james joyce, Signiert (77 Ergebnisse)

Full-Leather. Zustand: New. Zustand des Schutzumschlags: None issued. John Vernon Lord (illustrator). 1st Edition. Signed by John Vernon Lord Limited to 500 hand-numbered copies Illustrations and introduction by John Vernon Lord Introductory essays by Danis Rose and John O?Hanlon, and Stacey Herbert Fully bound in leather, Folio?s centenary edition of the modernist masterpiece is illustrated and signed by John Vernon Lord. To mark the centenary of publication on 2 February 2022, this Folio Society limited edition, bound in calfskin leather, celebrates one of the greatest novels of the 20th century in the most authoritative edition of the text. The intricate artwork by John Vernon Lord, one of the finest illustrators working today, includes 19 colour illustrations and an exclusive print presented in a folder featuring a design by the artist. Lord has also signed each of the 500 hand-numbered copies on a letterpress-printed limitation page. Limited to 500 hand-numbered copies signed by John Vernon Lord Bound in green calfskin leather blocked in gold foil 768 pages of text set in Dante and printed on Munken Pure paper Printed in two colours throughout Frontispiece and 18 full-page colour illustrations printed on Natural Evolution Ivory paper Gold page tops Two green grosgrain ribbon markers 11?? × 8? Print by John Vernon Lord presented in a folder featuring a design by the artist Presentation box - Clamshell box covered in red cloth inset with a printed label and blocked in gold foil. Signed by Illustrator(s).

First American edition of Joyceâ s masterpiece. Octavo, bound in full morocco by the Harcourt Bindery with gilt titles and tooling to the spine in four compartments within raised bands, double gilt ruling to the front and rear panels, gilt signature of Joyce to the front panel, gilt ruled inner dentelles stamp-signed by the Harcourt Bindery, marbled endpapers, all edges gilt. In fine condition. Housed in a custom slipcase. An exceptional presentation. "Within a month of the publication, the first printing of Ulysses [Shakespeare and Company, Paris, 1922] 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 worldâ ¦ 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). In this edition, the text of Joyce's great work is preceded by a foreword, synopsis of the District Court decision, and letter from Joyce to his publisher, Bennett Cerf, all discussing the extraordinary controversy surrounding the book's publication. In 1929 an unauthorized American edition of the novel appeared, a piracy of the legitimate ninth printing of Shakespeare and Company. "This Random House edition was set up from the text of a copy of that [pirated] edition, incorporating most of its typographical errors and adding a few new ones" (Slocum A21). The United States' ban on Ulysses was not lifted until December 6th, 1933; one month later the first authorized American edition was delivered to the public. Joyce's "novel is universally hailed as the most influential work of modern times" (Grolier Joyce 69). Named by Modern Library as one of the 100 greatest novels of the 20th century.

Hardcover. Zustand: Very Good. Zustand des Schutzumschlags: Very Good. 1st Edition. . HBDJ, 1961, New Edition Corrected & Reset, The book is in Very Good+ Condition and comes from a smoke-free home. Some staining , small circle on two pages, Measures 5-1/2" x 8-1/2", Red Decorated Cloth Titled on Spine, Interior Nice tight Clean LIGHT FOXing, Wear, DJ Near Fine Condition Light Wear & Tiny Chips Extremities Light FoX, 783 pgs, Publisher Blue Dye at Top Edges pages. & the Decision of United States District Court rendered by Judge John M. Woolsey . New Edition Text Serupulously Corrected & Type Completely Reset & New Plates Made, One of Greatest Novels Ever Written. No consideration of contemporary CulTure can be Complete or even meaningful without it. Foreword by Morris L. Ernst & the Decision of United States District Court rendered by Judge John M. Woolsey. Signed by Author(s).

Hardcover. Zustand: Fine. Zustand des Schutzumschlags: Fine. 1st Edition. First Illustrated edition. Folio. With numerous multimedia & paper cutout illustrations by noted artist Susan Weil, who studied at Black Mountain College with Robert Motherwell, and Ben Shahn and was married to fellow student Robert Rauschenberg for a time. One of 50 numbered copies Signed by the artist and bound in gray silk. A superb livre d'artistes with striking cutout and overlay collages that imaginatively interpret and complement the Joyce text. Fine condition. Signed by Illustrator(s).

