Ulysses

Paris: Shakespeare and Company,, 1922. Small quarto. Original blue wrappers, titles to cover in white. Housed in a custom blue quarter morocco and cloth solander box and blue cloth chemise. The lithographed colour has failed to print along the edge of the inside rear flap, a print shop accident not affecting the external appearance. Wrappers a little darkened, slightly rubbed and nicked to extremities, skilful paper restoration visible only under raking light to short split at head of rear joint and at a narrow angle across the spine, tiny repair to nick at head of front joint, faint offsetting to endpapers, contents fresh with a couple of leaves unopened. An excellent copy. First edition, first issue, no. 82 of 100 copies signed by Joyce and printed on Dutch handmade paper. Ulysses was published in imitation of the traditional three-tiered French format aimed at both connoisseurs and readers: 100 signed copies on Dutch handmade paper; 150 large paper copies printed on heavier vergé d'Arches, and 750 copies on vergé à barbes forming the smaller trade issue. Ulysses was published on 2 February 1922. Sylvia Beach's notebook records that this copy was sold to the Chelsea Book Club on 8 June, a bookshop and art gallery in Cheyne Walk, Chelsea, London, which stocked English and French literature. It was the first bookshop in England to sell Ulysses in 1922. Leslie Seymour, who took over management of the shop from Aldous Huxley, noted: "'we've sold in advance twenty-one copies of the first edition of James Joyce's book at £3.10.0 a copy... and the Chelsea Book Club will be the only people in England to have it, for I was in Sylvia Beach's little shop in the Rue de l'Odeon today and took a packing-case of copies from her. She explained it had been returned from some other London bookshop, badly damaged apparently by a pick wielded by the Customs, I would have to to take the risk of any spoilt copies'" (Leslie, p. 110).

Paris: Shakespeare and Company, 1922. First edition, one of 750 numbered copies, this example is number 282. Quarto, original blue wrappers as issued. Association copy, inscribed by the author on the half-title page, "To Lewis Galantiere James Joyce Paris 11 February 1922." Ulysses was scheduled for publication on Joyce's fortieth birthday (February 2, 1922), but only two copies were ready on that date due to technical difficulties in printing the cover, the color of which Joyce wanted to match with the blue of the Greek flag. One of these was the copy delivered by Sylvia Beach to Joyce on February 2, which he then inscribed to his wife Nora, being the only known presentation copy to predate Galantiere's. The present copy in turn predates by two days the three copies presented to Sylvia Beach, Harriet Shaw Weaver and Margaret Anderson, and by three days the copy inscribed to Robert McAlmon, who helped Joyce prepare the final typescript. Galantiere was an American translator of French literature, writer, playwright and journalist. From 1920 to 1927 he was secretary of the International Chamber of Commerce in Paris, and came to know most of the literary figures of the day, including Hemingway. In a letter to Harriet Weaver of 17 April 1926, Joyce writes: "I am to read [from Finnegans Wake] ... to a small group, this time including ... a young American Galantiere who is preparing a course of lectures of Ulysses" (Joyce Letters vol 3, p 140). Slocum & Cahoon A17; Connolly The Modern Movement 42. In excellent condition with light rubbing, rebacked without the folding flaps. With Galantiere's marginal markings in pencil and in ink. Housed in a custom full morocco clamshell box. An exceptional rarity of this twentieth century milestone. Ulysses was published in Paris by Shakespeare & Company in 1922. "The novel is universally hailed as the most influential work of modern times" (Grolier Joyce 69). After working seven years on Ulysses, Joyce, desperate to find a publisher, turned to Sylvia Beach of Shakespeare and Company in Paris. "Within a month of the publication, the first printing of Ulysses was practically 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... Then began the great game of smuggling the edition into countries where it was forbidden, especially England and the United States. The contraband article was transported across the seas and national borders in all sorts of cunning ways" (de Grazia, 27).

