Joyce, JamesBiblio.com
19.408 risultati
1939rif. 140947977London: Faber and Faber 1939. First Edition. Near Fine/Near Fine. First edition first printing. iv 628 pp. Bound in publisher's red cloth stamped in gilt on the spine yellow topstain. Near Fine with offsetting to fly-leaf and final page. In a Near Fine unclipped dust jacket with trivial toning to spine. Housed in a custom clamshell case black cloth over quarter black morocco titled in gilt. A beautiful copy of Joyce's famously complex and linguistically innovative novel scarce in this condition. One of an edition of 3400 copies of which 950 copies in sheets were destroyed. Slocum A48. Faber and Faber unknown
1936rif. 018988New York: The Black Sun Press 1936. First Edition. Hardcover. Partly unopened. Light soiling mostly to the rear; spine darkened. Near Fine. Small octavo 4-1/2" x 6-5/8" in publisher's cream-white boards spine lettered in blue front cover stamped in blue with floral ornaments. Frontispiece portrait by Augustus John. Copy #576 of 800 numbered copies. A Presentation copy with Joyce's engraved visiting-card INSCRIBED and SIGNED on the verso in green ink: "Avec mes meilleures/voeux pour Noël et/la Nouvelle Année. Paris '37 James Joyce." On the recto Joyce has scored through his name in green ink and there is a green ink blot in the upper left corner. The Black Sun Press hardcover
rif. ST21186New York: Vincent FitzGerald & Company 1987. No. 15 OF 50 COPIES for sale and 15 Artists' Proofs. 385 x 325 mm. 15 1/8 x 12 3/4". 2 p.l. 40 pp. 5 leaves. Unbound as issued in original wraps with a portrait of Joyce on front cover his round glasses cut out to reveal part of a collage on the opening leaf. Housed in a clamshell box by David Bourbeau of Thistle Bindery this covered in burgundy-flecked taupe Japanese handmade silk woven for this box upper cover with incised vertical line showing the profile of Joyce this with silver Japanese tea paper peeking through spine with silver "JJ." With a total of 62 etchings employing more than 150 plates original watercolors collage and hand cutting some of the pieces folded into multiple sections the artwork divided into four sections: "Dreams" "Games" "Planes" and "Death" each preceded by a title page also printed with the page numbers of the texts that inspired the art. Printed on Moulin du Gue paper; section title leaves for illustrations wrapped with Japanese paper. SIGNED in the colophon by Weil and Van Dyke. See: E. Brunazzi "Susan Weil's Art of Joycean Illumination" in James Joyce Quarterly Vol. 34 No. 1/2 Joyce's Women Fall 1996 - Winter 1997 pp. 121-34. In pristine condition. With a very strictly limited press run this collection of carefully crafted sketches by Joyce is offered here as an important artist's book honored as one of the best illustrated productions of its time. Compiled after Joyce's death and first published in 1956 the text here consists of 40 short but polished fragments in prose and poetry the author put together between 1901-04 and then drew on in the composition of his major works "Dubliners" "A Portrait of the Artist as a Young Man" "Ulysses" and Finnegans Wake." "Epiphanies" was an appropriate choice for the present striking production since our publisher Vincent FitzGerald aimed to produce deluxe publications in the mode of the French livres d'artiste by facilitating an artistic environment like that of Paris in 1920s. And so when he asked his friends Susan Weil and Marjorie Van Dyke what writer's work they would like to illustrate they immediately chose Joyce one of brightest lights of 1920s Paris. Weil was a longtime Joyce devotee and suggested his little-known "Epiphanies" for their first project since these notes and ideas provided material for some of his greatest books. As Weil said "'The Epiphanies' seemed so perfect. Words were released like a flock of birds to roost in Joyce's future works." Elizabeth Brunazzi tells us that "FitzGerald challenged Weil and Van Dyke to create an innovative relationship among the visual images responding to the verbal texts; to make them 'flow' one into the other rather than present them frame by frame as in an illustrated work; and thus to create a novel organic form for the visual text and a different interpretation of the 'artist's book' altogether." The result is a work where the "illustrations" are not static but are intended to be manipulated by the reader