Joyce JamesBiblio.com
19 605 résultats
1939réf. 19769London: Faber and Faber 1939. First Edition First Issue Signed by James Joyce and limited to 425 copies only of which this is number 341. 8vo publisher’s original red buckram lettered in gilt on spine t.e.g. other edges untrimmed. Yellow cloth slipcase expertly re-created as the original. 628. A fine copy very handsome bright and clean very well preserved and without wear. The slipcase in beautiful condition. IMPORTANT FIRST EDITION SIGNED BY JAMES JOYCE. A very desirable copy of this the best and scarcest issue of the first editions. No book has ever been more ambitiously conceived than Joyce’s FINNEGAN'S WAKE. If ULYSSES represents the pinnacle of the Modernist movement FINNEGAN'S WAKE is a step beyond; it stands in the same relation to ULYSSES as ULYSSES does to A PORTRAIT OF THE ARTIST.—an extension which is also a completely new conception. Joyce envisioned the book as nothing less than a "history of the world." Seventeen years in the writing and composed in a sort of meta-language--"an Esperanto for the art of fiction"--it stands as a unique monument to language and literature and the modern age. Slocum and Calhoun A49; Bradbury The Modern World 157-176. About this work he stated “‘I might easily have written this story in the traditional manner. Every novelist knows the recipe.But I after all am trying to tell the story of this Chapelizod family in a new way. Time and the river and the mountain are the real heroes of my book. I am trying to build many planes of narrative with a single aesthetic purpose.’” Ellmann Faber and Faber hardcover
1922réf. 50307Paris: Shakespeare and Company 1922. First Edition. Hardcover in slipcase. One of 750 numbered copies on handmade paper from a total edition of 1000 copies. This being No. 310. Quarto bound in full blue morocco. The original wrapped are bound in. Near Fine in bespoke slipcase with blue morocco spine five raised bands and gilt lettering. Shakespeare and Company hardcover
1939réf. 140948664London: Faber and Faber 1939. Signed Limited Edition. Near Fine. First edition signed limited issue. Number 334 of limited 425 copies signed by James Joyce. 628 pp. Bound in publisher's red cloth with spine lettered in gilt; top edge gilt. In original yellow cloth-covered slipcase. Near Fine with trivial fading to spine. Foxing and soiling to slipcase light edge wear. A handsome copy of Joyce's final linguistically complex novel that took him seventeen years to complete; scarce. Slocum & Cahoon A49. Faber and Faber unknown
1916réf. 69673New York: B. W. Huebsch 1916. Full Description: JOYCE James. A Portrait of the Artist as a Young Man. New York: B. W. Huebsch 1916. First edition. Octavo 7 5/16 x 4 15/16 inches; 182 x 125 mm. 4 299 1 blank pp. Original blue cloth title blind-stamped front board gilt-lettered spine. Gilt still bright. With some very light wear to head and tail of the spine and corners. Some very minor soiling to edges of text block. Small bookseller sticker on rear pastedown. An about fine copy. "James Joyce novelist born at Rathgar a suburb of Dublin and educated at Irish Jesuit colleges. Dissatisfied with the intellectual atmosphere of Dublin he left Ireland in 1902 and spent most of the remainder of his life abroad chiefly in Trieste Zürich and Paris contending for many years with poverty suffering latterly from severe eye trouble and struggling to obtain the publication of his works." The Oxford Companion to English Literature 421-422 "A largely autobiographical novel. it portrays the childhood school days adolescence and early manhood of Stephen Dedalus later one of the leading characters in Ulysses. Stephen's growing self-awareness as an artist forces him to reject the whole narrow world which he has been brought up. rather than following a clear narrative progression the book revolves around experiences that are crucial to Stephen's development as an artist; at the end of each chapter Stephen makes some assertion of identity. Through his use of stream of consciousness technique Joyce reveals actual materials of his hero's world the components of his thought processes." Benét 822. Slocum and Cahoon A11. HBS 69673. $20000. B. W. Huebsch unknown
1930réf. 24937Paris and New York:: Babou and Kahane / The Fountain Press 1930. First edition; one of 100 copies on Imperial handmade iridescent Japan signed by James Joyce. publisher's printed wrappers in glassine and publisher's slipcase. A near fine copy. The glassine is very slightly worn in spots. The slipcase has had some internao reinforcement but is complete and attractive. . Small folio. Babou and Kahane / The Fountain Press, unknown
