Joyce, JamesBiblio.com
19.384 risultati
1717rif. 019696New York: B. W. Huebsch 1717. 1st Edition 2nd Printing. Hardcover. Very Good. 12mo - over 6¾ - 7¾" tall. Original blue hardcover. Spine ends rubbed and darkened. A few small marks to the front cover. Some toning to the textblock from p. 193 onwards; a small stain at the head of the first few leaves; a press-cutting portrait of the author cut and pasted at the front. Last few pages heavily toned. Slocum and Cahoon A10. First published in the UK in 1914 the first US edition was published in 1916 using the English sheets; this second printing was bound up with American sheets. B. W. Huebsch hardcover
1797rif. AQ20001Cambridge: Printed by Benjamin Flower: for J. Deighton et al. 1797. 4 290pp 2. With a final publisher's advertisement leaf not recorded by ESTC. Contemporary dark green calf-backed marbled boards ruled and lettered in gilt. Extremities worn loss to head of spine. Head of title page shaved sadly to remove an early ownership inscription foxed. The rare first edition of the first work of economics in English consciously intended for use as a textbook. As the author himself notes in a preliminary 'advertisement' which heaps justifiable praise on the magnum opus of Adam Smith the work was designed to be 'found convenient as a text book in those institutions of liberal education in which the "Wealth of Nations" makes an essential branch of their letters'. A lucid abridgement by English radical Jeremiah Joyce 1763- 1816 of Scottish philosopher Adam Smith's monumental Wealth of nations it condensed the two thick quartos of the original edition London 1776 - or the by then well-known bulky triple-decker octavo editions of the late eighteenth-century - into a single convenient octavo volume. As Joyce himself notes in a footnote to the final page of text the developments suggested by Smith relating to alleviating the national debt by introducing the British system of taxation to 'all provinces of the empire' were superseded by events in America during the 1770s and any hope for the 'discharging of the national debt' brought even more into doubt by the 'present melancholy situation of Ireland'. ESTC locates only 11 copies in the UK and just 12 further elsewhere. ESTC T95379. First edition. 8vo. Printed by Benjamin Flower: for J. Deighton et al. hardcover
1928rif. 835131928. JOYCE James. Anna Livia Plurabelle. Orig. cloth t.e.g. New York: Crosby Gaige 1928. Slocum and Cahoon A32. First edition first issue. One of 800 signed copies this being no. 515. An early published chapter from Joyce's "work in progress" that would eventually become Finnegans Wake. A fine copy. unknown
1918rif. 82207New York:: B. W. Huebsch 1918. First American edition. publisher's cloth-backed blind-embossed boards in dust jacket. Preserved in a custom cloth slipcase. Some slight foxing to the endsheets and half-title page; in an unworn binding. the dust-soiled dust jacket has a few minor chips and tiny tears. . 12mo. B. W. Huebsch, hardcover
1932rif. 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
1931rif. 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
1935rif. 51936New York: Limited Editions Club 1935. Hardcover. very good . Henri Matisse. 363p quarto. A very good copy in a worn publisher's slipcase. Inner hinges cracked but holding. Limited to 1500 copies this copy is number 1137. Signed by Henri Matisse. Matisse's illustrations for this work were the source of much outrage for Joyce as it came to be discovered that Matisse never read the book. Limited Editions Club hardcover
1922rif. 72310London: Egoist Press 1922. First UK edition. Printed in France from the plates of the original Shakespeare and Company edition just nine months after the first. Number 1299 of 2000 numbered copies. Finely re-bound in large 8vo gilt-stamped full blue leather with edges slightly trimmed by approximately 5 mm and the original paper covers bound in. The separately published 7-page errata that would have originally been laid in is not present here but facsimile copy is provided. Very good to near fine with original paper covers showing small amount of edge wear minor damp staining to bottom tips of several leaves and covers toned to light brown on spine and along edges. Slocum & Cahoon A18. Egoist Press unknown
