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London: Macmillan and Co, 1872. First edition. Very good.. Extraordinary first state of the sequel to ALICE'S ADVENTURES IN WONDERLAND, one of only three known copies of the book containing two original pencil sketches by Tenniel. Few works can claim the breadth of cultural influence of Carroll's two Alice books. In this book, Alice returns to Wonderland by stepping through a mirror, playing out her journey like a game of chess. THROUGH THE LOOKING GLASS is quoted in works as wide ranging as FINNEGANS WAKE and HARRIET THE SPY, and inspired the Beatles song "I Am The Walrus." It also contains the great English nonsense poem "Jabberwocky."This copy bears pencil sketches of Humpty Dumpty (reproducing, in reverse, the illustration from page 118) and Alice holding a fawn (page 63). The images are reversed in imitation of what Tenniel would have drawn on the wood. This copy is unrecorded in Schiller's 1990 Census, "Drawings Made by Tenniel as Part of Inscriptions of Books." Schiller lists two copies of this title with original drawings. Tenniel scholar Matthew Demakos notes that there is a third in the Harry Ransom Center at the University of Texas (this one with only one sketch), making the total four (including this copy). Two of those copies (housed at The Watkinson Library of Trinity College and the Berol Collection of NYU) have two sketches, as in this copy. The drawings in this copy are different from those in the other three. Based on the two censuses, this is the only remaining copy of THROUGH THE LOOKING-GLASS in private hands that contains original pencil drawings by Tenniel. A remarkable literary rarity from one of the great author-illustrator pairings in English literature. Octavo. 7'' x 4.5''. Original full red cloth, triple gilt-rule borders, central gilt-stamped icons on both boards, gilt-lettered spine. Blue coated endpapers, all edges gilt. Half title. Wood-engraved tissue-guarded frontispiece and 49 in-text wood engravings by Dalziel after Tenniel. One page of ads at rear. [12], 224, [4] pages. Half title inscribed ("Ever yours / JT") and illustrated by Tenniel with two pencil sketches from the book: the top portion of TTLG118 (Humpty Dumpty offering his hand) and TTLG63 (Alice clasping her arms round Fawn). Half title with additional ink gift inscription. Burn & Co. binder's ticket on rear pastedown. Housed in a custom maroon slipcase and chemise. Boards moderately soiled, spine toned and soiled, with additional wear to spine extremities, light bump to front corner, expert repair to hinges, a few instances of soiling to text.[Attributes: First Edition; Signed Copy]

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

[Sometime after 1865]. A superb illustration from the greatest children's book in the language A fine, spectacularly detailed finished drawing of the image that appears on page 138 of Alice's Adventures in Wonderland, the image in reverse of the printed woodcut but with the artist's monogram in the correct orientation. The drawing was done by Tenniel sometime after publication of the book, presumably as a private commission. Dodgson originally commissioned Tenniel based on his reputation as the leading artist for Punch and very much deferred to his opinion. Famously, in 1865 he suppressed the first issue of Alice's Adventures in Wonderland because of Tenniel's dissatisfaction with the quality of the reproductions of his drawings. They worked together again for the sequel, Through the Looking-Glass, but after that Tenniel politely declined to illustrate more of Dodgson's works. Nevertheless, Tenniel was willing to accept commissions to redraw popular images from the Alice books, mostly in mirror-image copying the general design of the Dalziel wood-engraving, thus giving the pleasant illusion that they were the actual source for the wood-engraving, as Justin Schiller notes (Goodacre-Schiller, p. 61). In this case, the drawing is the same size as the published version, though more finely detailed. In his time, Sir John Tenniel (1820-1914) was most famous for his political cartoons. However, "the general public knows him now only for his illustrations in the Alice books, an irony not lost on historians. For when as an established artist he undertook to illustrate the first Alice book by an unknown author and lent his established reputation to the venture, he knew, of course, that his name would demand critical attention for the book and would in great measure be responsible for any success it might meet with... today Tenniel, having 'raised the political cartoon to a new level of dignity and importance... is one of the best known of all English book illustrators solely because his drawings are inseparable from Lewis Carroll's immortal Alice's Adventures in Wonderland and Through the Looking-Glass'" (Cohen & Wakeling, pp. 10-11).Provenance: American philanthropist and lawyer Bronson Winthrop (1863-1944), his sale, Parke Bernet, New York, 12/13 March 1945, lot 156. Schiller locates one other comparable commissioned drawing of the sleeping Gryphon, in the New York Public Library Owen D. Young--Albert Berg Collection. Original artwork in pencil on white wove drawing paper without watermark. Image size approximately 85 x 60 mm with large margins all round. John Tenniel's monogram to the lower right. Portion of backing from previous mount cut round and retained, with ink inscription of Mr & Mrs Ben Wolf, art collectors of Philadelphia; the 1920s label of Kennedy & Co. Rare Prints, 693 Fifth Ave, New York; 1970s sticker of Newman Galleries, Philadelphia; more recent Christie's 19th-century paintings department sticker (untraced on the Christie's website). When examined out of frame and mount, small chip to top edge and slight thinning of paper where previously mounted (visible only when held up to light), the very lightest toning around the image where previously exposed in the mount, else fine. Goodacre-Schiller A33. Morton N. Cohen & Edward Wakeling (eds.) Lewis Carroll and His Illustrators: Collaborations & Correspondence, 1865-1898 (2003). [Attributes: Signed Copy]