in order to fully reveal themselves. Weil and Van Dyke independently produced images for each of the 40 "Epiphanies" then began dividing the contributions into four themes: "Dreams" "Planes" "Games" and "Death." Both employed a variety of techniques including watercolor etching collage and paper cut-outs and worked with other artists to refine and produce their final works. Brunazzi says that the present production results in the reader beginning "to rediscover and explore the frontiers of textuality much as a child first encounters a book as a beloved physical object incorporating physical images both tactile and visual." The resulting book was chosen by the Independent Curators for the Franklin Furnace exhibition "Contemporary Illustrated Books" as one of the 50 best illustrated books from 1966-88 and was featured in the Boston Athenaeum exhibition "Artists of the Book 1988 A Facet of Modernism.". Vincent FitzGerald & Company unknown
1928rif. 169217New York: Crosby Gaige 1928. Anna was Livia is Plurabelle's to be First edition signed limited issue number 134 of 800 copies signed by the author preceding the British edition by two years. Anna Livia Plurabelle is an early published chapter from Joyce's famous "work in progress" that would eventually become Finnegans Wake. Duodecimo. Original brown cloth spine lettered in gilt spine and front cover decorated in gilt borders to covers in blind top edge gilt fore and bottom edges untrimmed. Housed in a custom brown cloth slipcase. Bookplate and ink ownership signature of one Dennis Hartman to front pastedown corresponding offsetting to front free endpaper. Spine ends lightly bumped a few tiny marks to cloth slight crease to preliminary blank. A near-fine copy. Slocum and Cahoon A32. hardcover
rif. 164342Margate: Counter Editions. 2019. Edition of 125 initialled dated and numbered on a label to lower right verso by Pensato. 2 colour lithograph on Somerset Tub Sized Satin White 410 gsm paper. Sheet size: 60 x 76 cm. Framed size: 69.8 x 85.5 cm. Excellent condition. Presented in a handmade black wooden frame with conservation acrylic glazing. unknown
rif. 302463New York: Vincent Fitzgerald & Co 1987. One of 50 numbered copies from a total edition of 65 including fifteen artist's proofs signed by Susan Weil and Marjorie Van Dyke. With illustrations by Susan Weil and Marjorie Van Dyke in various media: original etchings watercolors collages and decoupage. 1 vols. Folio 38 x 32.5 cm. Folded loose sheets laid into Japanese handmade silk over boards clamshell box with lightning bolt down upper cover mirror paper interiors by the Thistle Bindery. Internally fine some minor toning to spine and portions of the box else fine. One of 50 numbered copies from a total edition of 65 including fifteen artist's proofs signed by Susan Weil and Marjorie Van Dyke. With illustrations by Susan Weil and Marjorie Van Dyke in various media: original etchings watercolors collages and decoupage. 1 vols. Folio 38 x 32.5 cm. A stunning visual meditation upon the texts of Joyce's epiphanies executed in original etchings watercolors collages and hand-cut creations printed on various Japanese papers and on Moulin du Gue paper. The collages were executed by Vincent Fitzgerald and Zahra Partovi; the etchings were printed by Van Dyke and Maria Luisa Rojo at the Printmaking Workshop and the lithographs were printed by Van Dyke and Rhae Burden. The calligraphy was executed by Jerry Kelly and the letterpress printed by Dan Keleher and Bruce Chandler at Wild Carrot Letterpress. The texts of the forty epiphanies are printed in full and those selected for interpretation are assigned thematic divisions: "Planes" "Death" "Dreams" and "Games" with Weil undertaking the first two sections and Van Dyke the latter two. The thematic sectional titles to the divisions of the illustrative matter are keyed numerically to the relevant epiphanies in the text. A notable production singled out for notice in several key exhibitions including selective shows by Franklin Furnace and the Boston Athenaeum. Vincent Fitzgerald & Co unknown