1907rif. 140946996London: Elkin Mathews 1907. First Edition. Near Fine. First edition of James Joyce's first trade book and one of 509 copies originally printed. Second issue with thick wove endsheets. Bound in publisher's green cloth stamped in gilt. Near Fine with slight fading to spine cloth foxing to endsheets and preliminary matter contents tanned. A beautiful copy of this collection of poems with the title being derived from the sound of urine hitting a chamber pot. Slocum & Cahoon 3. Elkin Mathews unknown
rif. SD002Good condition Brown cloth hard cover top edge gilt blindstamped borders on cover contemporary bookplate red farbic sleeve in good condition. New York: Crosby Gaige 1928. First edition first printing signed limited issue number 527 of 800 copies signed by the author hardcover
1918rif. 8532Boston and New York: The Cornhill Company / B.W. Huebsch 1918. First Unauthorized and Authorized American Editions. 1. Chamber Music. Boston: The Cornhill Company 1918. First Unauthorized American Edition First Printing one of ca.1000 copies. 12mo. 15.75cm; sage green cloth with titles stamped in gilt on upper front cover; wove endpapers also issued with laid endpapers with no priority established; glassine dustjacket; 40pp. A fresh Fine copy in a Near Fine copy of the publisher's glassine overlay showing some trivial wear a tiny tear at crown with a few tiny nicks. 2. Chamber Music. New York: B.W. Huebsch 1918. First Authorized American Edition First Printing. Octavo 18.25cm; dark brown laid paper-covered boards with titles stamped in blind on spine and in gilt on front cover; top edge gilt; dustjacket; 48pp. Some offsetting and two small faint splash marks to lower endpapers gentle sunning to spine with mild crease to heel; Near Fine. In the original pictorial dustjacket priced $1.00 at base of spine; edgeworn gently spine-sunned and lightly dust-soiled with shallow losses and a few tiny tears to spine ends and extremities none affecting lettering and corresponding faint splash marks to lower flap edges; an unrestored Very Good example. Both volumes housed together in a custom crushed morocco and marbled paper clamshell case. Joyce's first collection of poems originally issued by Elkin Mathews in 1907. The Cornhill edition published June 1918 precedes the authorized American edition published by B.W. Huebsch September 30 1918 by three months. Slocum & Cahoon A5 & A6. 8532. The Cornhill Company / B.W. Huebsch unknown
1929rif. 1882Paris: The Black Sun Press 1929. First edition. Limited one of 500 numbered copies printed in red and black on Holland Van Gelder Zonen 650 copies altogether. Provenance: the author’s grandson’s Stephen James Joyce’s bookplate. Illustrated with the famous abstract portrait by Constantin Brâncuși. In publisher’s wrappers. In the original gilt leafed cardboard slipcase. Slipcase slightly worn. Spine somewhat worn and stained. Otherwise in fine condition. First edition. Limited one of 500 numbered copies printed in red and black on Holland Van Gelder Zonen 650 copies altogether. Provenance: the author’s grandson’s Stephen James Joyce’s bookplate. Illustrated with the famous abstract portrait by Constantin Brâncuși. In publisher’s wrappers. In the original gilt leafed cardboard slipcase. 10 XV 1 55 7 p. and one loose plate protected with tracing paper. Limited first edition of Joyce’s Tales Told of Shem and Shaun the author’s grandson’s copy. This book includes three fragments from Work in Progress later published as Finnegans Wake. Stephen James Joyce 1932-2020 was the grandson of James Joyce and the executor of Joyce's literary estate. . The Black Sun Press unknown
1797rif. 268First Edition. 8vo. 4 290pp 2. With an additional publisher's advertisement leaf not recorded by ESTC. Bound in contemporary drab boards later re-backed paper spine label. Printed by Benjamin Flower Cambridge for J. Deighton et al. 1797. A little wear to the binding a neat previous owner's ink signature to the front free endpaper small tears not affecting any text to p. 2 and p. 225 a few minor corner creases a few page edges trimmed the occasional minor blemish; a near fine example. A scarce book in commerce with only two appearances at auction recorded in auction records. Additionally rare in institutional collections with only 23 institutional library holdings worldwide according to a search of the usual online institutional databases. This work is the