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William Heineman/Doubleday Page, London/NY, 1907. Quarto. xi, 162pp., + 12ff. plates. One of 1,100 copies. Because Rackham was away from London while this book was in production, most copies of the deluxe edition went unsigned; however, this copy has been signed by Rackham on the limitation page. Contains thirteen large tipped-in color plates and many black & white drawings, which offer Rackham's distinctive, new interpretation of scenes made famous in Tenniel's classic illustrations, such as Alice's encounter with the caterpillar, the Caucus Race, and the Mad Tea Party. Hudson describes Rackham's undertaking as "the most controversial of his career," but concludes that "he has certainly made the greatest impression of all Tenniel's multitude of successors." The book opens with a "proem" by Austin Dobson that cheekily addresses the challenge of illustrating such a classic work, saying, "here comes a fresh costumier" to interpret the story according to his own taste. In the publisher's gilt-stamped white cloth bearing the title and a design of the Gryphon and Mock Turtle on the front cover. Cloth shows light finger soiling and minute toning to spine and endpapers; rear hinge started. T.e.g. A pleasing copy overall. (Latimore & Haskell, p. 28; Hudson, pp. 70-78). [Attributes: Signed Copy; Hard Cover]

London: Macmillan and Co., 1890. [12], 56pp, [8], original quarter cloth and decorated boards, the upper cover with a pictorial design in colour of Alice asleep and dreaming beneath a tree, signed 'E.G. Thomson', the lower cover with a picture of the March Hare in the centre, and the initials 'E.G.T.'. Cloth to spine repaired, with small splits to head of upper joint, corners bumped with small amounts of loss, slightly rubbed with very light soiling. Internally very lightly browned, lacking tissue guard to frontispiece, but generally clean and fairly bright. Now housed in a black buckram chemise and slipcase, with title and author in gilt to spine. Inscribed by Carroll, in his usual purple ink to half title, being one of one hundred presentation copies (see Williams, Madan, Green and Crutch, page 162), 'For Nina from the author, Mar. 25 1890'. Nina was apparently Nina 'Ninty' Eschwege, who later married Herbert Haviland Field. This "second (first published) edition appears to differ from the first only in the date 1890, in the substitution of 'Price Four Shillings' above the imprint, and in the Advertisements at the end. Copies also have an inserted printed slip advertising Sylvie and Bruno [not found in this copy]. The impression consisted of 10,000 copies on white, rather than 'toned' paper, with greatly improved colour reproduction" (Williams, Madan, Green and Crutch, page 162), after Dodgson had rejected the first ten thousand sets of sheets printed by Edmund Evans, because the pictures were too bright and gaudy, so he instructed that they be reprinted. Williams, Madan, Green and Crutch 216. Presentation Copy from the Author. Second (First Published) Edition. Hardback. Good. Illus. by Tenniel, John; Thomson, E. Gertrude. 4to. [Attributes: First Edition; Signed Copy]

London: Macmillan and Co.,, 1890. One of 100 copies inscribed by the author Second edition (the first published in the UK), first issue, presentation copy, inscribed by the author on the half-title, "For Olive, from the Author. Mar. 25, 1890". The recipient was Olive Augusta Langton Clarke who Carroll met in September 1883. Her father was both a clergyman and an inventor, and a close friend of the author's. The original idea for a simplified version of Alice's Adventures in Wonderland came to Lewis Carroll in 1881. He conceived a book with simplified text and pictures printed in colour. In 1886, the book was announced as being in preparation. The first edition was printed in 1889 and Carroll, mirroring his behaviour over the original publication of Alice's Adventures in Wonderland in 1865, rejected the printing with the complaint that the illustrations were "far too bright and gaudy". The rejected sheets would eventually be issued in the US in 1890 (and then in the UK in 1891 and 1897). The second edition, published in 1890, was therefore the first published edition and on 25 March 1890 Carroll inscribed around 100 presentation copies, having recorded the names and (mostly) addresses of recipients in an exercise book. Describing the new printing in his diary, Carroll stated that "it is a great success" (Diaries, p. 506). The most notable alteration between the first and second editions is the printing of the sheets on white rather than toned paper and the change to the illustration of "Alice and the Cheshire Cat" on p. 34, removing Alice's profile. The first issue has "Price four shillings" above the imprint. Williams, Madan, Green and Crutch call for "an inserted printed slip advertising Sylvie and Bruno" which is frequently missing, but present in this copy. Carroll's exercise book recording the names and addresses of recipients, includes Olive Langton Clarke as entry number 45. She is listed as living at 25 Clarendon Square, Leamington. Carroll first met the Clarkes at Whitburn in October 1864. James Langton Clarke (1833-1916) attended University College, Durham (obtaining a BA in 1856 and MA 1857). He was a curate of Whitburn 1858-60, and afterwards curate at Leamington from 1885. Given this gap, it is assumed that he had some independent means. In 1857 he married Frances Mary Harrison (b. 1835), daughter of the railway engineer Thomas Elliott Harrison, and the couple had 14 children. Olive Augusta was the youngest and born in 1880. In 1904, James Langton Clarke published The Eternal Saviour-Judge. He was also an inventor of items such as a mechanical pencil-sharpener (and applied for six different patents between 1863 and 1885). The Langton Clarkes were friends of the Wilcoxes (related to Carroll), and James Langton Clarke officiated at the christening of Mary Dorothea Wilcox in October 1859. A collection of photographs taken by Carroll of the Langton Clarkes is now at the Chicago Art Institute. Provenance: Sotheby's, 25-27 July 1927, lot 571; Quaritch; Thomas and Jania Erwin. Tall octavo. Original white cloth-backed white glazed pictorial boards designed by E. Gertrude Thomson, front cover lettered in red and black. Printed slip advertising Sylvie and Bruno loosely inserted. Housed in a custom red linen chemise and red cloth slipcase by James Macdonald (of New York). Colour frontispiece with tissue-guard and 19 colour illustrations after John Tenniel. Book label of Thomas and Jania Erwin on front pastedown. Binding somewhat worn and soiled with extremities worn, some abrasions to rear cover, some light finger-soiling; else a good and attractive copy. Williams, Madan, Green and Crutch 216, Edward Wakeling, ed., Lewis Carroll's Diaries, 2004. [Attributes: First Edition]

