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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]

Macmillan and Co., London, 1890. [ix] 56 [8] pp. Coloured Enlargements from Tenniel's Illustrations. Cover Designed and Coloured by W. Gertrude Thomson. 4to, publisher's boards illustrated in color; cloth spine. Second (first published) edition. The price on the title page is Four Shillings, and Alice has her back to the reader on p. 34. Diagonal creasing to pp. 35-36; some smudging and occasional light foxing to text; illustrated boards soiled with a vertical reddish transfer stain about seven inches in length along the left side of the front board; worn at corners and edges of boards. [Attributes: First Edition; Hard Cover]

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, 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.

London Folio Society 2016. Limited Edition. 163 pp. Quarto (33cm X 25cm). Quarter vellum binding with vellum tips and decorative paper covered boards in a deep shade of red; 24-carat gold gilt lettering stamped to the spine and illustrations on the front board blocked in four foils. Gilded top edge. Illustrated endpapers. Limitation spread blocked in two colours on two shades of laid paper, inset with an etching hand-printed under the artist's supervision on Somerset Velvet Buff hand-made paper; signed and numbered by Van Sandwyk, out of an edition of 1000. Eleven plates printed in full colour with gold borders on art paper, tipped into the text within ornamental gold borders; nine "scraps" printed in full colour, individually cut out and tipped in place. Approximately 50 line-drawings throughout the text and hand drawn initials. Clamshell case bound in Paradise cloth with spine titling label blocked in two colours on laid paper. In fine condition. An immensely detailed and gorgeously bound limited edition of Alice in Wonderland, with new illustrations by the acclaimed artist Charles van Sandwyk. With a vellum binding blocked in real gold, exquisite typography and a hand-printed etching signed by the illustrator; this is in series with the limited edition of the Wind in the Willows, which was also illustrated by Van Sandwyk. Van Sandwyk created 11 wonderful new colour illustrations, all tipped in by hand within elaborate gold borders. Added to these are a multitude of pen-and-ink drawings, incorporating his charming calligraphy and portraying the book's memorable characters with unfailing wit and tenderness. [Attributes: Signed Copy; Hard Cover]

London: Macmillan and Co., 1889 & 1893. 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). Williams, Madan, Green & Crutch 217 & 250. Two vols, 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 vols. Frontispieces and numerous black and white illustrations in text by Harry Furniss. Both vols 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. [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: printed by the Riccardi Press and published for the Medici Society by Philip Lee Warner,: , 1914. London: printed by the Riccardi Press and published for the Medici Society by Philip Lee Warner,, 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.

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). Two vols, 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 vols. Frontispieces and numerous black and white illustrations in text by Harry Furniss. Both vols 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]

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!

Macmillan and Co., London, 1872. [12] 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]

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 [and] 1893. First edition. 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. Together, Sylvie and Bruno along with Sylvie and Bruno Concluded make up the final novel published by Lewis Carroll. "It is essentially a philosophical tract on morality, politics, and religion...packed with puns, paradoxes, puzzles, poetry, and Carroll's patented brand of inspired nonsense...Carroll entwines two plots, set in two alternate worlds, one the fairy kingdom of Elfland and the other a realm called Outland which mirrors and satirizes English society. In the former, Bruno and Sylvie endure adventures typical of classic fairy tales; in the latter, the two men vie for the love of a beautiful woman" (Publisher's Weekly). A departure from the Alice books, here Carroll tackles a number of more adult themes and plots. The poem The Mad Gardener's Song is the most famous poem in 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!" Williams, Madan & Green. The Lewis Carroll Handbook, 217 & 250. [Attributes: First Edition]

Paris, Hachette et Cie, sans date (1908). Imprimé à Londres par l'Imprimerie Ballantyne § Co.Un volume relié (24 x 28,5 cm) de 168 pages. Un frontispice et douze illustrations en couleur hors texte contrecollées, pages de garde illustrées d'un dessin de Rackham, plusieurs bois in-texte de différentes dimension. Reliure pleine toile d'éditeur, dos lisse, tête dorée, titrage doré sur le plat et au dos, illustration de deux animaux fantastiques sur le premier plat. Reliure légèrement salie sinon bel exemplaire.Un des 250 exemplaires numérotés sur papier à la forme. Livres [Attributes: Hard Cover]

