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London: Macmillan and Co.,: , 1866 & 1872. London: Macmillan and Co.,, 1866 & 1872. A matching set of presentation first editions First published editions of both Alice books, presentation copies inscribed by the author to Margaret Evelyn Hardy, the daughter of Gathorne Gathorne-Hardy. In Dodgson's diary she is recorded in the list of recipients of presentation copies of Alice's Adventures in Wonderland. The inscriptions comprise "Margaret Evelyn Hardy from the Author" on the half-title of Alice's Adventures in Wonderland and "Margaret Evelyn Hardy from the Author. Christmas 1871" on the half-title of Through the Looking-Glass. Gathorne-Hardy, 1st Earl of Cranbrook (1814–1906), became known to Dodgson's Oxford circle in 1865 when he was nominated to stand in the Oxford University constituency against two other candidates, William Gladstone and William Heathcote. Dodgson records in his diary for 10 July signing a voting paper. Jackson's Oxford Journal for 15 July notes that "Dr Dodson [sic], of Christ Church" voted for Gladstone. The final result was Heathcote 1331, Gathorne-Hardy 767, and Gladstone 735 votes. The election prompted Dodgson to write his Dynamics of a Particle (1865), a satirical pamphlet masquerading as a mathematical treatise, in which the second chapter refers to the contest between Gathorne-Hardy and Gladstone. Gathorne-Hardy was responsible for Dodgson's admittance to the public area of the House of Commons on 8 April 1867, and when he visited Oriel College, Oxford, Dodgson invited him to Christ Church to have his photograph taken. Dodgson noted in his diary on 10 June 1867: "He had not long to spare, but I succeeded in taking two pictures of him, neither of them, I fear, particularly successful". On 24 June 1867 Gathorne-Hardy wrote to Dodgson stating "my little girl's names are Margaret Evelyn, and I am sure she would dearly treasure Alice in English and French, but has no right to tax you for both". A correspondence between the two men commenced, and Dodgson continued to send copies of his books to Margaret: we know she received the 1869 German and French translations of Alice's Adventures in Wonderland and her inscribed copy of Through the Looking-Glass is dated Christmas 1871. She also received a copy of The Hunting of the Snark with an inscription dated 24 April 1876. The present set is unrecorded by Carlson & Eger. Dodgson's diary entry for 12 September 1877 records a visit by the author to the Hardy family to "meet Evelyn again (she is now 'Miss Evelyn')" when he "walked on the Parade with Mrs. Hardy and Misses K. and E." Alice's Adventures in Wonderland is the first published edition and the second overall: the book was originally printed in Oxford at the Clarendon Press in June 1865, but was suppressed when Dodgson heard that John Tenniel, the book's illustrator, was dissatisfied with the quality of the printing. It was withdrawn before publication and now survives in tiny numbers. The book was entirely reset by Richard Clay for the present authorized Macmillan edition, the earliest edition that can be realistically obtained. Although dated 1866, the edition was ready by November 1865, in time for the Christmas market, and was published in a print run of 4,000. The copy of Through the Looking-Glass is the first edition; like its predecessor, it was published for the Christmas market and bears the following year's date in its imprint. It was published in December 1871, in an edition of 9,000. 2 volumes, octavo (176 x 117 mm). Finely bound by the Chelsea Bindery in red morocco, spines lettered and with motifs in gilt, raised bands, covers with pictorial roundels replicating the original binding design and single rule in gilt, elaborate turn-ins in gilt, gilt edges. Housed in a morocco entry slipcase. Illustrated frontispieces, with tissue guards, and illustrations to the text, all by John Tenniel. Occasional finger-soiling and foxing; near-fine and attractive copies. Carlson and Eger, Dodgson at Auction 1893-1999, 1999; Williams, Madan, Green, and Crutch 46, 84. Edward Wakeling, ed., Lewis Carroll's Diaries, 1993-2007. [Attributes: First Edition]

