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1863. 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.

London: Macmillan and Company. and 1878, 1877. Two volumes. Author's presentation bindings of white textured paper-covered boards, imitating vellum, with gilt titles to the spines, gilt triple-ruled borders and gilt illustration motifs to the upper and lower boards. Inscribed presentation copies. Signed by the author. All edges gilt. 'Alice's Adventures in Wonderland', fifty-eighth thousand, with 42 black and white illustrations; 'Through the Looking Glass', forty-fourth thousand, with 50 illustrations by John Tenniel. Tissue guard to the frontispiece of 'Looking Glass'. Very good copies, the bindings firm, both with the spines slightly rolled. The lightly marked paper-covered boards are dusty and darkened, more so to the spines, 'Wonderland' with a clean square to the top corner of the upper board and the bottom corner of the lower board (from brass corner guards, since removed). Some light bumping and wear to the corners and spine tips of both volumes, and 'Looking Glass' has minor splitting at the bottom of the spine where it meets the front board, although in both cases the binding remains firm. 'Wonderland' bears the recipient's ownership name to the top right corner of the half title, above the author's presentation inscription, and has some creasing at the upper corner of the front endpaper. Both volumes are spotted to the prelims, with occasional finger marks and light spotting throughout. 'Looking Glass' is cracked (but holding firm) at the gutter of the half-title and has an autograph letter from the author, loosely laid in. An exceptional inscribed set of Lewis Carroll's Alice books, in the notably rare presentation bindings, and with a wonderful single family owned provenance. 'Alice's Adventures in Wonderland' is inscribed in purple ink on the half-title "Ada Frost / from the author / Jan. 29. 1888."; 'Through the Looking Glass' is inscribed in black ink on the half-title "Mrs Dixon, / from the author. / July 18, / 1892". The recipient Ada Dixon, (née Frost, 1874-1964), was a professional child model who sat for sketches made by Dodgson in Mrs Shute's studio in 1888 (Letters 2: 692-93), where presumably this copy of 'Alice's Adventures in Wonderland' was presented. 'Through the Looking Glass', inscribed some four years later was presented in celebration of Ada Frost's, (now Dixon) marriage, the accompanying letter, dated the same day as the author's inscription in the book, reads "Dear Mrs Dixon, I am so very much obliged to you for writing to me, and was very glad indeed to get your letter and to know that you still remember me as a friend, and that you have turned over another leaf in the book of the story of your life, and have found such pleasant reading on the other side! I wish, to your husband and you, all possible happiness. As you already have "Alice in Wonderland" I want you now to accept the sequel "Through the Looking Glass", which I will send you by parcel-post, bound in "bridal white", which I think is more appropriate, this time, than scarlet. If ever I find myself near enough to Chalk Farm, I will give myself the pleasure of calling. With very kind regards to your husband, I am sincerely yours, C. L. Dodgson". Dodgson had white, gilt-stamped copied bound exclusively for his use as presentation copies for his close friends and cherished acquaintances, typically keeping a few on hand to give as gifts as and when he needed them, naturally making this variant notably scarce. Whilst Dodgson is known primarily for his writing, he was also a keen amateur photographer and artist. He created thousands of photographs in the Victorian symbolist tradition formed by the likes of Julia Margaret Cameron and Oscar Gustave Rejlander, and illustrated his own written drafts, including a precursor to what would become 'Alice's Adventures in Wonderland', a hand written manuscript titled 'Alice's Adventures Under Ground'. Ada Dixon was among many models who posed for Dodgson's photographs and sketches, and it was not uncommon for him to form friendships with them, exchanging letters and even attending their weddings. The most famous of his models is undoubtedly Alice's namesake herself, Alice Liddell, a daughter of Henry Liddell, who was the Dean of Christ Church College, Oxford, where Dodgson was a lecturer of mathematics. As well as employing them as photographic subjects, Dodgson would take the Liddell children out on rowing trips, and it was on one such trip that he first told a tale of the fantasy world through the rabbit hole, which Alice Liddell enjoyed so much that she begged him to write it down. Provenance: presented by the author to Ada Dixon (nee Frost) in 1888 and 1892, thence by family descent. Further details and images for any of the items listed are available on request. All items are catalogued by humans. Lucius Books welcomes direct contact with our customers. [Attributes: Signed Copy; Hard Cover]

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]

[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]

