Basbanes, Nicholas (1999). A Gentle Madness: Bibliophiles, Bibliomanes, and the Eternal Passion for Books. Macmillan. pp. 210–211. ISBN 978-0-8050-6176-5. J. R. Sinclair, an illustrated Alice published by The National Sunday School Union (London) in the Red Nursery Series (bright, pictorial paper-covered boards), no date (c. 1900–1910). Also in plain gray cloth boards.

Beer, Gillian (2016). Alice in Space: The Sideways Victorian World of Lewis Carroll. University of Chicago Press. doi: 10.7208/chicago/9780226404790.001.0001. ISBN 978-0-226-04150-6. The influence Tenniel had on Carroll is illustrated by the fact that Carroll recalled the first edition of his book, only because Tenniel expressed dissatisfaction about the quality of the printing of the pictures. Also, Carroll dropped an entire chapter from his book on Tenniel’s suggestion.Harry Rountree, published by Nelson in 1908. There was also a new edition published by Collins in 1928 with new illustrations by Rountree. On 12 March 1870, Carroll and Tenniel met for two hours in London to set out the plans for 30 more pictures, having already sent three to the Dalziel Brothers at Camden Press for ‘cutting’. Alíkī in the Land of Wonders (1951) is the Greek translation of the Classics Illustrated adaptation of Alice. This version of the story marked the first-ever translation of what was originally a Victorian children’s novel into Modern Greek. The Classics Illustrated editions of Carroll’s story were illustrated by Alex A. Blum, a Hungarian-born comic book artist who worked on projects like Purple Trio, Neon, and Strange Twins for a company called Quality Comics. Throughout the next several decades, the story of Alice’s Adventures in Wonderland proved its adaptability time and time again with interpretations like these. No matter what is happening in the contemporary artistic landscape, themes from Alice can combine nicely with modern, fresh work.

Carroll sent the completed galleys, including the Wasp incident, to Tenniel on 16 January 1871 for pasting up and illustrating.

The book has such a phenomenal number of ideas and concepts in it, but it creates space for the creativity too," says Bailey. "It really is this Bible for the imagination."

Wonderland is always a powerful metaphor or idea to work with," says Bailey. And that's what the V&A show is interested in: how one man's nonsensical story, made up to entertain a little girl, has allowed so many generations of readers and so many restlessly reinventing artists to go down the rabbit hole of their own imagination. John R. Neill (illustrator of Baum's Oz books), Alice, Reilly and Lee (The Children's Red Books), 1908The hardcover book as a physical object has much to recommend it. Beautifully designed with high-quality paper, it is nonetheless inexpensive enough that parents shouldn't panic at the prospect of thumbprints and spills if they read or give it to their children. A great gift for children, children-at-heart, and lovers of timeless culture, it will earn a proud place by the bedside, on the bookshelf, or on the coffee table right beside the tiny golden key to the garden of your imagination."—Jon Sobel, Blogcritics.org Ovenden, Graham (1972). The Illustrators of Alice. New York: St. Martin's Press. p.102. ISBN 978-0-902620-25-4.