1924réf. 139635Paris: Shakespeare and Company 1924. Fourth printing of Joyce's masterpiece signed by him. Quarto original wrappers. Signed by the author in the month of publication on the front free endpaper "James Joyce Paris 7 January 1924." In very good condition the joints lightly repaired. Housed in a custom clamshell box. Uncommon signed. Ulysses was published in Paris by Shakespeare & Company 1922. It was a struggle for the author to find a publisher a comic irony considering that Ulysses is "universally hailed as the most influential work of modern times" Grolier Joyce 69. Ulysses was an immediate success. The first printing sold out and "within a year Joyce had become a well-known literary figure. Ulysses was explosive in its impact on the literary world of 1922" de Grazia 27. Even so the book faced difficulties in global reception. It was banned in the U.K. and was prosecuted for the obscenity in the Nausicaa episode Ellmann 1982. Joyce's inspiration for the novel began as a young boy reading Charles Lamb's Adventures of Ulysses and writing an essay entitled "My Favorite Hero" after being impressed by the wholeness of the character Goreman 1939. The idea for the novel grew from a story in Dubliners in 1906 which Joyce expanded into a short book in 1907 before reconceptualizing it as the heady novel in 1914 Ellmann 1982. The book can initially seem unstructured and chaotic and Joyce admitted that he "put in so many enigmas and puzzles that it will keep the professors busy for centuries arguing over what I meant" The Observer 2000. The French translator Stuart Gilbert published a defense of Ulysses shortly after its publication in which he supported the novel's use of obscenity and explained its internal structure and links to the Odyssey against accusations of ambiguity. Every episode Gilbert explained is connected to the Odyssey by theme technique and correspondence between characters. Another instance of Ulysses' literary contribution is his use of stream-of-consciousness a technique employing carefully structured prose both humorous and charactering and involving puns and parodies. Joyce was a precursor to the use of stream of consciousness in the later decades. Similar narrative techniques were used by his contemporaries Virginia Wolfe William Faulkner and Italo Svevo. Their style can be better characterized as an "interior monologue rather than stream of consciousness is the appropriate term for the style in which subjective experience is recorded both in The Waves and in Woolf's writing generally" Stevenson 1992. Shakespeare and Company unknown
1925réf. 131904Paris: Privately Printed 1925. James Joyce's first edition copy of the collected works of Marguerite Finaly compiled by her husband Horace Finaly in her memory and privately printed for distribution to friends; with Joyce's ownership inscription. Octavo bound in full crushed morocco by G. Cretté with gilt titles to the spine silk-watered doublures and endleaves tissue-guarded frontispiece portrait of Marguerite Finaly. One of 150 copies privately printed. Signed and dated by Joyce on the title page "James Joyce Paris 27.xi.1926." Horace Finaly became a close friend of Marcel Proust in Paris and contributed to the magazine La Banquette. He rose to prominence as head of La Banque de Paris et des Pays-Bas from 1919 to 1937 and enabled several major French-American industrial collaborations. He is referred to in Finnegans Wake which Joyce was writing at the time of his inscription: "Play actors by us ever have crash to their gate. Mr.Messop and Mr Borry will produce of themselves as they're twof genitalmen of Veruno Sernior Nowno and Senior Brolano finaly! finaly! all for love of a fair penitent that a she be broughton rhoda's a rosy she. Their two big skins! How they strave to gat her! Such a boyplay!" In very good condition. Housed in a custom marbled slipcase. Rare and desirable from Joyce's personal collection. One of the most influential and important writers of the 20th century Irish novelist James Joyce is best known for his masterworks Ulysses 1922 Portrait of the Artist of a Young Man 1916 and Finnegans Wake 1939. Joyce began working on Finnegans Wake shortly after the 1922 publication of Ulysses. By 1924 installments of Joyce's new