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166-173 (h) x 222mm, i.e. very slightly trapezoidal. Original albumen photograph. This famous photograph is one of a series of photographs taken of the Rossetti family by Charles Lutwidge Dodgson, (i.e. Lewis Carroll), in the garden of Dante Gabriel Rossetti's house in Cheyne Walk on 7 October 1863. On verso, written in the hand of Helen Angeli Rossetti, daughter of William Michael Rossetti: "Photograph taken by Ch. L. Dodgson (Lewis Carroll) [sic] in the Cheyne Walk Garden, c. 1865? Probably 1863 (Autumn)." The composition, arranged by Carroll and subsequently photographed and printed by Carroll, shows the Rossetti's in their garden, from left to right: Christina G. Rossetti, Maria Francesca Rossetti, Frances Livinia Rossetti and Dante Gabriel Rossetti, the latter two seated at a table playing chess. Of a similar print, Christina Rossetti wrote, describing the day ìthe author of Wonderland photographed us in the gardenî: ìIt was our aim to appear in the full family group of five; but whilst various others succeeded, that particular negative was spoilt by a shower, and I possess a solitary print taken from it in which we appear as if splashed by inkî (quoted by Mackenzie Bell, Christina Rossetti [London, 1898]. From Jaqueline Banerjee, "Morton Cohen explains that in early October 1863 Dodgson was staying with the sculptor Alexander Munro, who took him to see the Rossettis. Dante Gabriel was "most hospitable in his offers of the use of house and garden for picture-taking" (Cohen 240) and he was able to take two pictures of Christina, and one of Rossetti himself. Dodgson wrote in his Dairy, "I afterwards looked through a huge volume of drawings, some of which l am to photograph ó a great treat, as I had never seen such exquisite drawing before. I dined with Mr. Rossetti, and spent some of the evening there.... A memorable day" (qtd. in Cohen 240). He returned the next day and photographed the whole family, subsequently photographing Rossetti's drawings and one of his models. The contact with the Rossettis proved useful, introducing him to Swinburne and others. Rossetti looks relaxed and genial in this portrait, which gives a flavour of the pleasant visit." Edward Wakeling ("The Photographs of Lewis Carroll, A Catalog Raisonne") describes the photographs by Carroll taken at the Rossettis, with a census of those found, listing only five, of which only one is the full image our example, the others being either vignette prints, and one without Christina Rossetti. Provenance: this photograph originally the property of William Michael Rossetti, and then by descent to his daughter, Helen Rossetti Angeli (who inscribed the verso), and given to William E. Fredeman in 1963. Of great rarity and importance. Indeed, no similar quality original Lewis Carroll photograph of the Rossettis has sold ion the open market in recent memory.

Macmillan, 1877. Fortieth thousand, i.e. a later issue of the first edition as per Williams Madan Green 84. Publisher's special deluxe binding of white textured paper covered boards to imitate vellum, with gilt lettering and vignettes, in the exceptionally rare unprinted original lilac dustwrapper. All edges gilt. Author's presentation copy, inscribed on the half title, "May Forshall from the Author / Dec 3. 1877" A fine copy with exceptionally clean white covers and bright gilt, just a couple of trivial marks to the edges. Internally fresh with tight hinges. Two pin holes to the front endpaper and a faint mark to the edge of the preliminary pages. Dustwrapper rather worn, with small chips to the spine ends and corners and a larger chip to the corner of the back panel. An exceptional copy. Included with this book is an original carte-de-visite mounted photograph of Mary Forshall taken by Carroll, numbered by him (2485) in violet ink on the reverse. Black and white illustrations throughout by John Tenniel. Mary Forshall (known as May) was the daughter of the Highgate physician Francis Hyde Forshall, an acquaintance of Charles Dodgson's. Dodgson recalls his first meeting with May in a diary entry of 27 November 1877, "Dined with Sampson, to meet Dr. Forshall with his sister, etc., and May Forshall, a nice child of 10." In the 1 December 1877 entry, Dodgson mentions May "came to be photographed" at 11am, an appointment which was repeated two days later, with the result that Carroll took, "5 negatives, of which 2 failed". It was on the second meeting that Dodgson presented one of his newly received copies of Through the Looking Glass, in a specially commissioned presentation binding. Dodgson took an obsessive interest in the production of all his books and would habitually order small quantities to be bound up in a variety of non-standard styles and hues for his own use, wanting to have a ready supply of special bindings, which differed form the shop bought version, to be used as presentation gifts. Of these styles, the white binding seems to have been the one chosen by Dodgson for his most favoured presentations. It is also a style of binding which has fascinated latter day collectors. For the publication of The Hunting of The Snark, the year before this book, Dodgson had commissioned an array of coloured bindings including "20 bindings in white vellum and gold". This was changed to parchment style paper or cloth and gold, on economic grounds. Dodgson appears to have placed a similar order for both Alice (then in its sixth edition) and Through the Looking Glass, which were delivered late in 1877. They are now of the utmost scarcity, seldom appearing in commerce. When they do, they are usually in a poor or repaired state, as the fragile white boards were particularly prone to damage. In this case the presence of the original dustwrapper, itself probably a unique occurrence, has meant that the white binding has remained in exceptional condition. Williams, Madan, Green 84 [Attributes: First Edition; Hard Cover; In Dust Jacket]