New York: D.Appleton & Co, 1866. First edition, second issue (i.e. the first published edition of the original sheets). Original red cloth lettered in gilt with triple gilt ruled borders and gilt vignettes to covers. Dark green endpapers, all edges gilt. A very good copy indeed which shows a little wear to the spine ends, but is bright and clean and most unusually, completely free from repair. Internally fresh with a bookplate to the front endpaper and the front hinge starting. An exceptionally well preserved copy. Forty two illustrations after John Tenniel. An original printing of Alice was undertaken by the Clarendon Press in Oxford in early 1865 and famously recalled because John Tenniel considered the printing unsatisfactory. In April 1866 Dodgson (having consulted Tenniel) authorised Macmillan to sell some of the recalled 1865 sheets to the New York publisher, D. Appleton with a new title page printed at the Clarendon Press and bound in London. Thus, although distributed in America, this edition represents the earliest practically obtainable issue of the original printing of Alice in Wonderland. The success of the book was immediate, its influence far reaching and opened the floodgates to a regular procession of successful children's novels to follow. PMM 354 (note); Williams, Madan, Green and Crutch 44. [Attributes: First Edition; Hard Cover]

Oxford: Daniel Press, 1881. One of only 36 copies, 18 of which were for the contributors, this being the copy printed for Thomas Humphry Ward with his name printed on the title page, and an inscription by him on the first blank. Printed in Fell type with rubricated initials by Mrs. Daniel. 8vo., bound, probably by Morley of Oxford, in full vellum with three gilt fillets and title design in the fomr of a hanging banner in gilt on the upper cover, spine and turn-ins ruled in gilt with marbled endpapers. Small scratch on upper cover and very mild bowing. Housed with the original 8pp. introductory pamphlet printed to go with the contributor's presentation copies and a later Oxford University Press exhibition card in a later full black morocco slipcase. Extremely rare as only thirty-six copies of the book were printed. Eighteen copies were bound for the contributing poets with individual title pages and seventeen were issued at various times in various bindings. The last copy, in sheets, was given to Thomas B. Mosher of Maine in December 1901. It was from this copy that Mosher reprinted The Garland in the United States in 1902. Probably the most important of all Daniel Press publications, the Garland of Rachel provides "The first adequate specimen of the Fell type..." The collection of 18 poems was authored by Dr. Daniel and seventeen of his Oxford friends in honour of his daughter Rachel's first birthday. The contributors included several of the most important literary figures of the day including Lewis Caroll, Edmund Gosse, Austin Dobson, Andrew Lang, J. A. Symonds, Robert Bridges, Albert Watson, A. Mary F. Robinson, Sir Richard Harington, W.E. Henley, William Courthope, Frederick Locker {Lampson], T.H. Ward, Ernest Myers, Margaret L. Woods and C.J.Crutwell. T.H. Ward, who was the contributing recipient of this copy, was an author and journalist and close friend of the Daniels in Oxford who is perhaps most well known for being the husband of the best-selling author Mary Augusta Ward who wrote under the name Mrs Humphry Ward. This is perhaps the key copy of the book in that, as Madan points out it was Ward who had made the suggestion to Daniel that the first birthday of his daughter deserved to be celebrated with special poems by his friends to be printed at the Daniel Press. .