West Hatfield: Pennyroyal Press, 1982. Moser, Barry. Two folio volumes. 150pp.; xxv, 160pp. Each one of 350 copies signed by Barry Moser. Alice is illustrated with 75 wood engravings by Moser, and Through the Looking-Glass contains 95 engravings by Moser. Some of the engravings are full-page plates, while others are beautifully integrated into the layout. Alice bears a presentation inscription on the colophon to a patron, and Moser has added a characteristically detailed pencil drawing of a key. Every illustration in Looking Glass is pencil signed by Moser. Both volumes also come with an additional suite of the wood engravings, each print signed by Moser, in a linen-covered chemise. Both volumes are printed in five colors on a paper specially made for the Press by Strathmore Mills, with calligraphy by G. G. Laurens. The type is Bembo, in blue, black, and red. Bound by Gray Parrot in quarter purple morocco and crimson morocco and marbled boards, respectively. Each is housed in its own morocco-backed linen clamshell box. This was the first in a series of folio editions of classic texts printed at the Pennyroyal Press. It sold out almost immediately and has remained the most popular of Moser's oeuvre ever since. The edition was based on Carroll's corrections to his original text, and the additional commentary was written by one of America's leading Victorianists, James Kincaid. The University of California Press issued a trade edition of this publication which is considered a classic in its own right. [Attributes: Signed Copy]

West Hatfield, Massachusetts: Printed by Harold McGrath at Pennyroyal Press, 1982. Hardcover. Near fine. Issued separately, each folio volume is limited to 350 numbered copies signed by the illustrator and accompanied by an additional suite of wood engravings, with each print signed by Barry Moser, in a linen-covered chemise. A matching set, both volumes in this pairing are number 270. Printed in five colors on a paper specially made for the Press by Strathmore Mills, with calligraphy by G.G. Laurens. The type is Bembo, in blue, black, and red. Bound by Gray Parrot in quarter purple morocco and crimson morocco, respectively, over marbled paper-covered boards. Each is housed with the chemise of prints in its own morocco-backed linen clamshell box, which are a little discolored along the extremities (as usual). Alice's Adventures in Wonderland and its sequel, Through the Looking-Glass, were the first two in a series of four folio editions of classic texts printed at the Pennyroyal Press. Both sold out almost immediately and have remained the most popular of Moser's oeuvre ever since. The text was edited by Selwyn Goodacre, with a preface and notes by one of America's leading Victorianists, James Kincaid. A whimsical production and among the greatest achievements of late 20th century American book design.[Attributes: Signed Copy]

Maecenas Press - Random House, New York, 1969. 151 pages. Folio, 44 x 29 cm. Limited edition, copy 2430 of 2500 signed by Dali on title, and one original colored etching by Dali signed in pencil is opposite the frontispiece. Printed on Mandeure paper by Ateliers Rigal. In addition, twelve full page color heliogravures. Interior contents bright, clean and fresh. Spine of morocco case rebacked, some soiling to beige cloth of folding case. Loose as issued in original brown cloth chemise, quarter morocco folding case with replaced bone clasps. Very good [Attributes: Signed Copy; Hard Cover]