D. Appleton, 1866. first. hardcover. near fine. First US edition, with first UK sheets. Book near fine, some rubbing to corners and spine ends, rubbing to upper left corner of front free end paper, partial cracking to front gutter. Housed in custom-made fold-out case. [Attributes: First Edition]

New York: Appleton, 1866. 1st American edition / Ist edition, second issue.. Hardcover. Very good. In 1865 Macmillan printed this book in England and recalled it because John Tenniel, the illustrator considered the printing of the illustrations unsatisfactory. After consulting with Tenniel, Lewis Carroll authorized Macmillan to sell 1,952 bound copies to Appleton in New York with a new title page replacing Macmillan with D. Appleton and dated 1866. The new title page was tipped onto the excised stub of the Macmillan 1865 edition. Top edge and fore edge gilt. A few small waterspots on the front cover. The half title page has some writing on it and the lower fore edge corner has had a professional repair of the lower fore edge corner not affection the text. Spine a little darkened otherwise a tight copy. Michael Hancher, author of The Tenniel Illustrations to the "Alice" Books was in the shop this summer and examined our copy of this book. There is a census of the extant copies of the 1866 Appleton Alice as announced by John Lindseth in PBSA some time ago that is still a work in progress. He goes on to say, "Extant copies of what has become known as "The Appleton Alice" have turned out to become quite elusive. The British Library is the only institutional holder found in the UK. Some seventy institutional holders are found in the United States and Canada and one in Switzerland. Fewer than twenty private holders have been identified. Our copy may add one to that small number. In his note Lindseth distinguishes four different states of the text, which apparently have no priority. Hancher goes on in his email to write, "I also attach two pages from the new chapter about "Printing" in the revised edition of my Tenniel book. Apparently the image quality for the illustrations of the suppressed Macmillan printing of 1865 (which got recycled as the Appleton edition of 1866) varies from copy to copy and image to image, depending on how much ink leaked through from the printing on the other side of a particular leaf. Tenniel must have been given - and rejected - one of the worse copies. Had he been given your copy he might not have balked." [Attributes: First Edition]

- S.n., [Oxford] [août 1869], 14,9x20,8cm, une feuille sous marie-louise. - | La technique se fait art : les fameux portraits d'enfants de Carroll au collodion humide | * Photographie originale par Lewis Carroll - le révérend Charles Ludwidge Dodgson, épreuve albuminée de format rectangulaire. Aux extrémités, le portrait en tondo de la fillette laisse place à la trace d'émulsion du collodion particulièrement bien visible, où se trouve le numéro ajouté par Carroll dans le négatif en partie supérieure gauche. Discrètes restaurations aux extrémités du cliché, une trace de pli diagonal dans le coin supérieur gauche. Extraordinaire photographie probablement inédite du modèle favori de Lewis Carroll, Xie Kitchin. Il s'agit de l'un des premiers portraits de sa jeune muse, alors âgée de 5 ans, et l'un des rares tirages affichant autant d'émulsion du collodion au bord du négatif en verre, délibérément conservée par Carroll lors de l'impression. L'utilisation du collodion, surnommé "l'art noir" tant il était salissant, est en effet indissociable de la pratique photographique de Carroll. Ce dernier avait découvert la photographie avec le collodion, qui n'avait que cinq ans à l'époque. Il sera farouchement fidèle à ce procédé, « tout à fait scientifique et merveilleusement mystérieux » selon lui, demandant de longues expositions et de fastidieuses manipulations. En sus d'être praticien, Carroll en a également été théoricien dans son ouvrage Photography Extraordinary ; un savoir-faire dont il était le maître et qui plaisait à son côté inventeur. Vingt-trois ans plus tard, en 1880, comme il l'indiquera dans ses mémoires, Carroll abandonnera la photographie lorsque la technique du collodion disparaîtra, remplacée par la plaque sèche. Ce tirage d'une insigne rareté laisse la part belle aux traces de cette complexe technique, révélant le portrait de la petite Xie entouré d'un halo sombre et tourmenté résultant de la réaction chimique du collodion. Carroll immortalise ici l'une de ses plus célèbres little girls, devenue symbole même, avec Alice Liddell, de son uvre photographique. Le saisissant portrait reflète les conceptions toute victoriennes de Carroll sur l'enfant, dont l'innocence provenait de sa relative proximité temporelle avec Dieu, le gardant à l'abri du péché et des effets néfastes de la société. Alexandria « Xie » Kitchin, fille d'un des collègues de l'écrivain-photographe à Christ Church, apparaîtra dans pas moins d'une cinquantaine de ses clichés. Ce portrait date de leurs toutes premières séances de pose et fut vraisemblablement pris en août 1869 dans son atelier de Badcock's yard, lors de la même séance que le portrait reproduit dans Taylor et Wakeling (2002, L:3, p. 229). Dans ce dernier, la fillette photographiée au même âge porte la même robe à la dentelle ajourée que notre cliché. Provenance : Sotheby's Londres, 08/05/1992, lot n° 186. Non reproduite dans Taylor et Wakeling (2002). Un autre tirage connu est passé en vente en 2023, au format inférieur, tronquant le numéro ajouté par Dodgson dans le négatif. Merveilleux exemple de la recherche constante de la beauté chez Lewis Carroll et témoignage de son excellence dans la pratique de l'art photographique. [ENGLISH TRANSLATION FOLLOWS] | technique becomes art: Lewis Carroll's famous child portraits with collodion | Original photograph by Lewis Carroll (Charles Ludwidge Dodgson), rectangular albumen print. The tondo portrait of the little girl gives way to a particularly visible collodion emulsion, also bearing the number added by Carroll in the negative at top left. Discreet restoration at the ends of the plate, a diagonal fold in the upper left corner. Extraordinary and probably unrecorded photograph of Lewis Carroll's favorite model, Xie Kitchin. This is one of the first portraits of his young muse, then aged 5, and one of the few retaining as much of the collodion emulsion peeling away from the edges of the glass negative - a deliberate artistic choice by Carro [Attributes: First Edition]