[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]

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 & Co., 1866-72. John Tenniel. First English. London: MacMillan & Co., 1866-72. John Tenniel. First English. leather bound. H;71/4" D:5" W:1" 2 Volumes. Lewis Carroll. Alice In Wonderland And Through The Looking Glass. With Illustrations by John Tenniel. Bound in full red. Very Good.

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

New York: Appleton, 1866. 1st American edition / Ist edition, second issue.. Hardcover. Very good. In 1865 Macmillan printed this book in England and recalled it because John Tenniel, the illustrator considered the printing of the illustrations unsatisfactory. After consulting with Tenniel, Charles Dickens authorized Macmillan to sell 1000 bound copies to Appleton in New York with a new title replacing Macmillan with D. Appleton and dated 1866. The new title page was tipped onto the excised stub of the Macmillan 1865 edition. Top edge and fore edge gilt. A few small waterspots on the front cover. The half title page has some writing on it and the lower fore edge corner has had a professional repair of the lower fore edge corner not affection the text. Spine a little datkened otherwise a tight copy. [Attributes: First Edition]

Macmillan and Co, London, 1872. 185 x 122 mm. (7 1/4 x 4 3/4"). 6 p.l., 192 pp.; 6 p.l., 224 pp. Two separately published volumes. WHIMSICAL INLAID PICTORIAL BINDINGS BY KELLIEGRAM (stamp-signed on rear turn-ins), "Alice" in hunter green crushed morocco, upper cover with large central inlay of the Mad Hatter in various colors of morocco within an ogival gilt frame, corners with gilt roundels inlaid with images of other characters, among them the Mock Turtle and the Dodo; lower cover with central inlay of the White Rabbit, and inlays at corners including the Cheshire Cat and the Dormouse; raised bands, spine gilt in compartments with centerpiece representing the four playing card suits, gilt titling, turn-ins with gilt-ruled borders, endpapers painted saffron yellow; "Looking-Glass" in dark brown crushed morocco, upper cover with central inlay of a (smiling!) Humpty Dumpty teetering on a blind-tooled wall, cornerpiece inlays including the Red and White Queens; lower cover with central inlay of the walrus attired in country tweeds, corner inlays including Tweedledee and Tweedledum; raised bands, spine gilt in compartments with chess-piece design, gilt titling, turn-ins with multiple gilt rules and leafy sprays at corners, ochre silk endleaves, original red cloth covers and backstrip bound in at rear; all edges of both volumes gilt. Both volumes housed together in a custom dark green crushed morocco solander box, the back designed to look like two volumes with raised bands and gilt lettering. With 92 illustrations in the text (42 in "Alice," 50 in "Looking-Glass") by John Tenniel (including frontispieces). Alice with faded ownership inscription dated 1881 on preliminary leaf. Williams & Madan 46d, 84. Alice with occasional small stains or thumbing to text (mostly marginal, never serious), but very good internally; "Looking-Glass" clean and fresh internally; BOTH BINDINGS IN SPARKLING CONDITION, virtually unchanged since the day they left the bindery. These charming, vigorously inlaid bindings are the finest and most delightful examples of whimsical Kelliegram pictorial bindings we've ever seen, and they are perfect for the two well-loved works in children's literature offered here. Originally written to amuse the child of Dodgson's Oxford colleague, "Alice's Adventures in Wonderland" and "Through the Looking-Glass" have been continuously reprinted for well over a century, and have inspired any number of works in other media. Intricate, inventive, absorbing, humorous, and revolutionary, the works differed by miles from most children's literature of the period, which was meant first and last to inculcate. Dodgson's clever tales were brilliantly illustrated by John Tenniel (1820-1914), the principal cartoonist for "Punch Magazine," and the Kelliegram Bindery used his instantly recognizable characters to decorate our bindings. The firm of Kelly & Sons had one of the longest histories in the London binding trade, having been founded in 1770 by John Kellie, as the name was then spelled. The firm was continued by successive members of the family into the 1930s. William Henry Kelly helped to develop the company in the first half of the 19th century, and he was succeeded by William Henry Kelly, Jr., then Henry Kelly, and finally Hubert Kelly, who took control in 1892. Under Hubert's direction, the bindery became known for its fanciful pictorial bindings, of which our set is a notable example. The contents here are in good order, especially given the work's juvenile audience, and the bindings are in perfect condition. First work: Sixth Edition, "Thirty-Seventh Thousand"; Second work: First Edition, "Thirty-Second Thousand" (i.e., a later issue). [Attributes: First Edition]