Doubleday Page, 1907. Carroll, Lewis. (Charles Lutwidge Dodgson). ALICE'S ADVENTURES IN WONDERLAND. New York: Doubleday, Page & Co., [n. d. but 1907]. First American De Luxe Edition illustrated by Arthur Rackham. With a "proem" by Austin Dobson. Limited to 550 numbered copies SIGNED by the publisher of which this is #114. Large quarto. Thirteen full-page tipped-in colored plates with all tissue guards present, illustrations sized much larger than those found in the first trade edition. This large paper edition is 162pp and measures 11 1/2" x 9 ¼". Original publisher's quarter dark green cloth over light green boards lettered in gilt with a small onlay image of Alice affixed to the upper board, t.e.g. A VERY FINE copy in ORIGINAL GLASSINE DUST JACKET still residing inside its matching green ORIGINAL CARDBOARD GIFT BOX. Virtually as new and untouched, an astonishing survival. In 1907, after more than forty years, Lewis Carroll's classic Alice's Adventures in Wonderland entered the public domain. That year, many new editions of Alice's Adventures were free to be published. Of those, Arthur Rackham's 1907 illustrated version is arguably the most iconic (and the most sought after) visual interpretation of Alice outside of the original Victorian era drawings by John Tenniel. In thirty years of selling Lewis Carroll desiderata, this is the first time we've ever seen the Doubleday Edition De Luxe in its original glassine DJ (much less with its original gift box). Also included, an example of the first American Trade Edition (c.1907, printed in England) as a reading copy. [Attributes: First Edition; Signed Copy; Hard Cover; In Dust Jacket]

1862. DODGSON, CHARLES L. [LEWIS CARROLL]. (1832-1898). English logician, mathematician, photographer, and novelist, especially remembered for Alice s Adventures in Wonderland (1865) and its sequel, Through the Looking-Glass (1871). Good, early Autograph Letter Signed, ''C.L. Dodgson''. Four full pages, octavo. 'Ch[rist] Ch[urch] Oxford', England, December 1, 1862. Very fine condition. To ''Dear Sir''. Dodgson writes: ''I am glad to find that you take in such good part my many criticisms on your poems. One or two further remarks I will trouble you with. You have not noticed Ah! Well, there s little in my story after all a line which is 2 syllables too long would you mind altering it to Ah! Well, my story has but little to it -- then -- the curves sail lateen -- Do you not mean curved-sailed ? Thirdly, as to the 2 doves: I enclose you a proof, in which they are reduced to one, that you may judge of the effect. I do not think the 4th stanza o the song suffers much my the change, which the last stanza almost suits the new version better than the old --- the mate evidently having remained at home during the voyage, and so furnished an additional stimulus for the speed of the messenger --- At any rate, if you wish them to continue two, I hope you will alter the passage knitting first *A lover s lovers letter underneath their wings which certainly does convey some notion of an Astley s performance. [Astley s was a performance venue in the UK, similar to a circus] You seem to have put a comma into stir his memory with hints and innuendoes of the pledge ; but I think it ought to be all one clause. I see several places where commas might as well be omitted, if you will trust me to erase them. With thanks for your good wishes for College Rhymes I remain truly yours, C.L. Dodgson. P.S. I forgot to say that I quite admit the possibility of the page haunting the eye as a picture -- while the single lines haunts the memory. I did not see your meaning before.'' A remarkable letter on many levels showing Dodgson as: editor; critic, and grateful recipient of praise for one of his earliest writing/publications: College Rhymes. His letters written from this early period are exceedingly scarce.

D. Appleton and Company, [New York, 1866. 192 pp. With Forty-two Illustrations by John Tenniel. 12mo, in a modern designer binding in full inlaid morocco, a.e.g. by Starr Bookworks. Preserved in a custom quarter morocco slipcase and chemise. First American edition, first printing; second issue with the cancel Appleton title page. 1 x 2" section of the upper right corner of the title page expertly replaced (owner's name removed?) This copy has the title page with the "B" in the second "By" above and slightly to the right of the "T" in "Tenniel," and the hyphen in "Rabbit-hole" on the Contents page. No priority for these variants has been reliably established. [Attributes: First Edition]

