Joyce JamesABAA
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1930WRCLIT79519London: Ulysses Bookshop 1930. 12mo. Cloth backed boards printed label edges untrimmed. Usual very slight tan offsetting to endsheets otherwise a fine copy. First edition in book form of this essay first published in THE FORTNIGHTLY REVIEW April 1900. The edition consisted of forty press-numbered copies of which this is #11 plus an unspecified number of review and out of series copies printed by H.D.C. Pepler. The review copies are denoted "Press Copy" and like these numbered copies bear the approbation: "No copy for sale." Shortly after publication Jacob Schwartz proprietor of The Ulysses Bookshop informed Joyce that twenty-two sets of this work and its companion volume were sent to libraries ten sets to friends and one set each to Joyce Stuart Gilbert and Harriet Shaw Weaver. He retained five sets which he assured Joyce would not be offered for sale. He did not however provide an accounting of the "Press" copies in that letter. But in later years he inscribed at least one 'press' copy of its companion suggesting it was one of about fifteen copies thus. SLOCUM & CAHOON A40. Ulysses Bookshop hardcover books
1987302463New 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. The Weil - Van Dyke Epiphanies. 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.<br/><br/>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 books
1916140940404New York: B. W. Huebsch 1916. First Edition. Near Fine. First American edition first printing. Bound in publisher's original pale green cloth lettered in dark green. Near Fine with sunning to spine and light rubbing to spine ends bookplate to front paste down light foxing to preliminary and terminal pages pages lightly toned. One of 504 copies of the first American edition which was bound up using imported sheets from the first London edition published two years earlier by Grant Richards the title page being a cancel with the Huebsch imprint. A lovely copy of this modernist cornerstone. B. W. Huebsch unknown books
1939WRCLIT63338London: Faber and Faber 1939. Large octavo. Gilt cloth. Usual tan offset from free endsheets to facing pages otherwise a fine bright copy in dust jacket and uncommon thus. First British edition trade issue published on the same day as the U.S. trade edition from Viking and the limited edition bearing Faber and Viking's joint imprint. One of a total first printing of 3400 copies of which 950 copies in sheets were destroyed. This copy was quite possibly utilized for review as the formal publication date '4 May 1939' is stamped on the front dust jacket flap. "If Finnegans Wake is a key book it is a key which needs a key. The Wake reminds me of the unfinished obelisk which lies on its side at Assuan yet it has passages of unearthly beauty particularly the last page and huge comic scenes" - Connolly. MODERN MOVEMENT 87. SLOCUM & CAHOON A47. Faber and Faber hardcover books
1930265666Paris: Babou & Kahane 1930. paperback. fine/near fine. Thin 4to cream colored wrappers printed in green & black glassine d.w. Paris: Babou & Kahane; N.Y.: Fountain Press 1930. Limited Edition.<br/><br/> Number 55 of 100 copies printed on hand-made iridescent Japan and signed by Joyce. The glassine wrapper is minimally chipped on the spine. Fine lacking the slipcase.<br/><br/> Babou & Kahane unknown books
1928270160New York: Crosby Gaige 1928. First. hardcover. fine. Preface by Padraic Colum. 16mo brown cloth. New York: Crosby Gaige 1928. Limited Edition.<br/><br/> First appearance in book form from the work in progress that would become "Finnegans Wake". An exceptionally nice copy with the gilt stamping very bright. One of 800 copies signed by the author. Slocum & Cahoon. A 32.<br/><br/> Crosby Gaige unknown books
1916180218008New York: B.W. Huebsch 1916. First Edition. Hardcover. Near Fine. First edition first printing. 299 pp. Original blue cloth with gilt spine lettering blind stamped front board. A Near Fine copy with an owner inscription on top of first page dated 1917; small faint stains to front board and top edge little bit of rubbing to head and foot. No jacket. A very nice copy of the first novel by the innovative Irish writer printed in the US before its British issue. B.W. Huebsch hardcover books