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 Effarante lettre de Lewis Carroll adressée au père de sa nouvelle « amie-enfant », Amy Burton Eloquente sur la complexité de son attrait pour les enfants, cette missive révèle l’aspect subversif et sujet à la controverse de la personnalité de l’écrivain Il termine sa lettre par le souhait d’offrir Alice au pays des merveilles à la fillette 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. » À la première lecture, cette lettre est pour le moins subversive. En effet, si l’on grossit les traits, il ne s’agit ni plus ni moins que d’un homme d’une cinquantaine d’années, dont le goût pour les jeunes filles n’est pas méconnu, qui annonce explicitement à un père de famille – il ignore alors que ce dernier est décédé – qu’il compte se lier d’amitié avec sa fille, non sans ambiguïté. Le texte original dit : “as I am a great lover of children, could hardly fail to be attracted by her.” L’emploi des termes “great lover” et “attracted” ne laisserait guère de doutes sur les intentions de leur auteur dans un contexte plus conventionnel. En dépit de ces considérations, débute une amitié intense devenue mythique, 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 sa fille. Deux ans plus tard, dans une lettre datant du 12 juin 1879, Carroll propose à Mabel une sortie à Londr [Attributes: Signed Copy]

New York: Maecenas Press - Random House, 1969. Illustrated by Salvador Dalí. First edition thus, number 1,990 of 2,500 copies printed on Mandeure paper and signed by Dalí. Twelve illustrations with original woodcuts and an original etching by Dalí. Folio. Publisher’s brown cloth chemise with Dalí’s signature in gilt to front board, paper loose as issued; publisher’s quarter brown morocco clamshell case, titles in gilt to spine, brown cloth to interior. Fine book; very good or better case lacking bone clasps, with a few closed tears and a small chip to head of spine. Overall, a striking copy, with bright and imaginative illustrations that complement Carroll’s story beautifully. This brilliant edition of Alice’s Adventures in Wonderland, published as a Random House "Book of the Month," combines the talents of two of the greatest surrealist artists. For the work, Salvador Dalí provided a frontispiece and an illustration for each of the book’s twelve chapters. While the illustrations are wonderfully disjointed and dreamlike, what unifies them all is the presence of Alice, portrayed in each illustration as a girl holding a jump rope over her head. This evocative figure appears in a number of Dalí’s works, perhaps most notably in his painting, Landscape with Girl Skipping Rope (1936). It is believed that the figure was inspired by the shape of a bell tower at Dalí’s sister’s school. Another notable aspect of the illustrations is the inclusion of a melting clock in the Mad Tea Party illustration, reminiscent of the clocks in one of Dalí’s most enduring works, The Persistence of Memory (1931). [Attributes: Signed Copy; Hard Cover]

New York: Appleton, 1866. First US edition. hardcover. Very good. The first US edition, with the original sheets from the UK printing, and a US title page. Very good in original cloth boards with repairs on spine. and front and rear gutters. Piece of rear fee end paper missing at top. Previous owner's name and date on front free end paper. Housed in a handsome clamshell case.[Attributes: First Edition]

Oxford: University Press, n.d.; 1870; 1878; 1878. Four mathematical pamphlets offered together, preserved in a folding clamshell case.

University Press, 1878. Four cyclostyled pamphlets of problems used by Dodgson (1832-1898) in his math class. He moved to Oxford as a mathematics lecturer in October, 1855 where he remained until 1881. Cyclostyle was an early device used to duplicate handwriting in which a pen with a small toothed wheel pricks holes in a sheet of waxed paper, which is then used as a stencil.

