Book Search Results

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 "the author of Wonderland photographed us in the garden": "It 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 ink" (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 Diary "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 flavor 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]

D. Appleton, 1866. first. hardcover. near fine. First US edition, with first UK sheets. Book near fine, some rubbing to corners and spine ends, rubbing to upper left corner of front free end paper, partial cracking to front gutter. Housed in custom-made fold-out case. [Attributes: First Edition]

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]

London: Macmillan and Co.,, 1876. With the scarce dust jacket First edition of the author's comic verse, which "describes with infinite humour the impossible voyage of an improbable crew to find an inconceivable creature" (Williams, Madan, Green & Crutch). The printed dust jacket is one of the earliest recorded examples and of importance in the history of jacket development. This copy might be from an early batch for export. It lacks the usual binder's label on the rear endpaper but includes a label laid down to the front pastedown for the publishing firm of Solomons and Chapman, Washington, DC. Williams, Madan, Green & Crutch record the first American edition as being published by Osgood in Boston in 1876. Newspaper reviews of the book in the US date from October 1876 and cite Osgood as the publisher. It was Dodgson who suggested to his publisher that the title of his new book should be printed on the spine of the "paper wrapper" so that the book "can stand in bookstalls without being taken out of paper, and so can be kept in cleaner and more saleable condition". Having thought of this advantage, Dodgson then added that he "should like the same thing done for Alice and the Looking Glass for the future - and even those on hand, which are already wrapped in plain paper" (Tanselle, p. 68). Macmillan embraced the idea and did indeed provide new jackets for existing stocks of the older titles. Considered merely a temporary covering at the point of sale, the paper used for the jacket is inexpensive and uncoated, liable to foxing and wear, and was almost invariably discarded. Rather than repeating the decorative blocking of the front cover, as some 19th-century publishers did, Macmillan printed on the front panel a letterpress title laid out in the style of a title page and, on the back, advertisements for other Lewis Carroll books. Provenance: Douglas C. Ewing (book label to chemise); Richard Manney (bookplate to front pastedown). Octavo. Frontispiece and 8 illustrations by Henry Holiday, with tissue guards. Original buff cloth, spine lettered in black, covers illustrated in black, dark green coated endpapers, all edges gilt. With dust jacket. Housed in custom brown cloth chemise and brown morocco-backed slipcase. Head and foot of spine very slightly bumped, hinges splitting but firm, consistent browning to title page from tissue guard as usual; some minor tears and loss to head and foot of jacket spine, price integral to front panel: a near-fine copy in a near-fine jacket. Williams, Madan, Green & Crutch 115. G. Thomas Tanselle, Book-Jackets. Their History, Forms, and Use, 2011. [Attributes: First Edition; In Dust Jacket]

[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]

Maecenas Press - Random House., New York, 1969. Folio. (430 x 285 mm). [41 bifolia + 13 bifolia (suite); pp. 150, (i), (i)]. Carroll's text illustrated with an original frontispiece etching signed and numbered by Dali in pencil and twelve colour woodcut plates' this copy with the additional suite on Japon Nacré. Loose as issued in original publisher's black cloth silk portfolios each with Dali to covers, loose in original carrot morocco box with ties (the ties lacking as usual). The deluxe edition with the additional suite of Salvador Dali's illustrations for Lewis Carroll's proto-Surrealist masterpiece. From the edition de luxe limited to 200 signed and numbered copies on vélin de Rives with the additional suite of all the plates on Japon Nacré including the frontispiece etching which is signed in pencil by Dali; the full edition was 2,500 copies on Mandeure paper. This copy is numbered from the edition of 200 (Roman numbering CC). The number is LX (no.70) [Michler & Löpsinger 321 - 333]. [Attributes: Signed Copy; Hard Cover]