1922rif. 1263501922. Paris: John Rodker for the Egoist Press 1922. 4to 15 732 1pp. Later half black morocco gilt top backstrip richly gilt original Aegean blue printed wrappers bound in. A very good copy tastefully bound and preserving the iconic wrappers. § First UK edition number 715 of 2000 copies printed 500 were seized and burned by the U.S. customs upon arrival; with half-title and 7 pages of errata at the front. Long bookseller's note in pencil at back by John Howell-Books priced $75. Joyce's ground-breaking modernist novel was first serialized in the American journal The Little Review and was the target of the first of many censorship attempts soon after the publication of the Nausicaa episode. Despite being banned in the UK and suppressed in the US well into the 1930s the novel was recognized as a landmark in literature from its earliest reviews. "I hold this book to be the most important expression which the present age has found; it is a book to which we are all indebted and from which none of us can escape." - T.S. Eliot. Slocum & Cahoon A18. unknown
rif. 75334New York: Crosby Gaige 1928. Literature SIGNED LIMITED EDITION No.72 of 800 copies. Octavo 18 x 12cm pp.xx 61; 3 blank. Publisher's illustrated vignette monogram to title page. Typography by Frederic Warde. Bound in original brown cloth tooled in gilt and blind top edge gilt others untrimmed. Housed in a protective quarter leather designer clamshell box. Simply a crisp clean copy. Box gently sunned to spine. An excerpt/article from Joyce's "work in progress" which would eventually be published within 'Finnegans Wake' 1939. New York: Crosby Gaige, 1928 unknown
1907rif. JOYCEJAM002573Elkin Mathews London. 1907. First edition. A copy which seems not to comply entirely with any of Slocum and Cahoon's three variants in that it has the measurements of the first 16.2 x 11 cm but the endpapers of the second. The bibliographers admit to having seen only a single copy of the second variant and they offer no priority between the second and the third. Small octavo. pp 40. 509 copies were printed. Thirty-six love poems. The author's first book preceded by two broadsides.Some light foxing. Free endpapers tanned. A bit of bubbling to cloth of rear cover. Very good indeed. A bright copy. Elkin Mathews, London. hardcover
1926rif. 2605First edition 8th Printing May 1926; bound by Stuart Brockman; all edges gilt. Binding in blue to match the colour of the original paper wrappers. The binding is in full blue goatskin; design applied with goatskin onlays gold tooling; lettered in gold leaf; book housed in velvet lined quarter leather box lettered in gold to spine. The design depicts two halves of a clock face which encloses the 18 steps taken during the book represented by the red dots and lines connecting. The radiating lines represent light and alternative directions in which the story could have taken. Shakespeare and Company
1996rif. UJOYLEA00sndLaura Geringer / Harper Colllins circa 1996. Very Good. Joyce William. The Leaf Men and the Brave Good Bugs. NY: Laura Geringer / Harper Colllins circa 1996. Illustrated. 4to. Glossy paper over boards. Book condition: Very good with some scuffing. Dust Jacket Condition: Very good. Panels scratched most noticeable on rear panel. Laura Geringer / Harper Colllins hardcover
1929rif. 2621Paris: Shakespeare and Company 1929. First edition. 194 pp. Original printed wrappers with cover design by Sylvia Beach. Top edge uncut and unopened. Some slight overall soiling to the wrappers slight chipping to the lower edge of the spine. Chemised in a custom slipcase. One of 96 numbered copies on Verge d'Arches the numbered copies are twice as thick as the ordinary edition due to the paper used. Various tributes and studies of Joyce's Work in Progress which was published ten years later as Finnegans Wake. As Beach wrote "these were writers who had been watching Work in Progress from the beginning each seeing it from his own angle but interested in Joyce's experiment and friendly towards it." Beckett's first appearance in book form with texts by Marcel Brion Frank Budgen Stuart Gilbert Eugene Jolas Victor Llona Robert McAlmon Thomas McGreevy Elliot Paul John Rodker Robert Sage and William Carlos Williams. With letters of protest by G.V.L. Slingsby and Vladimir Dixon reputed to have been written by Joyce himself. Slocum & Cahoon B10. Federman & Fletcher 1. Wallace B11. Shakespeare and Company unknown