1907WRCLIT64584London: Elkin Mathews 1907. Green cloth lettered in gilt. Ornamental title border. Spine faintly sunned endsheets a bit tanned with faint binding adhesive discoloration along gutter otherwise a near fine bright copy. First edition second binding thin wove endsheet variant of Joyce's first clothbound book. The entire first printing consisted according to early sources of five hundred and nine sets of sheets. The first lot of sheets were bound for publication in May of 1907; a second binding lot was ordered at an unknown but significantly later date. The copy in hand has the thin wove endsheets as opposed to thicker wove endsheets that appear in other copies of the second binding lot priority undetermined and likely nonexistent. SLOCUM & CAHOON A3. Elkin Mathews hardcover books
1922WRCLIT70000Paris: Published for the Egoist Press London by John Rodker 1922. Small thick quarto. Original blue and white wrappers. Quarto gathering of errata laid in. Wrappers chipped at spine ends with partial splits of wrapper joints at extremities a few light rubs or soft creases to wrappers a bit of minor foxing to errata and endleaves but internally very good and if properly bound a quite agreeable copy. "First English edition" but more precisely the second impression of the first edition printed from the largely unaltered plates used for the first impression and intended for distribution in Britain. Copy #645 of 2000 numbered copies printed on handmade paper i.e. a copy from the sequence erroneously alleged to have been burnt by US customs. SLOCUM & CAHOON A18. MODERN MOVEMENT 42. Published for the Egoist Press, London, by John Rodker unknown books
1938WRCLIT83028Paris The Hague etc. 1938. Whole numbers 1-14 and 18 through 27 in 23 issues of 25 published bound up in eight volumes gilt cloth original wrappers and some cover slips bound in. Accompanied by two issues #15 and double number 16/7 in original wrappers and two supplements in original wrappers. A few wrappers show modest soiling those issues which inevitably show slight to a bit more than slight tanning to the text stock do so here some minor soiling and a few isolated spots to the cloth bindings tidemark at the toe of the spine of the volume containing 21/22/23 with some slight isolated rippling to some of the plates issues 15 and 16/17 lightly worn but unusually nice for these particular issues. Withal a good to largely very good or better run. A complete run of the most famous and influential expatriate literary periodical of its times edited by Eugene Jolas and various associate editors. This is a good association set with additions bound for and with the ownership signature in the second volume of poet/publisher James Laughlin who dedicated the premiere volume of his annual NEW DIRECTIONS IN PROSE & POETRY to "The Editors The Contributors & The Readers of TRANSITION who have begun successfully The Revolution of the Word." Issues number 1 and 6 are denoted second editions ie. printings with #1 now printing the correct order for Stein's "An Elucidation." Accompanied by the separate pamphlet printing of the corrected version of "An Elucidation" issued at Stein's insistence concurrent with the appearance of the first printing of issue #1. Also present is a fine copy of the supplement to issue #23 printing the collective "Testimony Against Gertrude Stein" in response to various slights errors or attacks made by her in THE AUTOBIOGRAPHY OF ALICE B. TOKLAS. Maria and Eugene Jolas Georges Braque Henri Matisse André Salmon and Tristan Tzara are the respondents. In addition to providing the forum for the serial publication of Joyce's WORK IN PROGRESS TRANSITION records a virtual who's who of the literary innovators of the times with the notable exception of Ezra Pound whose lack of affinity with one of the most frequent contributors may have led him to steer a separate course. WILSON & UPHILL A10 etc. SLOCUM & CAHOON C70. HANNEMAN C300 etc. hardcover books
1916101988New York: Huebsch 1916. First edition of Joyce's classic stream-of-consciousness work his first novel. Octavo original blue cloth with titles to the spine in gilt. In excellent condition without the usual fade to the spine with some rubbing to the extremities. A Portrait of the Artist as a Young Man is a semi-autobiographical novel by James Joyce which describes the formative years of the life of Stephen Dedalus. It was published first in book format in 1916 by B. W. Huebsch New York. The first British edition was published by the Egoist Press in February 1917. Chosen by Modern Library as one of 100 greatest novels of the twentieth century. Huebsch hardcover books