Dutton, New York, 1929. Carroll, Lewis (Charles Lutwidge Dodgson). Willy Pogány (Hungarian/American, 1882-1955). ORIGINAL PEN-AND-INK DRAWING FOR THE FRONTISPIECE for his illustrated 1929 Alice's Adventures In Wonderland (published by E. P. Dutton). This exceedingly important original pen-and-ink on paper drawing serves as the frontispiece which illustrates "The Mad Tea Party" featuring Alice at the head of the table, and the Mad Hatter, March Hare and Dormouse at the far end. Surely it is the most desirable piece of original art from the creation of this book. Pogány's interpretation of Alice as a thin adolescent flapper/schoolgirl was much criticized at the time as bizarre, but remains famous and revered for its aggressively modern interpretation of the Alice characters compared to all the other post-1907 non-Tenniel versions re-imagined by the other great Alice illustrators. The image is 11.25" by 7.25" situated in the center of a large sheet of 11" by 14" artist's board. Pogány has printed his name in full lower left. The detail of the drawing is spectacular in comparison to the actual printed book (as shown here). Provenance: The Book Sail 16th Anniversary Catalogue (Item J-6, 1984), Heritage Auctions (April, 2013). Included is a copy of the published work, one of 200 numbered copies, signed by Pogány. Currently in a Victorian-Style frame with museum glass however the frame will not be included unless the artwork is picked up in person. [Attributes: Signed Copy]

[Los Angeles, Paramount Pictures, 1933]. Folio (220 x 354 mm). (3), A1-8, 642, 4 ff. Mimeographed typescript and storyboard comprising 642 illustrations by William Cameron Menzies. Extra-illustrated with 44 black and white production photographs. Contemporary giltstamped full red morocco, spine gilt in compartments. Signed by 27 members of the cast. Copy owned by Charlotte Henry, the actress who played Alice, signed and inscribed by her to another girl on the frontispiece photograph: "To Ann Waddington from Alice in Wonderland / Charlotte Henry". De luxe copy, owned by "Alice", of the script to the 1933 Paramount Pictures adaptation of Lewis Carroll's classic. The script appears to have been available in a numbered edition (number 22 was sold at Sotheby's in 1975) and an un-numbered edition for members of the production (cast-member Ronald "Baby LeRoy" Overacker's copy sold at Bonhams, Los Angeles, in 2019); both were bound in wrappers. The present specimen is a sumptuously bound, extra-illustrated edition for the actress who played the title character, featuring not only 44 inserted black-and-white production photographs (captioned on the reverse), but also the signatures of 27 cast members on the half-title. - Despite an all-star cast including Cary Grant as the Mock Turtle, Gary Cooper as The White Knight, W. C. Fields as Humpty Dumpty, Edna May Oliver as the Red Queen, Edward Everett Horton as The Hatter, Charlie Ruggles as The March Hare, and Baby LeRoy as The Joker, the film adaptation proved a famously unsuccessful experiment by Paramount. It remains the only major live-action Hollywood production to adapt Carroll's original "Alice" stories. Charlotte Henry (1914-1980) enjoyed her first leading role as Alice, beating over 6,800 other actresses who auditioned. The recipient Ann Waddington, to whom Henry gifted her sumptuous memento, is unidentified. - The American film director, screenwriter, and producer Joseph L. Mankiewicz (1909-93) enjoyed a long Hollywood career. He is best remembered for "All About Eve" (1950), which was nominated for 14 Academy Awards and won six. William Cameron Menzies (1896-1957) was a hugely influential production designer and art director. He received an Honorary Academy Award "for outstanding achievement in the use of color for the enhancement of dramatic mood" in "Gone With the Wind". - Occasional tears to some leaves, some photographs with creases and tears, occasional child's scribbles. Hinges professionally restored. A unique survival. [Attributes: Soft Cover]

NY: Maecenas Press - Random House, 1969. LIMITED SIGNED EDITION OF 200. Original full tan straight grained leather clamshell box, 18-1/4" x 13-1/2", gilt lettered spine, with the original 2 gilt stamped black silk chemise's, illustrated by Salvador Dali, complete with frontis and 12 illustrations, the frontispiece is an original signed etching by Salvador Dali, limited to 200 Roman numbered copies on Rives paper with the portfolio containing an additional suite of 13 plates on Japan nacre, of which this is copy CXCI. The clamshell box is in VERY GOOD condition, with the two original leather ties and black clasps, internally clean and bright, about as nice as you're ever going to find it. [Attributes: Signed Copy; Hard Cover]

