JOYCE, James Adaptation by Mary ManningBiblio.com
18 394 résultats
1957réf. 447978Cambridge Massachusetts: Harvard University Press 1957. Hardcover. Fine/Near Fine. First edition. A free adaptation for the theater by Mary Manning. Ownership signature of actor Michael Clarke-Laurence. Fine in a very good or better dustwrapper with faint toning on the spine. Letter laid in from director and screenwriter Mary Bute on the stationary of Expanding Cinema to Michael Clarke-Laurence offering him a part in the adaptation. Bute eventually directed the film in 1966; it was awarded as Best Debut at the Cannes Film Festival; Clarke-Laurence did not appear in it. Harvard University Press hardcover
1941réf. 654711Joyce Memorial Fund Committee - Gotham Book Mart 1941. First Edition. Paperback. Near Fine. Copy #500 of 700 numbered copies issued. Mixes text by Joyce Jolas and Colum with a portrait by Davidson. Original light gray wraps slight fading and wear to edges; offset to front endpaper. Housed in a workmanlike custom black cloth folding case. Joyce Memorial Fund Committee - Gotham Book Mart paperback
1941réf. 1784New York: Joyce Memorial Fund Committee distributed by the Gotham Book Mart 1941. First edition. Original wrappers. Stapled printed wrappers. One of 700 numbered copies of a total edition of 800. Facsimiles of Joyce manuscripts with commentary by Maria Jolas and Padraic Colum. Frontispiece portrait of Joyce by Jo Davidson. Very minor sunning to spine and rubbing to lower edge. Slocum & Cahoon A50. Joyce Memorial Fund Committee, distributed by the Gotham Book Mart unknown
1941réf. 2628New York: The Joyce Memorial Fund 1941. 1941. Fine. LIMITED EDITION OF 700 COPIES - Quarto light grayish indigo paper wraps printed in black on the front cover. 6 leaves illustrated with a portrait frontispiece of James Joyce by Jo Davidson. 3 pages of facsimile manuscript text of Joyce's writing. The first a two-page facsimile written by Joyce at Thanksgiving is preceded by a descriptive introduction by Maria McDonald Jolas. The second facsimile is of manuscript lines Joyce wrote above Thomas Moore's "At The Midnight Hour". This page of facsimile manuscript is preceded by explanatory text by Padraic Colum. Near fine. First edition. Of a total edition of 800 copies this is one of 700 numbered copies in wrappers. (New York: The Joyce Memorial Fund, 1941). paperback
réf. Z1-F-032-02325Penguin Classic. Used - Good. Ships from UK in 48 hours or less usually same day. Your purchase helps support Sri Lankan Children's Charity 'The Rainbow Centre'. Ex-library so some stamps and wear but in good overall condition. 100% money back guarantee. We are a world class secondhand bookstore based in Hertfordshire United Kingdom and specialize in high quality textbooks across an enormous variety of subjects. We aim to provide a vast range of textbooks rare and collectible books at a great price. Our donations to The Rainbow Centre have helped provide an education and a safe haven to hundreds of children who live in appalling conditions. We provide a 100% money back guarantee and are dedicated to providing our customers with the highest standards of service in the bookselling industry. Penguin Classic unknown
1932réf. 69434New York: Berenice Abbott 1932. JOYCE James; ABBOTT Berenice. ABBOTT Berenice. Photographic Portrait of James Joyce by Berenice Abbott. New York: Bernice Abbott 1932. Full Description: JOYCE James. ABBOTT Berenice. Photographic Portrait of James Joyce by Berenice Abbott. New York: Berenice Abbott n.d. taken 1928. Original gelatin silver print portrait of Joyce taken by Abbott. Signed by the photographer in pencil in the lower right hand corner of the photograph. Mounted on stiff board. Abbott's stamp with her "50 Commerce Street NY" address on the verso of the mount. Image size: 13 x 10 1/8 inches; 330 x 260 mm. Some minor sunning around the perimeter of the photo. A tiny bit of scuffing to top and bottom edges. Otherwise about fine. This is the largest photo we can find of Joyce for the Commerce St. address. Swann Galleries who has had this photo before states "Circa 1932." This is a lovely and well-know portrait of author James Joyce. He is seated in Abbott's studio with a cane wearing a hat and his signature round-framed glasses. "Abbott photographed Joyce on two occasions the first in 1926 at his home in Paris and the second two years later in her studio. At the time of the sitting Joyce was struggling with teeth and eye problems and was struggling through completion of one of his best-known works Finnegan's Wake." "Berenice Alice Abbott July 17 1898 - December 9 1991 was an American photographer best known for her portraits of cultural figures of the interwar period New York City photographs of architecture and urban design of the 1930s and science interpretation of the 1940s to the 1960s." Wikipedia Abbott lived at 50 Commerce St. in NYC with her partner the influential art critic Elizabeth McCausland from 1935 to 1965. HBS 69434. $6000. Berenice Abbott unknown