Maecenas Press - Random House., New York, 1969. Folio. (430 x 285 mm). [41 bifolia + 13 bifolia (suite); pp. 150, (i), (i)]. Carroll's text illustrated with an original frontispiece etching signed and numbered by Dali in pencil and twelve colour woodcut plates' this copy with the additional suite on Japon Nacré. Loose as issued in original publisher's black cloth silk portfolios each with Dali to covers, loose in original carrot morocco box with ties (the ties lacking as usual). The deluxe edition with the additional suite of Salvador Dali's illustrations for Lewis Carroll's proto-Surrealist masterpiece. From the edition de luxe limited to 200 signed and numbered copies on vélin de Rives with the additional suite of all the plates on Japon Nacré including the frontispiece etching which is signed in pencil by Dali; the full edition was 2,500 copies on Mandeure paper. This copy is numbered from the edition of 200 (Roman numbering CC). The number is LX (no.70) [Michler & Löpsinger 321 - 333]. [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 five 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. All items are catalogued by humans. Lucius Books welcomes direct contact with our customers. [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]

Maecenas Press, 1969. THE ROLLING STONES | BILL WYMAN'S COPY OF THE DELUXE EDITION OF SALVADOR DALI'S ILLUSTRATED "ALICE'S ADVENTURES IN WONDERLAND" Paris and New York, 1969 [4000/6000] New York: Random House, Maecenas Press, 1969. Copy CXXXI of 200 copies of the deluxe edition. The Deluxe Edition of Lewis Carroll's Alice in Wonderland, is signed by Salvador Dali on both the title page and the original colored etching, with double suites of the original etching and 12 mixed-media illustrations, each overprinted with Dali's remarque. Large folio (18-1/2 by 13 inches), with 16 loose gatherings as issued, including an original four-color etched frontispiece signed by Dali, and 12 full-page mixed-media illustrations on Rives and an extra suite of the etching and 12 illustrations on Japanese Nacre. Both suites are housed in black raw silk portfolios, all contained in original full tan morocco clamshell box secured with black fore-edge toggles, both detached, one present. This deluxe edition, distinguished from the more commonly found edition of 2,500 includes the extra suite of illustrations and etching and it features hand signed and numbered original etching. 18 1/2 by 13 inches PROVENANCE Property From Bill Wyman and his Rolling Stones Archive The Rolling Stones, Memorabilia WITH COA [Attributes: First Edition; Signed Copy; Hard Cover]

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., 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]

London: Macmillan and Co., 1870. "Presented by Lewis Carroll to the Crofts Sisters" An Exceptional and Fully Documented Family Association Set of Alice's Adventures in Wonderland and Through the Looking-Glass, Inscribed by Lewis Carroll to Mary Dowell Crofts and Florence Crofts CARROLL, Lewis (Charles Lutwidge Dodgson). Alice's Adventures in Wonderland. With forty-two illustrations by John Tenniel. Twenty-third thousand. London: Macmillan and Co., 1870. [together with:] Through the Looking-Glass, and What Alice Found There. With fifty illustrations by John Tenniel. Twenty-sixth thousand. London: Macmillan and Co., 1872. Both volumes inscribed by Lewis Carroll: Alice: "Mary Dowell Crofts / from the Author / 1870." Looking-Glass: "Florence Crofts / from the Author / March 9, 1873." Two volumes. Small octavo (7 x 4 7/8 inches; 178 x 98 mm.). Uniformly bound circa 1960 by Bayntun-Rivière in full crimson crushed morocco, covers elaborately ruled in gilt with decorative cornerpieces, spines with five raised bands, compartments richly tooled in gilt with Carrollian ornament, gilt board edges and turn-ins, marbled endpapers, all edges gilt. The upper cover of Alice tooled with a central White Rabbit vignette and Looking-Glass with the Red Queen. The front turn-ins each stamped "Bound by Bayntun (Rivière), Bath" An exceptionally handsome and harmonious pair. An outstanding and fully documented Lewis Carroll family association. The two volumes were presented by Carroll to Mary Dowell Crofts and her younger sister Florence Crofts, daughters of J. D. M. Crofts, members of one of the author's best-documented family friendships. Carroll became acquainted with the Crofts family during the 1860s, visiting them at both Sevenoaks and Hastings, and maintained a warm friendship with the children over a number of years. Mary Crofts was among the young girls photographed by Carroll, while both sisters appear repeatedly in his surviving correspondence. The inscriptions themselves establish a coherent chronology of Carroll's continuing relationship with the family. Mary received Alice's Adventures in Wonderland in 1870, while Florence received Through the Looking-Glass on 9 March 1873, only weeks before Carroll wrote again to Mary, demonstrating that the friendship remained active during precisely the period in which the books were presented. The identification is further strengthened by Mary's inscription, which reads "Mary Dowell Crofts." The use of her maternal family name, Dowell, exactly accords with independent genealogical records, eliminating any uncertainty regarding the recipient's identity. A letter written by Carroll to Mary Crofts on 12 April 1873, preserved among his correspondence, confirms that he remained in close contact with the sisters immediately following the presentation of Looking-Glass. Few presentation copies permit such precise reconstruction of the relationship between author and recipient. Unlike many surviving Carroll presentation copies, whose recipients remain obscure, the Crofts sisters occupy a clearly documented place within Carroll's social world. Their relationship with him is supported not only by inscriptions but by surviving correspondence, recorded visits, family history, and Carroll's own photographic work, making this one of the comparatively few presentation sets whose provenance can be reconstructed in remarkable detail. The present volumes therefore represent far more than simply two books signed by Lewis Carroll. They preserve an intimate record of one of the personal friendships that informed his private life during the years in which the Alice books were transforming children's literature. This remarkable pair represents: two presentation copies given by Lewis Carroll to sisters within the same family; recipients who are securely identified through genealogy and Carroll's correspondence; gifts made during the formative years of the Alice books (1870-1873); a documented relationship extending beyond the inscriptions through visits, letters, and Carroll's photographic portraits; one of the comparatively few surviving Carroll association sets in which author, recipients, chronology, and historical documentation all coincide. Presentation copies of the Alice books have always occupied the highest tier of Carroll collecting. Family presentation sets with this degree of documentation are exceptionally uncommon and belong among the most desirable association copies to survive. Williams, Madan & Green 46d & 84a. [Attributes: Signed Copy]