avant-garde work began to appear in serialized form in Parisian literary journals transatlantic review and transition under the title "fragments from Work in Progress". The actual title of the work remained a secret until the book was published in its entirety on 4 May 1939. The work has assumed a preeminent place in English literature. Anthony Burgess praised the book as "a great comic vision one of the few books of the world that can make us laugh aloud on nearly every page." Harold Bloom called the book "Joyce's masterpiece" and wrote that "if aesthetic merit were ever again to center the canon Finnegans Wake would be as close as our chaos could come to the heights of Shakespeare and Dante." Listed by Modern Library as one of the 100 greatest novels of the twentieth century. Privately Printed unknown
1930réf. 1282461930. First Edition. Signed. JOYCE James. Haveth Childers Everywhere. Fragment from Work in Progress. Paris: Henry Babou and Jack Kahane; New York: Fountain Press 1930. Slim folio original printed paper wraps uncut and unopened original glassine original gilt chemise and green cardboard slipcase. Housed in a custom chemise and clamshell box. $17500.First edition number 50 of only 100 signed copies on ÒImperial Hand-Made Iridescent JapanÓ paper out of a total edition of 685 copies. A stunning copy.This is one of several fragments from Work in Progress published in 1939 as Finnegans Wake that Joyce issued to raise money while working on the mammoth project. One of the publishers Jack Kahane who idolized Joyce had originally asked Sylvia Beach to allow him to take over publication of Ulysses. Instead she introduced Kahane to Joyce who then agreed to let him publish Haveth Childers Everywhere. The effort nearly ruined Kahane and only by selling the American rights to the work were he and co-publisher Henry Babou able to save themselves from bankruptcy. When Faber and Faber was preparing the first London editions of Anna Livia Plurabelle and Haveth Childers Everywhere 1930 and 1931 respectively ""Joyce wrote rhymes for the 'blurb' on the dust jacket. The Haveth Childers verse is quoted in this description headlineÉ He was a little annoyed when the publicity departmentÉ used them only on a mimeographed publicity release to which they prefixed a note: 'The Sales department puzzled as such departments are wont to be have sought some light on the two James Joyce contributions to Criterion Miscellany. Below the explanations offered are passed on that you may be able to derive similar enlightenment"" Ellmann 617n. Slocum and Cahoon A41. A beautiful fine copy in a slightly worn slipcase. paperback
1922réf. 7586Paris: Shakespeare and Company 1922. First edition. Very Good . One of 750 copies on handmade paper from the wider first edition limitation of 1000 copies. Based on Sylvia Beach's records it has been asserted that out of the three issues of the first edition this one was sent out first. This copy marked as number 482. Modern blue half morocco gilt over marbled boards bookplate of Giles Alexander Esme Gordon to front pastedown. Front free endpaper with some marginal restoration a few small unrestored closed tears to preliminary leaves a little occasional foxing a few gatherings a little roughly opened. Housed in a custom morocco-backed clamshell case. A Very Good copy. Arguably the key text of the Modernist movement. "Joyce not to mince words is Ireland's Shakespeare its Goethe its Racine its Tolstoy" John Sutherland. The book also proved to be a major test case for laws of freedom of expression. "Forced underground by censors this was a cryptoclassic already before it was read a subversive colossus" Sherry. Provenance: Giles Gordon was a literary agent and writer working for publishers Secker & Warburg and Gollancz the latter as Editorial Director before representing writers such as Peter Ackroyd and Vikram Seth. Slocum and Cahoon A17. 7586. Very Good . Shakespeare and Company unknown
1939réf. JOYCEJAM002444Faber and Faber London. 1939. First edition limited issue. Royal octavo. 628 pages. Red buckram covers. Top edge gilt.Number 249 of 425 copies signed by the author.Endsheets a bit darkened at gutters. Some spotting to fore-edge. Spine slightly faded and very slightly scratched. Very near fine in the original yellow cloth slipcase which is dusty at the top edge and a bit rubbed. The number of this copy ''249'' is written on the top edge. Few copies turn up nowadays with the original slipcase a fact which often leads to attempts to create a convincing facsimile. Faber and Faber, London. hardcover