London: Macmillan and Co.,, 1893. Withdrawn from circulation by the author", one of only four known copies, and possibly a unique variant Third edition, final printing (the "Sixtieth Thousand"), which the author withdrew from circulation, and of which "it is surprising that any copies have survived at all" (Goodacre, p. 253). This is one of the legendary Lewis Carroll rarities. The story of Carroll rejecting the first edition of Alice's Adventures in Wonderland in 1865 is well known. He later exhibited an "almost obsessive concern over the practical details involved in the production of his books" (Goodacre, p. 251) and found fault with A Tangled Tale in 1885, the first private edition of The Game of Logic in 1886, and the first printing of The "Nursery" Alice in 1889. When Carroll received six copies of the "sixtieth thousandth" printing of Through the Looking-Glass in 1893, it became the latest book to cause the author annoyance. In his diary for 21 November 1893, Carroll stated that "I found the pictures so badly printed that the books are not worth anything" (Diaries, p. 105). Carroll then threatened his publishers with a termination of publishing contracts. He wrote to Macmillan noting that "...much as I should regret the having to sever a connection that has 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). On enquiry, Carroll found 60 copies had been sold, and he ordered that the remaining 940 copies were to be destroyed, even though it would cause the book temporarily to fall out of print. Four days later, Carroll decided that he would give the rejected edition away, and the publishers issued an advertisement asking for copies of the "Sixtieth Thousand" to be returned, and that they would then be given "to Mechanics' Institutes, Village Reading-Rooms, and similar institutions". Copies thus distributed had a note stamped on the title page in purple ink. Goodacre notes that "theoretically there should be three variants of the book" (Goodacre, p. 253). The first variant would comprise one of the 60 copies which failed to be returned. The second would comprise one of the 60 copies with the addition of the rubber stamp note on the title page. The third variant comprises the remaining 940 copies with lettering in blind on the front cover noting presentation "for use of Mechanics Institutes, Reading Rooms, etc." When Goodacre contributed a paper to The Book Collector in 1975 he stated that he owned a copy of the third variant and knew of only one other copy (in Harvard University Library). Of the other two variants he noted "possibly no copies have survived". In 1990 the Lovetts noted that "no copies of the 60th thousand in standard binding have been recorded, and only three copies of this 'Mechanics' Institute' edition are known". A more recent (unpublished) census by Goodacre traced four copies in the original cloth. The Nicholas Falletta Collection of Lewis Carroll Books and Manuscripts (Christie's South Kensington, November 2005) included the author's own copy with annotations throughout. That copy, sold by Peter Harrington in 2005, later formed part of the Library of an English Bibliophile (Sotheby's, July 2018). That copy was an example of Goodacre's first variant. It is likely that the present volume is a unique example of Goodacre's second variant, comprising a copy in original binding with the ink stamp added to the title page. Octavo. Frontispiece and 49 illustrations within the text, all by John Tenniel; 4 pp. publisher's advertisements at rear. Original red cloth, spine lettered in gilt, covers with pictorial roundels and triple-line borders in gilt, black endpapers, all edges gilt. Housed in a custom quarter red morocco folding box. Spine slightly skewed and sunned, extremities a little bumped, one gathering a little proud, occasional foxing and finger-soiling: a near-fine copy. Williams, Madan, Green & Crutch 84b. Morton N. Cohen, The Letters of Lewis Carroll, Vol. 2, 1979; Selwyn H. Goodacre, "Lewis Carroll's Rejection of the 60th Thousand of Through the Looking-Glass", The Book Collector, Summer 1975; Edward Wakeling, Lewis Carroll's Diaries, Vol. 9, 2005. [Attributes: First Edition]

NY: Maecenas Press - Random House, 1969. LIMITED SIGNED EDITION OF 200. Original full tan straight grained leather clamshell box, 18-1/4" x 13-1/2", gilt lettered spine, with the original 2 gilt stamped black silk chemise's, illustrated by Salvador Dali, complete with frontis and 12 illustrations, the frontispiece is an original signed etching by Salvador Dali, limited to 200 Roman numbered copies on Rives paper with the portfolio containing an additional suite of 13 plates on Japan nacre, of which this is copy CXCI. The clamshell box is in VERY GOOD condition, with the two original leather ties and black clasps, internally clean and bright, about as nice as you're ever going to find it. [Attributes: Signed Copy; Hard 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]