1928rif. 17230JNew York: Crosby Gaige 1928. First Edition. One of 800 numbered copies signed by the author James Joyce this copy being Number 547. Octavo. Typography by Frederic Warde. Beautifully bound in a rich brown cloth with gilt-stamping to the front board and spine and with a simple classical geometric line border stamped to the front and rear boards and top edge gilt. With the Crosby Gaige colophon design of a ram standing beneath “CG” within a circle. Some minor rubbing to board edges at spine and corners very small bump to fore-edge front board a few faint tiny bits of slight foxing to preliminaries; a near fine copy. Prints what is generally considered the most famous section from work in progress of what would become Joyce’s Finnegans Wake published in 1939. This elegant volume begins with the following from Padraic Colum’s preface: “‘Anna Livia Plurabelle’ is concerned with the flowing of a River. There have gone into it the things that make a people’s inheritance: landscape myth and history; there have gone into it too what is characteristic of a people: jests and fables. It is epical in its largeness of meaning and its multiplicity of interest. And to my mind James Joyce’s inventions and discoveries as an innovator in literary form is more beautifully shown in it than in any other part of his work.” Crosby Gaige hardcover
1920rif. 021432Paris 24 November 1920. Letter. Close to Fine. Small 4-1/2" x 6-1/2" AUTOGRAPH LETTER SIGNED "James Joyce" to Madame Yasushi Tanaka Louise Gebhard Cann on blue paper integral with envelope which is addressed in Joyce's hand and postmarked on the verso. In full: "Dear Madam In reply to your letter I shall call on you on Sunday afternoon next as it seems to be the most convenient time for you. Sincerely yours James Joyce." Louise Gebhard Cann was a prominent writer and art critic in early 20th century France. At Ezra Pounds suggestion Cann wrote to Joyce requesting an interview with him for an article on writers in France set to appear in an upcoming issue of THE PACIFIC REVIEW. Following publication of the "Nausicaa" episode of ULYSSES in THE LITTLE REVIEW the previous year Joyces writing was deemed obscene. This particular issue of THE LITTLE REVIEW was effectively banned in the United States and it is believed that because of the controversy the editors then decided to omit any mention of Joyce from the finished article published in the March 1921 issue of THE PACIFIC REVIEW. Ellman JAMES JOYCE LETTERS III: 32. unknown
1927rif. RJOYULY00tpmShakespeare and Co. Samuel Roth 1927 1929. Good. Joyce James. Ulysses. Paris NY: Shakespeare and Co. Samuel Roth 1927 1929. Unauthorized 1st U.S. printing. 735pp. 8vo. Greek blue wraps and deckle edges. Book condition: Good with bumped and chipped edges creased and cracked spine and faint soiling. An elusive copy of Joyce's Ulysses. Unauthorized printed and discreetly distributed by Samuel Roth in New York City and Philidelphia six years before before Ulysses' ban would be lifted in the U.S. Although Roth had formerly published Ulysses' serially in Two Worlds Monthly these full length copies made to pass as Shakespeare and Co.'s ninth printing would ulitmately place Roth in jail. Despite its disreputation it is nevertheless held by several special collections across the U.S. and is an essential character in the history of Ulysses and banned books in 20th century America. Shakespeare and Co. [Samuel Roth] paperback
1929rif. 4072Paris: The Black Sun Press 1929. First edition. Number 38 of 100 copies on Japanese Vellum signed by the author. 4to. 212x168mm. 8 XV 1 55 3. Original cream paper wrappers lettered in black and red to upper cover and spine and with 'black sun' motif on the lower cover. Original glassine wrapper. Slight chipping to head of spine and there are some tears to the glassine wrapper at the spine and to the front wrapper but overall in very good condition. Internally excellent with only very minor marking in a few places. Housed in the cardboard slipcase covered with green paper and edged in silver paper to which there is some slight marking and wear to the edges. Signed on the half title by James Joyce in black ink and illustrated with Constantin Brancusi's etching Symbole de Joyce intended by the artist to capture Joyce's "sens du pousser" and described as "a portrait as abstract as the author's text". With a preface by C.K.Ogden who in the same year as the publication of Shem and Shaun arranged a recording of Joyce reading from Anna Livia Plurabelle the first published section of Work in Progress. In an interview of 1936 Joyce said "I haven't lived a normal life since 1922 when I began Work in