Harper & Brothers, New York and London, 1901. xvii, 193 pp. With forty full-page illustrations in tint from drawings by Peter Newell. Original artwork 11 x 7 inches, matted and framed. Volume 8vo, publisher's gilt art vellum, t.e.g., in green gilt dust jacket and publisher's printed two-part box. First Peter Newell edition. Very fine original condition; the book is unopened. There is some light soiling and wear to the publisher's box. Unlike the published illustration, the original drawing depicts Alice in a delicately colored pink-flowered dress, with rosy cheeks and lips, a gold necklace, and a red ribbon in her hair. The Queen and her entourage, by contrast, are largely in monochrome with only faint touches of color (lips and tongues). [Attributes: Hard Cover; In Dust Jacket]

London: Macmillan and Company. 1866 and 1872. First editions. First editions. Two volumes. Finely bound by Charles Elsden Gladstone in elaborately decorated full brown morocco, the spines with 5 raised bands and titles in gilt. Gilt decorated inner boards, marbled endpapers. Binder's initials stamped in gilt to the lower inner front board. All edges gilt. The publisher's cloth bound in as the front and rear pastedown of Through the Looking Glass. Illustrated with frontispieces and 90 illustrations across the two volumes by John Tenniel. The four page leaflet 'To All Child Readers of Alice In Wonderland', originally issued loosely laid in to first editions of Through the Looking Glass, has been retained and bound in. Some spotting and a couple of tiny closed tears to the margins of Alice's Adventures in Wonderland, otherwise a fine set.Alice's Adventures in Wonderland is the first published edition, the second overall: the book was originally printed in Oxford at the Clarendon Press in June 1865, but was suppressed when Carroll heard that the book's illustrator was dissatisfied with the quality of the printing. He recalled the few pre-publication copies he had sent out to his friends and donated them to hospitals, where most perished. Only 23 of those original "1865 Alices" are now extant, mostly in institutional holdings, thus creating one of the most famous black tulips of book collecting. The book was entirely reset by Richard Clay for the present authorized Macmillan edition, the earliest edition that can be realistically obtained. Although dated 1866, the edition was in fact ready by November 1865, in time for the Christmas market, and was published in a print run of 4,000 copies. The copy of Through the Looking-Glass is the first edition; like its predecessor, it was published for the Christmas market and bears the following year's date in its imprint. It was actually published in December 1871, in an edition of 9,000 copies. Charles Elsden Gladstone (1855-1919), the creator of these exquisite bindings, had a long and distinguished naval career, during which he rose through the ranks from Midshipman to Commander. Service papers record his expertise in advanced submarine weaponry and photography. That he was reportedly engaged in covert intelligence gathering recently prompted P. J. M. Marks, the British Library's Curator of Western Bookbindings, to refer to Gladstone as "a bookbinding James Bond", 007 another ex-Navy Commander with access to cutting edge technology and working undercover. Gladstone's bookbinding activities – his overcover work, if you will – appear to have been a labour of love, there being no evidence that he profited, or sought to, from such work (his navy salary and pension were both generous). While researching Gladstone, Marks was unable to uncover the origins or development of his impeccable craftsmanship, skills ordinarily requiring years of apprenticeship under an established binder. Marks did, however, find Gladstone's name "included in the annals of specialist societies relating to microscopy and optical magic lanterns, interests which suggest he had a keen eye and feeling for accuracy." And an eye for accuracy was clearly imperative for the intricacy and precision of Gladstone's elaborately tooled book designs, each stamped discreetly with the initials C. E. G. in gilt to the verso (undercover) of their upper boards. (P. J. M. Marks, 'The mysterious Captain Gladstone, RN – a bookbinding James Bond?' The British Library 'Untold Lives' blog, 28 May 2020) Further details and images for any of the items listed are available on request. Lucius Books welcomes direct contact with our customers. [Attributes: First Edition]

London: Macmillan, 1866. First. hardcover. Very good. A very good first UK published edition (after the suppressed UK edition that was not distributed) in a very good original cloth with some repair on the hinge. First issue inverted S on the table of contents. Housed in an elaborate leather case. [Attributes: First Edition]

London: Macmillan & Co., 1872. PRE-PUBLICATION PRESENTATION COPY FIRST EDITION FIRST ISSUE. 1 vol., illustrated By John Tenniel, inscribed by Dodgson on the half-title "Joanna de Morlot Pollock / from the Author / Christmas 1871", in purple ink. Bound in full red morocco, ribbed gilt decorated spine, spine panels tooled with characters from Alice, covers ruled in gilt, covers center panel tooled with the Queens, gilt dentelles, all edges gilt, original cloth covers and spine bound in rear, by Bayntun, IN AS NEW CONDITION. Joanna de Morlot Pollock (at the time 9 years old) was the daughter of Charles Edward Pollock, and his second wife Georgina Archibald. In 1865 Charles married his third wife, Amy Menella, daughter of Dodgson's cousin Hassard Hume Dodgson. The author attended the wedding, and recorded a visit to the family on 24 June 1866 in his diary, noting "we saw the pretty little Joanna", later that year (30 July) taking her photograph. By the time of a visit in July 1872 he noted that Joanna had "grown out of all recollection.". Edward Wakeling notes in Lewis Carroll's Diaries that on 8 December 1871 Dodgson had signed only 100 copies of Through the Looking Glass. [Attributes: First Edition; Signed Copy; Hard Cover]