London: Macmillan and Co., 1866 & 1872. First published editions of both Alice books, presentation copies inscribed by the author to Margaret Evelyn Hardy, the daughter of Gathorne Gathorne-Hardy. In Dodgson's diary she is recorded in the list of recipients of presentation copies of Alice's Adventures in Wonderland. The inscriptions comprise "Margaret Evelyn Hardy from the Author" on the half-title of Alice's Adventures in Wonderland and "Margaret Evelyn Hardy from the Author. Christmas 1871" on the half-title of Through the Looking-Glass. Gathorne-Hardy, 1st Earl of Cranbrook (1814–1906), became known to Dodgson's Oxford circle in 1865 when he was nominated to stand in the Oxford University constituency against two other candidates, William Gladstone and William Heathcote. Dodgson records in his diary for 10 July signing a voting paper. Jackson's Oxford Journal for 15 July notes that "Dr Dodson [sic], of Christ Church" voted for Gladstone. The final result was Heathcote 1331, Gathorne-Hardy 767, and Gladstone 735 votes. The election prompted Dodgson to write his Dynamics of a Particle (1865), a satirical pamphlet masquerading as a mathematical treatise, in which the second chapter refers to the contest between Gathorne-Hardy and Gladstone. Gathorne-Hardy was responsible for Dodgson's admittance to the public area of the House of Commons on 8 April 1867, and when he visited Oriel College, Oxford, Dodgson invited him to Christ Church to have his photograph taken. Dodgson noted in his diary on 10 June 1867: "He had not long to spare, but I succeeded in taking two pictures of him, neither of them, I fear, particularly successful". On 24 June 1867 Gathorne-Hardy wrote to Dodgson stating "my little girl's names are Margaret Evelyn, and I am sure she would dearly treasure Alice in English and French, but has no right to tax you for both". A correspondence between the two men commenced, and Dodgson continued to send copies of his books to Margaret: we know she received the 1869 German and French translations of Alice's Adventures in Wonderland and her inscribed copy of Through the Looking-Glass is dated Christmas 1871. She also received a copy of The Hunting of the Snark with an inscription dated 24 April 1876. The present set is unrecorded by Carlson & Eger. Dodgson's diary entry for 12 September 1877 records a visit by the author to the Hardy family to "meet Evelyn again (she is now 'Miss Evelyn')" when he "walked on the Parade with Mrs. Hardy and Misses K. and E." Alice's Adventures in Wonderland is the first published edition and the second overall: the book was originally printed in Oxford at the Clarendon Press in June 1865, but was suppressed when Dodgson heard that John Tenniel, the book's illustrator, was dissatisfied with the quality of the printing. It was withdrawn before publication and now survives in tiny numbers. The book was entirely reset by Richard Clay for the present authorized Macmillan edition, the earliest edition that can be realistically obtained. Although dated 1866, the edition was ready by November 1865, in time for the Christmas market, and was published in a print run of 4,000. The copy of Through the Looking-Glass is the first edition; like its predecessor, it was published for the Christmas market and bears the following year's date in its imprint. It was published in December 1871, in an edition of 9,000. Carlson and Eger, Dodgson at Auction 1893-1999, 1999; Williams, Madan, Green, and Crutch 46, 84. Edward Wakeling, ed., Lewis Carroll's Diaries, 1993-2007. 2 volumes, octavo (176 x 117 mm). Finely bound by the Chelsea Bindery in red morocco, spines lettered and with motifs in gilt, raised bands, covers with pictorial roundels replicating the original binding design and single rule in gilt, elaborate turn-ins in gilt, gilt edges. Housed in a morocco entry slipcase. Illustrated frontispieces, with tissue guards, and illustrations to the text, all by John Tenniel. Occasional finger-soiling and foxing; near-fine and attractive copies. [Attributes: First Edition; Signed Copy]