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]

London William Heinemann, 1907. First Rackham edition. Edition de Luxe, one of 1100 copies printed on handmade paper. Large 4to. Publisher's full white buckram, with gilt titles and vignettes. Top edge gilt, others uncut. Housed in publisher's original card slipcase. A very good copy, spine rather dusty. Pictorial endpapers. Thirteen colour plates mounted onto brown art paper and protected by captioned tissue guards. In addition there are lots of charming line drawings. The story of Alice had a special resonance with Rackham, as he wrote, "My experiences of the book are absolutely delightful. it was read aloud to us (3 about the same age, 11, 10, 9) sat by my father & and at once became a household word. It is possible that my father's appreciation of it helped us children too. It was read with full dramatic effect, the songs sung and so forth". Certainly Rackham's Alice is beautifully drawn, fresh faced and rosy cheeked, her sense of wonder clearly apparent. Carroll's fantasy world is perfectly suited to Rackham's humour and vivid imagination, making this a most appealing interpretation of Alice. [Attributes: First Edition; Hard Cover]

London: Macmillan and Co, 1872. Hardcover. Good. First edition. Illustrated by John Tenniel. 12mo. 224pp. Handsomely rebound in polished red leather elaborately gilt by Bartlett & Co., Boston, with their signature on the verso of the front flyleaf (a tiny chip causing a bit of loss to the name). All edges gilt. Boards separated with the corners worn through, small dampstain on the lower board with corresponding staining (and a tiny chip) on the rear flyleaf, spine toned and with loss, a good only copy; the text is fine. From the noted Lewis Carroll collection of Philip Conklin Blackburn, with his bookplate on the front pastedown. Blackburn was an editor of the 1934 anthology *Logical Nonsense*, considered by Carroll scholar Charlie Lovett to be the first serious attempt to anthologize Lewis Carroll's works. Blackburn also cataloged the important Carroll collection of Morris L. Parrish, now at Princeton. An excellent association. [Attributes: First Edition]

Lee and Shepard, Boston, 1870. 192 pp. With forty-two illustrations by John Tenniel. 12mo, publisher's green gilt cloth, a.e.g. Second edition printed in the US. 19th c. private library bookplate on pastedown; a few tiny stains to the first few leaves; first gathering re-inserted; some light rubbing to cloth. [Attributes: Hard Cover]

New York: The Limited Editions Club, 1935. Limited edition. Hardcover. Very Good - (minus). 22.5 x 15 cm. Octavo. Limited to 1500 copies signed by Alice Hargreaves, "the original Alice" who the title character was named after, of which this is copy 264. According to the LEC bibliography "most copies", but not all, are signed by her. Bound in publisher's full blue morocco, gold stamped. AEG. With illustrations by John Tenniel. A bit of scuffing and chipping to the corners as well as the head and tail of the spine of the binding. There is evidence of bookplate removal to the front free and fixed endpaper. Lacking slipcase.