London: Macmillan & Co., 1877. PRESENTATION COPY. 1 vol., forty-fourth thousand, illustrated By John Tenniel, inscribed by Dodgson on the half-title "Mariella York Powell, from the Author. Nov. 23, 1897", in black ink. One of the few copies bound in the scarce white paper/leatherette binding, reproducing the gilt decoration of the red cloth editions, all edges gilt, black pastedowns and endapers. Internally clean and bright, spine neatly relined retaining the original spine, back corners lightly rubbed, general handling, overall still VERY GOOD, housed in a 1/4 red morocco slipcase. RBH record only 2 presentation copies ever appearing at auction in the white binding in the last 43 years. The last in 2018 and sold for $19,800. Mariella York Powell was the daughter of Frederick York Powell who was close friends with John Butler Yeats whom the artist first met on his move to Bedford Park, London in the late 1880's. [Attributes: Signed Copy; Hard Cover]

New York: D. Appleton & Co., 1866. FIRST EDITION, SECOND ISSUE. Frontispiece and 41 illustrations by John Tenniel. Exquisite full morocco binding by Sangorski & Sutcliffe, covers ruled in blind with the same gilt designs as on the original cover (Alice on the front, the Cheshire Cat on the back), spine in compartments with gilt designs and the author, title and date in gilt, intricately decorated gilt dentelles, with the original binding bound in on 3 separate leaves (front, spine and rear covers). Overall a gorgeous clean copy preserved in a cloth box.

1877. CARROLL, Lewis (1832-1898) Lettre autographe signée « C.L. Dodgson » à Mr Burton Eastbourne, le 25 août [18]77, 2 p. in-12 à l'encre rose Troublante lettre adressée au père de sa nouvelle « amie-enfant », à laquelle il souhaite faire parvenir un exemplaire d'Alice au pays des merveilles Traduction de l'anglais : « Cher Monsieur, J'espère que vous excusez la liberté que je prends en l'adressant à vous, ainsi que celle que j'ai prise voici quelques jours en me liant d'amitié avec votre petite fille, mais je crois que même un homme qui ne serait pas, comme moi, un grand amoureux des enfants, ne pourrait manquer d'être attiré par elle.Comme je souhaite déposer pour elle, là où elle habite, un petit livre (dont j'ai souvent fait cadeau à de jeunes amies), j'ai entrepris deux expéditions, en vain, pour trouver où elle demeurait. Faute d'avoir la bonne adresse, et ne la voyant plus sur la plage, la seule solution me semble de lui écrire à son adresse en ville. Si vous m'autorisez à lui offrir le livre, auriez-vous l'amabilité de me dire si je dois lui envoyer à Londres ou, sinon, à quelle adresse. (Le livre s'intitule Les Aventures d'Alice au pays des merveilles). Croyez, Monsieur, en mes sentiments les meilleurs. C.L. Dogson (de Christ Church Oxford) » Texte original : "Dear sir, I hope you will excuse the liberty I am taking in addressing you, as well as the liberty I took a few days ago in making friends with your little daughter, but I think that even one who is not, as I am, a great lover of children, could hardly fail to be attracted by her. Wishing to leave for her at her lodgings a little book (on I have several time given to little friends) I have made two expeditions, in vain, to find the lodgings. Not having the right address and seeing her no more on the beach, the only course seems to write to the town address. If you will allow me to present her with the book, would you kindly tell me whether to send it to London or to what address. (The book is called Alice's Adventures in Wonderland). Believe me truly yours, C.L. Dodgson (of Christ Church Oxford)" Adressée à M. Burton, cette lettre est écrite neuf jours après la rencontre de l'écrivain avec sa fille, ainsi que le rapporte son Journal à la date du 16 août 1877 : « Suis allé sur l'embarcadère dans la soirée et ai fait une autre heureuse rencontre. Ma nouvelle amie s'appelle Mabel Burton. Elle semble avoir environ 8 ans. () Elle est absolument charmante et sans un atome de timidité. Je n'ai jamais été ami avec une enfant aussi facilement et aussi rapidement. » On ignore pas le goût de l'écrivain pour les jeunes filles. Carroll annonce ici explicitement à un père de famille il ignore alors que ce dernier est décédé qu'il compte se lier d'amitié avec sa fille, certes non sans ambiguïté. En dépit de ces considérations, débute une amitié, qui dépasse la perplexité mêlée de stupéfaction de Mrs Harriet Burton, mère de Mabel. La fille ne comptait d'ailleurs pas faire part à la mère de sa rencontre avec l'« étrange gentleman », expression de la jeune fille même. Le 28 août, Carroll écrit une lettre à Mrs Harriet Burton dans laquelle nous comprenons qu'elle a accepté qu'il envoie un exemplaire des Aventures d'Alice au pays des merveilles à Mabel. Bien que le roman soit de plusieurs années antérieur à l'amitié entre Carroll et la petite fille, il n'est toutefois pas interdit d'imaginer Mabel comme l'ombre portée d'Alice, une héroïne par la procuration du regard d'écrivain. Bibliographie : « Lewis Carroll Lettres inédites à Mabel Amy Burton et à ses parents ». Pierre E. Richard, ed. de Maule. 2008 [Attributes: First Edition; Signed Copy]

