Book Search Results

William Heinemann, London, 1907. With a Proem by Austin Dobson. ix, 161 [2] pp. Illustrated by Arthur Rackham; 13 full-page illustrations in color mounted on brown paper; each with printed tissue overleaf, fourteen drawings in black and white, and pictorial endpapers. Folio, publisher's white gilt-lettered and gilt-stamped cloth; t.e.g. First edition; No. 215 of 1130 copies. Latimore & Haskell, pp. 28-29. Offsetting and tanning to the free endpapers front and rear; spine tanned; a little hand-soiling and a light rectangular tanned shadow to the front board. Contents very nice. [Attributes: First Edition; Hard Cover]

The Black Sun Press, Paris, 1930. 114 pp. Illustrated with six color lithographs by Marie Laurencin. Oblong folio, publisher's art vellum in glassine, printed in red and black. First edition; No. 300 of 370 copies of the European Edition. Some light foxing to the vellum and some very slight fraying to the tissue at the base of the spine; otherwise a very nice copy. [Attributes: First Edition]

AVENTURES D'ALICE AU PAYS DES MERVEILLES, Macmillan, 1869, first French edition, some wear to the spine extremities, inner hinges just barely starting, else a tight, bright vg or better copy in the publishers original blue cloth binding with all page edges gilt, spine lettering gold-gilt, triple rules to both covers likewise in gold-gilt as well as the circle encased Alice avec cochon on the front cover and the similar circle encased Cheshire Cat on the rear cover. [Attributes: First Edition; Hard Cover]

Limited Editions Club, 1932.

CARROLL, Lewis. Alice's Adventures in Wonderland. Illustrated by John Tenniel. NY: Limited Editions Club, 1932. 8vo, xiv 185pp. Red leather decoratively stamped in gilt: a.e.g. B&w illustrations throughout. Leather a bit rubbed at spine ends and corners, spine a tad sunned, discoloration due to binder's glue around edges of endpapers, else an internally clean, bright copy. Signed by the inspiration for the character of Alice, Alice Hargreaves née Liddell, and the binder, Frederic Warde.

Limited edition being one of 1,500 numbered copies, this one being signed by the woman, who as a little girl, inspired Charles Dodgson (aka Lewis Carroll) to write his immortal story. Though The Limited Editions Club originally planned to have Alice Hargreaves sign the full printing of 1,500 copies of this title and 1,500 of Through the Looking-glass, it is reported that she signed less than 1,000 in total. A lovely copy of this stunning limited edition.

New York and London: MacMillan, 1872. First Edition. Hardcover (Original Cloth). Very Good Condition. Original decorative cloth, red gilt queen on the front board, no illustration on the rear. With the typo "Wade" for "wabe" on pg. 21/ Wear at edges, rubbing and light soiling to cloth, old signatures to half title. Macmillan reportedly only sent a small number for the first American edition because domestic demand was so strong. Most of the original sheets with the typo went for the Lea & Shepard edition in Boston. A seldom seen state of the first American edition. In a custom morocco backed slipcase with cloth che,ise. This is the first US edition. Size: Octavo (8vo). Quantity Available: 1. Shipped Weight: Under 1 kilo. Category: Children; Inventory No: 048439.

London: Macmillan & Co., 1872. First Edition. First edition, first printing with "wade" for "wabe" on page 21. Bound in full polished red calf by Zaehnsdorf. Very Good with some rubbing to bextremities, sunning to spine, bookplate to front paste down and toning to pages. With black and white illustrations by John Tenniel. Very Good. [Attributes: First Edition]

London: Macmillan and Co., 1919, 1922. Uniform three-quarter gilt-ruled polished red calf & patterned boards, spines tooled & lettered in gilt, raised bands, floral patterned endpapers, all edges gilt; attractively bound by Sangorski & Sutcliffe. 94th and 67th Thousand respectively. A Near Fine set: Alice has benefited from some expert repair to its front joint, joints edges a bit rubbed, boards darkened along margins. A beautiful set finely bound by the famous London binders. Very Good.