1937réf. 2884Paris: np 1937. Very Good. POWERFUL IMAGE OF JAMES JOYCE BY SURREALISTIC PHOTOGRAPHER JOSEF BREITENBACH. A remarkable set of circumstances had to come together to this photograph of James Joyce by German born photographer Josef Breitenbach to first exist and then to survive. Throughout the summer of 1937 as he experienced increasingly painful flashes in his right eye Joyce pored over early proofs of Finnegan's Wake then known only as "Work in Progress". Perhaps he was preoccupied with correcting the inevitable and myriad errors in his pun-flecked stream of consciousness prose or perhaps he was overcome with pain but we know from Breitenbach's pocket diary that Joyce canceled four times before the two exiled artists finally met. James Joyce's relationship with Ireland was famously complex and included self imposed exile. He and Nora Barnacle his future wife left Dublin in 1904 for mainland Europe never returning to his homeland after 1912. On the other hand photographer Josef Breitenbach was a Jewish German refugee who fled the rising Nazi's. Both his Jewish background and prior involvement with the short-lived revolution of 1918 made him an early target of the Brownshirts who knocked on his Munich studio door one day in 1932. Thinking on his feet Breitenbach was able to use his portrait of then Vice-Chancellor Papen whom he had photographed the year before together with a letter of thanks from Papen for his work in order to claim that he was under Papen's protection. Seizing the brief vacuum created by his subterfuge Breitenbach immediately packed his bags and within days departed for Paris. Once in Paris Breitenbach mingled with the Surrealists showing in gallery exhibitions alongside Man Ray Henri Cartier-Bresson and Brassai. Over time he developed a reputation for landscapes nudes and photo-journalism. By the time Breitenbach photographed James Joyce in July 1937 he had built a portfolio of portraits of artists such as Max Ernst Emile Bernard and Bertold Brecht. Studio portraits like this print of Joyce were often bathed in a soft seductive glow both flattering and intriguing. Here Joyce sits in profile with clasped hands behind him are blurred rows upon rows of bookshelves. The message is clear: despite failing vision Joyce remained a bright and vibrant writer. Meanwhile history marched on. Two years later in September 1939 Breitenbach was placed with other German and Jewish exiles in a French internment camp. His survival skills still intact he volunteered for a rural labor force that saved him from deportation to a concentration camp. With the help of friends in England and the United States Breitenbach once again fled the Nazi's arriving in New York in June 1941. To his enormous relief his entire oeuvre of photographic prints and negatives including the Joyce pictures had been smuggled out of Paris by another friend and sent to the States by way of Havana. As Breitenbach once again built a life for himself in a new country he turned to his pre-war work. Among the first negatives he developed were those of Joyce - an homage to the writer who had died months before at age 59 in Zurich. Silver gelatin photograph. Taken in 1937; printed later. With "Estate of Josef Breitenbach" stamp on verso. Very faint corner crease only noticeable on verso. Image approx 9x7 1/2 in / 23 x 19.2 cm; with margins 9 3/8 x 7 7/8 in / 23.8 x 19.9 cm. A beautiful evocative image. Rare. References: Michael Shnayerson Josef Breitenbach: James Joyce 9 Portraits. Dublin The Towers 2004. np unknown
réf. 9788573214550ILUMINURAS. new. Pomes Penyeach a palavra inglesa pomes pomos evocando poems poemas constitui a produo po�tica incidental de Joyce entre os anos de 1913 e 1916 e veio luz numa esp�cie de 'encruzilhada' em sua carreira quando Dublinenses j� havia sido terminad. Um retrato do artista quando jovem estava prestes a ser conclu�do e Ulisses j� entrara em processo de gestao. ILUMINURAS unknown
1931réf. 41662Cleveland: Privately Printed 1931. First Edition. Hardcover. Edition limited to 100 copies this being #27. Printed by hand on Georgian Book laid paper. Unpaginated. Brown cloth lettered in gold on the front panel. Binding sound and cloth intact with minor rubbing at extremities. Large L-shaped old water stain to rear board. Dampstaining along the upper edge extending into the upper outer margin of most leaves visible as discoloration only; the substantial laid paper remains sound. A solid copy of a scarce Joyce item. Slocum & Cahoon A26.; Octavo. Privately Printed hardcover
1931réf. 82106Cleveland:: Privately Printed 1931. Unauthorized presumed second American edition; No. 58 of one hundred copies. . publisher's gilt-lettered brown cloth. Very slightest of use to the binding and extremely slight tanning to the edges of the text. 12mo. Preceded by an edition of fifty copies issued at Princeton to secure American copyright. Privately Printed, hardcover
1927réf. C4B260106003yShakespeare and Co 1927. hardcover. Acceptable. 0x0x0. Text in clean/unmarked condition. Front cover is not attached. Your Satisfaction Guaranteed. We ship daily. Expedited shipping available. Shakespeare and Co hardcover