1863. 166-173 (h) x 222mm, i.e. very slightly trapezoidal. Original albumen photograph. This famous photograph is one of a series of photographs taken of the Rossetti family by Charles Lutwidge Dodgson, (i.e. Lewis Carroll), in the garden of Dante Gabriel Rossetti's house in Cheyne Walk on 7 October 1863. On verso, written in the hand of Helen Angeli Rossetti, daughter of William Michael Rossetti: "Photograph taken by Ch. L. Dodgson (Lewis Carroll) [sic] in the Cheyne Walk Garden, c. 1865? Probably 1863 (Autumn)." The composition, arranged by Carroll and subsequently photographed and printed by Carroll, shows the Rossetti's in their garden, from left to right: Christina G. Rossetti, Maria Francesca Rossetti, Frances Livinia Rossetti and Dante Gabriel Rossetti, the latter two seated at a table playing chess. Of a similar print, Christina Rossetti wrote, describing the day ìthe author of Wonderland photographed us in the gardenî: ìIt was our aim to appear in the full family group of five; but whilst various others succeeded, that particular negative was spoilt by a shower, and I possess a solitary print taken from it in which we appear as if splashed by inkî (quoted by Mackenzie Bell, Christina Rossetti [London, 1898]. From Jaqueline Banerjee, "Morton Cohen explains that in early October 1863 Dodgson was staying with the sculptor Alexander Munro, who took him to see the Rossettis. Dante Gabriel was "most hospitable in his offers of the use of house and garden for picture-taking" (Cohen 240) and he was able to take two pictures of Christina, and one of Rossetti himself. Dodgson wrote in his Dairy, "I afterwards looked through a huge volume of drawings, some of which l am to photograph ó a great treat, as I had never seen such exquisite drawing before. I dined with Mr. Rossetti, and spent some of the evening there.... A memorable day" (qtd. in Cohen 240). He returned the next day and photographed the whole family, subsequently photographing Rossetti's drawings and one of his models. The contact with the Rossettis proved useful, introducing him to Swinburne and others. Rossetti looks relaxed and genial in this portrait, which gives a flavour of the pleasant visit." Edward Wakeling ("The Photographs of Lewis Carroll, A Catalog Raisonne") describes the photographs by Carroll taken at the Rossettis, with a census of those found, listing only five, of which only one is the full image our example, the others being either vignette prints, and one without Christina Rossetti. Provenance: this photograph originally the property of William Michael Rossetti, and then by descent to his daughter, Helen Rossetti Angeli (who inscribed the verso), and given to William E. Fredeman in 1963. Of great rarity and importance. Indeed, no similar quality original Lewis Carroll photograph of the Rossettis has sold ion the open market in recent memory.

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]

London, Macmillan & Company, 1868. . Early edition (twelfth thousand) 8vo (190 x 135 mm); half-title, 42 woodcut illustrations (including frontispiece), the odd, minor spot, otherwise internally near-fine, original cloth covers and spine bound in at end, magnificent double Cosway binding of burgundy morocco by Riviere & Son, each cover with a central inset circular miniature under glass by Miss C.B. Currie, gilt fillets radiating to ornate hand-tooled foliate frames with gilt-decorated green morocco onlays in corners and centres, later finely rebacked to match by Bayntun (who acquired the Riviere stock of binding tools in 1939), with spine gilt in compartments with 5 raised bands and 4 green morocco matching onlays, dark green watered silk doublures within only slightly less ornate frames on pastedowns, all edges gilt, preserved in modern suede-lined morocco solander box.
A lavish Cosway binding (probably circa 1910-1913), with miniatures by Miss C.B. Currie after Tenniel's illustrations; the front doublure is stamped in gilt 'Miniatures by C.B. Currie'. The scenes depicted are Alice with flamingo/croquet mallet and the Duchess on the front cover; and Alice and the Dodo on the rear.

At the beginning of the 20th century John Harrison Stonehouse, managing director of Henry Sotheran Booksellers, began to commission these distinctive fine bindings by Rivière and Son, featuring inset miniatures by his in-house miniaturist, Miss Currie. Many of her excellent miniatures imitated the style of the earlier painter Richard Cosway, hence the term Cosway binding. Over nearly 40 years she produced miniatures for over 900 bindings. Examples from other binderies, featuring miniatures by other artists, are referred to as Cosway-style bindings; they are far more common, and far less desirable.

This copy has 'Bound by Rivière & Son' stamped in gilt near the bottom edge of the inside front cover; the rear doublure is stamped in gilt within a small decorative frame 'Bound by Rivière & Son, from designs by J.H. Stonehouse'; and 'H. Sotheran & Co., 45 Piccadilly, London' is stamped in gilt near the bottom edge of the inside rear cover. An exceptional survivor from the golden era of book-binding.
Williams, Madan and Green, p. 29 & Williams, Madan, and Green 84; Williams 21.