Dodgson acquired his "electric pen" in 1877 and describes it in a letter dated 28 June 1877: it "seems to be quite the best thing yet invented for taking a number of copies of MSS, drawings or maps. The 'pen' consists of a needle, in a holder like a pencil: the needle is worked in and out with enormous rapidity by electricity and projects far enough to go through a thin sheet of paper... the paper thus prepared is placed in a frame with blank paper underneath, and an ink roller is passed [over it]... copies are easily worked off at a rate of 2 a minute."

The pamphlets offered here, produced in unknown but very small numbers, were used by Dodgson in his classes (and are listed in his Mathematical Pamphlets as 6, 15, 13 and 23). The first listing contains manuscript corrections made by Dodgson in his characteristic purple ink.

1. Formulae. (Group C.). [Oxford: c.1878]. Bifolium (222 x 142 mm). Without wrappers, as issued. With Dodgson's manuscript corrections. The formulas correspond to the topics in sections G and L of A Guide to the Mathematical Student in Reading, Reviewing, and Working Examples (1864).

2. Formulae. [Oxford]: 19 March 1878. 8vo. (218 x 140 mm). Without wrappers, as issued. This work consists of 18 formulas corresponding to the topics in section L of the pamphlet A Guide to the Mathematical Student in Reading, Reviewing, and Working Examples.

3. Algebraical formulae and rules for the use of candidates for responsions. [Oxford: University Press, 1870.] Bifolium (230 x 144mm). Printed on cream paper. Dodgson's diary mentions only Algebraical formulae for responsions (WMGC, 65) which he took to the University Press on 21 May 1868. It is possible that the present pamphlet is an expanded and improved version.

4. Arithmetic. I. [Oxford: University Press, c.1870]. Bifolium (227 x 144mm). Printed on cream paper. The pamphlet consists of templates for 33 examination problems divided into 5 sections: integral numbers, vulgar fractions, decimal fractions, concrete numbers, and rule of three. The problems are stated in skeleton form, leaving blanks for the variables, so that new problems can be generated easily.

ABPC records only one other copy of each, the Falletta copies, selling at auction in the past thirty years (Christie's, November 30, 2005).

MacMillan, 1866. 1st Edition. Hardcover. Very Good. 1st published edition, 1st issue with inverted "s" on last line of table of contents, but second issue endpapers -- dark green instead of light blue. Very good in original cloth, with original cloth of spine laid on new cloth underneath. Housed in a custom-made collector's slipcase.[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. First Publication of the Diaries of Lewis Carroll: the Editor's Manuscript. 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

London & Oxfordshire; Macmillan & Rocket Press; 1988. First Limited Edition; ninety-one prints from the original wood blocks engraved by the Brothers Dalziel from drawings by Sir John Tenniel & one print from electrotype. Three Volumes; Impl. 8vo; 91 wood-engraved plates and 1 electrotype plate, each loose in folding wrappers as issued, housed in two morocco-backed solander cases, titles lettered in gilt on black labels, some minor spotting to the spines, one label scratched, otherwise fine, together with a separate cloth bound essay on the publication and the wood-blocks, illustrated with three tipped-in plates; the three are housed together in a grey cloth box, fine set. This set being number 29 in an edition of 250 sets. Since the first printings of Alice in 1865 and 1872 there have been hundreds of editions of the Alice books with the Tenniel illustrations. All of these editions were illustrated with electrotyped plates including the first editions. The wood-blocks for Alice were never used for printing of the first edition, it was thought that they would not stand up to pressure of completing the first edition. The blocks were originally sent by Macmillan to the printers to have electrotype casts made for printing of the first editions, they stayed with the printer then in rural Suffolk. Given the ravages of the second world war it was thought by the publishers that the original woodblocks were lost. Fortunately the blocks were recently rediscovered by Macmillan in a Bank Vault. Its perhaps a measure of the fame and significance of Tenniel's Alice illustrations that no one had ever dared to throw away the now obsolete blocks that carried Tenniel's images. Out of the ninety-two blocks only one has disappeared - 'Alice and the Dodo' (Wonderland p. 35) perhaps appropriate that the Dodo wood-block, if any should have disappeared. Despite the passage of time the recently rediscovered Alice blocks were found to be in an excellent state. Macmillan commissioned The Rocket Press to make a deluxe edition of the Tenniel Illustrations by hand-inking the original blocks and printing all 91 images on a precision cylinder proofing press onto acid-free mould-made paper and board specially made by the Zerkall mill. Each printed image was then placed into its own folder, each folder being printed with the relevant lines from Alice. After printing the blocks were given to the British Library never to be used again. Ensuring that this printing of Sir John Tenniel's Wood-Engraved illustrations will remain the only edition ever printed from the blocks. [Attributes: First Edition]