1939réf. 171352London: Faber & Faber; Viking Press New York 1939. His final and most experimental work First edition signed limited issue number 366 of 425 copies signed by the author printed on handmade paper and specially bound; complete with the publisher's slipcase. The limitation was split between the British and American markets and sold simultaneously with the trade issues on 4 May 1939. "The most conspicuous innovation of Finnegans Wake is its use of 'dream-language'. After Ulysses Joyce believed that he had 'come to the end of English' and his last novel is a pervasive layering of multilingual puns in successive drafts which produces a fabric rich in semantic possibilities" ODNB. Large octavo. Original red buckram spine lettered and ruled in gilt top edge gilt other edges uncut leaves unopened. Housed in publisher's yellow cloth slipcase. Later compliments slip from Patricia MacManus 1914-2005 of the Viking Press marking the publication of Steinbeck's East of Eden on 19 September 1952 loosely inserted. Spine very gently sunned and bumped at foot minor rubbing internally clean; lightly soiled slipcase with wear to edges and two short splits: a near-fine copy. Burgess 99 Novels: The Best in English Since 1939 p. 25; Connolly The Modern Movement 87; Slocum & Cahoon A49. hardcover
1519réf. 183717Dublin: privately printed by Gerrard Bros. 15 October 1901. His first obtainable publication First edition of the author's first obtainable separate publication a plea for the freedom of the theatre published when he was 19. This copy is from the library of the 3rd Viscount Esher Oliver Brett 1881-1963 with his bookplate on the chemise. Joyce was a student at University College Dublin in 1901 when he penned The Day of the Rabblement. The essay and one advocating female equality within the university by Joyce's schoolmate F. J. C. Skeffington A Forgotten Aspect of the University Question were both rejected by the University College newspaper. In the case of Joyce's essay this was because he mentioned D'Annunzio's Il Fuoce which was on the Index librorum prohibitorum while Skeffington's essay was rejected owing to its radical content. Instead the two paid to have the essays published as a pamphlet in a small run which they hand-delivered. The exact number of copies printed is not recorded but was surely small. The figure cited in the 1933 Catalogue of Rare Books by the Ulysses Bookshop is as low as 85 while Skeffington's son estimated a run of around 100 to 200 copies Slocum & Cahoon. Only a small number of these were preserved since Joyce did not reach any degree of literary fame for many years. In the essay Joyce attacks the Irish theatre for catering to popular tastes and promotes free expression. "Joyce was stirred by a group of fellow university students - the 'rabble' of the title - signing a letter of protest on political and religious grounds against the Irish Literary Theatre's first performance of The Countess Cathleen by W B Yeats. Joyce critiques the Irish Literary Theatre for its response to the protest which Joyce claims saw them bow to public pressure and 'prejudice' and become 'shy of presenting Ibsen Tolstoy or Hauptmann'. In Joyce's opinion the work of these three European writers was profound innovative and worthy of attention. Significantly the essay shows Joyce upholding the principle of artistic freedom and condemning censorship in all its forms - an outlook that he would maintain throughout his career" British Library 'The Day of the Rabblement'. Joyce's only previously published works were Et Tu Healy! a pamphlet printed by his father when he was aged nine of which no known copies survive and an article on Ibsen included in the Fortnightly Review April 1900. Octavo 8 pp. Original pink wrappers printed in black. Housed in a custom yellow cloth chemise. Front wrapper slightly toned at edges rear wrapper browned else clean. A very good copy. Slocum & Cahoon B1. hardcover