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, Lewis Carroll authorized Macmillan to sell 1,952 bound copies to Appleton in New York with a new title page 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 darkened otherwise a tight copy. Michael Hancher, author of The Tenniel Illustrations to the "Alice" Books was in the shop this summer and examined our copy of this book. There is a census of the extant copies of the 1866 Appleton Alice as announced by John Lindseth in PBSA some time ago that is still a work in progress. He goes on to say, "Extant copies of what has become known as "The Appleton Alice" have turned out to become quite elusive. The British Library is the only institutional holder found in the UK. Some seventy institutional holders are found in the United States and Canada and one in Switzerland. Fewer than twenty private holders have been identified. Our copy may add one to that small number. In his note Lindseth distinguishes four different states of the text, which apparently have no priority. Hancher goes on in his email to write, "I also attach two pages from the new chapter about "Printing" in the revised edition of my Tenniel book. Apparently the image quality for the illustrations of the suppressed Macmillan printing of 1865 (which got recycled as the Appleton edition of 1866) varies from copy to copy and image to image, depending on how much ink leaked through from the printing on the other side of a particular leaf. Tenniel must have been given - and rejected - one of the worse copies. Had he been given your copy he might not have balked." [Attributes: First Edition]

[Los Angeles, Paramount Pictures, 1933]. Folio (220 x 354 mm). (3), A1-8, 642, 4 ff. Mimeographed typescript and storyboard comprising 642 illustrations by William Cameron Menzies. Extra-illustrated with 44 black and white production photographs. Contemporary giltstamped full red morocco, spine gilt in compartments. Signed by 27 members of the cast. Copy owned by Charlotte Henry, the actress who played Alice, signed and inscribed by her to another girl on the frontispiece photograph: "To Ann Waddington from Alice in Wonderland / Charlotte Henry". De luxe copy, owned by "Alice", of the script to the 1933 Paramount Pictures adaptation of Lewis Carroll's classic. The script appears to have been available in a numbered edition (number 22 was sold at Sotheby's in 1975) and an un-numbered edition for members of the production (cast-member Ronald "Baby LeRoy" Overacker’s copy sold at Bonhams, Los Angeles, in 2019); both were bound in wrappers. The present specimen is a sumptuously bound, extra-illustrated edition for the actress who played the title character, featuring not only 44 inserted black-and-white production photographs (captioned on the reverse), but also the signatures of 27 cast members on the half-title. - Despite an all-star cast including Cary Grant as the Mock Turtle, Gary Cooper as The White Knight, W. C. Fields as Humpty Dumpty, Edna May Oliver as the Red Queen, Edward Everett Horton as The Hatter, Charlie Ruggles as The March Hare, and Baby LeRoy as The Joker, the film adaptation proved a famously unsuccessful experiment by Paramount. It remains the only major live-action Hollywood production to adapt Carroll's original "Alice" stories. Charlotte Henry (1914-1980) enjoyed her first leading role as Alice, beating over 6,800 other actresses who auditioned. The recipient Ann Waddington, to whom Henry gifted her sumptuous memento, is unidentified. - The American film director, screenwriter, and producer Joseph L. Mankiewicz (1909-93) enjoyed a long Hollywood career. He is best remembered for "All About Eve" (1950), which was nominated for 14 Academy Awards and won six. William Cameron Menzies (1896-1957) was a hugely influential production designer and art director. He received an Honorary Academy Award "for outstanding achievement in the use of color for the enhancement of dramatic mood" in "Gone With the Wind". - Occasional tears to some leaves, some photographs with creases and tears, occasional child's scribbles. Hinges professionally restored. A unique survival. [Attributes: Soft Cover]

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., 1872. PRE-PUBLICATION PRESENTATION COPY FIRST EDITION FIRST ISSUE. 1 vol., illustrated By John Tenniel, inscribed by Dodgson on the half-title "Joanna de Morlot Pollock / from the Author / Christmas 1871", in purple ink. Bound in full red morocco, ribbed gilt decorated spine, spine panels tooled with characters from Alice, covers ruled in gilt, covers center panel tooled with the Queens, gilt dentelles, all edges gilt, original cloth covers and spine bound in rear, by Bayntun, IN AS NEW CONDITION. Joanna de Morlot Pollock (at the time 9 years old) was the daughter of Charles Edward Pollock, and his second wife Georgina Archibald. In 1865 Charles married his third wife, Amy Menella, daughter of Dodgson's cousin Hassard Hume Dodgson. The author attended the wedding, and recorded a visit to the family on 24 June 1866 in his diary, noting "we saw the pretty little Joanna", later that year (30 July) taking her photograph. By the time of a visit in July 1872 he noted that Joanna had "grown out of all recollection.". Edward Wakeling notes in Lewis Carroll's Diaries that on 8 December 1871 Dodgson had signed only 100 copies of Through the Looking Glass. [Attributes: First Edition; Signed Copy; Hard Cover]

London: Macmillan, 1866. First. hardcover. Very good. A very good first UK published edition (after the suppressed UK edition that was not distributed) in a very good original cloth with some repair on the hinge. First issue inverted S on the table of contents. Housed in an elaborate leather case.[Attributes: First Edition]

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.