Paramount Pictures, Hollywood, California, 1933. Mimeographed manuscript of the Joseph L. Mankiewicz screenplay. Illustrated with six hundred and forty two pages with drawings and designs by William Cameron Menzies with an additional eight page prologue and four page epilogue. Original brown paper wrappers (the cover title page and half title page are detached). This massive and heavy 646 page screenplay (13 3/4" x 8 1/4", 3 inches thick) turned out to be impossible for the cast to handle and a more traditional 200 page version was designed for use on the film, the illustrations were removed and the text reset. While Norman Z. McLeod is credited as director, Menzies stepped in to direct when McLeod became ill during the filming (Curtis, page 142). Very good. A Lewis Carroll rarity. Provenance: estate of actor Baby LeRoy who appeared in the film as "Joker" at the age of two. See pages 134-149 in James Curtis' "William Cameron Menzies" book for details on the filming of Lewis Carroll's classic books. [Attributes: First Edition; Soft Cover]

UK: Macmillan and Co, London, 1876. The First UK printing published by Macmillan and Co, London in 1876. The BOOK is in Very Good+ condition. One of approximately 100 copies in the publisher's deluxe binding of red cloth, although only 80 copies may have been ready for Carroll to sign at publication. Full gilt illustration on the front and back covers, all page edges gilt with coated black end papers as issued. The 'Burn' bindery ticket is present (as called for) on the rear paste-down. Complete with all nine illustrations by Henry Holiday with plain tissue guards (one tissue guard is missing). With 'Baker' not 'Butcher' on p. 83. Easing of both hinges but less so the front hinge. The binding remains tight. Slight pushing at the spine ends and a little light rubbing at the corners. The gilt cover decoration remains bright. A few minor marks to a handful of pages but generally a clean copy internally. 'Blairhame' bookplate of the noted bibliophile to the the front pastedown. The book has NOT undergone any restoration or repairs. The book has been inscribed at publication by the author to the half-title: 'William M. Wilcox, from his affte. Cousin & Godfather, the author, Mar. 29. 1876'. With the personal stamp of 'W.M. Wilcox' to the upper half-title page. Wilcox was to sadly die later that year of tuberculosis. Biographer Morton N. Cohen connects the creation of 'The Hunting of the Snark' with the illness of Carroll's cousin and godson Charlie Wilcox. On 17 July 1874, Carroll travelled to Guildford, Surrey, to care for him for six weeks, while the young man struggled with tuberculosis. The next day, while taking a walk in the morning after only a few hours of sleep, Carroll thought of the poem's final line: 'For the Snark was a Boojum, you see'. [Morton N. Cohen (1995) : Lewis Carroll: A Biography.]. A number of Carroll's relatives including Uncle William Wilcox and many of his Wilcox cousins (Kate, Bessie, Charlie, Leonard, William and George) all died during the period 1868-76 (Lewis Carroll Society). 'Although best known as the author of 'Alice's Adventures in Wonderland' (1865) and 'Through the Looking Glass' (1871), Lewis Carroll, was also an avid reader and writer of poetry. He greatly enjoyed the poems of the Victorian writers Alfred, Lord Tennyson, and Christina Rossetti. His own poems were varied . some humorous nonsense, some filled with hidden meanings, and some serious poems about love and life. [Snark] stands out from all the other poems that Carroll wrote. It has inspired parodies, continuations, musical adaptations, and a wide variety of interpretations. Carroll originally intended it as a set of verses to be included in another of his children's stories, but it grew too long and became a book in its own right (Wakeling). Although typically found in black-blocked buff cloth, Lewis Carroll wrote to his publisher on 21 March 1876 ordering copies of The Hunting of the Snark in various colours stamped in gilt, intended as gifts for friends and his family, requesting '100 in red and gold, 20 in dark blue and gold, 20 in white vellum and gold.' Housed in a custom chemise and half morocco slipcase with gilt tiling. Regarding copies inscribed by the author on publication day, Peter Harrington Books 'trace at auction since 1975, seven copies in red (including the author's own retained copy), five copies in blue, and one in green (Peter Harrington Cat.). A significant presentation copy. More images available on request. Ashton Rare Books welcomes direct contact. [Attributes: First Edition; Signed Copy]