1928WRCLIT63296New York: Crosby Gaige 1928. Gilt cloth t.e.g. Trace of light wear at toe of spine light neat pencil acquisition note on free endsheet dated 1929 small smudge of dulling toward lower edge of upper board otherwise a near fine copy in custom cloth-covered slipcase. First edition in book form. One of 800 numbered copies signed by the author from a total edition of 850. The first owner notes this copy was acquired when "tempted by this at Random House - succumbed!" Random House distributed a portion of the edition. SLOCUM & CAHOON A32. Crosby Gaige hardcover books
19391407517Faber and Faber Limited London 1939. 1st Edition. Hardcover. Near Fine/Very Good. First edition first printing. First published in Mcmxxxix stated on the copyright page. Book near fine fore and tail edges untrimmed slight foxing on paste-downs end papers and last page some very minor soiling on covers. Dust jacket very good some repair along top edges and rear hinge visible on inside of dj some minor soiling and minor foxing on inside of dj. Flap price 25s.net. Comes in custom-made slipcase. Faber and Faber Limited, London hardcover books
193925419London: Faber & Faber Limited 1939. Light foxing and offsetting to the endpapers small bookseller's label inside back cover spine ends lightly crimped with bottom corners gently bumped; near fine in a near fine jacket completely unrestored clipped at all edges and price-clipped with three short closed tears and a hint of edgewear still bright and unfaded. An exemplary copy of one of the least read and understood novels of the 20th century. Housed in a custom quarter leather clamshell box. First Edition. Thick octavo. First British Edition trade issue published simultaneously with the American and the British deluxe. Total printing of 3400 copies with 50 copies in sheets destroyed Slocum and Cahoon A47. London: Faber & Faber Limited unknown books
1929299582Paris: Black Sun 1929. First. paperback. fine/fine. Three Fragments from a Work in Progress. With a "Portrait" by Brancusi. Sq. 8vo printed wrappers with original glassine. Paris: The Black Sun Press 1929. First Edition.<br/><br/> Contains work that was later to appear in Finnegans Wake. Number 66 of 500 copies. Fine in the original gilt slipcase. Slocum & Cahoon A-36.<br/><br/> Black Sun unknown books
19163926New York: B. W. Huebsch 1916. First edition. Very Good . A Very Good copy with minor shelfwear to extremities. Spine toned. Rear inner hinge tender but holding. Previous owner's bookplate to the front free endpaper. <br/><br/>Joyce's first novel recounts the coming of age story of Stephen Dedalus the artistic alter-ego of Joyce himself. Stephen grows up ensconced in rigid institutions: the church school system family and national politics. Feeling trapped Stephen experiences a series of awakenings as he grows older and as a result of these awakenings Stephen rejects these traditional bulwarks of Irish culture. Instead he develops an aestheticism that will support his artistic vision. This rejection of existing communities and institutions alongside his embrace of a new aestheticism alienates Stephen from what he knows. Facing this alienation Stephen decides to leave Ireland and pursue his art abroad. <br/><br/>A Portrait of the Artist as a Young Man is an important contribution to literary modernism. One aspect of this innovativeness is Joyce's use of age-appropriate syntax and vocabulary. The beginning of the novel which starts in Stephen's infancy is mostly monosyllabic nonsense. As Stephen grows older and grasps more about the world and his place in it the novel's vocabulary and syntax become correspondingly complex. Of Joyce's first novel H.G. Wells writes that "It is a mosaic of jagged fragments that does altogether render with extreme completeness the growth of a rather secretive imaginative boy in Dublin. The technique is startling but on the whole it succeeds." Very Good . B. W. Huebsch unknown books