London: MacMillan and Co., 1876. xi,(3),83 pp. 12 mo. original dark red cloth binding. Both front and rear boards with extensive gilt decoration. Gilt title on spine. Corners with moderate bumping and light wear. All edges gilt. Original dark green endpapers. Original binders ticket of Burn and Co. on the rear pastedown. Half title. Small stain and two old ownership signatures. Frontispiece and 8 other illustrations. Original plate tissues. Last unnumbered leaf contains advertisements for Carrol's other works. Minor soiling in the text block otherwise a very attractive and clean copy. A remarkable prepublication, presentation copy of the First Edition, First issue, inscribed by Carroll to his brother on the day of publication. "Edwin Heron Dodgson, from his aff{ectiona}te. brother, the Author, March 29th, 1876"

Carroll ordered a number of copies in special bindings to match "Alice" of which 100 copies were bound in red like this example. His own personal copy was also bound in red. First issue with "Baker" for "Butcher" on p83.

This book is a fantastical poem involving a strange crew of tradesmen and a beaver as they set off on a journey to find "the Snark". The illustrations are by Holiday, as well as the highly decorative binding which he has signed with his initials. The illustrations greatly compliment this truly strange and lovely little book. 1876

London MacMillan and Co. 1866 1872. (10),192;(12),224 pp. Octavo. Original red cloth with gilt decoration on the boards. Gilt title on spine. All edges gilt. Original dark blue/green endpapers. Modern bookplate on front endpaper of both titles. Half titles. Previous owners notation on the half title of Alice. Both titles have darkened boards and are soiled. Old crease on the front board of Alice. Both are slightly cocked. Both volumes are generally very clean internally with only a hint of foxing. A decent set of "Alice" comprising the the First available UK edition of Alice and the First UK edition of Through the Looking-Glass. [Attributes: First Edition; Hard Cover]

New York: Maecenas Press, 1969. First edition. Limited edition of 2500 copies, signed on the title page by Dali, this being number 1638. Folio measuring 430 x 285mm, with Mandeure paper pages loose as issued and housed in the publisher's quarter leather clamshell case. A Fine set in Fine clamshell. Complete with the original leather straps and horn clasps intact. Complete, with the original etched frontis and all 12 original color illustrations present. This set basically as new, with the original paper wrapper, shipping box, styrofoam inserts, etc. (all with matching limitation numbers). Based on the beloved fantasy by Lewis Carroll, Salvador Dali's rendition of Alice's Adventures in Wonderland exceed surrealist expectations. As the reader travels through Dali's Wonderland, they are treated to a brilliantly coloured illustration, giving insight into how the painter experienced Carroll's story. An unforgettable adaptation. Fine in Fine dust jacket. Fine in Fine dust jacket. [Attributes: First Edition; Signed Copy; In Dust Jacket]

Poulton-Lancelyn, Bebington, Wirral, 1953. 354 leaves, foliated [1-3], i-vi, 1-181, [1]; [1]-163. With numerous corrections, and occasional notes on rectos and margins. 1 vols. 4to. Some minor wear at edges, and slight occasional soiling, but overall very good, and an impressively preserved manuscript in its entirety. Custom morocco-backed slipcase and chemise. 354 leaves, foliated [1-3], i-vi, 1-181, [1]; [1]-163. With numerous corrections, and occasional notes on rectos and margins. 1 vols. 4to. Before the publication of this work, the Diaries of Lewis Carroll had been largely unavailable after their temporary disappearance following the publication of Collingwood's THE LIFE AND LETTERS OF LEWIS CARROLL in 1898. When, at last, all but 4 (which were lost) of the original 13 volumes reappeared in a cellar, Dodgson's nieces and Executors of the estate commissioned Green to undertake the editing and publication of their uncle's diaries.
Green's book was the first publication of the diaries, and, until recently, it was all that has been available to scholars who were unable to consult the original manuscript (now in the British Library). Even though Green and the family made some deliberate omissions, it is the first major transcription of Lewis Carroll's famous Diaries to appear in print. As Green noted, "The fact that the Diaries have been inaccessible for the general critic, biographer and research student has led to the suggestion that they contain information about Lewis Carroll which his pious relations wish to keep from the world. That rumour can be now set at rest once and for all: they contain nothing whatsoever about Lewis Carroll that the world at large could not read." Green describes the editorial process and remarks "Thus family troubles were, naturally, entered into the Diaries, and family feeling has as naturally wished to keep those personal matters private."
The manuscript, closely written in Green's clear hand, contains numerous interesting notes and directions to the printer/ publisher which are not included in the published version, as for example this note on a separate leaf, dated Sept. 1951, at the end of Volume I:
"NOTE TO PUBLISHER. The next section of the Diary, from July 12 to Sept 13, 1867, was sold to Mr. M.L. Parish [sic] of Pine Valley, New Jersey, and privately printed for him in an edition of sixty-six copies with the title TOUR IN 1867 BY C.L. DODGSON. It was published in 1935 ... [as part of] THE RUSSIAN JOURNAL AND OTHER SELECTIONS ... by E.P. Dutton and Co. New York. If desired, this can be included in the present book as Chapter VIII of Volume One ... it is felt by the Editor and Miss Dodgson that the decision whether to include this extra material must be left to the Publisher. R.L.G. Sept: 1951