Paris: Shakespeare and Company,, 1922. Quarto (259 x 202 mm). Contemporary purple sheep, dated 1922 in gilt at foot of front turn-in, marbled endpapers, top edge gilt, others uncut; original printed wrappers bound in. Sheep with small areas of wear, purple dye a little sunned and faded on front board, inscribed half-title slightly toned, an excellent copy. First edition, first printing, large paper issue, one of 150 copies on verge d'Arches, this copy number 136, one of three copies of this issue recorded in Sylvia Beach's notebook as sent to James Whitall on 28 March 1922; this copy additionally signed and dated by Joyce on the half-title, "James Joyce, Paris, 27.vi.[1]929". Brought up as a Quaker in Philadelphia, James Whitall (1888-1954) came to England just before the war, cushioned by an independent income. Through John Cournos, whom he had known in the United States, he met the Aldingtons in August 1914. His literary tastes were fairly conservative, but he became particularly friendly with HD, whose lover Bryher was a key financial supporter of Sylvia Beach's bookshop. Whitall never completed any original poetry or prose, but came to make his career as a translator of French and later, for a period, as a reader at Heinemann's. He gives an affectionate account of his friendship with the Aldingtons in English Years (London: Jonathan Cape, 1936). No correspondence between him and Joyce survives, and the book was probably signed for him by Joyce through Sylvia Beach's agency. Though without bookplate, this copy was latterly in the library of John and Janet Jameson, who likely acquired this copy in the 1950s, after Whitall's death. Ulysses was published in imitation of the traditional three-tiered French format aimed at both connoisseurs and readers: 100 copies were printed on Dutch handmade paper and signed by Joyce; 150 copies were printed on heavier vergé d'Arches to create this large paper format; and the remaining 750 copies formed a small format trade issue, printed on less expensive vergé à barbes stock. With its generous margins, the large paper format is the most aesthetically pleasing of the three formats.

Paris: Shakespeare & Co., 1922. First Edition; one of 750 numbered copies. Original publisher’s wrappers. Minor rubbing and soiling of the wrappers; a little short of fine, but an excellent, unrestored copy. Never having read this effusively praised and influential book, this cataloguer will refrain from plagiarizing those who are actually familiar with it. In a custom clamshell box.

Paris: Shakespeare & Company, 1922. First edition, one of 750 numbered copies on handmade paper from a total edition of 1000 copies, this is number 992. Thick quarto, original blue and white wrappers. A near fine example, internally fresh and largely unopened, completely unrestored. Housed in a custom half morocco clamshell box. This example contains the original prospectus with the tipped-on reproduction of the 1918 photo of Joyce by C. Ruf. The front panel of the prospectus has been amended, as often, to indicate the book "is now ready," and the original buyer must have jumped at the opportunity, as the order panel of the prospectus has been neatly cut away. Sisley Huddleston's 5 March 1922 review from The Observer is also laid in (though both items are in prophylactic sleeves that have prevented any offsetting). Also laid into the slipcase is some correspondence relating to the sale of this copy in 1972 by Duschnes in New York City. An exceptional example with noted provenance. 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 "[u]niversally 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).

Paris: Shakespeare and Company,, 1922. Small quarto (233 x 178 mm). Contemporary blue half morocco with the original wrappers bound-in, decorative gilt spine, blue linen sides, top edges gilt, marbled endpapers. Housed in a custom made blue cloth solander box, red calf label. Joints rubbed but professionally refurbished; bound without the final blank. An excellent copy. First edition, first printing, number 795 from a total edition of 1,000 copies, one of 750 copies on vergé à barbes. Signed by Joyce on the blank before the half-title: "James Joyce, Paris, 26 February 1924". At this time Joyce was already at work on Finnegans Wake and on the previous day (25 February) had penned a postcard to Ford Madox Ford asking "can you please let me have my typescript back and the first proofs?"; Ford, editing the transatlantic review, was to publish the first fragment in the April 1924 issue (see Richard Ellmann, Letters of James Joyce, vol. III, 1966, p. 89). Ulysses was published on 2 February 1922 in imitation of the traditional three-tiered French format aimed at both connoisseurs and readers: 100 copies were printed on Dutch handmade paper and signed by Joyce; 150 copies were printed on heavier vergé d'Arches to create a large paper format; and the remaining 750 copies formed a small format trade issue, printed on less expensive vergé à barbes stock.

John Lane, 1936 SIGNED LIMITED EDITION. This Limited Edition of 100 copies is SIGNED by James Joyce. A beautiful copy bound in the original vellum with only slight wear to the edges. The binding is tight, and the boards are crisp with minor wear to the panels. The pages are clean. There is no writing, marks or bookplates in the book. Overall, a lovely copy SIGNED by the author. We buy James Joyce First Editions.. Signed by Author(s). Hardcover. Near Fine.

London: John Lane, The Bodley Head, 1936. First authorized English edition; one of 100 copies signed by Joyce (of a total edition of 1000) printed on mould-made paper bound in vellum. 8vo, luxuriously bound in a beautiful designed binding by Eric Gill of full vellum with his gilt decorations of a bow on the upper cover, and a gilt titled spine, t.e.g. Housed in the original publishers patterned boards slipcase. 766 pp. A very fine copy. One of the most handsome we have seen. VERY IMPORTANT LITERARY FIRST. SIGNED BY THE AUTHOR. This an extremely impressive copy of the first authorized English edition, signed by Joyce. IT IS ALSO THE FIRST EDITION of ULYSSES PRINTED IN GREAT BRITAIN. The superb binding executed In full vellum has been especially designed for this great book. DESIGNS FOR THE BINDING, EXECUTED IN GILT WERE DESIGNED BY ERIC GILL. 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 bibiography 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.