D. Appleton and Co, New York, 1866. Octavo, 192pp., illustrated by John Tenniel. A very good copy in the publisher's red cloth. Neatly recased in its original binding, preserving the original endpapers, and expertly rebacked, preserving nearly all of the original spine, with reinforcement from new-old stock red cloth purchased from the descendant of a mid-19th century Victorian cloth salesman, and which bears the same grain and color of that used for the first edition of "Alice." Very light touch-ups to corners. Two handsome bookplates to the front endpapers. Internally very fresh, and with no internal restoration. Housed in an early 20th century red cloth slipcase, backed in red morocco, with red cloth chemise. The American issue of the first edition, which was actually printed before the English edition. Here's the story: Dodgson had the Clarendon Press print a run of 2,000 copies in the summer of 1865, intended to be published and distributed by Macmillan. Discussing the edition with Tenniel, the illustrator, he ultimately decided that the printing quality was not up to par, and he had it reprinted. Of those 2,000 copies, only 48 were retained by Dodgson himself for presentation, and only 22 of those survive. Another 1,000 of them were sold to D. Appleton in New York, and shipped there, where they were supplied with a new title page bearing the Appleton imprint. As such, these copies bearing the Appleton imprint represent the first edition of "Alice" which was ever run off the press, and precede, bibliographically, the UK first edition. The UK edition was issued in November 1865, and the Appleton issue was issued to American customers in December. As such, it can be safely, if confusingly, styled as the true first edition, and the second issue, while the UK edition is styled as the second-printed and first published edition. Generally more difficult to source in the trade than the London issue, it is an important foundational piece of the story of the publication of "Alice," one of the greatest children's books ever written, and certainly the most enigmatic. The book is rarely found in excellent, unrestored condition. Most copies have been rebound in leather, or bear varying degrees of restoration. This internally very fresh example has been preserved with archival techniques and period materials, retaining all of its original character. Lovett A.22.c. [Attributes: First Edition; Hard Cover]