Macmillan, 1869. FIRST EDITION IN FRENCH, frontispiece (with tissue guard) and vignette illustrations by Tenniel, pp. [xii], 196, crown 8vo, original blue cloth, by Burn, with his diamond ticket on lower pastedown, backstrip gilt lettered direct, boards with triple gilt border, and central illustration (Alice and pig on upper; Cheshire cat on lower) within circular triple line frame, a little rubbing and light bumps to extremities, some light wear at backstrip ends, a.e.g., chocolate chalked endpapers, the flyleaf chipped at top corner, cracking to rear hinge with webbing exposed, good. Inscribed by the Dodgson on the half-title: 'Beatrice Cecilia Harington, from the Author'. The recipient was the eldest daughter of Richard Harington, Principal of Brasenose College and his second wife, Mary; her half-brother (also Richard) was a Christ Church contemporary and friend of Dodgson, who had translated a poem by the latter into Latin for the Daniel Press 'Garland of Rachel'. Beatrice, like her sister (Alice Margaret), was among Dodgson's child-sitters; she was seventeen years of age at the time of this translation (which followed the German in the same year as the earliest translations of Carroll's chef d'oeuvre), and later became the first Head of St. Margaret's House, Bethnal Green. [Attributes: First Edition]

London: Macmillan und Comp., 1869. First edition in German, presentation copy, inscribed by the author on the half-title, "Margaret Evelyn Hardy, from the Author". The first foreign language translation of Alice's Adventures in Wonderland was published in February 1869 before a French translation of August 1869. The original English text was first published in 1866. Williams, Madan, Green, and Crutch praise the illustrations in this edition and note "the reproductions of the woodcuts in this German edition are excellent, and bear comparison with those in any other issue of Alice in Wonderland". The contents listing exactly copied the pagination of the English edition so that for every chapter except the first, the page numbers are incorrect. Gathorne-Hardy, 1st Earl of Cranbrook, (1814-1906) became known to Carroll's Oxford circle in 1865 when he was nominated to stand in the Oxford University constituency. There were three candidates: William Gladstone, William Heathcote and Gathorne Gathorne-Hardy. Carroll records signing a voting paper in his diary for 10 July and Jackson's Oxford Journal for 15 July notes that "Dr Dodson [sic], of Christ Church" voted for Gladstone. The final result was Heathcote 1331, Gathorne-Hardy 767, and Gladstone 735 votes. The election prompted Carroll to write his Dynamics of a Particle (1865) comprising a satirical pamphlet masquerading as a mathematical treatise in which chapter two refers to the contest between Gathorne-Hardy and Gladstone. The politician was responsible for Carroll's admittance to the public area of the House of Commons on 8 April 1867, and when Gathorne-Hardy visited Oriel College, Oxford, Carroll invited him to Christ Church to have his photograph taken. Carroll noted in his diary on 10 June 1867 "He had not long to spare, but I succeeded in taking two pictures of him, neither of them, I fear, particularly successful". Gathorne-Hardy had married Jane Orr in 1838 and they were to have four sons and five daughters. On 24 June 1867 the politician wrote to Carroll stating "my little girl's names are Margaret Evelyn, and I am sure she would dearly treasure Alice in English and French, but has no right to tax you for both". At the time of writing, there were no foreign language translations. A correspondence between the two men commenced and, in time, Carroll certainly sent both English and French editions of Alice. This inscription in an unrequested German translation is previously unknown (unrecorded by Carlson and Eger). Another hand other than Carroll's has added the date of 1871. Carroll continued to send copies of his books to Margaret: she also received an inscribed copy of Through the Looking-Glass dated Christmas 1871 and a copy of The Hunting of the Snark with an inscription dated 24 April 1876. Carroll's diary entry for 12 September 1877 records a visit by the author to the Hardy family to "meet Evelyn again (she is now 'Miss Evelyn')" when he "walked on the Parade with Mrs. Hardy and Misses K. and E." Williams, Madan, Green, and Crutch 71; Carlson and Eger, Dodgson at Auction 1893-1999, 1999. Octavo. Original green cloth, spine lettered in gilt, pictorial roundels and triple-line borders to covers in gilt, brown coated endpapers, binder's label ("Burn & Co") to rear pastedown, all edges gilt. Frontispiece and 42 illustrations by John Tenniel. Some fading and bubbling to covers, spine slightly soiled, corners slightly bumped, minor restoration to spine and hinges, some browning and foxing throughout; a very good copy. [Attributes: First Edition; Signed Copy]