MacMillan, London, 1866. Some foxing. Original cloth professionally and neatly re-cased, slightly darker on spine. All edges gilt. First edition, first issue with page '30' as '3' A very good copy of the extremely rare first edition. [Attributes: First Edition; Hard Cover]

London: Macmillan and Company. 1866 and 1872. First editions. First editions. Two volumes. Finely bound by Charles Elsden Gladstone in elaborately decorated full brown morocco, the spines with 5 raised bands and titles in gilt. Gilt decorated inner boards, marbled endpapers. Binder's initials stamped in gilt to the lower inner front board. All edges gilt. The publisher's cloth bound in as the front and rear pastedown of Through the Looking Glass. Illustrated with frontispieces and 90 illustrations across the two volumes by John Tenniel. The four page leaflet 'To All Child Readers of Alice In Wonderland', originally issued loosely laid in to first editions of Through the Looking Glass, has been retained and bound in. Some spotting and a couple of tiny closed tears to the margins of Alice's Adventures in Wonderland, otherwise a fine set.Alice's Adventures in Wonderland is the first published edition, the second overall: the book was originally printed in Oxford at the Clarendon Press in June 1865, but was suppressed when Carroll heard that the book's illustrator was dissatisfied with the quality of the printing. He recalled the few pre-publication copies he had sent out to his friends and donated them to hospitals, where most perished. Only 23 of those original "1865 Alices" are now extant, mostly in institutional holdings, thus creating one of the most famous black tulips of book collecting. 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 in fact ready by November 1865, in time for the Christmas market, and was published in a print run of 4,000 copies. 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 actually published in December 1871, in an edition of 9,000 copies. Charles Elsden Gladstone (1855-1919), the creator of these exquisite bindings, had a long and distinguished naval career, during which he rose through the ranks from Midshipman to Commander. Service papers record his expertise in advanced submarine weaponry and photography. That he was reportedly engaged in covert intelligence gathering recently prompted P. J. M. Marks, the British Library's Curator of Western Bookbindings, to refer to Gladstone as "a bookbinding James Bond", 007 another ex-Navy Commander with access to cutting edge technology and working undercover. Gladstone's bookbinding activities – his overcover work, if you will – appear to have been a labour of love, there being no evidence that he profited, or sought to, from such work (his navy salary and pension were both generous). While researching Gladstone, Marks was unable to uncover the origins or development of his impeccable craftsmanship, skills ordinarily requiring years of apprenticeship under an established binder. Marks did, however, find Gladstone's name "included in the annals of specialist societies relating to microscopy and optical magic lanterns, interests which suggest he had a keen eye and feeling for accuracy." And an eye for accuracy was clearly imperative for the intricacy and precision of Gladstone's elaborately tooled book designs, each stamped discreetly with the initials C. E. G. in gilt to the verso (undercover) of their upper boards. (P. J. M. Marks, 'The mysterious Captain Gladstone, RN – a bookbinding James Bond?' The British Library 'Untold Lives' blog, 28 May 2020) Further details and images for any of the items listed are available on request. Lucius Books welcomes direct contact with our customers. [Attributes: First Edition]

Dutton, New York, 1929. Carroll, Lewis (Charles Lutwidge Dodgson). Willy Pogány (Hungarian/American, 1882-1955). ORIGINAL PEN-AND-INK DRAWING FOR THE FRONTISPIECE for his illustrated 1929 Alice's Adventures In Wonderland (published by E. P. Dutton). This exceedingly important original pen-and-ink on paper drawing serves as the frontispiece which illustrates "The Mad Tea Party" featuring Alice at the head of the table, and the Mad Hatter, March Hare and Dormouse at the far end. Surely it is the most desirable piece of original art from the creation of this book. Pogány's interpretation of Alice as a thin adolescent flapper/schoolgirl was much criticized at the time as bizarre, but remains famous and revered for its aggressively modern interpretation of the Alice characters compared to all the other post-1907 non-Tenniel versions re-imagined by the other great Alice illustrators. The image is 11.25" by 7.25" situated in the center of a large sheet of 11" by 14" artist's board. Pogány has printed his name in full lower left. The detail of the drawing is spectacular in comparison to the actual printed book (as shown here). Provenance: The Book Sail 16th Anniversary Catalogue (Item J-6, 1984), Heritage Auctions (April, 2013). Included is a copy of the published work, one of 200 numbered copies, signed by Pogány. Currently in a Victorian-Style frame with museum glass however the frame will not be included unless the artwork is picked up in person. [Attributes: Signed Copy]