Paris: Shakespeare and Company,, 1922. Small quarto. Original blue wrappers, titles to cover in white. Housed in a custom brown cloth flat-backed box. Minor loss to spine ends, edges rubbed with some typical separation at spine, couple of marks to wrappers and slightly sunned, colour still strong, slight crease to foot of front wrapper and head of rear wrapper with concomitant short closed tear. A fresh copy, entirely unrestored, and with a few leaves unopened. First edition, first printing, number 475 of 750 copies, from a total edition of 1,000 copies. Ulysses was published in imitation of the traditional three-tiered French format aimed at both connoisseurs and readers: 100 copies were printed on Dutch handmade paper and signed by Joyce; 150 large paper copies were printed on heavier vergé d'Arches, and the remaining 750 copies formed this slightly smaller format trade issue. Ulysses was published on 2 February 1922. Sylvia Beach's notebook records that this copy was sent to the American book wholesalers, Stevens and Brown, on 18 February. Harriet Shaw Weaver, the proprietor of the Egoist Press and Joyce's agent for Ulysses, pressed Sylvia Beach to grant a larger discount to wholesalers and export agents for the work, citing Stevens and Brown as an example. Weaver noted that they were unlikely "to buy copies to hold up and sell at an advanced price... Would you agree to 15%?... it was scarcely worth their while to take any trouble over the book at a discount of 10% because their customers, being booksellers, they will themselves have to allow some discount" (Rainey, p. 59).

Limited Editions Club, 1935 SIGNED/LIMITED EDITION of 250 copies. This copy is SIGNED by James Joyce and Henri Matisse, the illustrator. A spectacular copy with slight wear to the spine and edges. The binding is tight, and the boards are crisp. The pages are clean with no writing, marks or bookplates in the book. Overall, a wonderful copy SIGNED by the author and illustrator. We buy SIGNED Joyce First Editions.. Signed by Author(s). 1st Edition. Hardcover. Fine.

Paris: Shakespeare & Co., 1922. Full gilt lettered turquoise leather with the original turquoise wraps bound in. Housed in matching clamshell box. This is the first edition limited to 750 copies on handmade paper of which this is #629. The wraps are complete (minus spine) with some scuffing and minor marking to them. Otherwise a very sharp clean copy attractively rebound. The most influential, if not the greatest, novel of the 20th century by the greatest of all wordsmiths published by the adoring Sylvia Beach at Shakespeare and Co. Joyce was the only author she ever published. What a choice! . 1st Edition. Leather (wraps Bound in ). VG+/VG+. 8vo.

Paris: Shakespeare & Co, 1922. Limited. paperback. very good(-). Thick large 8vo, original blue wrappers printed in white. Paris: Shakespeare & Co., 1922. First edition. From a total printing of 1000, this is one of only 150 large paper copies on verge d'Arches, measuring 10.375 x 8.9375 inches. Housed in a blue half morocco clam-shell case. A large, uncut copy in original wrappers, paper lacking from the spine and with small chips at the joints; faint discoloration on copyright and limitation pages from old paper once laid in; a handful of other pages with brownish spatter. Number 174 of 1000 numbered copies. Although the series of 750 were numbered 251- 1000 they were actually printed first. The series of 100 was done next, and the large format run last. Because of the larger format the printer had to reimpose the forms, which gave Joyce the opportunity to correct one typo, "borad" to "board" on p. 31, l. 10. S & C. A17.

The Limited Editions Club, New York, 1935, 1935 LIMITED EDITION of 1500 copies printed. This copy is authentically SIGNED by James Joyce and Henri Matisse on the limitation page. The book is bound in the ORIGINAL publisher's brown cloth with light wear to the spine and edges. The binding is tight with NO cocking or leaning. The pages are clean with NO writing, marks or bookplates in the book. A lovely copy of this First Illustrated Edition SIGNED by the author and illustrator.. Signed by Author(s). 1st Edition. Hardcover. Near Fine.

