillip Gaskell, David Randall, Stanley Morison, and others.

He collaborated frequently to publish scholarly articles in various books and trade journals like Publisher’s Weekly. Even Carter’s younger brother Will owned Rampant Lions Press, which became a leading letterpress workshop after World War II. He was also a member of the informal club known as the Biblio-boys, whose members shared an affection for rare books, sherry, and gossip. These relationships were decades-long in the making and culminated in a cast of characters that historians now study as specimens of the very book history they themselves were fascinated by.

LEGACY: DON’T CALL HIM A BIBLIOGRAPHER

An Anglo in the U.S. and an Americanophile in England, Carter was a rare book ambassador for both sides of the Atlantic. He nurtured strong connections in the English book trade, which in turn allowed him to cultivate relationships with American collectors and libraries. His personal and professional lives were entwined, and he preferred it that way.

Yet Carter ironically didn’t wish to be called a bibliographer. Instead, he self-described as a book dealer. This preference seems to downplay his contributions to the history of book production, particularly in 19th-century bindings. Perhaps Carter was wary of being placed too high up on a precarious pedestal after witnessing Thomas J. Wise’s downfall. [9]

Nevertheless, his The New York Times obituary characterized him as a “bibliographer and antiquarian.” Maybe in the afterlife, Carter won’t mind being described so, now securely placed on many a bookshelf in the form of ABCu for Book Collecting.

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About the Author: Courtney Ahlstrom Christy is an appraiser of rare and worthwhile books for Ahlstrom Appraisals LLC. She has worked with libraries, museums, galleries, and auction houses — all of which have provided unique opportunities to examine works ranging from the antique to the contemporary closely.

List of Illustrations

Gallery of book covers for four different editions of ABC for Book Collectors by John Carter.
Photograph of John Carter (source).
Photograph of Graham Pollard by Esther Potter (source).
“Photograph of Scribner’s window display for An Enquiry Into the Nature of Certain Nineteenth Century Pamphlets," Bruce Garland, Thomas Wise Collection (source).
Photograph of Thomas J. Wise, 1905 (source).
Photograph of Ernestine Carter, 1974 (source).
Pérou, dress, Christian Dior, 1954, France. Museum no. T.12-1977, © Victoria and Albert Museum, London, Given by Cecil Beaton (source).
Wise forgery of Sonnets by E. B. Browning. The University of Chicago Library (source).
First issue of The Scribner Bookstore News, a periodical (pamphlet) offering a selected list of current books from all publishers (source).
Dust jacket of the 1970 Private Libraries Association edition of Taste & Technique in Book Collecting by John Carter (source).
Photograph of Scribners' London office, 1930 (source).

Footnotes

[1] Pollard’s lack of meeting deadlines may have been due to his likely being a British spy who infiltrated the London Communist party and was busy with more pressing matters. Click here to read an article about the discovery of his MI5 connection.

[2] The chosen title was in reference to a tradition of using “inquiry” in a title for a work revealing forgeries. Some examples include [a] Malone’s 1796 work exposing the Wiliam Henry Irleand’s Shakespeare forgeries in An Inquiry into the Authenticity of Certain Miscellaneous Papers and Legal Instruments . . . attributed to Shakspeare, Queen Elizabeth, and Henry, Earl of Southampton. . .; [b] James Boarden’s An Inquiry Into the Authenticity of Various Pictures and Prints, Which, From the Decease of the Poet to Our Own Times, Have Been Offered to the Public as Portraits of Shakspeare from 1824; N. Hamilton’s An Inquiry into the Genuineness of the Manuscript Corrections in Mr. J. Payne Collier's Annotated Shakespeare, Folio, 1632 from 1860; [c] and more recently Nicolas Barker’s The Butterfly Books: An Enquiry into the Nature of Certain Twentieth Century Pamphlets in 1987. See John Collins, The Two Forgers: A Biography of Harry Buxton Forman & Thomas James Wise (Oak Knoll Books, 1992) p. 251.

[3] Donald Dickinson, John Carter: The Taste & Technique of a Bookman (New Castle: Oak Knoll Press, 2004), p. 107.

[4] William A. Jackson was the librarian for Carl Pforzheimer, who had in his collection a letter in Wise’s handwriting admitting to forgeries and naming co-conspirator Form. For some reason, Pforzheimer refused permission for it to be published until 1945 when he allowed University of Texas librarian Fannie E. Ratchford to publish it in Between the Lines, Letters and Memoranda Interchanged by H. Buxton Forman and Thomas J. Wise. See Dickinson, pp. 120-121.

[5] Dickinson, p. 133.

[6] Dickinson, p. 130.

[7] Letter from John Carter to A.N.L. Munby, 12 February 1949, King’s College Library.

[8] Dickinson, p. 246.

[9] Dickinson p. 230.

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