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]

London: Macmillan & Co., 1877. PRESENTATION COPY. 1 vol., forty-fourth thousand, illustrated By John Tenniel, inscribed by Dodgson on the half-title "Mariella York Powell, from the Author. Nov. 23, 1897", in black ink. One of the few copies bound in the scarce white paper/leatherette binding, reproducing the gilt decoration of the red cloth editions, all edges gilt, black pastedowns and endapers. Internally clean and bright, spine neatly relined retaining the original spine, back corners lightly rubbed, general handling, overall still VERY GOOD, housed in a 1/4 red morocco slipcase. RBH record only 2 presentation copies ever appearing at auction in the white binding in the last 43 years. The last in 2018 and sold for $19,800. Mariella York Powell was the daughter of Frederick York Powell who was close friends with John Butler Yeats whom the artist first met on his move to Bedford Park, London in the late 1880's. [Attributes: Signed Copy; Hard Cover]

New York: A. Appleton and Co.,, 1866. The sheets from the original printing, issued as the first US edition First edition, second issue: the first practicably obtainable issue of the original printing, comprising sheets of the suppressed 1865 printing of Alice with a cancel title page. The issue consisted of the first printing sheets with new tipped-in title pages also printed at the Clarendon Press, Oxford. The story of the first printing of Alice's Adventures in Wonderland is a fine bibliographical tale. Although Dodgson had visited the publishers on 15 July 1865 to inscribe a number of copies, he was unaware of issues with the printing. He was contacted by Tenniel on 19 July who was "dissatisfied with the printing of the pictures". Williams, Madan, Green and Crutch note "it may be added that Tenniel must have been hypersensitive about his drawings". Dodgson tried to recall copies and a new printing was ordered which would become the second, but first published, edition. Faced with what to do with the original printing, it was decided to sell these to the New York firm of A. Appleton. After consulting Tenniel, Dodgson authorized the sale to America on 10 April 1866, and was invoiced for the printing of the American title pages on 26 May. This copy includes a near-contemporary inscription ("Emily Lowe from her friend, G. M. Diven, Christmas 1867"), together with the author's To All Child-Readers of 'Alice', published in 1871, which comprises a letter of good wishes for Christmas and the New Year. Octavo. Frontispiece and 41 illustrations within the text by John Tenniel. Original red cloth, spine lettered in gilt, pictorial roundels and triple-line borders to covers in gilt, dark green endpapers, all edges gilt. Housed in a red quarter morocco solander box by the Chelsea Bindery. Contemporary pencil inscription to half-title. Rebacked preserving original spine, extremities a little bumped and rubbed, some light consistent soiling, occasional finger soiling, hinges strengthened: a very good copy. Williams, Madan, Green, & Crutch 44 & 82. [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.