New York: D. Appleton & Co., 1866 With 42 black and white illustrations by John Tenniel. First edition, second issue (with suppressed first UK sheets and new title page); with variant B title page with the 'b' in 'bye' directly above the "T" in "Tenniel." Finely bound in red morocco by Bayntun-Riviere (signed by binder to front turn-in), with an illustration of Alice to the front board in gilt, illustration of the Cheshire Cat to the rear board in gilt, spine with five raised bands, lettered, decorated, and ruled in gilt, all edges gilt, wide turn-ins, and marbled endpapers. About fine, with minimal spotting to some pages, and contemporary gift inscription to verso of half-title page. Overall, a magnificently bound copy of the earliest obtainable issue of Alice.Alice's Adventures in Wonderland tells the story of a young and exceedingly rational girl who falls through a rabbit hole into a surreal world filled with strange and fanciful characters, including the Mad Hatter, the White Rabbit, the Cheshire Cat, and Mock Turtle. The story culminates in a court trial at the behest of the bloodthirsty Queen of Hearts, with Alice being called as a witness. Charles Lutwidge Dodgson wrote the nonsensical story under the pseudonym Lewis Carroll for 10-year-old Alice Liddell, who was a frequent subject of his revolutionary portrait photography. A well of inspiration and fascination for readers for more than 150 years, the book was ranked number two on the BBC's 100 Greatest Children's Books of All Time poll in 2023.The true first issue of Alice was published by Macmillan in London in a print run of 2,000 copies, but was quickly suppressed because neither author nor artist approved of the quality of the reproductive illustrations. Macmillan sold its remaining pages to Appleton in New York, who bound this second issue with a cancel title page. Aside from the new title, the Appleton Alice agrees with all textual issues of the 1865 Alice, including the slight variants on page [5] and [6], which neither indicate collecting priority nor earlier printing. Similarly, the slightly different Appleton title pages are the result of the book being "printed in pairs from two nominally identical settings of type." Only a handful of the true first issues survived (many were donated to children's hospitals), making the Appleton Alice highly sought after by collectors. . First Edition. Hard Cover. Near Fine. Illus. by Tenniel, John. [Attributes: First Edition]

London: Macmillan and Co. Ltd,: , [c. 1920]. London: Macmillan and Co. Ltd,, [c. 1920]. First and only edition of this extremely uncommon and highly decorative set of posters First and only edition of this extremely uncommon and highly decorative set of posters. This complete set comprises possibly the first example of the original publishers of Alice's Adventures in Wonderland using illustrations to Carroll's fantasy other than those by John Tenniel. The set comprises: 1. Alice and the White Rabbit; 2. The Dodo presenting the Thimble to Alice; 3. The Cheshire Cat; 4. The Mad Tea-Party; 5. The Mock Turtle's Story, and 6. Trial of the Knave of Hearts. With the expiry of copyright on Alice in 1907, numerous publishers issued versions with colour illustrations. Macmillan, however, continued to rely on Tenniel's black and white illustrations. Nevertheless, there was evidently some requirement for the original publishers to update the appearance of the book which had been unchanged since 1865. A set of these posters in the Bodleian Library suggests their publication in 1921 (using the library's dated acquisition stamp). Six years later Macmillan published an edition which included Tenniel's drawings and 16 coloured plates (Williams, Madan, Green & Crutch, 322). The artist was John MacFarlane who, evidently, was instructed to keep as closely to Tenniel's originals as possible. The set was originally issued secured by a wooden bar at the top edge with a first sheet on paper reading "Macmillan's Coloured Wall Illustrations", the title "Alice in Wonderland", a listing of the six posters, before details of the publishers. We can trace only two sets in institutions: the set noted above in the Bodleian Library, and a set in the rare book collection of Buffalo & Erie County Public Library. The artist, John Fleming Cullen MacFarlane (1857-1936), was born in Scotland and by the 1880s was working as an illustrator. In the early 1880s he moved to Australia, and his work was published within The Illustrated Australian News, The Queensland Leader, and The Barrier Daily Truth. In 1892 he illustrated his first book, At the Races: The Melbourne Cup. He returned to England around the turn of the century and continued to contribute work to periodicals, in addition to books, including illustrations for Ward, Lock & Co., together with Macmillan and Co. 6 colour-lithographed linen-backed posters (810 x 565 mm), each poster with publisher noted in lower right corner and title of illustration lettered in black in lower margin. Loose leaves. Single fold at horizontal centre, some minor nicks and short tears to extremities, occasional minor soiling and foxing to white borders, creases to lower right corner of Poster 1, light foxing to lower right corner of Poster 5, creases to top left corner of margin, and very minor loss to lower right corner of margin of Poster 6: a very good set.