The Suppressed 'Sixtieth Thousand' issue, presentation copy from the author to the Mechanics Institute with presentation ink-stamp to title. In the original pictorial red cloth, gilt edge tooling. Spine lightly sunned, gilt titles & tooling, edges bumped. Internally, half title, frontis, [11], [1], [1], 2-224 pp, [4] adverts, 50 illustrations, a.e.g., black endpapers, very slight pulling to one gathering, slightly cocked. Housed in a custom half red morocco gilt over red cloth drop-back-box, gilt titles to spine, gilt tooling & titles to morocco label to upper board. A Very Good example. (185*124 mm). Scarce. Only 4 copies known to exist in the original red cloth. Up until as recently as 1990 Lovett noted that 'no copies of the 60th thousand in standard binding have been recorded' (p.21). Copies rebound for the Mechanic's Institute were known, but it is only in the last few years that Selwyn Goodacre has managed to trace 4 copies in the original cloth, one of these now lost (Selwyn Goodacre, unpublished census). This suppressed issue was, according to Carroll, riddled with printing production faults. The illustrations were over-printed, the pages badly folded and it led to him threatening to terminate his contract with Macmillan. This had already been an issue for the first edition of the 1865 Alice, which was recalled after Tenniel complained about the quality of the printing. On receiving the first 6 copies of this issue, Carroll wrote a letter to Frederick Macmillan, stating that: "the book is worthless ... much as I should regret the having to sever a connection now lasted nearly 30 years, I shall feel myself absolutely compelled to do so, unless I can have some assurance that better care shall be taken, in future, to ensure that my books shall be of the best artistic quality attainable for the money" (Letters p.995). Only 60 copies had gone out when Carroll intervened. He asked Macmillan to destroy the remainder of the edition, which led to 'Through the Looking Glass' being out of print until 1897. He did later change his mind about destroying the remaining copies of this edition, and instead favored rebinding it and distributing it to charitable institutions, as had been done with the first suppressed Alice. (Williams, MacLean, Green & Crotch 84b; Selwyn H. Goodacre "Lewis Carrolls Rejection of the 60th Thousand of Through the Looking Glass"; The Book Collector Summer 1975 p251-56).

Paris: Black Sun Press, 1930. Limited. hardcover. near fine. Laurencin. Illustrated with 6 color lithographs by Marie Laurencin printed by Desjobert of Paris. Oblong 4to, 3/4 red morocco binding over patterned boards, gilt spine lettering and decorations, with a small inset of a white rabbit on the side panel, top edge gilt. Paris: Black Sun Press, 1930. Limited Edition. Of an edition of 790 copies, this is one of only 20 copies with a duplicate set of plates in sanguine. Five of the extra plates are signed in pencil by Laurencin, who has also signed the colophon page, which states that this is number 19 of the American Edition. Although the binding is unsigned it was likely done by the Bennett Book Studio which did a number of similar ones. Fine, in a leather-tipped slipcase which is missing the top edge. [Attributes: Signed Copy]

New York: Maecenas Press, 1969. Signed Limited Edition. Limited edition. Number 1792 of 2500 copies, signed by Salvador Dali on the title page. Bound in publisher's leather backed linen clam shell case with perfectly intact leather toggle straps and horn clasps, containing a brown stiff cloth cover housing unbound folded sheets. 18.5 x 12.5". Fine in a Near Fine clamshell with faint scuffing to joints and a little staining to edges. A fantastic copy of the Surrealist's unearthly take on Carroll's Victorian fantasy. Copiously illustrated with vibrant, hallucinatory prints. Fine. [Attributes: Signed Copy]

London: Macmillan and Co., 1866. London:: Macmillan and Co., 1866. 2nd Edition . Hardcover. Very Good. 12mo - over 6¾ - 7¾" tall. TENNIEL John 1820-1914. HOLIDAY Harry 1839-1927.. A SUPERB, UNIFORMLY-BOUND SET OF THE FIRST EDITIONS OF DODGSON'S MOST CELEBRATED BOOKS. Together, 3 works in 3 volumes, all uniformly bound in early 20th-century red calf gilt, all edges gilt, stamp-signed by Zaehnsdorf, original cloth bound in at the end of each work, armorial bookplate to fpds (Jean S & A Watson Armour III). Alice's Adventures in Wonderland. London: Macmillan and Co., 1866 [1865]. 8vo. Half-title, with 42 illustrations by John Tenniel, 184*119 mm, a.e.g. SECOND EDITION (i.e. FIRST AUTHORIZED EDITION), or the first published English edition, earliest state with the inverted S in the last line of the Contents page. For this new edition published November 1865 (but dated 1866 for the Christmas market) the book was re-set by the printer Richard Clay from a copy of the suppressed 1865 Alice, forming the basis for all future Macmillan editions. Green, Lewis Carroll pp.46-56; Grolier Children's One Hundred, 35; Lovett 3; PMM 354 (note); Williams 10; Williams-Madan-Green-Crutch 46. [With:] DODGSON. Through the Looking-Glass, and What Alice Found There. London: Macmillan and Co., 1872 [1871]. 8vo. Half-title, one-page publisher's ad for Dodgson's works on Q1v; frontispiece and illustrations by John Tenniel. Provenance: James Beeby (ownership signature dated August 1872); 182*124 mm. FIRST EDITION, FIRST STATE of p.21, with the misprint wade for wabe in the second line of the poem Jabberwocky, and with the pagination for page 95 and page 98 (no priority). Lovett 13; Williams-Madan-Green-Crutch 84, . [With:] DODGSON. The Hunting of the Snark. London: Macmillan and Co., 1876. 8vo. Half-title, 9 plates by Henry Holiday; 1p. publisher's advertisement at end. Provenance: FIRST EDITION, FIRST ISSUE with Baker for Banker on p.83. Williams-Madan-Green-Crutch 115. Faintest sunning to top 1/2 inch of Alice & Glass, tips rubbed.