first abridged edition of Adam Smith's "Wealth of Nations"; a conscious exercise by Jeremiah Joyce 1763-1816 to turn the three volume work into a more manageable and usable textbook. "To those then who are engaged in the pursuit of political science this compendium if properly executed cannot fail of being highly useful. It will also be found convenient as a textbook in those institutions of liberal education in which the "Wealth of Nations" makes an essential branch of their lectures." Publisher's advertisement leaf. Joyce 1763-1816 was a Unitarian minister writer and political activist. After becoming a member of the Society for Constitutional Reform he was arrested in 1794 on a charge of high treason. He was sent to the Tower of London but was later acquitted. PLEASE CONTACT US FOR SHIPPING COSTS IF ORDERING FROM OUTSIDE THE UK. Printed by Benjamin Flower (Cambridge) for J. Deighton et al. hardcover
rif. 116695London The Egoist 1917. . First English edition from American sheets; 8vo; bookplate to front pastedown some offsetting to endpapers else unmarked internally; publisher's dark green cloth upper cover titled in blind titles to spine gilt very slightly bumped at spine ends else an unusually nice copy; housed in custom green cloth folding box. A very sharp copy of this core work by Joyce here in the earliest London edition using American sheets from the Huebsch printing as English publishers refused to print the text. With the bookplate of George Heron Milne 1887-1948 who was a librarian at the Library of Congress or 39 years and was chief of the Congressional Reading Room from 1937 to 1948. Slocum & Cahoon A12. London, The Egoist, [1917]. hardcover
rif. 123928New York Crosby Gaige 1928. . First edition first printing number 349 of 800 copies signed by the author; device to title bookseller's ticket to rear pastedown; publisher's brown cloth blind-tooled borders gilt device to upper cover gilt spine minor rubbing to spine ends fore-corners slightly bumped top edge gilt others uncut. The text of Anna Livia Plurabelle later became chapter eight in Finnegans Wake and introduced Joyce readers to the character that fellow Irish author Edna O'Brien was to describe as 'the most accessible and indeed beloved character conceived by Joyce'. Slocum & Cahoon A32. New York, Crosby Gaige, 1928. hardcover
1916rif. 345922New York: B.W. Huebsch 1916. First edition. iv 299 1 pp. 1 vols. 8vo. Publisher's blue cloth stamped in gilt on spine and in blind on front cover. Some rubbing spine ends and slightly on corners one scratch to front cover near spine not affecting blind stamp; very clean internally. First edition. iv 299 1 pp. 1 vols. 8vo. First edition of Joyce's autobiographical novel recounting the schooldays and emerging artistic consciousness of his alter-ego Stephen Dedalus. The novel was refused by Grant Richards publisher of Dubliners Secker and Edward Garnett for Duckworth. Finally B.W. Huebsch agreed to take on the book if Harriet Weaver who had serialized the novel in The Egoist in 1914 would arrange for 750 copies to be published in London. It was published first in New York by Huebsch on 29 December 1916 and then in London on 22 January with the American sheets and a cancel Egoist title-page. Slocum & Cahoon A11 B.W. Huebsch unknown
1935rif. 8741Number 58 of 1500 copies signed in pencil by Henri Matisse a further 250 copies of the edition were additionally signed by Joyce. This is the first illustrated edition of Ulysses though Matisse chose to supply illustrations of the Calypso episodes of Homer's Odyssey corresponding to the six episodes of the novel as his artist's response to Joyce's text which it is often said he never finished reading. He thus confounded both the publisher George Macy and most of the public on its first publication. The Limited Edition Club edition owes its existence to the lifting of the American ban on the novel in December 1933. Large 4to 295 × 225 mm pp. 363 1 6 soft ground etchings on thick paper with a total of 20 reproductions of Matisse's preliminary drawings on yellow and blue paper of different sizes 26 illustrations in all. Original brown buckram gilt with gold orb design to the upper cover original slipcase. The slipcase slightly chipped towards the head. A fine copy with the cloth binding exceptionally sharp and free of rubbing. Limited Editions Club.
