2.549 Ergebnisse
1929Best.-Nr. 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 books
2003Best.-Nr. 71661Burton: Subterranean Press 2003. Hardcover. Very good. Hardcover. First Edition. #388 of 1250cc signed by Joyce on the publisher's limitation page. Very good hardback in a very good dustjacket. Subterranean Press hardcover books
1970Best.-Nr. 529325New Brunswick New Jersey: Partisan Review 1970. Softcover. Fine. First edition. Pictorial wrappers. 471-585pp. Subtle impressions from someone using it as a writing surface on the front cover else fine. Poetry short stoires art by Joyce Carol Oates Arthur Schlesinger Jr. Philip Guston Michael Harrington Howard Zinne Irving Weinman Russell Banks George Levine et al. Books reviews of The Lives and Loves of Mr. Jiveass Nigger by Cecil Brown: Maureen Howard; Local Anaesthetic by Gunter Grass: Richard Howard"; and more. Partisan Review unknown books
2012Best.-Nr. 206668Santa Barbara CA: Santa Barbara Museum of Art 2012. Hardcover. VG some shelf wear and residue on front cover otherwise excellent. White boards with black and yellow design white and black text on cover. Interior pages not spine bound to boards. 4 5-160 pp. Features bw and color illustrations. Published on the occasion of the exhibition "Pasadena to Santa Barbara: a selected history of art in Southern California" organized by Julie Joyce and presented at the Santa Barbara Museum of Art February 11-May 6 2012. Santa Barbara Museum of Art hardcover books
1966Best.-Nr. 187029Whittier CA: Constructive Action 1966. Softcover. Very Good. First edition. Very good in wrappers. Pages yellowed from age. Covers worn very lightly. Constructive Action unknown books
1966Best.-Nr. 212288Whittier CA: Constructive Action 1966. Very Good. First edition. Very good. Pages yellowed from age. Covers worn very lightly. Constructive Action unknown books
1966Best.-Nr. 212289Whittier CA: Constructive Action 1966. Very Good. First edition. Very good. Pages yellowed from age. Covers worn very lightly. Constructive Action unknown books
1966Best.-Nr. 146984Whittier CA: Constructive Action 1966. Softcover. Very Good. First edition. Very good in wrappers. Pages yellowed from age. Covers worn very lightly. Constructive Action unknown books
1957Best.-Nr. 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 books
1966Best.-Nr. 140604Los Angeles: Expanding Cinema 1966. Shooting final for the 1966 film. Copy belonging to actor Peter Haskell with his manuscript annotations throughout and his shooting schedule laid in. Mary Ellen Bute's final film and the first cinematic adaptation of James Joyce's masterfully complex work of fiction. Shot over a two year period Bute was tasked with transforming Joyce's impenetrable prose without losing any of the work's surreal lyrical essence. The subsequent film maintains the original novel's oneiric style. Bute and her husband Ted Nemeth were longtime collaborators and Nemeth worked as both cinematographer and producer of the film. In 1965 it was honored at the Cannes Film Festival as Best Debut and remains Bute's sole feature length film. Shot on location in New York City and Dublin. Brown untitled wrappers. Title page present dated March 4 1963 and December 3 1962 noted as Shooting Final with credits for screenwriters Mary Ellen Bute Romana Javitz and T. J. Nemeth Jr and editor A.I.M.S. Street. 148 leaves with last page of text numbered 139. Mimeograph duplication with onionskin revision pages throughout. Pages Very Good plus wrapper Very Good plus. Some pages detaching and wrapper slightly cracked. Bound internally with prong binding. Expanding Cinema unknown books
1986Best.-Nr. 537669New York: New York University 1986. Softcover. Near Fine. First edition. Guest edited by Howard Norman. Perfectbound wrappers. 130pp. Spine lightly sunned else fine. Poetry short stories and more by David St. John Carol Snow Raymond Queneau Charles Bernstein Boris Pasternak Daniel Hoffman Jennifer Clarvoe Herbert Morris Suzanne Gardinier Lydia Davis Paul Lake Richard Jones Lisa Lewis Martin Greenberg Johann Wolfgang von Goethe Norman Finkelstein Clark Coolidge Jane Mead Christopher Benfey Russell Banks Sven Birkerts Wendy Lesser and John Berger. New York University) unknown books
1967Best.-Nr. 337021Stanford Connecticut: Per/Se 1967. Softcover. Fine. Magazine. 64pp. Fine in stapled wrappers. Includes an interview with Erskine Caldwell fiction from Leonard Tushnet and poetry from Malcolm M. Sedam Joyce Odam and Elizabeth Bartlett. Per/Se unknown books