1914réf. 751London: Grant Richards LTD 1914. First Edition First Impression. Publisher's Gilt Stamped Maroon Cloth. Good. A Good Book Without its Issued Dust Jacket. Front board has a vertical crease down the entirety of the board affecting exterior and interior. Extremities generally rubbed and bumped. Cloth scuffed and soiled spine darkened. Bump to top right corner has rolled the first few leaves of text block. Text block toned and mildly soiled. Minor paper damage to several various leaves along top edge text unaffected. Evidence of a dog-ear to leaf 129/130. Gutter visible between 144 145 and again at 224 225. Last blank page shows shadows possibly from thin post-it strips. vi 7-278pp. One of 746 Copies Bound for Grant Richards of 1250 copies printed. An exceptionally scarce volume of Joyce's first major published work. Grant Richards LTD unknown
1939réf. 014569London/New York: Faber & Faber/Viking Press 1939. First Edition. Hardcover. Touch of wear to the heel of the spine which is mildly sunned. Lacking the original slipcase but with a custom-made slipcase in its place. Near Fine in a Fine custom slipcase. Original red buckram with gilt lettering on the spine. Copy #222 of 425 numbered copies printed on handmade paper and SIGNED by the author on the limitation page. One of the most important books of modern English fiction if not one of the more readable. "Joyce insisted that each word each sentence had several meanings and that the 'ideal lecteur' should devote his lifetime to it like the Koran" Connolly THE MODERN MOVEMENT 81; "The greatest failure in literature" Burgess 99 NOVELS: THE BEST IN ENGLISH SINCE 1939 page 25. Faber & Faber/Viking Press hardcover
1928réf. 140948801New York: Crosby Gaige 1928. First Edition. Near Fine. First edition limited issue. #472 of 800 copies signed by James Joyce on the copyright page. A presentation copy with Sylvia Beach's handwritten note "from Mr. James Joyce" on her Shakespeare and Company stationary mounted to front pastedown. xviv 1 61 pp. printed on watermarked wove paper. Bound in publisher's brown cloth with decorative stamping in blind and gilt top edge gilt. Near Fine with light rubbing to extremities and faint staining around tail of spine. Contents lightly toned with occasional foxing more pronounced on endpapers and evidence of bookseller ticket removal to back pastedown. Slocum & Cahoon 32. The first separate publication of this fragment of Finnegans Wake which was published in installments over seventeen years before being issued as a complete book in 1939. Sylvia Beach the owner of the legendary Parisian bookstore Shakespeare & Co. had published Ulysses in 1922 and continued to foster Joyce's career during the following decade. She wrote in her 1959 memoir that Anna Livia Plurabelle gave her some trouble. She and Joyce tried to get the piece published in various literary periodicals with limited success. The Calendar accepted it only to be thwarted by its own printers who refused to set up a passage they found obscene. The printers at Princeton University Press which printed this luxurious limited edition for the New York bon vivant Crosby Gaige apparently had no such qualms. Crosby Gaige unknown
1939réf. 1402430London: Faber & Faber Limited / Viking Press 1939. Limited Edition #122/425. Hardcover. Octavo 628 pages. In Very Good condition. Bound in publisher's brick red buckram spine stamped in gilt. Uncut and unopened as issued. Housed in publisher's yellow cloth slipcase stamped "Made in England" inside of the case. With very light edgewear. A few preliminary leaves and final leaves apparently reinforced with cloth tape a bit over-opened. Slipcase sturdy but with some wear and staining cloth beginning to detach in one corner. MC Consignment. Shelved case 2. References: Slocum & Cahoon A49. A letter from the Viking Press September 9 1947 states: "We also brought out and sold a limited edition of 310 copies the sheets of which were imported from the English publisher Faber & Faber. Our limited edition is identical with that of the British publisher and bears both imprints. The covers for the limited edition were made in England but the actual binding was done in the United States." 310 copies were sent to the United States instead of the 300 noted in the statement of limitation Slocum & Cahoon. 1402430. Shelved Dupont Bookstore. Faber & Faber Limited / Viking Press hardcover
1930réf. 846031930. JOYCE James. Haveth Childers Everywhere. Orig. printed wrappers and publisher's glassine in orig. green slipcase all stored in custom folding box. Paris and New York: Henry Babou and Jack Kahane; The Fountain Press 1930. First ed. Small 4to. One of 100 copies on "imperial hand-made iridescent japan" signed by Joyce this being no. 86. The second book installment of "Work in Progress" which would eventually be much revised and published in full as Finnegans Wake. This section is the introduction to the world of the main character a sleeping giant whose dream is the Wake. The slipcase with some minor wear to the edges else an unusually fine copy. unknown