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]

Alice in Wonderland CARROLL, Lewis (pseudonym for: Charles DODGSON); John TENNIEL (illustrator). Alice's Adventures in Wonderland. With Forty-Two Illustrations. London: [ R. Clay for ] Macmillan and Co . 1866. [offered with:] CARROLL, Lewis (pseudonym for: Charles DODGSON); John TENNIEL (illustrator). Through the Looking-Glass, and What Alice Found There. With Fifty Illustrations. London: MacMillan & Co . 1872 (but 1871). Two volumes, 8vo. Bound in twentieth-century full red morocco by Bayntun (rear turn-ins signed in gilt), with, respectively, playing cards and rabbits and lioins and flowers gilt to spines and the White Rabbit and the White Queen gilt to upper boards, spines lettered directly in gilt, original cloth and rear endpaper bound at end ( Through the Looking Glass with original cloth spine also bound in), both housed in a twentieth-century cloth slipcase; Alice's Adventures in Wonderland : pp. [12], 192; Through the Looking Glass : pp. [12], 224, [4]; numerous in-text lithographic illustrations by John Tenniel; a few minute scuffs to boards, cloth slipcase rubbed and worn; a few very neatly repaired closed tears to margins, light marks to pp. 112-13 of Alice in Wonderland and the odd spot to Through the Looking Glass ; otherwise fine copies in attractive Bayntun bindings; 1866 gift inscription 'A.S.H. from E.M.' to half-title of Alice's Adventures in Wonderland , washed ownership inscription to half-title of Through the Looking Glass , Sotheran's ink stamp, Sackville Street, to front free endpaper versos, with loosely inserted manuscript note referencing Sotheran's catalogues of the 1970s and 1980s. First published edition of Carroll's Alice's Adventures in Wonderland , reset by Clay's from a copy of the recalled first edition, first issue of 1865, offered with the first edition of the sequel, Through the Looking-Glass , both beautifully bound in red morocco by Bayntun with the original cloth bound in. The first edition, first issue of Alice's Adventures in Wonderland (1865) was swiftly recalled at the request of the illustrator, John Tenniel, who was displeased with the quality of the illustrations in print; on 2 August 1865, Carroll agreed to go ahead with a reprint. Two thousand copies of the recalled first issue were printed at the Clarendon Press in Oxford for Macmillan. Williams writes that 'it has been questioned whether the First Edition was ever published, in the strict sense of being on sale to the public and sent to the copyright libraries [the British Museum copy was acquired in 1952', quoting a letter from the author which 'suggests that only Dodgson's 50 presentation copies left the publisher's offices'. One thousand copies using the remaining sheets were bound in England with a tipped-in title-page and shipped to New York, published by Appleton & Co. in 1866, the sale to America having been authorised on 10 April. It is unclear precisely when this first published edition was published; Carroll had received proofs from Clay's as early as 11 August 1865, and the British Museum copy was received on 14 November 1865. Alice's Adventures in Wonderland is here offered alongside the first edition of Carroll's sequel, Through the Looking-Glass ; although the title-page is dated 1872, the book was in fact published in 1871, in time for Christmas, selling fifteen thousand copies within weeks of publication. Through the Looking-Glass contains the famous Jabberwocky poem and introduces the Red Queen, the White Queen, Tweedledee and Tweedledum, and the White Knight. It was intended for publication in 1870 under the title Looking-Glass House and What Alice Saw There , with forty-two illustrations as opposed to the fifty which would appear in print. Both works are bound in red morocco by Bayntun's, as mentioned by Lovett, with the original red cloth bound at the rear. Lovett 3a and 13a; Williams 46 and 84 . SKU: 2126643

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 Carroll'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 complement this truly strange and lovely little book. [Attributes: First Edition; Hard Cover]

London: William Heinemann, n.d., [1907]. LIMITED SIGNED EDITION WITH TWO ORIGINAL DRAWINGS. 1 vol., 11" x 9-3/16", limited to 1100 numbered signed copies this being copy #473, with an original ink sketch of the mock turtle and gryphon signed with monogram and dated 1927, illustrated with numerous tipped in color pates with titled tissue guards and B&W illustrations in text, bound in full blue morocco, ribbed gilt decorated spine, covers ruled and paneled in gilt, gilt corner pieces, gilt dentelles, top edge gilt, others uncut, marbled pastedowns and endpapers, by Bayntun/Riviere, housed in a matching gilt clamshell slipcase of full blue morocco, by the Temple Bindery. Some minor offsetting to the first and last leaves otherwise internally clean and bright, no previous ownership marking, inscriptions, or bookplate, A VERY GOOD COPY. [Attributes: Signed Copy; Hard Cover]