1994Best.-Nr. 319619New York: Hyperion 1994. Hardcover. Fine/Fine. First edition. Fine in fine dust jacket. Hyperion hardcover books
1994Best.-Nr. 306172New York: Hyperion 1994. Hardcover. Fine/Fine. First edition. Fine in fine dust jacket. Although not marked in any way this copy is from the distinguished modern first edition collection of Bruce Kahn. Hyperion hardcover books
1998Best.-Nr. 21675NY: Stewart Tabori & Chang. Fine in Fine dust jacket. 1998. Hardcover. 1556706073 . Color photographs throughout. First printing. Fine in a fine dust jacket. . Stewart, Tabori & Chang hardcover books
1995Best.-Nr. 11104NY: Ecco Press. Fine in Near Fine dust jacket. 1995. Hardcover. 0880014008 . First edition. SIGNED by the author. Fine in an about fine bottom corner of front flap is lightly creased dust jacket. . Ecco Press hardcover books
1989Best.-Nr. 137480Norman: University of Oklahoma Press 1989. Hardcover. Fine. First edition. Quarto. 294pp. Gilt-stamped blue cloth. Fine. Advance Review Copy with slip laid in. University of Oklahoma Press hardcover books
1989Best.-Nr. 268056OK: Univ of OK 1989. Hardcover. Very Good. First edition. Very good hardcover. First US edition. Pages are clean. Clean dark blue cover with gold gilt letters on front and on spine. Univ of OK hardcover books
1989Best.-Nr. 29382Norman OK: University of Oklahoma 1989. First Edition. Large 8vo pp. 294. Includes index and chronological index. Cover slightly scratched o/w near fine. University of Oklahoma unknown books
1977Best.-Nr. 71246NY:: New York University. Fine. 1977. Paperback. B000IVL85M . Illustrated exhibition pamphlet. First edition paperback. Fine in illustrated stapled wraps.; 34 pages . New York University, paperback books
1960Best.-Nr. 392967New York 1960. Hardcover. Very Good. Oblong quarto. Brown leather over paper boards with "Photographs" embossed on the front board. A collection of 132 black and white or color photographs affixed to stiff black paper as well as newspaper clippings and some postcards. Various sizes with most being 3.5" x 3.5". Boards are good only with tape replacing the spine chips tears and a few present but detached pages overall very good. The assemblage contains photographs and ephemera related to the dancing career of Joyce Pickens. Originally from New York Pickens traveled the United States and Canada performing at clubs and supplementing her income by staying on in some cities to teach the newest dance crazes to hip citizens. In an offprint of an article from a May 1964 Toronto Daily is a discussion of how the Discotheque trend had arrived from Paris and Pickens had stayed on to teach the dances dubbing her "Toronto's original discotheque girl." They quote her as saying "We're headed into another era like the 'roaring twenties.' When the big bands died people gave up going out to dance except at private parties. Now with the discotheque they can have all the variety and sounds they want. everything at the flick of a turntable switch." The photos show Pickens posing in a variety of costumes as a cowgirl a flamenco dress even a bikini and in numerous clubs and venues including California's Moulin Rouge Club. Also tipped in are business cards for some of the backing bands that she danced with such as Alfredito and his Mambo Orchestra Barry Del Rae and Andrew Alvarez. There are also a handful of curious drawings one of a hand-colored treasure map another pencil drawing labeled "Holiday Inn." The end of the album has small newspaper clippings containing advertising for costumers and nightclubs. An interesting and plentiful collection of the earliest gestation phase of the disco area. hardcover books
1937Best.-Nr. 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 books
1998Best.-Nr. 205231Zurich / New York: Edition Stemmle 1998. Hardcover. VG. Ex-lib with minimal markings. Sticker on spine and inside rear board paste down. Otherwise besides from a little soiling on the rear panel of the jacket book is clean and unmarked. Quarto. Hardcover. Paper boards in b&w illustrated jacket. 207 pages : chiefly illustrations ; 31 cm. Edition Stemmle hardcover books
1932Best.-Nr. 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 books
1984Best.-Nr. 101457Boston: David R. Godine 1984. First edition. Softcover. A nice look at her rather ethereal photographs. This is the simultaneous oversized wraps edition. A clean very good plus copy with some wear to the bottom front corner but internally very clean. A very presentable copy of this book. David R. Godine unknown books