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

New York D. Appleton & Co. 1866. First Edition, the first published edition of "Alice" comprising the original first issue sheets of the suppressed 1865 printing of Alice done in London. The sheets were sold to Appleton in New York and printed with the title-page dated 1866 and showing New York as the place of publication. With 42 illustrations by John Tenniel. 8vo, bound in contemporary three-quarter red morocco over marbled paper covered boards, marbled endleaves, now housed in a fine morocco backed foldover case, the spine panel with raised bands, the compartments lettered in gilt. [x], 192 pp. With the half-title as called for. A very good and handsome copy, the text-block clean, the binding with bit of restoration very skillfully accomplished. FIRST EDITION, FIRST PRINTING, FIRST PUBLISHED EDITION. THE EARLIEST OBTAINABLE EDITION OF "ALICE". This is the true first printing of "Alice in Wonderland" comprising the sheets of the first edition still unbound when Lewis Carroll and Tenniel decided in July 1865 to recall the edition printed by Macmillan in London. Some of those sheets were then authorized to be sold to Appleton in New York and thus the first available copies of this iconic work bore an American title page imprint over the original English sheets. ALICE'S ADVENTURES IN WONDERLAND has proven itself to be one of the most enduring classics of literature--for children or otherwise. It has been reprinted in innumerable formats, and its characters have been borrowed by, imitated by, and adapted for almost every media imaginable, from board games to postage stamps, from print to stage and film, and one would not be surprised to find a web page on the Internet devoted to Alice. Its importance might be gauged by the fact that it is one of only three books written for children (five, if one includes Aesop's Fables and Froebel's "Mutter- und Kose-Leider") included in the "Printing and the Mind of Man" exhibition. ALICE'S ADVENTURES IN WONDERLAND and its sequel, THROUGH THE LOOKING-GLASS, are "unique among 'juveniles' in appealing equally if not more strongly to adults. Written by an Oxford don, a clergyman, and a professional mathematician, they abound in characters--the White Knight, the Red Queen, the Mad Hatter, Humpty Dumpty--who are a part of everybody's mental furniture. And the philosophic profundity of scores, if not hundreds, of these characters' observations, long household words wherever English is spoken, gains mightily from the delicious fantasy of their setting" (PMM 354). [Attributes: First Edition; Hard Cover]

The second, first published edition, 1866 In the original publishers gilt red cloth, 3 circular lines containing a picture of Alice holding the Pig on the upper cover with the Cheshire Cat to the back cover, a little rubbed & soiled, cloth worn at some extremities. Internally, half-title, frontispiece, [10], [1], 2-192 pp, frontis, with tissue guard, 42 illustrations by John Tenniel, a couple of short tears, some foxing, pale blue endpapers (earliest state), hinges with signs of repair, a.e.g. Housed in a custom red half morocco over red cloth drop-back- box, gilt titles to spine, gilt titles to morocco label to upper cover. (193*126 mm). (Crutch 46. Madan 33. Williams 10). A better than usual copy of Alice with an ownership inscription on half-title dated in the year of publication ( M.A. Watson Binfield 1866) a bookplate to fpd (Latham). The contents 'S' is normal whilst page 30 is correctly numbered. Dodgson, author, mathematician, and photographer, whose writing meant a great deal to him; writing was the main course by which he could do something for others, to fulfil a deep religious desire to contribute something to humanity-it was his offering to God. After resigning his mathematical lectureship in 1881, at the age of forty-nine (he retained his studentship and resident privileges at Christ Church to the end), he devoted himself primarily to his writing. Often standing at his upright desk (he calculated that he could stand and write for ten hours a day), he turned out a myriad of works. See ODNB.

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: Hard Cover]