ULYSSES By James Joyce. Illustrated by Henri Matisse. 19351 of only 250 signed by both artists: JAMES JOYCE & HENRI MATISSE. Total limited edition: 1,500, all of which weresigned by Henri Matisse. Book #1142. Book is in near fine condition. Original publisher's slipcase in very good condition with signs of wear on top andbottom. Also included: Limited Editions Club literature; however, most significant is the postcard from dated October 22, 1935to the previous owner, stating that the copies signed by James Joyce and Henri Matisse were over-subscribed (over 500 Limited Editions members sought ownership of one of the copies of this book signed by Joyce and Matisse). 26 Henri Matisse prints published with book: 20 drawings; 6 hand-printed etchings. Book is a large square octavo: 9 inches by 11-1/2 inches; 420 pages. Type: linotype Scotch Roman. Embellished with more than 40 chapter openings drawn by hand, printed throughout in red and black. Paper made by Worthy Paper Company; studies printed on thin colored papers; and etchings on Canson Gravure. Binding of full brown Bancroft buckram with a design by Leroy Appleton embossed in bas-relief, in gold. A beautiful and superb book production for one of the most important books published in English in the 20th Century. Exhibited by: COLORADO ARTIFACTUAL & MT. GOTHIC TOMES.

Paris: Shakespeare & Company, 1922. First edition, one of 750 numbered copies on handmade paper from a total edition of 1000 copies, this is number number 347. Thick quarto, original blue and white wrappers. In excellent condition, the volume is square and tight, without marks of any kind, with some some restoration to the spine. Housed in a custom half morocco clamshell box. A nice example. 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 "[u]niversally 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).

Paris: Shakespeare and Co., January 1924. First Edition, the fourth printing. AN IMPORTANT AND RARE COPY INSCRIBED BY JOYCE on a preliminary blank ‘To A.K. Griggs / James Joyce / Paris/ 16.iv [1]934’ With 4 pp. of “Ulysses Additional Corrections” bound in at the end. 8vo, in a French binding of wine-red cloth, the spine with black morocco lettering label gilt, and with a fine slipcase, marbled endleaves, and with the original white wrappers printed in blue bound in. 736 pp. A fine copy, the paper lightly browned overall as is usual with this printing, some marginal tears or chips, primarily at the prelims. THE MOST IMPORTANT NOVEL OF THE TWENTIETH CENTURY. A RARE AND IMPORTANT INSCRIBED COPY OF JOYCE’S MASTERWORK. 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 the last century, and he is not alone in that opinion. According to James Spoerri, "This fortunate combination of printer and publisher resulted in the appearance of ULYSSES as a book whose physical aspect is particularly suited to its content. It is a fat and inviting volume, the blue and white of its covers subtly evocative of the Greece whose epic it so closely parallels" (quoted in the catalogue for the Garden Sale, Sotheby's 1989, first edition, first issue). "Universally hailed as the most influential work of modern times" (Grolier Joyce 69). After working for seven years on Ulysses, Joyce, desperate to find a publisher, turned to Sylvia Beach of Shakespeare and Company in Paris. "Within a month of the publication, the first printing of Ulysses was practically 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... Then began the great game of smuggling the edition into countries where it was forbidden, especially England and the United States. The contraband article was transported across the seas and national borders in all sorts of cunning ways..." (de Grazia, 27). Arthur Kingsland Griggs, the recipient of this copy of ULYSSES, inscribed by Joyce, lived from 1891-1934. He was editor and translator of Léon Daudet’s MEMOIRS (1925) and the MEMOIRS OF QUEEN HORTENSE (1928). He also published MY PARIS, AN ANTHOLOGY OF MODERN PARIS FROM THE WORKS OF CONTEMPORARY FRENCH WRITERS (1932) and wrote a popular (and often reprinted) guidebook, PARIS FOR EVERYMAN - HER PRESENT, HER PAST & HER ENVIRONS (1926). COPIES OF ULYSSES INSCRIBED BY JOYCE ARE TRULY RARE. THIS IS A HANDSOME AND DESIRABLE COPY OF A CORNERSTONE LITERARY WORK.

Paris: Shakespeare & Co.,, 1922. Quarto in eights. Finely bound by the Chelsea Bindery in greenish blue morocco, titles and decoration to spine gilt, raised bands, twin rule to boards gilt, Greek key to turn-ins gilt, japan vellum doublures, top edge gilt, others untrimmed. Housed in a matching leather entry slipcase. A fine copy. First edition, first printing, number 164 of 150 large paper copies numbered between 101 and 250. Ulysses was published in imitation of the traditional three-tiered French format aimed at both connoisseurs and readers: 100 copies were printed on Dutch handmade paper and signed by Joyce; 150 copies were printed on heavier vergé d'Arches to create this large paper format; and the remaining 750 copies formed a small format trade issue, printed on less expensive vergé à barbes stock. With its generous margins, the large paper issue is the most aesthetically pleasing of the three.

Shakespeare and Company. Paris. 1922. FIRST EDITION. Number 811 of a limited edition of 1,000 copies and one of 750 copies printed on handmade paper. There were 100 signed copies on thicker Dutch handmade paper numbered 1 - 100 and 150 large paper copies on verge d'Arches numbered 101 - 250 in addition to the 750 copies on handmade paper. Small quarto (235 x 185 mm). Contemporary blue half morocco, spine gilt in compartments with titles direct, blue cloth sides ruled in gilt, top edge gilt, others untrimmed, marbled endpapers. Extremities very lightly rubbed, endleaves a little finger-marked. An excellent copy in an attractive binding.

