The Wonder City of Oz.
Bound typed manuscript with numerous corrections in pencil in the author's hand, 1940. 106 ff. Small folio (290 x 220 mm). Cloth-backed black papered boards with color pictorial label. Provenance : gift of Frank J. O'Donnell of Reilly & Lee Co. to Fred M. Meyer. Includes two printer's proofs of the half-title and dedication pages (with editorial changes in pencil) tipped in at front. Neill did not hear until Easter 1940 that Ruth Plumly Thompson was not planning to write a new Oz Book for 1940. When she informed Frank J. O’Donnell of Reilly & Lee Co. of her retirement from Oz, he immediately asked Neill to write as well as illustrate the next title in the popular series. Neill cobbled together stories and sketches he had been gathering for other purposes along with new material and sent this typescript to O’Donnell while he worked on the pictures. Reilly & Lee secured another author to rewrite Neill’s story. (The Ozlection, for example, was entirely the ghost writer’s invention.) Consequently, the pictures in The Wonder City of Oz are often splendid while the story is difficult to follow. Hurt when he saw what the publishers did to his work, Neill was careful that it not happen again with his subsequent Oz books.
The Wonder City of Oz.
Bound typed manuscript with numerous corrections in pencil in the author's hand, 1940. 106 ff. Small folio (290 x 220 mm). Cloth-backed black papered boards with color pictorial label. Provenance : gift of Frank J. O'Donnell of Reilly & Lee Co. to Fred M. Meyer. Includes two printer's proofs of the half-title and dedication pages (with editorial changes in pencil) tipped in at front. Neill did not hear until Easter 1940 that Ruth Plumly Thompson was not planning to write a new Oz Book for 1940. When she informed Frank J. O’Donnell of Reilly & Lee Co. of her retirement from Oz, he immediately asked Neill to write as well as illustrate the next title in the popular series. Neill cobbled together stories and sketches he had been gathering for other purposes along with new material and sent this typescript to O’Donnell while he worked on the pictures. Reilly & Lee secured another author to rewrite Neill’s story. (The Ozlection, for example, was entirely the ghost writer’s invention.) Consequently, the pictures in The Wonder City of Oz are often splendid while the story is difficult to follow. Hurt when he saw what the publishers did to his work, Neill was careful that it not happen again with his subsequent Oz books.
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.jpg "Quelle: Christie's")
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