London and New York: William Heinemann and Doubleday, Page, & Co., 1907. Arthur Rackham. first Rackham edition. DELUXE LIMITED EDITION in exceedingly rare original slipcase. WITH: RACKHAM INK DRAWING of the Gryphon. The book: "Rackham embarked on his new edition of Alice in Wonderland, with illustrations to rival John Tenniel's, when the book came out of copyright in 1907. Rackham's advantage over Tenniel was that now he could introduce colour; also his pen line would not be reproduced by wood-engraving. This gave him some new freedoms for invention, but his amendments to the ingrained image of Alice were not only technical. Rackham's Alice was very much a fleshly Edwardian child who would question the status quo of Wonderland. Her courtesy carried an undercurrent of insistent argument. A contemporary critic observed 'a tender, flickering light of imagination in [Alice's] eyes' (Daily Telegraph, 27 Nov 1907). (Dictionary of National Biography). This deluxe limited edition is number 1030 of 1130 copies, unsigned as issued. (Rackham was out of the country when the book was published and did not sign the edition.) Complete with thirteen large tipped-in color plates and many black and white drawings. In the exceedingly rare original "windowed" slipcase: We can only find records of very few references to the original slipcase, although numerous copies exhibit the patch of rectangular discoloration corresponding to the cut-out opening of the slipcase, designed to display the gilt title and the gilt cover illustrations of the turtle and gryphon. The drawing: Laid-in is a large pen and ink drawing of the gryphon, signed by Rackham ("ARackham") and dated ("07") the same year as the book. The drawing is similar to the one on page 119 of the text, but is larger and with much more detail. Size: sheet = 7 1/4x9 (184x228 mm); image = approx. 5 1/2x7 in (136x180 mm). London and New York: William Heinemann and Doubleday, Page, & Co., 1907. Quarto, original white buckram gilt, original marbled slipcase with morocco edges and cutout displaying the title and illustrations on the front panel. Drawing laid-in. Book with mild rectangular "ghosting" from where the cloth was exposed when in the slipcase; mild toning to spine and a few stray spots but cloth exceptionally clean and bright. Corners a little bumped. Slipcase with general rubbing to marbled paper and chips around the frame of the cutout. Matte for one plate with small abrasions at gutter. Text and plates nearly pristine. Drawing was previously framed, resulting in toning to paper where it was exposed (ink crisp and fine). A beautiful copy of a Rackham classic, complete with the very rare slipcase and a unique Rackham ink drawing. Very Good. [Attributes: First Edition; Signed Copy]

Paris: GLM, 1939. FIRST EDITION, Deluxe issue. EXCEEDINGLY RARE DELUXE SET OF AVANTE-GARDE WORKS BY FOUR LITERARY MASTERS. Each copy one of only 15 deluxe issues. Includes the deluxe issue of Duchamp's important collection of aphorisms, "Rrose Sélavy". This extraordinary and complete collection (collectively "Biens Nouveaux") of works by Marcel Duchamp, Lewis Carroll, Franz Kafka and Gisèle Prassinos demonstrates the significance of absurdism, magical realism and surrealism across Europe in the 1930s and 40s. Published in April 1939 by Guy Lévis-Mano, one of the most creative French printers of the twentieth century, this complete series includes Marcel Duchamp's Rrose Sélavy, Lewis Carroll's La Canne du Destin, Franz Kafka's Le Chasseur Gracchus, and Gisele Prassinos's Sondue. Each copy is one of only 15 of the deluxe issue printed on high-quality Vieux Japon. This original edition of Marcel Duchamp's book of aphorisms, Rrose Sélavy, is numbered two out of only fifteen copies on Vieux Japon. Duchamp's female alter ego Rrose Sélavy was an artist, muse, and creative experiment that brought to life his symbolic use of language. Her name, as pronounced in French, sounds like "Eros, c'est la vie", meaning "The passion of love [sex], such is life." The playful puns and witty satire in this text provide clever commentary on society and the art world, offering the reader a glimpse into the mind of a revolutionary artist who believed in the joy to live and roam free in thought. Lewis Carroll's La Canne du Destin (The Cane of Destiny) is numbered thirteen out of only fifteen copies on Vieux Japon. Published posthumously in 1939, translator André Bay believed it was written in 1848 when Carroll was only 16. La Canne du Destin features two barons, a magician and a man named Blowski who dies and is transformed into mashed potatoes (!). It is notable for its fantastical storytelling and whimsical wordplay, a style which predated and foreshadowed Carroll's most famous work Alice's Adventure in Wonderland. His writing inspired the work of surrealists, like Duchamp and Prassinos. Le Chasseur Gracchus (English: The Gracchus Hunter; German: Der Jäger Gracchus), numbered seven out of fifteen copies on Vieux Japon, was translated by Henri Parisot in 1939 and is one of the earliest Franz Kafka's stories published in French. A six-page story written in 1917, it was found posthumously among Kafka's papers. The tale is about the long-dead Hunter Gracchus who is destined to wander aimlessly and eternally at sea, unable to find peace. The surrealist dreamlike imagery of the story explores themes of loneliness, alienation, and the human condition. This work represents a model for Kafka's later writing and a Kafkaesque dilemma, "two worlds that cannot make themselves understood by one another." (Emrich) Sondue (Sounded) by Gisèle Prassinos is numbered two out of fifteen copies on Vieux Japon. A French artist and writer she was discovered by André Breton in 1934, who declared "the tone of Gisèle Prassinos is unique: all the poets are jealous of it." When she was just fourteen, her first book, La Sauterelle Arthritique (The Arthritic Grasshopper) was published. For many, her personification of animals in this story was reminiscent of Carroll's Alice's Adventures in Wonderland. Hailed as a prodigy by the surrealists, Sondue, a novella-length narrative, was published when she was just 19 and considered macabre humor. Prassinos used automatic writing, sometimes referred to as free writing, a common surrealist technique. This was the last story she published before the start of World War II. She would not publish any writing again until 1958. This "Biens Nouveaux" collection was beautifully printed on Vieux Japon, known for its velvety texture and substantial weight and only used by Guy Lévis Mano for premium projects. René Char, French poet and member of the French resistance explained, "When the passion to give life to a collection...unites with...the art of printing, it brings us admirable successes and restores the object to its lasting plenitude. Guy Lévis Mano is the only one today who satisfies this haughty concern. He devoted his faith, his competence, his generosity and his enthusiasm to it." (Char 745) 1. Marcel Duchamp. Rrose Sélavy. Paris, G.L.M., 1939. First Edition. Small quarto (165 x 115 mm), original wrappers; glassine. Small closed tear to glassine at front base, otherwise fine. One of 15 original copies on Vieux Japon, this one number 2. 2. Lewis Carroll. La Canne du Destin (The Cane of Destiny). Paris, G.L.M., 1939. Small quarto (165 x 115 mm), original wrappers; glassine. Fine condition. One of 15 original copies on Vieux Japon, this one number 13. 3. Franz Kafka. Le Chasseur Gracchus (The Gracchus Hunter). Paris, G.L.M., 1939. Small quarto (165 x 115 mm), original wrappers; glassine. Fine condition. One of 15 original copies on Vieux Japon, this one number 7. 4. Gisèle Prassinos. Sondue (Sounded ). Paris, G.L.M., 1939. First edition. Small quarto (165 x 115 mm), original wrappers; glassine. Fine condition. One of 15 original copies on Vieux Japon, this one number 2. References: André Breton. Translated by Richard Seaver and Helen R. Lane. Manifestos of Surrealism. University of Michigan Press, 1969. René Char. In the Poet's Studio. Gallimard "Quarto" collection, 1956. The Editors of Encyclopaedia Britannica. "Franz Kafka." Encyclopedia Britannica, December 2, 2022. Wilhelm Emrich. Translated by Sheema Z. Buehne. Franz Kafka. Frederick Ungar Publisher, 1961. Alexander Hawkins. "Meet Rrose Sélavy: Marcel Duchamp's Female Alter Ego." AnOther Magazine. December 1, 2015. Gisèle Prassinos. Translated by Ellen Nations. Surrealist Texts. Black Scat Books, 2014. Rachel Rivenc and Kendra Roth, eds. Living Matter: The Preservation of Biological Materials in Contemporary Art. Getty Conservation Institute, 2022. Fine. [Attributes: First Edition]