Paris: Shakespeare and Company,, 1922. Quarto (235 x 185 mm) in eights. Contemporary blue half morocco, spine gilt in compartments with titles direct, blue cloth sides ruled in gilt, top edge gilt, others untrimmed, marbled endpapers. Extremities very lightly rubbed, endleaves a little finger-marked. An excellent copy in an attractive binding. First edition, first impression. One of 750 copies printed on handmade paper, this number 811. Of the edition of 1,000 copies, in addition to the 750 copies on handmade paper, there were 100 signed copies on thicker Dutch handmade paper numbered 1-100 and 150 large paper copies on vergé d'Arches numbered 101-250.

First Edition, First Printing. This is number 569 one of 750 numbered copies. The book is great shape and is bound in the publisher's wrappers but with a blue leather spine. The pages are clean with NO writing, marks or bookplates in the book. A wonderful copy housed in a custom clamshell slipcase for preservation.

PARIS: 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. .

London: John Lane/ The Bodley Head, 1936. First Edition printed in England; trade issue (there was also a vellum-bound issue of 100 numbered and signed copies). Front hinge started; fine in a dust jacket with light wear and creasing; very uncommon in such excellent condition. These elegant, restrained designs by Eric Gill, remain the most beautifully presented edition of Ulysses.

Paris: Shakespeare and Company, 1922. First trade edition, one of 750 copies on handmade paper. [8], 732, [2], [2 blank] pp. Without first two and final blank leaves. 8vo. Three quarter blue morocco, spine titled in gilt. Repairs to gutter and extreme margin of half-title, title and two other prelims, light marginal toning, small chip to margin of last two leaves. First trade edition, one of 750 copies on handmade paper. [8], 732, [2], [2 blank] pp. Without first two and final blank leaves. 8vo. First edition of Ulysses. First trade edition of one of the great literary achievements of the 20th century. Slocum and Cahoon A17; Connolly Modern Movement, 42

Paris: Shakespeare and Company, 1927. Oblong octavo. Original blue wrappers. Extremities somewhat shelfworn, with small sliver loss at crown of lower joint, a few creases to spine, otherwise a very good copy. Half morocco folding slipcase, with inner cloth chemise. The 9th printing, printed from the wholly new and corrected setting of type prepared for the eight edition. Inserted in front of this copy (by unknown parties, at a time unknown, and for unknown reasons) is an extra leaf signed by the author: "James Joyce Paris 2-6- 28." SLOCUM & CAHOON A17n.

New York: Limited Editions Club, 1935. Hardcover. Covers bright with no rubbing to the gilt. Just about Fine in an intact, Very Good slipcase with some soiling and wear and a closed split at the bottom edge. Henri Matisse. Large square octavo (9" x 11-1/2") in full brown buckram with a gold embossed design on the front cover and repeated on the spine; 420 pages. With an introduction by Stuart Gilbert and illustrations by Henri Matisse including twenty drawings and 6 ORIGINAL ETCHINGS printed by hand, being the earliest and one of the few instances by Matisse to represent physical agony and violence. Copy #1085 of 1500 SIGNED in pencil by the artist on the colophon page.

London: John Lane The Bodley Head,, 1936. Thick royal octavo. Finely bound by The Chelsea Bindery in dark blue morocco, titles and decoration to spine gilt, raised bands, twin rule to boards gilt, greek keys to turn-ins gilt, jap vellum doublures and endpapers, top edge gilt, others untrimmed. Housed in a dark blue leather entry slipcase. A fine copy. First UK edition. The entire edition was limited to 1,000 copies only, of which this is one of 900 numbered copies. This was the first issue to be entirely produced in Britain, with an appendix with documents relating to the legal history of Ulysses and with a bibliography.

Random House, 1934 First Edition, First Printing. An exquisite dustjacket without the ubiquitous darkening found on most copies of this dustjacket. This ORIGINAL First Printing dustjacket has the First Issue point with Reichl on the bottom corner of the front panel of the dustjacket. The book is in wonderful condition. The binding is tight, and the boards are clean with slight wear to the edges. The pages are exceptionally clean with NO writing, marks or bookplates in the book. Overall, a superb copy of this TRUE FIRST EDITION housed in a custom clamshell slipcase for preservation and presentation.. 1st Edition. Hardcover. Fine/Fine.

Limited Editions Club FIRST ILLUSTRATED EDITION, LIMITED ISSUE, one of 1500 copies, signed by Henri Matisse on the limitation leaf a near fine first in brown cloth. . Signed. First Edition. Near Fine. HARDCOVER.