Macmillan and Co. 1866 and 1872, London. First UK edition to be regularly published of ALICE IN WONDERLAND (after the suppressed 1865 edition) with inverted "S" in last line of contents page; and first edition of THROUGH THE LOOKING-GLASS with correct first-issue/printing point present on p.21, "wade" for "wabe" [Williams 10 & 21, respectively]. Each volume finely bound in gilt-stamped full red leather with Alice-themed tooling to front covers and spines; gilt-ruled leather turn-ins; marbled endpapers; and all edges gilt. ALICE shows faint name at head of title page; finger smudges to margins and occasionally to text (still readable); fairly extensive old tape repairs and/or shadows of old repairs with subsequent re-mends throughout, the most noticeable being at head of half-title where the color appears to have been touched up. A few repaired tears cross into text without damaging the type. Two tiny areas of damage to type (still wholly readable) appear on p. [15] and p. 66, affecting portion of one letter and crossing a few letters in a thin but noticeable line (respectively). LOOKING-GLASS is bright and fine with only a very faint name to head of half-title. Altogether a very good set beautifully presented in bindings that are quite fine. Housed together in lined, red cloth-covered slipcase with ribbon pull. [Attributes: First Edition; Hard Cover]

London: Macmillan und Comp.,, 1869. Presentation copy of the first foreign language translation 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." Octavo. Frontispiece and 42 illustrations by John Tenniel. 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. 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. Williams, Madan, Green, and Crutch 71; Carlson and Eger, Dodgson at Auction 1893-1999, 1999. [Attributes: First Edition]

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 and Co.,, London, 1886. A wonderful copy of the perennial children's classic, inscribed by Lewis Carroll on the half-title. This edition was released twenty-one years after the first copy was published and is a facsimile of the author's original manuscript - the only know copy of which resides in the British Library. It contains thirty-seven of Carroll's drawings to accompany the text, which decorated the manuscript. Subsequently, Carroll asked Punch cartoonist, John Tenniel to recreate these drawings to go alongside Alice in Wonderland when it was published in 1865. The story was born from a journey Carroll took with the three daughters of his close friends. As he rowed them down the river in Oxford he began to make up stories of their expedition and named it 'Alice's Adventures Underground' in his diary later that day - Alice Liddell being the name of one of the girls. Alice pleaded with Carroll to take this story down on paper and the author obliged, presenting her with the manuscript roughly two years later wherein he received feedback from her and other children to make edits which would please young minds. The book, alongside its sequel, Through the Looking-Glass, cemented Carroll's position as a seminal writer of the Victorian period, particularly in the genre of nonsense writing. Alice's journey into the fantasy world of magic and royalty and anthropomorphic creatures would go on to influence writing for over a century after his death. The edition is unusual due to its form and illustrations - mimicking Carroll's handwriting - and it being significantly shorter than the final version of the novel, as the original manuscript did not include scenes such as the Mad-Hatter's Tea Party as they were added in later. Finally, this particular copy is inscribed 'Mary James | From the author | Dec 3 /93' crafting a bond between the reader and the eminent Lewis Carroll. First edition, first printing, first issue with black coated endpapers, inscribed by the author; 8vo (190 x 135 mm); thirty-seven engravings based on illustrations, in-line drawings and full-page plates, inscription in ink to half-title; publisher's red cloth triple ruled in gilt, gilt-embossed vignette depicting mock-turtle to lower board, all edges gilt, toned spine, minor marks to boards, otherwise very good indeed; [viii], 96pp, [1], [2]ads. Provenance: Mary James (Inscription to half-title 'Mary James, from the author, December 3rd, 1892') Robert Rutson James (bookplate to front pastedown) [Attributes: First Edition; Hard Cover]

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]

London: Macmillan and Co., 1886. First Edition. First edition, first printing, first issue with black coated endpapers. Inscribed by Lewis Carroll on the half-title page, "Mabel Marriott, from the Author. Dec. 3/92." [xvi], 96, [3, ads] pp with 37 illustrations by the author. Bound in publisher's red cloth tripled ruled and lettered in gilt with circular portrait of the Mock Turtle stamped at the rear board; all edges gilt. Very Good with slight shelf lean, darkening to spine, light wear to extremities and light soiling to cloth. Small abrasion to front pastedown, tape ghosts to prelims and terminals, several hinges slightly exposed. A lovely signed copy of Carroll's facsimile manuscript that inspired the author to pen Alice in Wonderland. The original manuscript, bound and illustrated by Carroll, was gifted to Alice Liddell and her two sisters, Edith and Lorina. Alice kept the original manuscript until 1928 when she was forced to sell it to cover her husband's funeral costs. Excludes several iconic segments, including the tea party scene that wasn't added until the first published edition. Signed. Herbert-Williams 194. Very Good. [Attributes: First Edition; Signed Copy]