First edition of this riveting work on the legendary scientist James D. Watson. Octavo, original boards. Boldly signed by James Watson and Francis Crick on the half-title page. Fine in a fine dust jacket. Jacket design by Ron Monteleone. Rare and desirable signed by Watson and Crick. In its drama, Watson's life has rivaled the discovery of the structure of DNA. So intent on his research was this awkward, bumbling scholar that he would climb a drainpipe to sneak into a lab at night. Watson had a knack for selecting problems that would yield important scientific results, but did he pilfer? Did Rosalind Franklin originate crucial material? If so, why was she not included in the Nobel Prize? Baldwin, who had exceptional access to Watson and his family, conveys the elegance of science (the ``structure [of DNA] was too pretty not to be true''), describes diverse influences (birding, Arrowsmith, movies), and even gives advice (go to a college where others are brighter than you, to test your mettle). Voluminous detail on what, exactly, provided a lifetime's worth of inspiration broaden an intriguing picture of this intrepid competitor.

Hardcover. Zustand: Very Good. Limited Edition. One of 1500 numbered copies, this copy signed by the illustrator, Henri Matisse. Hardcover, bound in decorative cloth. Lacks slipcase. The corners rubbed, one a bit frayed; one minor closed tear front fly leaf; repairs to the endpapers along the fold. Signed by Illustrator(s).

First edition, first printing, number 187 of 800 copies signed by the author; device to title, contemporary ink name to front free endpaper; publisher's brown cloth, blind-tooled borders, gilt device to upper cover, gilt spine, slightly rubbed at spine ends, fore-corners slightly bumped, top edge gilt, others uncut. A very good first edition of Anna Livia Plurabelle by James Joyce, the text that was to become chapter eight in Finnegans Wake, and introduce Joyce readers to the character that fellow Irish author Edna O'Brien was to describe as 'the most accessible and indeed beloved character conceived by Joyce'. Slocum & Cahoon A32.

hardcover. Zustand: fine. First. Preface by Padraic Colum. 16mo, brown cloth. New York: Crosby Gaige, 1928. Limited Edition. 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.

Hardcover. Zustand: Fine. No Jacket. Number 6 of only 50 copies; with a numbered and signed portrait of James Joyce, by Susan Weil., Printing by Wild Carrot Letterpres, Dante type set by Michael Bixler, calligraphy by Jerry Kelly, etching by Marjorie Van Dyke The Printmaking Workshop, collage by Zahra Partovi, paper: Dieu Donne & Japanese papers, binding by Zahra Partovi. 10 in. x 13 7/8 in., half-title; title-page with facing illustration; printed text pages with various types and colors of paper constructions, graphics placed between the pages, with details in watercolor, printed section from "The Portrait of the Artist as a Young Man", on pink paper, bound in; uses collage, etching, and various shapes and types of papers to interact with the text; printer's colophon page and the signed & numbered portrait of Joyce at the end. Gray cloth over boards, with title stamped in green on the spine: Joyce/Weil, and initials GJ stamped in silver on the front cover, special gray-green toned endpapers. Printed in an edition of fifty copies, this is one of Vincent FitzGerald's finest productions. In fine condition. Signed by Illustrator(s).

Illus. by Henri Matisse, 12 x 9.25", gilt-dec (by Matisse) brown cloth, 363pp, covers a little rubbed, extremities a little worn, spine a tad dull, hinges loose, bookseller ticket (Philip C. Duchnes) inside back cover; with the original "Monthly Letter" from the Limited Editions Club, and the original slipcase (very worn, stained, cracking at joints, etc.). LIMITED TO 1500 NUMBERED COPIES (this is copy #1261), SIGNED BY THE ILLUSTRATOR, HENRI MATISSE.