London: MacMillan and Co., 1872. Alice's Adventures in Wonderland An Early Edition in a Superb Multi-Colored Inlay Binding by Kelliegram [KELLIEGRAM BINDING]. CARROLL, Lewis. Alice's Adventures in Wonderland. With Forty-Two Illustrations by John Tenniel. Twenty-Ninth Thousand. London: MacMillan and Co., 1872. Twenty-Ninth Thousand printing. Small quarto (7 x 4 5/8 inches; 178 x 117 mm.). [xii], [1]-192 pp. Wood engraved frontispiece with original tissue-guard, numerous wood-engraved text illustrations. A few very light marginal smudges, otherwise fine. Bound ca. 1910 by Kelliegram of London, stamp-signed in gilt on rear turn-in. Full hunter green crushed levant morocco, the covers beautifully decorated with multi colored leather inlays depicting ten different Alice characters. The front cover with a large central inlay of the Mad Hatter, surrounded by Father William's Son, the Dodo, the Mock Turtle and the Duchess, all within a gilt-stamped frame. The rear cover similarly decorated with a large central inlay of the White Rabbit, surrounded by the Mouse, the Duck, the Eaglet and the Cheshire Cat, all within a gilt-stamped frame. Spine with five raised bands decoratively tooled and lettered in gilt in compartments, gilt ruled board edges and turn-ins, ochre silk liners and endleaves, all edges gilt. An amazing whimsical binding... "Kelliegram bindings were one of many innovations of the English commercial binding firm of Kelly & Sons. The Kelly family had one of the longest connections in the history of the binding trade in London, having been founded in 1770 by John Kellie, as the name was then spelled. The binding firm was carried on by successive members of the family into the 1930s. William Henry Kelly significantly developed the company in the first half of the nineteenth century, followed by William Henry, Jr., Henry, and Hubert Kelly, who took control in 1892, taking the firm into the twentieth century...The development [during the 1880s] that came to be known as Kelliegram was one of the bindery's most notable, and the popularity continues today as demonstrated by the prices Kelliegram bindings command at auction and in the rare book trade. An interesting note: The story of the first actual printing of Alice in Wonderland. Encouraged by his friends, Reverend Charles Dodgson, otherwise known as Lewis Carroll, first had Alice published by Macmillan & Co. and printed by the Clarendon Press in June 1865, arranging to have a specially bound copy delivered to Alice Liddell, the famous Alice for whom the story was spun, the next month on July 4. However, not several weeks after that, John Tenniel, the illustrator, wrote to Dodgson complaining of his dissatisfaction with the printing of his illustrations. Macmillan examined one of the unbound copies of the book and agreed to fully reprint the book using a more commercial printer from London, Richard Clay. The condemned printing was then sold to David Appleton & Co., an overseas publishing house who wanted to distribute copies of the book in America. Only 1,952 copies were sold to them of the original 2,000 copy print run. The title-pages were redone with a New York imprint dated 1866, the sheets were machine-folded and put into cloth bindings with Appleton's name on the lower spine and the new title-page substituted on a stub for the earlier one. Meanwile, Macmillan completed its new edition in November 1865, but post-dated this printing 1866 in time for the holidays. As of this writing, twenty-two copies of the original 1865 Alice are located and known to have survived with their original title-pages plus one copy presented to Christ Church Library, currently lost, by the author.