1927réf. 140946444London: Shakespeare and Company 1927. First Edition. Good. First trade edition first printing. A fantastic association copy signed by legendary publisher Sylvia Beach with a contemporary inscription dated Paris August 18 1928 opposite rear paste-down. Bound in publisher's pale green boards faded to tan with errata slip tipped in at rear. Good with cracking at spine leaving binding very fragile cup ring to upper cover. Joyce's second book of poetry a slim volume containing 13 poems. Sylvia Beach was an American ex-pat known for her iconic Paris bookshop Shakespeare and Company where she published James Joyce's Ulysses 1922 and encouraged the publication of and sold copies of Hemingway's first book Three Stories and Ten Poems 1923. While autographed copies of her book Shakespeare and Company published in 1960 are often available on the market Joyce titles with Beach's contemporaneous inscriptions from the heyday of the Lost Generation era are extremely uncommon and desirable. A fragile yet very important copy. Shakespeare and Company unknown
1927réf. 16537Paris: Shakespeare & Company 1927. 1st Edition. Hardcover. Near fine/None. 1st Edition. Hardcover. Stated on rear panel "Price One Shilling". Toning to front and rear. Slocum A24. Beautiful copy! Shakespeare & Company hardcover
1927réf. 359092Paris: Shakespeare and Company. Poor. 1927. Softcover. Covers are detached and separate from each other but present. Rear cover has some staining much less on the front cover. Inscription using initials only on front free endpaper. ; Approx. 3 5/8" wide by 4 5/8". Stiff paper covers. Errata slip attached in rear. . Shakespeare and Company paperback
1927réf. 359093Paris: Shakespeare and Company. Poor. 1927. First Edition. Softcover. Pages are detached. Covers have been reattached with paper tape along the inner hinges. Rear cover has two spots of staining. Some pages including title page have very small chips. Last page of text has a larger chip to the outer edge and some other chips. Rear blank is missing a large piece from the lower outer corner. ; Approx. 3 5/8" wide by 4 5/8". Stiff paper covers. Errata slip attached in rear. . Shakespeare and Company paperback
réf. mon0000109959London: Faber & Faber 1966-01-01. Paperback. Acceptable. in x in x in. Hardback. Exact date of publication unknown. Ex-library book usual markings. Well read copy with some spine wear and markings on cover but still useable colouring of page edges due to age. London: Faber & Faber paperback
1927réf. 140939462London: Shakespeare and Company 1927. First Edition. Very Good. First edition first printing. Bound in publisher's original pale green paper-covered boards lettered in dark green. Very Good with rubbing and wear to spine toning and light soiling to covers. A nice copy. Shakespeare and Company unknown
1927réf. 140939125London: Shakespeare and Company 1927. First Edition. Near Fine. First trade edition first printing. Bound in publisher's original pale green paper-covered boards lettered in dark green. Near Fine with toning to covers light wear to spine with minute loss at head and tail. Small previous owner bookplate to front paste down and light toning to pages. A lovely copy in much nicer condition than as normally found in. Shakespeare and Company unknown
1933réf. 912London: Faber and Faber 1933. First Edition. Paperback. Near fine. First U.K. edition after the original Shakespeare and Company edition in 1927. Near fine in blue paper-covered wraps priced at 1/- net lightly sunned. Square and firmly bound with string a bookplate from William Ayer Peters affixed to the front flap. A collection of thirteen poems which contains the popularly-anthologized "Tilly" "A flower given to my daughter" "On the beach at Fontana" and "Bahnhofstrasse. Faber and Faber paperback
1933réf. 41543London: Faber & Faber 1933. First UK edition. Softcover. g- to vg. 8vo. 22pp. Blue-green sewn wrappers with black lettering on front cover. The publication is a collection of 13 poems by the acclaimed author written between 1904-1924. Each poem is accompanied by a mention of where and when it was written. This is the first British edition of the book with the original first edition having been published in Paris by Shakespeare and Co. Wrappers with some foxing and light smudging around edges of front cover. Lightly sunned along spine. Wrappers in good- interior in very good condition. Faber & Faber unknown
1927réf. 28729Paris: Shakespeare and Company 1927. First edition. Original green printed boards some fading as usual light wear to spine. contents in excellent condition. Signature on front free endpaper. Errata slip present. Shakespeare and Company unknown
1933réf. 014444Faber & Faber 1933-01-01. Paperback. Very Good. 1933 1st edition by Faber & Faber 22 pages in wrappers light green wraps have light tanning at edges a smudge & a few dot-size stains on front price intact on flap a touch of wear at spine's edge neat name at top corner on endpaper a sound copy in clear plastic sleeve. Faber & Faber paperback
réf. 59-3101London: Faber & Faber 1952. Stapled wraps. 7-1/2 x 5-1/2 inches. Good. Reprint some tearing and chipping at spine green inner wraps. 22 pp. London: Faber & Faber, 1952. paperback
1931réf. 50369New York:: Sylvia Beach 1931. First authorized American edition. original gray-blue wrappers stamped in black. Very slight crease to front wrapper; else a fine copy. 12mo. Slocum and Cahoon A25. Sylvia Beach, unknown
1933réf. HALL501954Paperback. 1933. 22pp card covers Faber & Faber London 1933. 1st UK edition. Very good . paperback