Hamburg: The Odyssey Press,, 1932. Octavo. Original white cloth, titles to upper board and spine in red. With the original cellophane dust jacket, wraparound band, and card slipcase. Spine and endpapers slightly toned. An excellent copy in the rare cellophane dust jacket, wraparound band, and card slipcase. First Odyssey edition single volume issue, the first printing of Ulysses issued in cloth. Stuart Gilbert edited the text of this edition with help from Joyce, and it remains one of the key lifetime printings. A really beautiful copy, scarce in this condition with the cellophane jacket and wraparound band.

Random House, 1934 First edition, first printing. An attractive dustjacket that has light wear to the spine and panels. This original first state dustjacket has the price present, and the colors are vibrant with minor wear to the spine. The book is in nice shape. The binding is tight and the pages are clean. There is no writing, marks or bookplates in the book. We buy James Joyce First Editions with the ORIGINAL dustjacket.. 1st Edition. Hardcover. Fine/Near Fine.

Paris: 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.

Ulysses - James Joyce 1st Edition by Egoist Press 682 of 2000

London:: John Lane, The Bodley Head,, [1936].. First edition printed in England; No. 847 of 900 copies on Japon vellum. . publisher's green buckram stamped with Homeric bow in gold; in dust jacket.. Very slight browning to extremities of spine; else a fresh bright copy in a price-clipped jacket with some light wear to its extremities and some hand-soiling, particularly to the spine. Uncommon in dust jacket.. Small 4to,.

New York: Two Worlds Publishing Company, [July 1926-September, 1927]. 11 volumes, octavo. Original white and beige wrappers printed in red and black. Volume II number 4 with the original wrap-around band. A fine set. Unauthorized printing of 13 bowdlerized episodes from Ulysses by the New York publisher Samuel Roth (1893-1974). The set was originally released as 11 individual instalments containing 13 episodes. It was later published as two bound volumes containing 14 episodes including the final instalment (Vol. III, no. 4) that was never released separately and so is not included here. The publisher Samuel Roth was known for publishing sexually explicit literature and other underground material, including a pirated edition of Lady Chatterley's Lover. His pirating of Ulysses "resulted in considerable public indignation and provoked the 'International Protest' signed by 167 artists and writers and printed in transition I" (Slocum & Cahoon p. 100). Joyce was able to obtain an injunction against Roth, but not until after Two Worlds Monthly had already ceased publication. A fine set, exceptionally scarce in this condition.

London: John Lane the Bodley Head, 1936. Wilcox, Michael. Octavo. xiii, (766)pp. First edition printed in England. From an edition of 1,000 copies, this is one of 900 printed on Japon vellum. Text follows the second Odyssey Press edition. Includes a bibliography by Peter Pertzoff that had been sent to Joyce and was then printed without the bibliographer's knowledge. Bound in full black morocco by Michael Wilcox, stamp-signed on the verso of the front endpaper. Author's name, title, and date tooled in gilt on the spine. According to Wilcox, this binding was executed in 1973 for a Toronto book dealer. Wilcox set up a bindery in the small shed behind the home he and his wife moved into in 1969. His work during these early years "consisted almost entirely of the repairing and rebinding of antiquarian books from dealers, collectors and a few institutional libraries within the Toronto area" (In Retrospect, p. 30). The present binding is an example of this work. While plain, there is an unmistakable quality to the gilt tooling, and a pleasing heft to the binding itself. Examples of this early work by Wilcox seldom appear on the market. Original covers, featuring the bow design by Eric Gill, bound-in at the rear. Housed in marbled paper-covered slipcase. Very fine. Prospectus and letter from Wilcox identifying this binding laid in. (Slocum & Cahoon A23).

London: Egoist, 1922. 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. First English edition, printed in Paris. Number 1516 0f 2000 numbered copies, of which 500 were reportedly destroyed by U.S. Customs. The Errata pages are present. In blue cloth slipcase.

Random House, 1934 First Edition, First Printing. A beautiful dustjacket that is rich in color with light wear to the edges. This original First Printing dustjacket has the designer's name Reichl on the bottom corner of the front panel of the dustjacket. The book is in excellent condition. The binding is tight, and the boards are crisp with minor wear to the edges. The pages are clean with no writing, marks or bookplates in the book. Overall, a lovely copy of this TRUE FIRST EDITION. We buy James Joyce First Editions.. 1st Edition. Hardcover. Fine/Near Fine.