London/NY: William Heineman/Doubleday Page, (1907). Rackham, Arthur. Quarto. xi, 162pp., + 12ff. plates. One of 1,100 copies. Because Rackham was away from London while this book was in production, most copies of the deluxe edition went unsigned; however, this copy has been signed by Rackham on the limitation page. Contains thirteen large tipped-in color plates and many black & white drawings, which offer Rackham's distinctive, new interpretation of scenes made famous in Tenniel's classic illustrations, such as Alice's encounter with the caterpillar, the Caucus Race, and the Mad Tea Party. Hudson describes Rackham's undertaking as "the most controversial of his career," but concludes that "he has certainly made the greatest impression of all Tenniel's multitude of successors." The book opens with a "proem" by Austin Dobson that cheekily addresses the challenge of illustrating such a classic work, saying, "here comes a fresh costumier" to interpret the story according to his own taste. In the publisher's gilt-stamped white cloth bearing the title and a design of the Gryphon and Mock Turtle on the front cover. Cloth shows light finger soiling and minute toning to spine and endpapers; rear hinge started. T.e.g. A pleasing copy overall. (Latimore & Haskell, p. 28; Hudson, pp. 70-78). [Attributes: Signed Copy]

London: Macmillan and Co.,, 1872. A bright and clean copy First edition, with the misprint "wade" for "wabe" in the second line of "Jabberwocky". As with the first edition of Alice's Adventures in Wonderland, Through the Looking-Glass was published for the Christmas market but bears the following year's date in its imprint. It was published in December 1871 in an edition of 9,000. The recipient, apparently born in 1862, was therefore aged 9 when she received this gift from a paternal uncle. Florence Stahlschmidt lived in Lewisham and was the daughter of Alfred Stahlschmidt, a ship broker and Custom House agent. Williams, Madan, Green & Crutch note that the book was issued in 1871, "but no copies have 1871 on the title page" and "Dodgson's own first copy [was] received on 6 Dec. 1871". The inscription, dated Christmas 1871, therefore establishes this copy as being presented during the month of publication. Octavo. Original red cloth, spine lettered in gilt, pictorial roundels and triple-line borders to covers in gilt, dark green endpapers,all edges gilt, binder's ticket ("Burn & Co") to rear pastedown. Frontispiece and 49 illustrations within the text, all by John Tenniel. 1p. publisher's advertisement at rear. Contemporary inscription on half-title ("Florence Anne Stahlschmidt from her Uncle Ernest, Xmas 1871"). Head of spine slightly bumped, corners slightly bumped and rubbed, top of rear joint splitting, minor tear and loss to front free endpaper, rear hinge split: a very good copy. Williams, Madan, Green & Crutch 84. [Attributes: First Edition]

London, Macmillan and Co., 1868. 8vo. (10), 192 pp. Contemporary red full cloth with giltstamped spine-title, giltstamped borders and 2 ornaments on the covers featuring characters from the story. All edges gilt. Presentation copy of the all-time bestseller illustrated by John Tenniel, signed and inscribed by the author to half-title: "Mary Harriet Rowden, / from the Author. / May 24. 1869". In a lovely binding prepared by the London bookbinder Burn & Co. with their label to lower pastedown, sixth edition. - Mary Harriet Rowden was the daughter of the Revd. Dr Edward Rowden. Her address is given next to the author's inscription in her own hand: "15. S. Giles / Oxford". - Covers slightly spotted. Rebacked with original spine relaid. Occasional minor spotting, front endpaper repaired at margins. Still a good copy. - Williams, Madan, Green & Crutch 46d. [Attributes: Signed Copy; Hard Cover]