London, MacMillan and Co., 1866; 1872 [1871]. . First editions, first impressions; 8vo (185 x 130 mm); Alice's Adventures in Wonderland, second (first published) edition, first issue, with inverted 's' in last line of Contents page; frontispiece and 41 illustrations by John Tenniel, mild age-toning, some very light and random spotting, professionally closed tear to p. 103, otherwise internally very good-plus; Through the Looking Glass, and what Alice Found There, first edition, first issue, with 'wade' for 'wabe' on page 21, third line from bottom; tissue-guarded frontispiece and 50 illustrations by John Tenniel, general toning, occasional spotting, more evident to preliminary leaves, otherwise very good; both vols. bound in early 20th century full red morocco by Riviere & Son, double gilt panelled all edges gilt, blue endpapers, original cloth covers and spines bound in the rear of each vol., slight rubbing and age toning, spines darkened, slight spitting and small chips to inner hinge of endpapers to first title but firm, in all very handsome and robust.
The catalyst for the writing of the 'Alice' stories stems from a picnic with the Liddell children, including Dodgson's muse, Alice Liddell, who was so taken with stories that she asked him to write them down for her, which he duly did under the title of Alice's Adventures Underground, with his own illustrations and not originally intended for early publication. However, when it was revised for publication, Dodgson cut out the more particular references to the picnic and added stories told to the Liddells at other times, as well as changing the title to; Alice's Adventures in Wonderland.

The first printed edition, a small number of pre-publication copies, was quickly withdrawn due to Tenniel's objection to the printing quality of his illustrations and only about 23 copies survive (the remaining sheets were sold to Appleton in New York for their edition published the following year); the reprinted edition was ready for publication by Christmas 1865 although dated 1866. The sequel, Through The Looking-Glass and What Alice Found There, followed a few years later (dated 1872 but actually published in December 1871); this collection of further stories of Alice was considered as good if not better than its predecessor.

By the time a facsimile of the M.S. given to Alice Liddell (Alice's Adventures Under Ground) was published in 1886, the stories were highly acclaimed and widely read therefore readers were keen to see how this phenomenon had evolved from the author's manuscript handed to a little girl called Alice.

It is therefore rare to have both first published editions of the first two titles here, in such relatively good condition.
Bibliogrpahy: Williams, Madan, and Green 42, 84, 194.

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 and Co., 1876. xi,(3),83 pp. 12 mo. original dark red cloth binding. Both front and rear boards with extensive gilt decoration. Gilt title on spine. Corners with moderate bumping and light wear. All edges gilt. Original dark green endpapers. Original binders ticket of Burn and Co. on the rear pastedown. Half title. Small stain and two old ownership signatures. Frontispiece and 8 other illustrations. Original plate tissues. Last unnumbered leaf contains advertisements for Carrol's other works. Minor soiling in the text block otherwise a very attractive and clean copy. A remarkable prepublication, presentation copy of the First Edition, First issue, inscribed by Carroll to his brother on the day of publication. "Edwin Heron Dodgson, from his aff{ectiona}te. brother, the Author, March 29th, 1876"

Carroll ordered a number of copies in special bindings to match "Alice" of which 100 copies were bound in red like this example. His own personal copy was also bound in red. First issue with "Baker" for "Butcher" on p83.

This book is a fantastical poem involving a strange crew of tradesmen and a beaver as they set off on a journey to find "the Snark". The illustrations are by Holiday, as well as the highly decorative binding which he has signed with his initials. The illustrations greatly compliment this truly strange and lovely little book. 1876

London MacMillan and Co. 1866 1872. (10),192;(12),224 pp. Octavo. Original red cloth with gilt decoration on the boards. Gilt title on spine. All edges gilt. Original dark blue/green endpapers. Modern bookplate on front endpaper of both titles. Half titles. Previous owners notation on the half title of Alice. Both titles have darkened boards and are soiled. Old crease on the front board of Alice. Both are slightly cocked. Both volumes are generally very clean internally with only a hint of foxing. A decent set of "Alice" comprising the the First available UK edition of Alice and the First UK edition of Through the Looking-Glass. [Attributes: First Edition; Hard Cover]

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 of this translation (which followed the German in the same year as the earliest translations of Carroll's chef d'oeuvre), and later became the first Head of St. Margaret's House, Bethnal Green. [Attributes: First Edition]

London: Macmillan und Comp.,, 1869. Presentation copy of the first foreign language translation First edition in German, presentation copy, inscribed by the author on the half-title, "Margaret Evelyn Hardy, from the Author". 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. Frontispiece and 42 illustrations by John Tenniel. 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. 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. [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. 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