Progress. It requires an enormous amount of concentration.Since 1922 my book has become more real to me than reality and everything has led to it". "My book" is Finnegans Wake to which during its seventeen year gestation Joyce gave the name Work in Progress. In the late 1920s Joyce published three sections of Work in Progress: Tales Told of Shem and Shaun is the second. Reviews concentrated on the Joyce's verbal brilliance while noting its limited appeal. To H.G.Wells Work in Progress was "an extraordinary experiment" but also "a dead end". Joyce was undeterred. In 1937 two years before the publication of Finnegans Wake Joyce said of "the few fragments which I have published" that they "have been enough to convince many critics that I have finally lost my mind.And perhaps it is madness to grind up words in order to extract their substance or to graft them one onto another to create crossbreeds and unknown variants to open up unsuspected possibilities for these words to marry sounds which were not usually joined together before although they were meant for one another to allow water to speak like water birds to chirp in the words of birds to liberate all sounds of rustling breaking arguing shouting cracking whistling creaking gurgling - from their servile contemptible role and to attach them to the feelers of expressions which grope for definitions of the undefined". Paris: The Black Sun Press 1929 hardcover
1936rif. 30022London: John Lane The Bodley Head 1936. First Edition English Issuance First Authorized English edition one of 900 copies only printed on special Japon vellum papers probably the most beautiful First Edition of ULYSSES ever printed. Tall thick royal 8vo publisher’s original full green polished linen buckram with the gilt lettering and pictorial decoration of the gilt bow designed by Eric Gill on the upper cover and spine housed in the rare printed dustjacket lettered in black on the upper cover and on the spine and decorated with the bow in red on the spine panel. xvi 766 pp. A well preserved copy the covers of the green cloth in bright and beautiful condition without any of the fading typical to the book the back just a bit mellowed at the tips the dustjacket with the price still intact and showing some light aging and some evidence of use or handling but whole and without major defects or substantial wear some tidying up to the verso. A pleasing survival with all aspects of a collector’s demands in good order. A HIGHLY IMPORTANT LITERARY FIRST EDITION ARGUABLY THE GREATEST WORK OF FICTION OF THE 2OTH CENTURY RARE IN THE DUSTJACKET. This an extremely impressive copy of the first authorized English edition. IT IS ALSO THE FIRST EDITION of ULYSSES PRINTED IN GREAT BRITAIN. The superb binding executed in full polished linen buckram has been especially designed for this great book. DESIGNS FOR THE BINDING EXECUTED IN GILT WERE ACCOMPLISHED BY ERIC GILL ONE OF THE MOST GIFTED MASTERS OF THE ART. The typeface is extremely attractive and very readable the printing on fine paper makes the book unusually handsome and presents what is perhaps the most beautiful printing of ULYSSES ever accomplished. Along with the text there are a series of appendices attached including copies of the International Protest against the unauthorized and mutilated printings of ULYSSES done especially in the United States; a copy of the injunction issued to prevent Samuel Roth from continuing his piracies of ULYSSES; a copy of Joyce’s letter to Bennet Cerf concerning the promotion legal fight and publication of ULYSSES on the author’s behalf; a copy of the decision of the US District Court which was rendered on December 6 1933 which lifted the ban on ULYSSES and a copy of the subsequent decision of the US Court of Appeals rendered in August of the following year which upheld the original decision; a copy of the forward to the first American edition and a bibliography of the works of James Joyce. ULYSSES can be viewed as the pinnacle of the Modernist movement and its impact on all subsequent western literature is unmistakable. Such writers as Virginia Woolf John Dos Passos William Faulkner Samuel Beckett Malcolm Lowry and Anthony Burgess have all paid tribute consciously or unconsciously to Joyce's influence. Burgess as well pronounced it the greatest single work in the English literature of this century and he is not alone in that opinion. John Lane, The Bodley Head hardcover