1937rif. 510540Verve 1937. First Edition. Paperback. FINE. Complete run of the first four issues of Teriade's legendary art magazine. Beginning with a stunning cover produced by Matisse for the first issue Verve would incorporate fresh artwork into its cover designed newly commissioned by artists such as Miro Picasso Chagall and other leading lights of the French art world. Each issue offered spectacular color lithographs printed by the Paris lithographers Mourlot. Early issues came in litho-printed card wrappers in boxes later volumes would be in paper-over board with litho covers. This choce allowed Teriade to feature the fresh lithographic artwork in the cover design but left the books themselves extremely fragile and succeptible to wear. Additionally the full-page lithographs have been continuous targets for art dealers looking to excise the plates. So condition seen here is quite rare with each volume preserved COMPLETE FINE with no signs of the wear and toning so commonly seen. 'The cover of Verve No. 1 is by Henri Matisse; it consists of three unmodulated colors--red blue and black--that the master cut directly from printers' ink specimen books. . Mattisse's cover for the first issue lithographed by Fernand Mourlot printers was an original work of art created expressly for the magazine--as would be practically all of the Verve's covers. . The painter took great pains to make sure that the cover would turn out exactly as he wished. . THe care Matisse lavished on what others might consider a minor undertaking was one of the hallmarks of Teriade's publications. How did he induce the greatest artists of this century to give the very best of themelves . Matisse and Teriade shared a common ideal. For both of them painting was life itself.' Michel Antonioz VERVE: The Ultimate Review of Art and Literature 35-36. Verve paperback
1937rif. 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
rif. ST15816-12Dublin: Lilliput Press 1997. No. 3 OF 100 SPECIAL COPIES of the "Illegal" First Dublin Edition bound in quarter leather and signed by Rose and Banville from a total edition of 1000 numbered and 26 lettered copies. 240 x 158 mm. 9 1/2 x 6 1/4". 4 p.l. v-lxxxiii 1 739 3 pp.Edited by Danis Rose. With a foreword by John Banville. Publisher's quarter blue morocco over navy cloth boards smooth spine with silver lettering. In a blue buckram slipcase. In mint condition. This is the first printing of Joyce's masterpiece actually to be done in Ireland--75 years after its initial publication. Generally recognized as the most important 20th-century novel in English Joyce's chronicle of Leopold Bloom's odyssey through Dublin excited much controversy upon publication in 1922 and was for years a target of censorship especially in the U.S. and U.K. The present edition also met with some animosity when it was discovered that the editor prominent Joyce scholar Danis Rose used some language from the original manuscripts without permission from Joyce's estate. A lawsuit for copyright infringement was issued and this work subsequently became known as the "Illegal Edition." Despite the unpleasant dispute Rose's "Ulysses" was lauded for its readability and was described by the Irish Times as "a landmark edition for first-time readers and life-time fans." Founded in 1984 and still in operation today the Lilliput Press has published more than 600 titles of Irish interest and is regarded as one of Ireland's most esteemed small publishers. This strictly limited edition of 100 rarely appears for sale: we could trace just one auction appearance at PBA Galleries in 2005 where a copy was sold for $1495 all in. Lilliput Press unknown
1916rif. 172378New York: B. W. Huebsch 1916. To forge in the smithy of my soul the uncreated conscience of my race First edition in book form first printing of the author's landmark first novel. The work was serialized in The Egoist between 2 February 1914 and 1 September 1915. British printers were apprehensive to produce a book edition due to the hostile public reaction to the serial and for fear of prosecution under obscenity laws. It was therefore Huebsch of New York who undertook the true first publication in book form issued on 29 December 1916. No more than 750 sets of the American sheets were reserved for British issue by Harriet Shaw Weaver of the Egoist Press in London appearing there the following 22 January 1917. The Egoist Press later produced their own edition the first printed in Britain in 1918. Octavo. Original blue cloth spine lettered in gilt front cover lettered in blind. Brentano's ticket and ink date of 3 December 1917 on rear pastedown. Spine lightly toned bright overall rubbing to edges browning and spot of skinning to endpapers from previous book protector contents clean. A very good copy. Slocum & Cahoon A11. hardcover
1916rif. JOYCEJAM000887B.W. Huebsch New York. 1916. First edition. Octavo. pp iv 299.Spine slightly dull and a bit rubbed at the ends. Corners also slightly rubbed. Very good. No dustwrapper. B.W. Huebsch, New York. unknown