London, Macmillan and Co., 1868, 1869. 8vo. (10), 192 pp. Contemporary red full cloth with giltstamped spine-title, giltstamped borders and 2 ornaments on the covers featuring characters from the story. All edges gilt. Presentation copy of the all-time bestseller illustrated by John Tenniel, signed and inscribed by the author to half-title: "Mary Harriet Rowden, / from the Author. / May 24. 1869". In a lovely binding prepared by the London bookbinder Burn & Co. with their label to lower pastedown, sixth edition. - Mary Harriet Rowden was the daughter of the Revd. Dr Edward Rowden. Her address is given next to the author's inscription in her own hand: "15. S. Giles / Oxford". - Covers slightly spotted. Rebacked with original spine relaid. Occasional minor spotting, front endpaper repaired at margins. Still a good copy. - Williams, Madan, Green & Crutch 46d.

Macmilland and Col, London; 1870 and 1872. Octavo. In two volumes. Through the Looking-Glass- First edition, first issue with "wade" for "wabe" in the second line of the Jabberwocky verse on page 21. 224pp., (1)pp. publisher's ads, illustrated with 50 fine illustrations by John Tenniel. Alice's Adventures in Wonderland, Twenty-Third Thousand (first published in 1866). 192pp., (1)pp. ad at rear. Also illustrated by John Tenniel with 42 fine illustrations. A fine set bound by Bayntun-Riviere in full red pictorial gilt morocco centrally stamped in gilt.Through the looking Glass with the Rabbit and Alice in Wonderland with the Queen stamped in gilt, edges ruled in gilt, raised bands with compartments beautifully decorated and lettered in gilt, all edges gilt, marbled endpapers, morocco turn-ins gilt. Both volumes have the original covers bound in at the rear. Set housed together within a felt lined publisher's cloth slipcase with ribbon pulls. No names or bookplates, just a hint of foxing to one title page. A beautiful set. [Attributes: First Edition]

Macmillan and Co, 1866. Second (First Published) Edition. Recently rebound by Bayntun-Riviere in full red morocco with gilt decoration to match the original cloth binding. All edges gilt. With cloth slipcase. Some very slightly dusty to edges; occasional light foxing; else an unusually clean, fresh copy. The first ('withdrawn') edition and the second edition are taller than later printings. Quite often, when rebound, they are found trimmed and re-gilded. This copy has the original gilt edges and has not been trimmed. It remains uncertain how many copies of this edition were printed. The likelihood is that two thousand copies were printed, but it may have been as many as four thousand. The book was actually issued in November 1865, the same year as the first ('withdrawn') edition.

Stockholm: Albert Bonniers. 1966. First edition with these illustrations. First edition with these illustrations. Inscribed by Tove Jansson, who adds an original drawing for the highly influential Swedish author and critic Stig Ahlgren. Publisher's original brown cloth with gilt titles to the spine and a gilt design to the upper board, in dustwrapper. Illustrated throughout by Tove Jansson with colour and black and white in-text illustrations. Text in Swedish. An excellent near fine copy, the binding square and firm, the cloth and gilt bright and fresh. The contents are clean throughout and without previous owner's inscriptions or stamps. Complete with the very good, rubbed, nicked and marked dustwrapper that has several short closed tears at the edges and a small chip at the middle of the upper panel.Inscribed by Tove Jansson in black ink on the front endpaper with a fine original drawing of Alice holding a flower "Till Stig Ahlgren / av en beundrarinna - illustratören -66" [to Stig Ahlgren / by an admirer - the illustrator - [19]66]. A fine and rare presentation copy of Moomin creator Tove Jansson's exquisitely illustrated Alice In Wonderland. Provenance:Presented by Tove Jansson to Stig Johan Axel Blommert-Ahlgren (1910-1996), Swedish author, editor, translator and critic; collection of Tor Morisse (1947-2017), Norwegian children's book author and illustrator who lived in Sweden for most of his life. 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; Signed Copy; In Dust Jacket]

London: Macmillan & Co., 1866. FIRST LONDON EDITION. 1 vol., with the inverted "S" to last line of contents page, illustrated by John Tenniel. Bound in fine full red morocco, ribbed gilt decorated spine, covers ruled and paneled in gilt, gilt dentelles, all edges gilt, housed in a matching red morocco edged open ended slipcase, by John Vivian. Internally clean and bright, 5 pages with closed tears expertly repaired, foredge of 1 leaf (p.111) strengthened on verso, still a VERY GOOD copy. Included with this item is a letter from a Richard to a Mr. Evans on Dept. of Zoology Univ. College London letterhead. The first paragraph states in part that "your Alice reached our head binder safe and sound. He is going to do it in full scarlet morocco, all edges gilt,." [Attributes: First Edition; Hard Cover]