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
1939réf. 137512London: Faber & Faber 1939. First signed limited edition number 115 of only 425 large-paper copies signed by Joyce. Large octavo original red cloth titles to spine in gilt top edge gilt original publisher's yellow cloth slipcase. Signed by James Joyce on the limitation page. In near fine condition. Joyce began working on Finnegans Wake shortly after the 1922 publication of Ulysses. By 1924 installments of Joyce's new avant-garde work began to appear in serialized form in Parisian literary journals transatlantic review and transition under the title "fragments from Work in Progress". The actual title of the work remained a secret until the book was published in its entirety on 4 May 1939. The work has assumed a preeminent place in English literature. Anthony Burgess praised the book as "a great comic vision one of the few books of the world that can make us laugh aloud on nearly every page." Harold Bloom called the book "Joyce's masterpiece" and wrote that "if aesthetic merit were ever again to center the canon Finnegans Wake would be as close as our chaos could come to the heights of Shakespeare and Dante." Modern Library named it one of the 100 best English-language novels of the 20th century. Faber & Faber hardcover
1927réf. COLLECTI007490IPARIS: SHAKESPEARE AND COMPANY. NEAR FINE. PUB 1929 1927. FIRST AMERICAN. SLOCUM/CAHOON #19 /This is a pirated edition that used the legitimate 9th Shakespeare printing of May 1927 / . This is the true First American Edition unauthorized of 1929. This pirated edition of the 9th Shakespeare And Company ULYSSES was printed by Adolph & Rudolph Loewinger 230 West 17th St. New York for Samuel and Max Roth. Of the 2000 -3000 copies printed many copies of this piracy were seized by "The Society for the Suppression of Vice" on October 5 1929. One of these pirated copies sent by Joyce to Bennett A. Cerf of Random House was used in setting up the first authorized American Edition of "ULYSSES". Blue cloth covered boards with "ULYSSES / JOYCE" in gilt on spine. The blue printed wrapped sans flaps as called for by Slocum. book was bound into this case binding only loosing the original unprinted spine of the wraps. A beautiful clean and tight copy. . SHAKESPEARE AND COMPANY hardcover
1930réf. ST15753bParis: Henry Babou and Jack Kahane; New York: Fountain Press 1930. FIRST EDITION LIMITED ISSUE. No. 24 OF 100 COPIES ON IRIDESCENT HANDMADE JAPON SIGNED BY THE AUTHOR plus an additional 500 on paper and 75 writer's copies. 283 x 191 mm. 11 1/8 x 7 1/2". 72 2 pp. Original white paper covers with printed titling on front and spine leaves untrimmed and UNOPENED IN THE ORIGINAL GLASSINE PROTECTIVE WRAPPER. The whole in the original slightly rubbed three-panel stiff card folder covered with gilt paper. Without the original slipcase. Title printed in green and black initials and headlines printed in green. Inside front cover of folder with bookplate of John Kobler see below. Slocum & Cahoon A-41. Corners just slightly bumped one small faint brown spot to tissue cover but AN OUTSTANDING COPY the very fragile and always-torn glassine entirely intact and the text with no signs of use most of it never having seen the light of day. This luxury version of an excerpt from "Finnegans Wake" is printed on especially pleasing handmade paper that glows like a pearl. In his book review for the New York Times 11 January 1931 Herbert Matthews says this fragment is "an attempt to enrich and refashion the English language and as such is highly stimulating and carries the reader through a form of mental gymnastics which is not without its profit and amusement." However he admits "after an honest and patient effort backed by a previous reading of all of Mr. Joyce's work 'Haveth Childers Everywhere' still remained absolutely incomprehensible" and he expresses concern that "Mr. Joyce has gone a little further on the path he is hewing for himself toward what seems to be complete linguistic chaos." Perhap our previous owner found it equally rough going for this copy has obviously never been read. That owner could well have been the prolific biographer John Kobler 1910-2000 who wrote biographies of among others Al Capone John Hunter and John Barrymore and who contributed regularly to the New Yorker Collier's and the Saturday Evening Post. Fountain Press unknown