Paris: The Black Sun Press, 1930. Publisher's wraps in glassine, with six color lithographs by Marie Laurencin. Copy #196 of 370 of the European edition, and of that, one of 300 printed on Rives paper. Very Good. Foxing to wraps and to pages, often quite heavy. Previous owner bookplate to front free end paper. Six color lithographs present, with tissue guards present but often merely laid in. Snag to glassine at foot of spine. Very Good.

London: Macmillan, 1869. FIRST EDITION IN FRENCH. Frontispiece and 42 text illustrations by John Tenniel. Publisher's blue cloth, triple gilt borders, circle with image of Alice in gilt on front cover and circle with image of the Cheshire Cat in gilt on rear cover, hinges starting; interior fine.

London: Macmillan, 1869. FIRST EDITION, FIRST ISSUE IN GERMAN. Illustrations by John Tenniel. Publisher's green cloth, title in gilt on spine, covers within triple gile borders, illustration in gilt of Alice holding a pig on the front and the Cheshire Cat on the rear, all edges gilt.

New York: Limited Editions Club, 1935. Hardcover. Light wear to spine. Near Fine in a Fine red cloth slipcase, uncommon thus. John Tenniel. In original full blue morocco binding with heavy gilt decorations, neatly rebacked retaining the original spine. Copy #867 of 1500 copies with typography and binding by Frederick Warde and with the original John Tenniel illustrations. This is one of less than 1000 copies SIGNED by Alice Hargreaves, "the original Alice," on the colophon page. Alice refused to sign other editions of the Alice books in her lifetime, written by Carroll for her when she was young Alice Liddell, but she was convinced with the help of monetary compensation and an advanced age to sign here.[Attributes: Signed Copy]

London: Macmillan and Co. 1868 & 1872. Two volumes bound in one. "Alice" twelfth thousand, or the first issue of the sixth edition, "Looking-Glass" first edition, first issue. 8vo. (x), 192; (xii), 224, (2) pp. Slightly later red half morocco over matching cloth sides by Maclehose of Glasgow, spine with raised bands, gilt lettered to two panels, marbled endpapers, all edges gilt. Frontispiece and 41 illustrations plus frontispiece and 49 illustrations by John Tenniel. A handsome copy. Williams, Madan, Green & Crutch, 46d and 84. [Attributes: First Edition]

(Stuttgart), Manus-Presse, 1968. Erste Ausgabe dieser Edition mit deutsch-englischem Paralleltext. - Nr. 114 von 97 (ges. 130) vom Künstler im Druckvermerk signierten Exemplaren auf Papier Arches. „Die Lithographien wurden von Pierre Chave, Vence, vom Stein gedruckt". - Enthält 11 farbige Lithographien im englischsprachigen Teil sowie 11 schwarzweiße Lithographien im deutschsprachigen Teil, die mit den Farblithographien korrespondieren. - Schuber u. Decke tlw. leicht berieben. Zu Beginn wenige Bll. mit leichter Knickspur in der rechten unteren Ecke. - Spies/Leppien 124c; Spindler 161, 9; Tiessen III, 122. ge Gewicht in Gramm: 2000 Gr.-4°. Mit 22 (11 farb.) Orig.-Lithographien von Max Ernst. 100 S., 2 Bll., Lose Doppelbogen in illustr. OLwd.-Decke u. OLwd.-Schuber. [Attributes: First Edition; Signed Copy; Hard Cover]

New York: The Limited Editions Club, 1932. Limited Edition . Hardcover. Near Fine. 8vo - over 7¾ - 9¾" tall. TENNIEL John 1820-1914. (ROLLITZ Bruno - engraver). Limited Editions Club, 1932, signed by both Frederic Warde (publisher) & Alice Hargreaves (the original Alice). Near Fine, in the original red morocco, decorative gilt panelling to boards, spine with pictorial motifs after Tenniel & gilt titles, light rubbing to spine ends, otherwise fine. Internally, half title, frontis, title with vignette, [4], (v-xi), [1], [2] contents, [3], 4-182 pp, [1], [1], [1] limitation leaf, an edition limited to 1500 copies, small mark to lower cover (not detracting), a.e.g., signed by Frederic Warde (Typographer & binder) to limitation & Alice to leaf after half title. In the publishers printed red cloth slip case. (220*146 mm). Dodgson, was about 6 feet tall, slender, had either grey or blue eyes, wore his hair long, and 'carried himself upright, almost more than upright, as if he had swallowed a poker'. He dressed customarily in clerical black and wore a tall silk hat, but when he took Alice and her sisters out on the river, he wore white flannel trousers and a hard white straw hat (A. and C. Hargreaves, Alice's recollections). He ate frugally when he ate at all, disliked tea but enjoyed a glass of wine. He had a pleasant speaking voice, but left no recording of it, and a tolerably good singing voice which he did not mind using. He sometimes talked to himself! See ODNB.