New York: D. Appleton and Company, 1866. FIRST EDITION SECOND ISSUE. 1 vol., frontispiece & 42 illustrations by John Tenniel. Bound in 1/2 red morocco, ribbed gilt decorated spine, gilt lettered blue and tan morocco spine labels, gilt green morocco floral onalys in each panel, marbled pastedowns and endpapers, by Krumin of Boston. This is the earliest obtainable issue with the Appleton cancel title page. Macmillan printed around 2,000 copies of the book in 1865, but both artist and author were unhappy with the poor quality printing and insisted it was reprinted before being published. Macmillan sold the rest of the print run to Appleton in New York who published a US edition using a new title page but with the first printing sheets from the 1865 London edition. Though the execution of the binding is quite skilled the only reference we can find on "Krumin of Boston" is a reference in a 1922 Boston trade directory that he Henry Krumin, registered as a binder and lived and or worked at 88 Moody St. in Boston. We were also able to locate a clamshell box in the British Library also noted as stamped "Krumin of Boston".

Limited Editions Club 1932 & 1935, New York. Two volumes in original full blue morocco and original full red morocco leather bindings with heavy gilt decorations. Each is copy #509 of 1500 copies with the original John Tenniel illustrations and with typography and binding by Frederick Warde who has SIGNED the first volume. Each copy is additionally SIGNED by Alice Hargreaves, "the original Alice." Only about 500 copies of the first title and about 1000 of the second were signed by her a few years before her death. Alice refused to sign other editions of this famous book in her lifetime, written by Carroll for her when she was young Alice Liddell, but she was convinced with the help of monetary compensation at an advanced age to sign these copies. Many have praised these books, but perhaps novelist Sir Walter Besant's remark on ALICE IN WONDERLAND is the most insightful: "It admits us into a state of being which, until it was written, was not only unexplored but undiscovered." Very mild sunning to the spine of the Wonderland book. Fine, bright copies in Fine slipcases. Exceptional condition [Attributes: Signed Copy; Hard Cover]

New York & London: Macmillan & Co, 1872. Leather Bound. Very good/Very good. John Tenniel. John Tenniel. Leather Bound. H: 7 1/4", D: 5", W: 3/4" 2 Volumes. Lewis Carroll, Alice's Adventures in Wonderland & Through the Looking Glass. Bound by Sangorski & Sutcliffe in full red morocco with the covers and raised band spines gilt-tooled. All edges gilt with gilt-tooled dentelles and marbled endpapers. 42 illustrations by John Tenniel. New York & London: Macmillan & Co., 1872.

London: Macmillan und Comp., 1869. FIRST EDITION FIRST ISSUE PRESENTATION COPY OF THE FIRST FOREIGN LANGUAGE TRANSLATION OF ALICE! 1 vol., inscribed on the half-title "Georgina Balfour from the Author", illustrated by John Tenniel. Bound in the publishers original gilt stamped green cloth, all edges gilt, with the original "Burn" binders tick to lower corner of rear pastedown. Inner and outer hinges fine, head and foot of spine with some mild rubbing without loss, back corners lightly rubbed, occasional mild foxing otherwise a NICE COPY. WMG 71 This copy last appeared at auction in May 20, 1950 at Sotheby's in one lot containing 2 A.L.S.'s and this book. Georgina Balfour was the recipient of one of the 1865 Alice's. There's a letter dated Nov. 14, 1865 which asks her to please return her copy as it was "so badly printed". There were 4 families named Balfour. Georgina belongs to the northern Balfours who have been family friends since Dodgson's boyhood. [Attributes: First Edition; Signed Copy; Hard Cover]

1895. ("Charles L. Dodgson") in black fountain pen ink on plain letter paper, Christ Church, Oxford, December 5, 1895. 7 1/8" x 4 1/4"; 2 pages (1 sheet recto and verso). Together with the original holograph mailing envelope, in Dodgson's hand, stamped and postmarked Oxford, December 5, 1895. To a child-friend, Gladys Baly: Interesting letter beginning with a rhyme, 'In one way I'm like the Old Woman that lived in a shoe - that is, I've got so many picture-books, I don't know what to do!' Dodgson asks whether Gladys already possess The Story of the Mermaiden illustrated by Laura Trobridge: if not, he will send it to her as a Christmas present - 'The pictures are by the same artist who illustrated Little Thumb, & I think you will find many pretty figures among them, some of which perhaps you may like to copy'. Dodgson had befriended Gladys Baly when staying at Eastborune in October 1891. She was then six years old, & had a talent for drawing. Dodgson predicted that she would become a first-rate artist. Not in The Letters, ed. Cohen. [Attributes: Signed Copy]