Culver City, CA: Bandersnatch Productions / Walt Disney Pictures, 2010. Original archive of production materials in 2 black three-ring binders for the Walt Disney Pictures film ‘Alice in Wonderland’ that went into the making of Tim Burton’s brilliant re-imagining of Lewis Carroll’s classic tale. Included in the 1 1/2” three-ring black binder is a printed single page invitation for a private screening of the film held at the El Capitan Theatre in Hollywood, Wednesday, March 3, 2010; a 105 page revised shooting script by Linda Woolverton dated, May 8, 2008; a 3 page production contact list, a 46 page shooting schedule; a 16 page ‘Hatters Path Revised Final Tech Boards, Scene 35’ by Dan Sweetman, dated 10/01/08; a 3 page ‘Tea Party, Scenes 30 - 34, Revised Storyboards’ by Dan Sweetman dated 8/01/08, a 2 page character and environment list, miscellaneous cast and set lists, construction budget, and a UK shoot unit list and contact list. With 25 pages of storyboards with “Tech Boards Internal Use Only” in red on each page and a Walt Disney Studios “Admit One” pass measuring 4” x 1 3/4” tucked into a pocket at the front binder cover. Included in the 3 1/2” binder is a 93 page revised shooting script with color rewrite pages by Linda Woolverton, dated May 8, 2008, a 84 page “Official Shooting Schedule” dated 10/2/08, two sets of “Bandersnatch Stall / Stable Art Dept. Tech Boards” by Dan Sweetman for scenes 65 - 66 and 69 dated 9/18/08, a 41 page set of material titled “Round Hall Continuity Pre-Vis Tech Boards” dated 9/18/08, a 46 set of material titled “Round Hall Diagrammatic Pre-Vis Tech Boards” dated 9/18/08, and a 82 page “White Shooting Script” by Linda Woolverton dated 9/9/08. With 2 items tucked into the pocket at the front of the binder: a 3 page pink revised on-line schedule and a 3 page character list. All of this material belonged to the film’s set construction coordinator with their name appearing occasionally throughout. Everything is in uniformly about fine to fine condition. Alice in Wonderland was written by Linda Woolverton, directed by Tim Burton, and stars Mia Wasikowska as Alice, Johnny Depp as the Mad Hatter, Anne Hathaway as the White Queen, and Helena Bonham Carter as the Red Queen. The film won 2 Oscars for Best Costume Design and Best Art Direction and was nominated for Best Visual Effects. It was also nominated for 3 Golden Globes; Best Motion Picture - Comedy or Musical, Best Actor (Johnny Depp), and Best Original Score.

London: Macmillan, 1890. Very good.. First published edition (the second produced edition overall) of this color-illustrated ALICE for young children, with the Carroll-approved color images of Tenniel's original illustrations - quite a nice copy. In 1889, Lewis Carroll adapted his beloved ALICE IN WONDERLAND for younger readers as THE NURSERY "ALICE." With picture-loving children in mind, he suggested that Macmillan use color-printed illustrations in this edition, and enlisted his close collaborator John Tenniel to add color to his earlier designs. However, when he received the proofs, Carroll was aghast: "The pictures are far too bright and gaudy, and vulgarize the whole thing," he lamented, "NONE must be sold in England" (Lovett, 36). Carroll suggested that Macmillan offload the offending copies to their American offices, and demanded the printer produce another edition "with Tenniel's coloured pictures before him" (Lovett, 36). This copy of THE NURSERY "ALICE" reflects Carroll's editorial input, with the colors duly toned down. Given the target audience and poor quality of the binding materials for this production, copies are rarely found today in decent condition: this is a lovely copy. 10'' x 7.75''. Original cloth-backed color pictorial boards. Color frontispiece with tissue guard, 19 color illustrations. Price four shillings on title page (ref. Weaver Collection). [12], 56, [8] pages, with SYLVIE AND BRUNO advertising slip insert. Binding with toning, some edgewear and light rubbing; faint tide mark at bottom corner of front board. Interior bright and sharp. [Attributes: First Edition]

Copenhagen, T. Nielsen, 1875. 8:o. (4),144 pp. With illustrations in the text. Original illustrated boards. Slightly nicked on top of spine. Some later pencil notes on the inside of the front board. Fine copy with a few fingerprints in the outer margin on pp. 3-4, 129 and 134 and some minor stains in the inner margin on pp. 62 and 93. With Thore Virgin's signature dated March 21 1956 and his library stamp. A charming and well preserved copy!First Danish translation of "Alice in Wonderland". With John Tenniel's illustrations. Later and considerably revised editions published 1912 and 1930. Thore Virgin (1886-1957) was one of the most prominent book collectors in Sweden. [Attributes: Hard Cover]

Black Sun Press, Paris, 1930. 114 pages. Landscape 29.5 x 24.5 cm. Limited edition, copy 94 of 350 on Rives paper of the American issue from a total edition of 790. Six full page chromolithographs (all with tissue guards) by Marie Laurencin, lithographs executed by Desjobert of Paris. Title page printed in red and black, wide text margins -- a brilliant, fresh copy with interior almost as new. Marie Laurencin (1883-1956) was born in Paris and was an integral part of that city's wide literary and artistic circles that included Picasso and Apollinaire. AVERY 27. MINKOFF A39. Orig. beige stiff wrappers, clear cover glassine intact. Fine in board chemise lacking backstrip, in original worn slipcase [Attributes: Soft Cover]