London: Macmillan and Co., 1867. [Children's illustrated] EARLY PRINTING, the seventh thousand. Octavo (19 x 13cm), pp.[10] 192. With in-text illustrations and a frontispiece by Tenniel. No ads at rear. Publisher's red cloth with gilt titles to spine, and gilt devices to boards. All edges gilt; dark navy endpapers. Bound by Burn, Kirby Street, with label on rear pastedown. An attractive, clean copy, showing a bit of a reading lean, and a little weakness at the centre of the binding. Cloth shows moderate general wear. Very good. An early printing of the 1865/66 children's classic, featuring Tenniel's original illustrations.

Macmillan and Co., London, 1872. [8] 224 [1, ads] pp. With fifty illustrations by John Tenniel. 12mo, publisher's red gilt-ruled cloth with circular vignettes on front and rear covers; a.e.g. Preserved in a custom cloth folding box. First edition, first printing with "wade" for "wabe" on p. 21. Sections of cracks to the paper at the rear inner hinge, which is still sound; cloth and gilt decoration a bit soiled and rubbed; still, a tight and sound copy. The spine of the folding box is sunned and there is some fraying to its cloth at one joint. [Attributes: First Edition; Hard Cover]

Albert Bonniers förlag, 1966.

CARROLL, Lewis. Alice I Underlandet. I översättning av Åke Runnquist med illustrationer av Tove Jansson. Stockholm: Albert Bonniers förlag [1966]. 8vo, 112pp. Brown cloth pictorially stamped in gold. Light green endpapers; 1 full-page color illustration, 10 smaller color illustrations, and numerous line drawings. A fine copy in original color pictorial dust jacket (very faint evidence of price sticker removal from bottom of rear panel). With a bookplate signed by the artist, Tove Jansson, laid in!

First Jansson-illustrated edition. The beloved creator of the Moomins' delightful version of Lewis Carroll's classic, Alice's Adventures in Wonderland. The surreal beauty of Jansson's line-drawings and magnificent color illustrations is the perfect pairing for the strange and magical world down the rabbit hole! By far the nicest copy of this book that we've ever seen!

1889. [inscribed by Lewis Carroll] With Forty-six Illustrations [each] by Harry Furniss. [Together, two volumes.] London: Macmillan and Co., 1889/1893. 3 pp / 5 pp undated ads. Original red cloth pictorially decorated in gilt, all page edges gilt. First Editions of Carroll's rather serious fairy tales. SYLVIE AND BRUNO, with its conclusion in 1893, was the last considerable work by Dodgson. Though he fully explains in the Preface. the principles on which he introduces many solemn pages into his fairy tale, the serious subjects of life and science cannot be thus inserted without marring the effect of the whole. Somehow the light and airy touch of ALICE is wanting, but there is plenty of amusing incident and entertaining verse. There is hardly any plot: Sylvie and Bruno, after living with a Warden, Sub-Warden, Professor, Beggar, Gardener, Uggug (the young artist) and others, are conducted by the Gardener into Elfland, ride on a lion, visit Dogland, and so on. [The illustrations] are rightly described by Dodgson (Preface, p. ix) as wonderful. [WM&G] The books were not a success; in fact new copies of the second volume were still being sold as late as 1939. The dedicatory verses hide the names of the dedicatee (Isa Bowman and Enid Stevens respectively), the former one doubly. This SYLVIE AND BRUNO is a presentation copy inscribed in violet ink by Carroll, "Mrs Jackson | from the Author | [flourish] Dec. 12, 1889". (The precise date of publication of this edition is unrecorded, but the earliest presentation copy cited by WM&G is the same date as this copy's, as was another inscribed copy we have sold.) Most of Carroll's inscriptions were accomplished with this violet ink; "from the Author" was his standard, modest signature. These volumes are in very good-plus condition. SYLVIE AND BRUNO has some general mottling of the red cloth, quite minor wear at the spine ends, and some small marks on the rear cover; the rear endpaper is cracked. CONCLUDED has some minor discoloration on the spine but is otherwise near-fine externally; its endpapers too show some cracking. Loosely inserted in the latter volume is Carroll's Christmas 1893 "Advertisement" requesting buyers of the latest edition of THROUGH THE LOOKING-GLASS to return their copies due to defective illustrations; this ad leaf has a damp-mark on a lower corner. Williams Madan & Green 217 & 250. In an open-back slipcase. [Attributes: First Edition; Signed Copy; Hard Cover]