First edition, first printing. Signed by the author. Publisher's original brown cloth ruled in blind and with triangular gilt decoration to the centre of the upper board, titles in gilt to the spine. Top edge gilt. A near fine copy, the binding square and firm, the cloth and gilt bright and fresh, a little rubbed to spine tips. The contents are clean throughout and without previous owner's inscriptions or stamps. Issued in a limited edition of 800 copies (with a further 50 copies published on pale green-tinted paper in black cloth), this example is numbered 304 and signed by James Joyce in black ink to the limitation page. A UK trade edition, published by Faber and Faber (and instigated by T. S. Eliot) was published in 1930. The novelist Edna O'Brien has described 'Anna Livia', which would become the eighth chapter of 'Finnegans Wake', as the "melodic chapter with which he hoped to win over recalcitrant readers. He wrote seven versions in all, constituting thousands of hours of labour, each episode more enriched, more exuberant and more transmutative. What he was doing was leaving a literary ghost mark for a world that was unprepared for it". ('The Guardian', 27 January 2017; Slocum & Cahoon A32). Further details and images for any of the items listed are available on request. Lucius Books welcomes direct contact with our customers.

paperback. Zustand: fine. Thin 4to, cream colored wrappers printed in green & black, glassine d.w. Paris: Babou & Kahane; N.Y.: Fountain Press, 1930. Limited Edition. 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.

Zustand: F. FIRST LIMITED ED. Limited Edition Number 235 OF 850. AEG. Signed limited edition, 235/850. A lovely copy in all respects. F.

Hardcover. Zustand: Fine. 1st Edition. LIMITED EDITION of 800 copies printed. This copy is authentically SIGNED by James Joyce. The book is in excellent condition. The binding is tight, and the boards are crisp with minor wear to the spine and edges. The pages are clean with NO marks or bookplates in the book. A sharp copy of this SIGNED/LIMITED EDITION in collector's condition. Includes a custom clamshell slipcase for preservation. Signed by Author(s).

Hardcover. Zustand: Near Fine. Zustand des Schutzumschlags: Poor. 1st Edition. Limited Edition. #544/800 copies, bound in brown cloth, top edge gilt, fore- and bottom edges untrimmed, each copy hand-numbered, and SIGNED by Joyce on the copyright page. 61pp. About Fine, spine ends slightly rubbed, in original glassine dustwrapper, now browned and chipped at edges. Text and endpapers clean and unmarked. A lyrical installment from Finnegans Wake. Q18852. Signed by Author(s).

Hardcover. Zustand: Near Fine. First Edition. FIRST ILLUSTRATED EDITION, LIMITED ISSUE, one of 1500 copies, signed by Henri Matisse on the limitation leaf a VERY GOOD first in brown cloth. Signed by Author(s).

First Edition. "JOYCE, James. Finnegans Wake. London: Faber and Faber, (1939). Large octavo, original red cloth, uncut and unopened, original dust jacket. $5500.First trade edition of Joyce s "last and most innovative prose work."Finnegans Wake stands as "Joyce's last and most innovative prose work, written in a revolutionary narrative style that approximates the protean nocturnal dream world [that gave] Joyce the freedom he needed to weave together archetypal and historical themes that embrace, among other things, the creation, the fall and the resurrection of humanity" (Fargnoli & Gillespie, 74). Joyce began writing Finnegans Wake in 1922, the same year Ulysses saw publication. Compared to that book, Finnegans Wake "took longer to write was conceived and executed under a greater range of symbolic and mythic guidelines, was dictated to more famous amanuenses, among them Samuel Beckett, was used as a weapon of revenge by Joyce, who mocked in it the people who had offended him in short, it was the inscription on the walls of eternity of James Joyce's feelings, his prejudices and his obsessions" (Arnold, 55). "Joyce insisted that each word, each sentence had several meanings and that the 'ideal lecteur' should devote his lifetime to it, like the Koran" (Connolly, The Modern Movement, 81). Published simultaneously with the signed limited first edition (British and American issues), which consisted of only 425 copies. Slocum & Cahoon 47. Bookplate.Book fine, with slight offsetting to one front endpaper; bright price-clipped rare dust jacket near-fine with light rubbing to edges including a few small chips to top edge, very minor abrasion to front panel. A lovely copy.".