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]

London: Macmillan and Co., 1866. First published edition. This copy was inscribed in the year of publication on the frontispiece recto: "May Hemming from her Godfather H. L. Gaskell on her birthday April 1866". Henry Lomax Gaskell of Kiddington Hall (1813-1889) was JP and sheriff of Oxfordshire and is mentioned by Dodgson in his diaries. In his diary entry for 9 August 1879, Dodgson recorded a journey from Oxford to Eastbourne during which he met a lady, unknown, and her daughter Amy, who became his travelling companions. While talking, he was pleased to discover that the lady "knows the Gaskells of Kidlington [sic]" (Diaries, p. 198), referring to Gaskell and his wife, Alice Cunliffe. In 1864, their third son, James, entered Rugby, the same school Carroll had attended some 20 years before. Alice's Adventures In Wonderland was originally printed in Oxford at the Clarendon Press in June 1865, but Dodgson heard that the book's illustrator John Tenniel was dissatisfied with its quality, so he suppressed the whole edition of 2,000 copies. The book was entirely reset by Richard Clay for this present edition which, although dated 1866, was ready by November 1865, in time for the Christmas market. The unused Oxford sheets were sold to Appleton's for use in their New York edition, published the following summer. The Macmillan edition was published in an edition of 4,000 copies. The book is "especially demonstrative of the fantasy genre; Alice, a stranger to Wonderland, realises the fantastical nature of the world that surrounds her and must constantly work to navigate and understand it" (Carter). The work was "enormously influential, bringing about a sea change in children's fantasy and mounting a defiant opposition to the didactic tendencies of Victorian children's literature" (Stableford, p. 63). Grolier Children's 100, 35; Printing and the Mind of Man 354; Williams, Madan, Green and Crutch 46. Carter, "Which way? Which way?": The Fantastical Inversions of Alice in Wonderland, 2007; Magill, Survey of Modern Fantasy Literature, I, pp. 7-16; Stableford, The A to Z of Fantasy Literature, 2009. Octavo (191 x 126 mm). Early 20th-century red morocco by Lloyd, spine with raised bands, compartments lettered and elaborately tooled in gilt, covers, board edges and turn-ins ruled in gilt, marbled endpapers, edges gilt. With original cloth covers bound in at rear. Frontispiece and 41 illustrations by John Tenniel. Bookplate of one Elizabeth Cornell Kinsley to front pastedown, 1950 gift inscription to recto of frontispiece, small bookseller ticket to rear pastedown. Joints sometime repaired, light offsetting to endpapers, neat repairs to margins of a couple of leaves, contents generally clean. A very good copy, attractively bound. [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 Troublante lettre adressée au père de sa nouvelle « amie-enfant », à laquelle il souhaite faire parvenir un exemplaire d’Alice au pays des merveilles Traduction de l’anglais : « Cher Monsieur, J’espère que vous excusez la liberté que je prends en l’adressant à vous, ainsi que celle que j’ai prise voici quelques jours en me liant d’amitié avec votre petite fille, mais je crois que même un homme qui ne serait pas, comme moi, un grand amoureux des enfants, ne pourrait manquer d’être attiré par elle.Comme je souhaite déposer pour elle, là où elle habite, un petit livre (dont j’ai souvent fait cadeau à de jeunes amies), j’ai entrepris deux expéditions, en vain, pour trouver où elle demeurait. Faute d’avoir la bonne adresse, et ne la voyant plus sur la plage, la seule solution me semble de lui écrire à son adresse en ville. Si vous m’autorisez à lui offrir le livre, auriez-vous l’amabilité de me dire si je dois lui envoyer à Londres ou, sinon, à quelle adresse. (Le livre s’intitule Les Aventures d’Alice au pays des merveilles). Croyez, Monsieur, en mes sentiments les meilleurs. C.L. Dogson (de Christ Church Oxford) » Texte original : “Dear sir, I hope you will excuse the liberty I am taking in addressing you, as well as the liberty I took a few days ago in making friends with your little daughter, but I think that even one who is not, as I am, a great lover of children, could hardly fail to be attracted by her. Wishing to leave for her at her lodgings a little book (on I have several time given to little friends) I have made two expeditions, in vain, to find the lodgings. Not having the right address and seeing her no more on the beach, the only course seems to write to the town address. If you will allow me to present her with the book, would you kindly tell me whether to send it to London or to what address. (The book is called Alice’s Adventures in Wonderland). Believe me truly yours, C.L. Dodgson (of Christ Church Oxford)” Adressée à M. Burton, cette lettre est écrite neuf jours après la rencontre de l’écrivain avec sa fille, ainsi que le rapporte son Journal à la date du 16 août 1877 : « Suis allé sur l’embarcadère dans la soirée et ai fait une autre heureuse rencontre. Ma nouvelle amie s’appelle Mabel Burton. Elle semble avoir environ 8 ans. ( ) Elle est absolument charmante et sans un atome de timidité. Je n’ai jamais été ami avec une enfant aussi facilement et aussi rapidement. » On ignore pas le goût de l’écrivain pour les jeunes filles. Carroll annonce ici explicitement à un père de famille – il ignore alors que ce dernier est décédé – qu’il compte se lier d’amitié avec sa fille, certes non sans ambiguïté. En dépit de ces considérations, débute une amitié, qui dépasse la perplexité mêlée de stupéfaction de Mrs Harriet Burton, mère de Mabel. La fille ne comptait d’ailleurs pas faire part à la mère de sa rencontre avec l’« étrange gentleman », expression de la jeune fille même. Le 28 août, Carroll écrit une lettre à Mrs Harriet Burton dans laquelle nous comprenons qu’elle a accepté qu’il envoie un exemplaire des Aventures d’Alice au pays des merveilles à Mabel. Bien que le roman soit de plusieurs années antérieur à l’amitié entre Carroll et la petite fille, il n’est toutefois pas interdit d’imaginer Mabel comme l’ombre portée d’Alice, une héroïne par la procuration du regard d’écrivain. Bibliographie : « Lewis Carroll Lettres inédites à Mabel Amy Burton et à ses parents ». Pierre E. Richard, ed. de Maule. 2008 [Attributes: First Edition; Signed Copy]