19162940New York: B. W. Huebsch 1916. First edition. Very Good. A Very Good copy with bright gilt on the spine. Shelfwear to extremities. Front inner hinge tender but holding. Some offsetting to front endpaper and early ownership signature to front pastedown. Page 16 with slight skinning affecting several lines of text. <br/><br/>Joyce's first novel recounts the coming of age story of Stephen Dedalus the artistic alter-ego of Joyce himself. Stephen grows up ensconced in rigid institutions: the church school system family and national politics. Feeling trapped Stephen experiences a series of awakenings as he grows older and as a result of these awakenings Stephen rejects these traditional bulwarks of Irish culture. Instead he develops an aestheticism that will support his artistic vision. This rejection of existing communities and institutions alongside his embrace of a new aestheticism alienates Stephen from what he knows. Facing this alienation Stephen decides to leave Ireland and pursue his art abroad. <br/><br/>A Portrait of the Artist as a Young Man is an important contribution to literary modernism. One innovation is Joyce's use of age-appropriate syntax and vocabulary. The beginning of the novel which starts in Stephen's infancy is mostly monosyllabic nonsense. As Stephen grows older and grasps more about the world and his place in it the novel's vocabulary and syntax become correspondingly complex. Of Joyce's first novel H.G. Wells writes that "It is a mosaic of jagged fragments that does altogether render with extreme completeness the growth of a rather secretive imaginative boy in Dublin. The technique is startling but on the whole it succeeds." Very Good. B. W. Huebsch unknown books
1989WRCLIT52163New York: Vincent FitzGerald & Co. 1989. Small folio 35.5 x 25 cm. Linen over boards with stiff-handmade paper endleaves. The crown of the spine is marred by three pin- pick size holes in the surface cloth and several smaller dents evidently the work of a cat otherwise fine. One of fifty numbered copies with the text and illustrations printed on handmade Dieu Donné and special Japanese papers by Daniel Keleher and Bruce Chandler at Wild Carrot Letterpress signed and numbered by the artist below the portrait of Joyce facing the colophon. As a follow-up to her collaborative edition of Joyce's EPIPHANIES of 1987 Weil here illustrates Joyce's text in a variety of media including etchings stencil cuttings original watercolors etc. The calligraphy was executed by Jerry Kelly the etchings printed by Marjorie Van Dyke and the collages by Zahra Partovi. Vincent FitzGerald & Co. hardcover books
19341508062Random House 1934. 1st Edition. Hardcover. Fine/Very Good. First authorized US edition fine in a very good dust jacket first issue jacket with artist's name on front. Housed in a custom-made collector's slipcase. Random House hardcover books
1922253423London: Egoist 1922. First. hardcover. very good. Thick large 8vo original blue wrappers; front cover detached; spine & edges rubbed. London: Printed for the Egoist Press by John Rodker 1922. Limited Edition.<br/><br/> First English edition printed in Paris. Number 1516 of 2000 numbered copies of which 500 were reportedly destroyed by U.S. Customs. The Errata pages are present. Protected in an blue cloth clamshell case with black leather label.<br/><br/> Egoist unknown books
1966140604Los Angeles: Expanding Cinema 1966. Shooting final for the 1966 film. Copy belonging to actor Peter Haskell with his holograph annotations throughout and his shooting schedule laid in. <br/><br/>Mary Ellen Bute's final film and one of the only cinematic adaptations of James Joyce's masterfully complex work of fiction "Finnegans Wake." 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. <br/><br/>Shot on location in New York City and Dublin. <br/><br/>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
190782992London: Elkin Mathews 1907. First. hardcover. near fine. Thin 12mo original green cloth gilt lettered on front cover & spine. London: Elkin Mathews 1907. First Edition. Third variant with the endpapers of thin wove paper. Joyce's first published book a collection of poems written in his early youth. Slocum & Cahoon A-3.<br/><br/> Elkin Mathews unknown books
192927928Cambridge: The Orthological Institute 1929. First pressing. 78 r.p.m shellac record album. Label printed in green text only with rubber-stamp "Made in England;" the same stamp appears on the unprinted plain brown cover which is rather worn. The record itself is in fine condition. One of only two published recordings of Joyce reading. Slocum and Cahoon p. 173. <br/><br/> The Orthological Institute unknown books