1939réf. 12362FINNEGANS WAKE Faber & Faber 1939 first edition some faint grey specks along the spine else a tight vg copy. Of 425 specially bound copies this is 1/125 copies of the English issue SIGNED by the author. Among the most controversial and important 20th century works of literature. Faber & Faber unknown
1929réf. 43637Paris.: The Black Sun Press. 1929. Original publisher's cream wrappers with printing in red and black to upper cover and spine monochrome 'black sun' vignette to rear wrapper original glassine wrapper. 4to. 212 x 168 mm. Half-title title printed in red and black contents leaf leaf with monochrome etched abstract portrait frontispiece by Constanin Brancusi signed in the plate preface by C. K. Ogden pp. xv The Mookse and the Gripes pp. 1 - 16 The Muddest Thick that was Ever Heard Dump with mathematical diagram on pg. 32 pp. 17 - 43 The Ondt and the Gracehoper pp. 45 - 55 justification leaf with achevé d'imprimer June 1929. Printed 21 lines per page in hand-set Caslon headlines and initials printed in red throughout. Harry Marks' nominatif copy on Japon - conforming to the édition de tête - signed by Joyce.From the edition limited to 650 copies with this nominatif copy conforming to the edition de tête of 50 hors commerce on Japanese Vellum signed by Joyce in black ink to the half-title; this copy was printed for Harry F. Marks: 'This copy is for / Harry F. Marks' see the justification.'The entire edition is for sale at the / Bookshop of Harry F. Marks / 31 West 47 Street New York'. From the justification.Printed in Paris by Harry and Caresse Crosby's Black Sun Press and with an introduction by C. K. Ogden 'Tales Told of Shem and Shaun' was offered for sale in New York at the 'Bookshop of Harry F. Marks 31 West 47 Street New York'. This was the second separately published fragment of Joyce's fabled 'Work in Progress' after 'Anna Livia Plurabelle' in 1928 although sections had been printed in periodicals as early as 1924 a work which would eventually coalesce - on May 4th 1939 after 17 years of work - into Finnegans Wake.Picasso had been the first choice to provide a frontispiece but refused on the grounds that he did not produce portraits 'sur commande' and Joyce suggested Constantin Brancusi as an alternative. Brancusi's final 'portrait' the abstract 'Symbol of James Joyce' prompted Joyce's father to remark on seeing it: 'the boy seems to have changed a good deal'.'A portrait as abstract as the author's text . '. The Artist and the Book.The Artist and the Book 32; Slocum & Cahoon A36; see Joyce by Richard Ellmann pg. 614. The Black Sun Press. unknown
1929réf. 22015Paris: Shakespeare And Company 1929. First edition. One of 96 numbered copies printed on Arches paper. Our Exagmination contains brief quotations from Work In Progress including a passage concerning Swift and blindness which was not later incorporated in Finnegans Wake. The ‘Letters of Protest' are reputed to have been written by Joyce himself. Slocum & Cahoon B10. Also includes Samuel Beckett's first appearance in print his essay on Joyce entitled "Dante Bruno Vico Joyce." The present copy belonged to Mogens Boisen the Danish translator of Ulysses and is inscribed to him by Sylvia Beach. It also includes two letters from him to a former owner explaining the circumstances whereby he was given the book. Small chip from rear wrapper front wrapper lightly creased otherwise a fine copy with two copies of the publication announcement preserved in a folding board box. 8vo original printed wrappers. Small chip from rear wrapper front wrapper lightly creased otherwise a fine copy with two copies of the publication announcement preserved in a folding board box. Shakespeare And Company unknown
1929réf. 25938Paris: Shakespeare and Company Sylvia Beach 1929. First edition. 3-194 2 p. 191 x 140 mm. 7 1/2 x 5 1/2 in. Original printed paper wrappers. Copy no. 60 of 96 numbered copies printed on Arches paper. Mogens Boisen's copy the Danish translator of Ulysses inscribed to him by Sylvia Beach and with two letters from him to a former owner explaining the circumstances. Small chip from rear wrapper edge light creasing on front wrapper otherwise a fine copy. In a folding box with the announcement. "Dante.Bruno. Vico.Joyce" published here constitutes Samuel Beckett's first appearance in print. Shakespeare and Company, Sylvia Beach unknown