London: Macmillan and Co., 1889. A Superb Set of Sylvie and Bruno and Sylvie and Bruno Concluded Including 'The Mad Gardener's Song' CARROLL, Lewis. FURNISS, Harry, illustrator. Sylvie and Bruno [and] Sylvie and Bruno Concluded. [each] With forty-six illustrations by Harry Furniss. London: Macmillan and Co., 1889 [and] 1893. First editions. Two octavo volumes (7 x 4 3/4 inches; 179 x 121 mm.). xxiii, [1, blank], 400; xxxi, [1, blank], 423, [1, blank] pp. With forty-six (ten full-page) illustrations by Harry Furniss in each volume. Each frontispiece with original tissue-guard. Verso of each title-page with small blue library accession number and a few leaves in each volume with the almost imperceptible blind stamp of the College of the Holy Names, Oakland, California. Bound ca. 1920 by Bayntun of Bath (stamp-signed in gilt on front turn-ins). Full maroon morocco, covers ruled in gilt surrounding an elaborate gilt central panel, spines with five raised bands, decoratively panelled and lettered in gilt in compartments, decorative gilt board-edges and turn-ins. red marbled endpapers, all edges gilt. Slight staining from original cloth covers on facing last page of Sylvie and Bruno and last blank of Sylvie and Bruno Concluded. With the rectangular bookplate of College of the Holy Names, Oakland, California on both front paste-downs. A fine pair. Sylvie and Bruno, first published in 1889, and its second volume Sylvie and Bruno Concluded published in 1893, form the last novel by Lewis Carroll published during his lifetime. Both volumes were illustrated by Harry Furniss. The novel has two main plots: one set in the real world at the time the book was published (the Victorian era), the other in the fantasy world of Fairyland. While the latter plot is a fairy tale with many nonsense elements and poems, similar to Carroll's Alice books, the story set in Victorian Britain is a social novel, with its characters discussing various concepts and aspects of religion, society, philosophy and morality. Two short pieces, "Fairy Sylvie" and "Bruno's Revenge", originally appeared in Aunt Judy's Magazine in 1867. Some years later, in 1873 or 1874, Carroll had the idea to use these as the core for a longer story. Much of the rest of the novel he compiled from notes of ideas and dialogue which he had collected over the years (and which he called "litterature" in the introduction to the first volume). Carroll initially intended for the novel to be published in one volume. However, due to its length, it was divided into two volumes, published in 1889 and 1893. The novel is not nearly as well known as the Alice books. It was very poorly received and did not have many reprintings; modern commentators note that it lacks much of Carroll's characteristic humour. The poem The Mad Gardener's Song, widely reprinted elsewhere, is the best-known part of the book. "He thought he saw an Albatross That fluttered round the lamp: He looked again, and found it was A Penny-Postage-Stamp. "You'd best be getting home," he said: "The nights are very damp!" The introductory poem in Sylvie and Bruno contains a double acrostic on the name "Isa Bowman", one of Carroll's child friends. Williams, Madan & Green. The Lewis Carroll Handbook. Numbers 217 & 250. [Attributes: First Edition]