1936rif. 81820London:: John Lane The Bodley Head 1936. First edition printed in England; trade issue; No.571 of 900 copies on Japon vellum. . publisher's green buckram stamped with Homeric bow in gold; t.e.g. iin dust jacket. A fine copy in a dust jacket with slight creasing and use; uncommon in this condition. Small 4to. John Lane, The Bodley Head, hardcover
1936rif. 72353London: John Lane the Bodley Head 1936. First UK edition to be printed in England and eighth edition overall. Number 317 of 900 copies from a total edition of 1000. Small 4to or tall 8vo green linen buckram with gilt-lettered spine and gilt-stamped bow design by Eric Gill on front; text on Japon vellum; top edges gilt; 766 pages including appendices. Near fine with light crease to base of spine minor rubbing to corners and hint of foxing to endpapers; in about very good dust jacket with internal archival-tape repair to spine ends and corners where old tape was removed from verso. Jacket shows a bit of rubbing rumpling and soiling but only minimal edge wear. Relatively scarce in dust jacket. Slocum & Cahoon A23. John Lane the Bodley Head unknown
1971rif. mon0000126694New English Library 1971-01-01. Paperback. Good. in x in x in. Clean copy sound binding. New English Library paperback
1939rif. 87094London: Faber & Faber 1939. First trade edition. Hardcover. 1939 First trade edition first impression. Royal 8vo. Original red cloth ruled and lettered in silver to spine. Dust-jacket priced 25s. A very good first edition of Joyce's key work of literary modernism a hallucinatory dream-like narrative centred on the Earwicker family that weaves myth history and language into a cyclical structure. Very minor rubbing to jacket extremities but overall a very good example. Very Good Faber & Faber hardcover
1929rif. 181353Paris: Shakespeare and Company 1929. Who is Sylvia What is she that all our scribes commend her First edition first issue a press copy inscribed by Beach on the title page "the publisher Sylvia Beach" and with "press copy" ink-stamped on the initial blank. The first article "Dante. Bruno. Vico. Joyce" is Samuel Beckett's first appearance in print while the wider collection is among the earliest critiques of Finnegans Wake published ten years before the novel. The French writer Andre Chamson wrote "Sylvia carried pollen like a bee. She cross-fertilized these writers She did more to link England the United States Ireland and France than four great ambassadors combined. It was not merely for the pleasure of friendship that Joyce Hemingway Bryher and so many others often took the path to Shakespeare and Company in the heart of Paris." This early critique of Joyce's final work was partially intended to raise funds for the perennially impecunious writer. Other contributors include Marcel Brion Frank Budgen Stuart Gilbert Eugene Jolas Victor Llona Robert McAlmon Thomas McGreevy Elliot Paul John Rodker Robert Sage and William Carlos Williams. The publishers later sold sheets of this edition to Faber & Faber in London and New Directions in New York who reissued them with inserted title pages but this copy is from the original Paris issue. Octavo. Original white wrappers printed in black. Housed in custom orange cloth slipcase and chemise. Nicking and a couple of spots of faint toning to extremities short closed tears to spine ends chipping and toning to otherwise clean contents many leaves unopened: a very good copy. Slocum & Cahoon B10. hardcover
1936rif. 183370London: John Lane The Bodley Head 1936. Handsomely bound copy First UK edition. From a total printing of 1000 numbered copies this is one of 844 on japon vellum unsigned of which this is number 844. The Bodley Head Ulysses established the text for the succeeding 25 years and printed as appendices the International Letter of Protest against Samuel Roth's piracy and the famous legal judgement by John M. Woolsey lifting the ban in America on the publishing of the book. Crown octavo 250 x 190 mm. Finely bound by the Chelsea Bindery in green morocco spine lettered and decorated gilt raised bands block design of the bow first designed by Eric Gill gilt to front board twin rule to turn ins burgundy endpapers top edge gilt others untrimmed. The ocasional minor blemish an excellent copy finely bound. Slocum and Cahoon A23. hardcover
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