London: Macmillan, 1886. First Edition. 1st edition of the replication of Carroll's original manuscript for Alice's Adventures in Wonderland, with his original title, his own 37 illustrations, and reproducing his own handwriting. This edition differs from the published book in that Macmillan had Carroll change the title, delete a few personal references, and add 2 chapters, and they hired a professional illustrator, but our book is the original. Presentation copy from the author to the publisher, inscribed (to Emma Macmillan), "Mrs. Macmillan from the author" and dated in January, the month that all the earliest presentation copies were inscribed. A bright and beautiful copy, near fine in original cloth. Best copy in the world? Probably. Pearl Buck was born in West Virginia in 1892 but her missionary parents took her to China when she was just a few months old. She came home for college at Randolph-Macon, returned to China in 1914, taught for 10 years in Nanking, then revisited the U. S. in 1924 to earn a master's degree at Cornell. Once back in China, she wrote The Good Earth. It won her a Pulitzer Prize in 1932, The William Dean Howells medal in 1935, and her Nobel Prize for literature in 1938. It remains her masterpiece, a bittersweet social chronicle written with a detached, pastoral style, set in northern China during the early years of the 20th century, and following the cycles of birth, marriage, and death in the Chinese family of Wang Lung. The good years of plentiful harvest and healthy children are balanced by times of near starvation and stillborn pregnancy. Wang Lung finally becomes wealthy but his grown sons, for whom he has worked so hard, have no respect for their father's love of the land, and only scheme to sell his property as soon as he dies. Fine. [Attributes: First Edition; Signed Copy]

London & New York: Macmillan & Co., Ltd. and The Macmillan Co, 1898. 6th Edition. Leather Bound. Very good/Very good. John Tenniel. John Tenniel. 6th Edition. Leather Bound. H: 7 1/4", DL 5", W: 1" 2 Volumes. Lewis Carroll, Alice's Adventures in Wonderland & Through the Looking-Glass. 6th Edition. Bound by Kelliegram in full green Morocco. The covers display intricate depictions of each character in multi-color inlay with gilt-tooled borders. Raised band spine with gilt-tooled detailing. All edges gilt with gilt-tooling bordered turn-ins and silk endpapers. Ninety-two total illustrations by John Tenniel. Published by Macmillan & Co., Ltd. in London and The Macmillan Co. in New York, 1898.