rif. 98347New York Crosby Gaige 1928. . FIRST EDITION no. 3 of six numbered copies of 50 COPIES ON PALE GREEN-TINTED PAPER from an overall limitation of 850; 8vo; title previously detached cleanly at gutter now with neat reversible tissue paper repair to verso chip from fore-edge of a preliminary blank leaf slight separation at upper hinge bookplate to front pastedown; publisher's black cloth lettered in gilt on the spine and with triangular gilt design on upper cover top edge gilt presented in morocco-backed cloth drop-back box. The first edition of Anna Livia Plurabelle by James Joyce the text that was to become chapter eight in Finnegans Wake and introduce Joyce readers to the character that fellow Irish author Edna O'Brien was to describe as 'the most accessible and indeed beloved character conceived by Joyce'. Slocum and Cahoon note that: 'Of these 50 copies on light green paper probably 6 were offered for sale by the publisher. These were numbered 1 to 6 with the following notice on p.iv in the handwriting of Crosby Gaige: This is one of 6 copies on green paper. Crosby Gaige.'; however this copy is simply numbered '3' and does not bear the publisher's statement on the limitation page. The remaining 44 copies were presumably disseminated by Crosby Gaige with the exception of a few which were passed on to the Chaucer Head Book Shop New York by Random House in 1938. Slocum & Cahoon A32. New York, Crosby Gaige, 1928. hardcover
1934rif. 24133USA: Random House 1934. First authorised American edition first printing with "First American Edition" stated on the copyright page and no indication of a subsequent printing. Thick octavo measuring approximately 21 × 14 cm. xvii 2 5768 pp. Publisher's original beige cloth lettered in black and red with dark-brown top edge in the original typographical dust wrapper designed by Ernst Reichl. This copy retains the particularly desirable Reichl-signed variant of the dust wrapper with the designer's surname printed vertically at the lower-right corner of the front panel. Two variants of the wrapper are known one bearing Reichl's name and the other without it. Although no conclusive bibliographical priority has been established the signed variant is generally preferred by collectors and commands a premium. The first authorised edition of Joyce's modernist masterpiece to be published in the United States appearing twelve years after the Shakespeare and Company first edition of 1922. The novel had long been prohibited from importation into America on grounds of obscenity. Random House deliberately arranged for a copy to be seized by US Customs in order to test the ban in court culminating in Judge John M. Woolsey's landmark 1933 ruling that Ulysses was not obscene and could legally be admitted and published in the United States. This edition includes a foreword by Morris L. Ernst concerning the historic judgment together with Joyce's letter to Random House publisher Bennett Cerf expressing his desire for an authorised American edition. Ernst Reichl's striking typographical treatment of the binding wrapper and text has subsequently become recognised as a landmark of twentieth-century American book design. The price-clipped dust wrapper is slightly toned to the spine with a little chipping and areas of wear to the extremities. Some spotting to the cloth boards and minor toning internally. A very good copy in the very good original dust wrapper. Random House hardcover
1918rif. 7836New York: B.W. Huebsch 1918. First edition. Fine/Near Fine. Published simultaneously with the English edition on May 25 1918 see Slocum & Cahoon 14 and 15. A Fine copy of the book in Near Fine dust jacket. vi 154 pp. Publisher's green cloth over tan blindstamped boards. A touch of foxing to edges and top edge dusty otherwise clean throughout. Dust jacket rubbed and a bit foxed with just a few short tears to the rear panel. Overall a very appealing copy of Joyce's only play. Exiles captures the romantic dramas of Richard and Bertha a common-law couple recently returned to their home country of Ireland and the complex dynamics that play out between them Richard's cousin Robert and Robert's wife Beatrice. "The play was not especially popular at the time and is commonly regarded as one of Joyce's weaker works. However much of the initial criticism may have had to do with the play's provocative themes: unconventional relationships jealousy weakened national ties to Ireland and exile. All of these topics resonate with Joyce's personal life making Exiles a partly autobiographical work" James Joyce Foundation. After W.B. Yeats refused to stage the play Joyce unsuccessfully attempted to interest theatrical companies throughout England Ireland and the United States. Exiles eventually debuted in German translation in Munich in 1919. Of the premiere Joyce wrote: "Complete fiasco. Row in theatre. Play withdrawn. Author invited but not present.Thank God" Morgan Library. The play was not performed in English until a staging at New York's Neighborhood Playhouse in 1925. Slocum & Cahoon 15. Fine in Near Fine dust jacket. B.W. Huebsch unknown