London: John Lane The Bodley Head,, 1936. Crown octavo (260 x 195 mm). Finely bound by the Chelsea Bindery in green morocco, block design of the bow first designed by Eric Gill gilt to front board, raised bands, titles to spine gilt, gilt roll to turn ins, cream coloured endpapers, top edge gilt, others untrimmed. Some minor spotting to a couple of leaves, an excellent copy in a fine binding. First UK edition, first impression. From a total printing of 1,000 numbered copies, this is one of 900 on japon vellum, unsigned. 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.

London: John Lane The Bodley Head,, 1936. Crown octavo. Finely bound by the Chelsea Bindery in green morocco, block design of the bow first designed by Eric Gill gilt to front board gilt, raised bands, titles to spine gilt, twin rule to turn ins, marble endpapers, top edge gilt, others untrimmed. A fine copy. First UK edition, number 883 of 900 copies on japon, unsigned. 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 on the publishing of the book in America.

New York: Two Worlds Publishing Company,, 1927. 2 volumes, octavo. Original red pebble-grain cloth, printed paper labels to spines with limitation statements completed in manuscript, top edges gilt, red endpapers. Title pages printed in red and black. Vol. II inner hinges slightly tender with tape-repair to second leaf of advertisements. An excellent copy. First edition in book form of Samuel Roth's infamous piracy of Ulysses, number 94 of 500 copies produced specially for subscribers and bound from the parts with stab-holes visible. This copy has the Preface signed by Roth. Roth had originally reprinted thirteen bowdlerised episodes from Ulysses across eleven individual instalments in his Two Worlds Monthly serial, Vols. I-III (July 1926 - October 1927), with Vol. III.4, containing the fourteenth episode, and a preface by Roth both appearing here for the first time. Roth was known for publishing sexually explicit literature and other underground material, including a pirated edition of Lady Chatterley's Lover. His pirating of Ulysses "resulted in considerable public indignation and provoked the 'International Protest' signed by 167 artists and writers and printed in transition I" (Slocum & Cahoon p. 100). Joyce was able to obtain an injunction against Roth, but not until after Two Worlds Monthly had already ceased publication. An excellent copy, scarce in this condition.

1st Edition . Soft cover. Very Good. Thick 8vo. Original printed blue wrappers. London: Egoist Press 1922. First English Edition. Printed in Dijon, France. Limited to 2000 numbered copies on handmade paper. This copy #463. Of the total edition, 500 copies were exported to America; most of these were destroyed by U.S. Customs officials. Connolly 100.Wrappers slightly chipped at edges, with 2½-inch tear at lower front edge of spine; 2-inch tear at lower rear edge of spine; 1- by ½-inch section missing from lower front edge of spine; o/w interior clean and bright; lacking the 8 page errata sheet. Enclosed in damaged folding sleeve (torn but intact) and ¼-leather-backed blue cloth slipcase, scuffed, with 5 raised bands, gilt decorations and gilt lettering on spine.

John Lane The Bodley Head. London.,1936. FIRST BRITISH EDITION. Large 8vo.(10.3 x 7.9 inches). ONE OF 900 COPIES printed on Japon Vellum paper. This copy number 597, from a total edition of 1000 copies. xvi,768 pp(including blank leaves). Finely bound by Sangorski and Sutcliffe, for Heritage Bookshop of Los Angeles, in recent full dark green morocco. Spine with five raised bands. Compartments lettered in gilt. Gilt reproduction of Eric Gill's Homeric Bow design on the front board. Gilt rule to board edges. Marbled endpapers. Ruled gilt border on inner boards. Top edge gilt, others untrimmed. Housed in a felt lined green cloth slip case. A fine copy of this wonderful edition. The first British edition- Printed in Bristol by Western Printing Services Ltd-, published fourteen years after the books first appearance and including details of the books difficult printing history and a bibliography of Joyce`s works up to date:

Random House, 1934 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.. 1st Edition. Hardcover. Fine/Very Good.

The Egoist Press. Hardcover. 296184 First Edition, Second Printing [1st ed, 2nd printing]; First Egoist Press printing. Limited edition 30/2000 printed on handmade paper. Quarto. Rebound in rich blue leather with gilt lettering and raised bands to spine; Gilt decoration to spine and boards. Binding displays some wear along hinges and eges. Marbled endpapers with some discolouring. Top edge of textblock is gilt with other edges uncut. Pages are very clean throughout with a hint of yellowing. This copy was bound excluding the title page and half-title page though it does contain the Colophon page at rear which states the printings as well as limitation page. An elegant copy. Early copies of Ulysses are scarce today as the title was commonly destroyed by the British and American authorities due to containing "obscenities". . Good. 1922. 1st ed, 2nd print, limited.