1989290816New York: Whitney Museum 1989. Limited. hardcover. fine. Gober. 2 vols. bound in crushed white leather with diary-style gilt clasps and enclosed side by side in the publishers 4to lavender silk box. New York: Whitney Museum 1989. Limited Edition.<br/><br/> This beautifully conceived artist's book of a short story concerning a pair of twins was designed by Robert Gober along with the hand-written text & lithographed end-papers. One of 140 copies signed by Oates and Gober. As new in a very lightly stained box.<br/><br/> Whitney Museum unknown books
1990140941417Multiple places: Various 1990. An archive related to bullfighting from the estate of American bullfighting scholar Tony Brand 1936-2017 consisting of his original photos vintage publicity stills from bullfighting movies screenplays a pre-publication manuscript of a book by an American bullfighter ephemera bullfighting scarves and an interview with a famous American bullfighter on cassette. Besides his work on films assistant directing City Slickers Mitchell and Fat Boys vehicle Disorderlies screenwriting bullfighting and flamenco guitar-playing Brand was also an authority on Ernest Hemingway. His enthusiasm for bullfighting carries over in this multifaceted archive.<br /> <br /> <p>Original Photos:<br /> <br /> <br>Approximately 220 original b/w photos in various sizes by Brand with the bullfighters identified including Antonio Barea Paco Bautista Antonio Millan Paco Camino Guillermo Carvajal Pedro Benjumea getting gored in Madrid in 1970 in a series of photos Juan Calero Agapito Sanchez Vincente Yanguez Santana "El Chano" and many more; generally appear to be the late '60s early '1970s. Eight unidentified misc photos of various dimensions with few pieces of ephemera from bullfights. A few smaller photos have red squares drawn around main action some signed by Brand. Lots of action in these photos. Also two 1960s photos of Brand himself in the practice ring doing cape work with a cow.<br /> <br /> <p>Hollywood Publicity Photos:<br /> <br /> <br>11 vintage Hollywood publicity photos all but one in glass frames. Includes Rodolfo Valentino in Blood and Sand 1922 Ricardo Montalban in the 1947 film Fiesta Mario Moreno in Around the World in 80 Days with David Niven Anthony Quinn in The Magnificent Matador Laurel and Hardy in The Bullfighters. Plus a framed photo of Brand with flamenco musicians in Cape Town South Africa in 1964.<br /> <br /> <p>Screenplays:<br /> <br /> <br>1. Brand Tony. The Final Verdict. Original Screenplay. Stated "First Draft. April 1 1978." Bound in generic black leather. Tony Brand's own copy with some minor corrections in pencil and red ink. Printed on rectos only. Title 1 1-23 2-85 88-98 98a 98b 99-114 pp. Very Good. A screenplay for a bio-pic about then-imprisoned South African leader Nelson Mandela. We could find no evidence that this work was ever filmed.<br /> <br /> <br>2. Brand Tony. The Final Verdict The Trial of Nelson Mandela. Brass brad bound in plain light blue wraps. Stated "First Draft." Undated with Brand's notation "written in 1968." Title 1 1-71 73-137 pp. Very Good; front wrap semi-detached. Title handwritten on spine.<br /> <br /> <br>3. McMahon Mary Katherine; Joyce Irvine. Torera. Topanga: Capstone Pictures Limited 1995. Revised May 10 1995. Brass brad bound with plain red wraps title handwritten on front wrap and spine. Title Dedication 107 pp. Near Fine. Tony Brand's copy of a screenplay about a female bullfighter or "torera" which was apparently never made.<br /> <br /> <p>Bullfighting Book Manuscript:<br /> <br /> <br>Cunningham Patrick. The Rain in Spain later A River of Lions. Los Angeles: The Peter Fleming Agency nd. Manuscript. 332 pp. but missing p. 63. Unbound 8.5" x 11" sheets. Tony Brand's copy with his penciled notes on title sheet. Light edge wear heavier on last page which has several closed tears. A fictionalized account of the author's experiences; he was one of the few Americans to fight bulls in Spain. It would be published in 1991 as A River of Lions.<br /> <br /> <p>Interview on Cassette:<br /> <br /> <br>Brand Tony. Interview with bullfighter John Fulton March 15 1994 in Mexico. 90 minute cassette. Audio quality unknown not played.<br /> <br /> <p>Bullfighting scarves:<br /> <br /> <br>"Tardes de Toros" souvenir silk bullfighting scarf. Undated ca. 1960s. Unworn. With another vintage bullfighting scarf c. 1950s with a Mexican and American flag border gently used. [Various] unknown books