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

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]

Macmillan, 1869. FIRST EDITION IN FRENCH, frontispiece (with tissue guard) and vignette illustrations by Tenniel, pp. [xii], 196, crown 8vo, original blue cloth, by Burn, with his diamond ticket on lower pastedown, backstrip gilt lettered direct, boards with triple gilt border, and central illustration (Alice and pig on upper; Cheshire cat on lower) within circular triple line frame, a little rubbing and light bumps to extremities, some light wear at backstrip ends, a.e.g., chocolate chalked endpapers, the flyleaf chipped at top corner, cracking to rear hinge with webbing exposed, good. Inscribed by the Dodgson on the half-title: 'Beatrice Cecilia Harington, from the Author'. The recipient was the eldest daughter of Richard Harington, Principal of Brasenose College and his second wife, Mary; her half-brother (also Richard) was a Christ Church contemporary and friend of Dodgson, who had translated a poem by the latter into Latin for the Daniel Press 'Garland of Rachel'. Beatrice, like her sister (Alice Margaret), was among Dodgson's child-sitters; she was seventeen years of age at the time this translation (which followed the German in the same year as the earliest translations of Carroll's chef d'oeuvre) - Harington was later the first Head of St. Margaret's House, Bethnal Green. [Attributes: First Edition]

Paris: The Black Sun Press,, 1930. Stunningly illustrated and preserved First Black Sun Press edition, an extranumerary copy of the deluxe European issue, lettered "F", signed by the artist on the colophon, and with a supplementary suite of the illustrations in sanguine, of which five are signed by Laurencin in purple pencil, as issued. The colophon, which states that 20 numbered copies of this deluxe issue were released in Europe, does not mention lettered copies. This was the first illustrated book of the foremost French artist Marie Laurencin (1883-1956), whose celebrated queer illustrations are "characterized by a palette of pastel colours and feminine subject matter" (Summers, p. 208). Producing Alice in this aesthetic caused "a considerable shock to those brought up on Tenniel" (Tebbel, p. 625). Laurencin hosted other famous artists at her home in Auteuil, where she "reigned like a queen, with her cat, whom she said was the model for all her female faces. As she became popular, her influence was felt in the world of fashion and interior design" (Fine, p. 173). Of the edition, 420 copies were designated for the US and 371 for Europe. The issues comprised 650 copies on Rives paper, 100 on Japanese vellum, 40 signed copies on Hollande Van Gelder with the sanguine suite (as here), and a single copy on Vieux Japon with the extra suite alongside the original lithographs. This copy retains its original jacket, chemise, and slipcase in superb condition. Oblong quarto. Original cream wrappers, spine and front cover lettered in red and black, publisher's black-and-red device on rear cover, fore and bottom edges untrimmed. With the original glassine jacket. Housed in the publisher's silver paper and card chemise and slipcase. Frontispiece and 5 plates in colour lithography, this issue also with a duplicate suite of the 6 illustrations printed in sanguine and bound at the end, all with tissue guards and by Marie Laurencin. Text printed in red and black. Faint spotting to fresh wrappers; glassine jacket with a couple of chips and tears but very well-preserved; chemise and slipcase slightly toned and handled: a near-fine copy in like jacket. Minkoff A39 (misprinted as A34). Elsa Honig Fine, Women & Art, 1981; Claude J. Summers, ed., The Queer Encyclopedia of the Visual Arts, 2004. [Attributes: Signed Copy]