Random House, New York, 1934 First Edition, First Printing with the words "First American Edition" printed on the copyright page. This ORIGINAL First Printing dustjacket has the First Issue point with Reichl on the bottom corner of the front panel of the dustjacket. The book is bound in the ORIGINAL publisher's cloth and is in great shape. The binding is tight with minor wear to the boards. The pages are clean with NO writing, marks or bookplates in the book. A lovely copy.. 1st Edition. Hardcover. Fine/Near Fine.

JOYCE, James. ULYSSES. (New York):: (Random House),, 1934. First authorized American edition; advance review copy . Owner's late four-line ink inscription on front flyleaf (dated 1977). Bit of very faint, even tanning on spine, two small, faint soil marks on front cover, front hinge has a short closed tear (at lower edge, archivally mended), else a near fine, bright copy. . Laid into the book are the publisher's typed review slip (listing publication date as "January 25, 1934") and publisher's glossy black-and-white promotional photograph of Joyce (by Berenice Abbott) [the photograph depicts Joyce, from the chest up, in three-quarter profile, dressed in a striped shirt, bow-tie and white jacket]. [S&C 21]. Octavo, cloth, pp. xvii, 768.

Paris and London: Published for the Egoist Press, London by John Rodker, Paris, 1922. Hardcover. Near Fine. First English edition (printed in France). Bound in cloth with black morocco spine label gilt. Wrappers bound in. Modest rubbing on the wrappers, faint dampstain confined to a tiny bit of the bottom corner, else near fine. Copy number 1547 of 2000 numbered copies (of which approximately 500 were destroyed by U.K. Customs). Author Gilbert Seldes's copy with his initials and a brief note on the leaf following the limitation page, noting that this copy came without the errata notice. Seldes was an important popularizer of Joyce, according to *The Nation: 1865-1990* by Katrina vanden Heuvel (1990), "[Seldes's] ... long, glowing 1922 review in The Nation of Ulysses by James Joyce helped the book become known in the United States (although it would remain banned there until 1933)." A nice association copy of one of the great novels of the 20th Century. *Connolly 100.*.

NEW YORK NY: RANDOM HOUSE. VG+/VG. PUB 1934. FIRST EDITION. BOOK IS VERY NICE WITHOUT ANY MARKS TO THE BINDING OR THE TEXT BUTWITH THE SPINE LIGHTLY TANNED. D.J. IS LIGHTLY WORN AT THE CORNERS, CHIPWORN AT THE SPINE CORNERS, SHALLOW CHIPS TO THE SPINE HEEL SLIGHTLYAFFECTING THE PUBLISHER'S NAME, SPINE PANEL IS SOILED/TANED WITH A FEWEDGE TEARS, AND IS NOT PRICE-CLIPPED. A VERY NICE COPY. THIS COPY ALSOINCLUDES THE RARE POSTER (WHICH MEASURES 22" X 16") PRESENTED WITH THECOMPLIMENTS OF RANDOM HOUSE AND TITLED "HOW TO ENJOY JAMES JOYCE'SULYSSES".. Keywords: IRISH LITERATURE, NOVEL, INVISIBLE, ABCDEF.

Paris: Shakespeare and Company, 1926. The first printing of Ulysses to have the type entirely reset, work accomplished with Joyce’s participation, the 8th printing overall and one of the key Shakespeare and Company printings, very early and desirable. Small 4to, in a handsome contemporary binding of three-quarter dark-blue morocco over blue cloth boards, the spine divided by bands ruled in gilt, one compartment lettered in gilt. The original blue wrappers, printed in white as issued by Shakespeare and Company in Paris, are bound in at the front and back. (6), 735 pp. A very desirable copy in contemporary binding, the paper still quite fresh and all very sturdy and sound. A handsome book with only light evidence of age. ONE OF THE KEY PRINTINGS BY SYLVIA BEACH’S SHAKESPEARE AND COMPANY OF THIS LANDMARK OF 20th CENTURY LITERATURE. It is the first reprinting of the work to use entirely reset type. The work was accomplished with Joyce’s participation. The copy is bound as is often found on printings of the period in a simple style designed to draw little attention to itself due the controversy of the text within. In all a highly collectable copy. 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 the century, and he was not alone in that opinion. At the beginning of the present century the Modern Library placed ULYSSES in the number one spot on their 100 best books of the 20th century list.

Paris: Shakespeare & Co., 1924. Quarter brown leather over paper marbled boards with matching marbled endpapers. The 4th printing and the 2nd Shakespeare and Co printing. The original wraps which were white with blue lettering are bound in. This was the only printing done in this colour. 736 pp. Of the second and third printings of Ulysses by the Egoist Press, about 1000 copies were seized and destroyed by the British and American customs authorities. Some browning to the edges of the paper but an attractive survivor of an early prining of this classic of Modern Literature.. 4th Printing. Leather & Cloth. VG. 8vo.