105 “More About Dorothy” 162 BAUM, L. Frank. Ozma of Oz. Chicago, 1907. Octavo, original pictorial light tan cloth, custom clamshell box. $3450 First edition, first issue of the third Oz book, with 40 full-page color illustrations. In Ozma of Oz, “Baum responded to his young readers’ pleas for ‘more about Dorothy… The Cowardly Lion also reappeared… [and Baum introduced] the clockwork man, Tik-Tok, the first manmade mechanical figure in literature (years before the word ‘robot’ was invented)” (Eyles, 46). Without extremely scarce original dust jacket. Interior generally very clean, with small chip to corner of page 195 not affecting text; mild rubbing to boards, colors bright. “The Children Won’t Let Me Stop” 163 BAUM, L. Frank. Dorothy and the Wizard in Oz. Chicago, 1908. Octavo, original blue cloth, custom clamshell box. $3000 First edition, first state, with numerous in-text illustrations and 16 color plates by John R. Neill. A bright and beautiful copy. “Baum’s introductory remarks refer to ‘my loving tyrants,’ the children who demanded more stories of Oz. He states that he has replied to every letter he received, and that he has incorporated many of their suggestions” (Eyles, 47). Without extremely scarce original dust jacket. Hanff & Greene, 53-55. Very nearly fine. “So Good Luck To Little Dorothy And Her Companions” 164 BAUM, L. Frank. The Emerald City of Oz. Chicago, 1910. Octavo, original light blue cloth, mounted cover illustration, custom clamshell box. $2450 First edition, first state, of the sixth Oz book, with 16 full-page color illustrations by John R. Neill. Baum intended to conclude his series with this volume. Baum’s own bankruptcy the next year, however, would mean he “had no choice but to call once more upon the magic of Oz in an attempt to restore his fortunes” (Eyles, 48).. Without very rare dust jacket. Near-fine. One Of “The Two Best Books Of My Career” 165 BAUM, L. Frank. The Patchwork Girl of Oz. Chicago, 1913. Octavo, original pictorial green cloth, custom clamshell box. $2850 First edition of Baum’s seventh Oz book, the introduction of one of his most beloved characters, profusely illustrated by John Neill with numerous color and black-and-white text illustrations, many full page. This novel became the basis for the first production of Baum’s motion picture production business. Although the film proved an unexpected failure, the novel has enchanted generations. Baum himself considered it, along with the non-Oz Sky Island, one of “the two best books of my career” (Rogers, 184). Without extremely scarce original dust jacket. Nearly fine.
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