London: Macmillan und Comp.,, 1869. Presentation copy of the first foreign language translation First German language edition, first impression, presentation copy, inscribed by the author "Margaret Evelyn Hardy, from the Author" on the half-title. The first foreign language translation of Alice's Adventures in Wonderland was published in February 1869 before a French translation of August 1869. The original English text was first published in 1866. Williams, Madan, Green, and Crutch praise the illustrations in this edition and note "the reproductions of the woodcuts in this German edition are excellent, and bear comparison with those in any other issue of Alice in Wonderland". The contents listing exactly copied the pagination of the English edition so that for every chapter except the first, the page numbers are incorrect. Gathorne-Hardy, 1st Earl of Cranbrook, (1814-1906) became known to Carroll's Oxford circle in 1865 when he was nominated to stand in the Oxford University constituency. There were three candidates: William Gladstone, William Heathcote and Gathorne Gathorne-Hardy. Carroll records signing a voting paper in his diary for 10 July and Jackson's Oxford Journal for 15 July notes that "Dr Dodson [sic], of Christ Church" voted for Gladstone. The final result was Heathcote 1331, Gathorne-Hardy 767, and Gladstone 735 votes. The election prompted Carroll to write his Dynamics of a Particle (1865) comprising a satirical pamphlet masquerading as a mathematical treatise in which chapter two refers to the contest between Gathorne-Hardy and Gladstone. The politician was responsible for Carroll's admittance to the public area of the House of Commons on 8 April 1867, and when Gathorne-Hardy visited Oriel College, Oxford, Carroll invited him to Christ Church to have his photograph taken. Carroll noted in his diary on 10 June 1867 "He had not long to spare, but I succeeded in taking two pictures of him, neither of them, I fear, particularly successful". Gathorne-Hardy had married Jane Orr in 1838 and they were to have four sons and five daughters. On 24 June 1867 the politician wrote to Carroll stating "my little girl's names are Margaret Evelyn, and I am sure she would dearly treasure Alice in English and French, but has no right to tax you for both". At the time of writing, there were no foreign language translations. A correspondence between the two men commenced and, in time, Carroll certainly sent both English and French editions of Alice. This inscription in an unrequested German translation is previously unknown (unrecorded by Carlson and Eger). Another hand other than Carroll's has added the date of 1871. Carroll continued to send copies of his books to Margaret: she also received an inscribed copy of Through the Looking-Glass dated Christmas 1871 and a copy of The Hunting of the Snark with an inscription dated 24 April 1876. Carroll's diary entry for 12 September 1877 records a visit by the author to the Hardy family to "meet Evelyn again (she is now 'Miss Evelyn')" when he "walked on the Parade with Mrs. Hardy and Misses K. and E." Octavo. Original green cloth, spine lettered in gilt, pictorial roundels and triple-line borders to covers in gilt, brown coated endpapers, binder's label ("Burn & Co") to rear pastedown, all edges gilt. Frontispiece and 42 illustrations by John Tenniel. Some fading and bubbling to covers, spine slightly soiled, corners slightly bumped, minor restoration to spine and hinges, some browning and foxing throughout; a very good copy. Williams, Madan, Green, and Crutch 71; Carlson and Eger, Dodgson at Auction 1893-1999, 1999.

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).

NY: Maecenas Press - Random House, 1969. LIMITED SIGNED EDITION. Original tan leather backed clamshell box, 18-1/4" x 13-1/2", gilt lettered spine, with the original gilt stamped brown cloth chemise, illustrated by Salvador Dali, complete with frontis and 12 illustrations, the frontispiece is an original signed etching by Salvador Dali limited to 2500 numbered copies on Mandeure paper of which this is #1791, signed by Dali on the title-page. Includes the original shipping box, inner box, and paper chemise all 3 with matching numbers. The clamshell box is as new, with the two original leather ties and bone clasps, internally clean and bright, a true time capsule, as complete as issued when delivered to your door in 1969 and as nice as you’re ever going to find it. [Attributes: First Edition; Signed Copy; Hard Cover]

Paris: Black Sun Press, 1930. Limited. hardcover. near fine. Laurencin. Illustrated with 6 color lithographs by Marie Laurencin printed by Desjobert of Paris. Oblong 4to, 3/4 red morocco binding over patterned boards, gilt spine lettering and decorations, with a small inset of a white rabbit on the side panel, top edge gilt. Paris: Black Sun Press, 1930. Limited Edition. Of an edition of 790 copies, this is one of only 20 copies with a duplicate set of plates in sanguine. Five of the extra plates are signed in pencil by Laurencin, who has also signed the colophon page, which states that this is number 19 of the American Edition. Although the binding is unsigned it was likely done by the Bennett Book Studio which did a number of similar ones. Fine, in a leather-tipped slipcase which is missing the top edge.[Attributes: Signed Copy]

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]