MACMILLAN. TWO VOLUMES BOUND IN RED MOROCCO WITH ALL EDGES GILT, TURN-INS GILT DECORATIONS. GILT DECORATIONS ON SPINE, 5 RAISED BAND. GOLD RABBIT AND QUEEN ON COVERS. A BEAUTIFUL SET. Engraved frontispieces with tissue guards and illustrations throughout, all by Tenniel. Binder's stamp of Riviere to verso front free endpaper. [Attributes: Hard Cover]

Paris, Librairie Hachette, [1907]. In-4° (28 cm x 24 cm). Pp. (4), 167, (1). Legatura editoriale in piena pergamena rigida. Autore, titolo e decori dorati sul piatto anteriore. Qualche segno del tempo ad entrambi i piatti. Carte di guardia illustrate con alcune arrossature tipiche dell' edizione. Antiporta e 12 illustrazioni applicate su cartoncino con didascalia. 3 illustrazioni in b/n a piena pagina e alcuni disegni in b/n nel testo. Tiratura complessiva di 270 esemplari numerati, il nostro è il n° 6/20 di gran lusso stampati su "Papier Japon" firmato a mano da Rackham. Esemplare in stato di conservazione più che buono. Prima edizione francese a tiratura limitata Bibliografia: Latimore & Haskell, p. 29; Riall, p. 78. [Attributes: First Edition; Hard Cover]

First editions. Two volumes. 8vo., original scarlet cloth, lettered in gilt, a.e.g. London, Macmillan. [Attributes: First Edition]

London: Macmillan and Co.,: , 1889 & 1893. London: Macmillan and Co.,, 1889 & 1893. Is Life itself a dream, I wonder? First editions of Carroll's final novels, finely bound by Bayntun with attractive multicolour onlay designs on the covers after Furniss's illustrations. "Late in life Dodgson published Sylvie and Bruno (1889) and Sylvie and Bruno Concluded (1893), two long, complicated novels depicting three realms of being. Essentially love stories, they contain some imaginative flights that sparkle, but, where Dodgson in the Alice books eschewed any moral lesson, here he set himself a mission to edify and instruct, suggesting 'some thoughts that may prove... not wholly out of harmony with the graver cadences of Life' (preface, Sylvie and Bruno, xiii)" (ODNB). 2 volumes, octavo (180 x 120 mm). Early 20th-century red morocco by Bayntun, spines with gilt-dotted raised bands, compartments lettered and framed in gilt, elaborate gilt borders to covers, front covers with multicolour pictorial onlay centrepieces after Furniss (vol. I, p. 48; vol. II, p. 8), board edges and turn-ins tooled in gilt, marbled paper doublures, marbled free endpapers, edges gilt, orange silk bookmarkers. With original red cloth covers and spine bound in at rear of both volumes. Frontispieces and numerous black and white illustrations in text by Harry Furniss. Both volumes bound without advertisements. Cloth and gilt bright, spines uniformly slightly darkened, vol. I with small loss of leather to bottom spine compartment, contents generally clean. A very good set, attractively bound. Williams, Madan, Green & Crutch 217 & 250. [Attributes: First Edition]

1889 and 1893. First editions. Two volumes. 8vo., original scarlet cloth, lettered in gilt, a.e.g. London, Macmillan. Inscribed by the author in the second volume: ?Catherine E. Lloyd, with the affte regards of her old friend the author. Dec. 27 1893? The recipient was a life-long friend, although some eight years Dodgson's senior. With the bookplate of 'David S.Howard' to verso of volume one front free endpaper. Spines faded and slightly rolled, some faint spotting to endpapers, otherwise an excellent set. [Attributes: First Edition; Hard Cover]

London: Philip Lee Warner, publisher to The Medici Society; Riccardi Press Books,, 1914. A desirable edition in an attractive binding Riccardi Press edition, number 713 of 1,000 copies. A further 12 copies were printed on vellum. The Riccardi Press was founded by Herbert P. Horne, who designed the typeface. It began to be used as the imprint for Medici Society publications in 1909. Quarto (226 x 156mm). Contemporary full green morocco, spine with five raised bands, spine and front cover lettered in gilt, covers with geometrical pattern in gilt, grey endpapers, top edge gilt. Frontispiece and other illustrations by John Tenniel. Spine slightly toned, minor browning to preliminary and final blanks: a near-fine copy. Ransom Riccardi Press 12.