First illustrated edition of Joyceâ s landmark Ulysses, number 1134 of 1500 copies signed by Henri Matisse, with 26 illustrations by him, one of the 20th-centuryâ s most desirable illustrated books, combining the work of two great modern artists. Large quarto, original gilt-stamped pictorial brown cloth, original slipcase. In near fine condition with the rare original slipcase. With an introduction by Stuart Gilbert. An exceptional example. One of the most arresting collaborations in 20th-century literature. "It was a great idea to bring them together; celebrities of the same generation, of similar virtuosity" (Wheeler, 15). The 26 beautiful full-page illustrations by Matisse accompany the text of Joyce's Ulysses, including six soft-ground etchings with reproductions of the sketches on blue and yellow paper. "One of the very few American livres de peintres issued before World War II. According to George Macy [this work's designer], who undertook this only American publication of Matisse's illustrations, he asked the artist how many etchings the latter could provide for $5000. The artist chose to take six subjects from Homer's Odyssey. The preparatory drawings reproduced with the soft-ground etchings (Matisse's only use of this medium) record the evolution of the figures from vigorous sketches to closely knit compositions" (Artist and the Book 197).

Hardcover. Zustand: As New. Zustand des Schutzumschlags: Fine. 1st Edition. SIGNED/LIMITED EDITION. A magnificent copy SIGNED by James Joyce. The book is in nice condition. The binding is tight with NO cocking or leaning and the boards are crisp. The pages are exceptionally clean with NO writing, marks or bookplates in the book. Overall, a superb copy of this limited edition of 800 copies SIGNED by the author with a custom acedate cover to protect the book. We buy SIGNED Joyce First Editions. Signed by Author(s).

Hardcover. Zustand: Near Fine. First Edition. FIRST ILLUSTRATED EDITION, LIMITED ISSUE, one of 1500 copies, signed by Henri Matisse on the limitation leaf a VERY GOOD first in brown cloth. Signed by Author(s).

First edition, first printing, signed limited issue, number 693 of 800 copies signed by the author, preceding the UK 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. Slocum and Cahoon A32. Duodecimo. Original brown cloth, spine lettered in gilt, front cover with decoration in gilt, covers with borders in blind, top edge gilt, fore edge untrimmed. Spine ends minimally rubbed, otherwise a fine copy, with cloth and gilt remarkably bright, and fresh within.

First edition, first printing, 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. Slocum and Cahoon A32. 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.

Letter. Zustand: 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 Pound s 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, Joyce s 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.

Préface de C. K. Ogden et portrait de l auteur par C. BRANCUSI. P., The Black Sun Press, 1929, in-8, broché, couv. rempl., 58 p., sous chemise étui de l éditeur papier vert et argent. Edition originale. Cette édition est due à Harry et Caresse Crosby qui dirigeaient une maison d'édition, The Black Sun Press, installée à Paris rue Cardinale. Elle comporte trois importants fragments de " Work in Progress " : The Mookse and the Gripes, The Muddest Thick that was Ever Heard Dump et The Ondt and the Gracehoper. En outre le recueil est illustré en frontispice du célèbre portrait " abstract " de Joyce par Brancusi constitué d'une spirale et de trois lignes verticales, dans lequel on reconnaît sans peine l'auteur d'Ulysses. Tirage à 650 exemplaires, celui-ci 1/100 de tête num sur Japon (thirty-four), signé à l'encre par Joyce page de faux-titre. Excellent état. Slocum & Cahoon, A 36.

First edition thus. The iconic modernist book, signed by Matisse - one of the great editions of one of the great books. Joyce's masterpiece, in the deluxe edition published after the 1933 landmark ruling in the case of United States v. One Book Called Ulysses. Eleven years after the book's initial publication, a US court affirmed that in the matter of obscenity, One Book Called Ulysses had soundly defeated the United States, and immediately thereafter, Limited Editions Club founder George Macy began to plan what would be a monumental achievement: a landmark among Matisse's livres d'artiste, reproducing his preparatory drawings alongside the final soft-ground etchings; the only illustrated ULYSSES with an introduction that Joyce allowed to be published; and the most accurate text of the novel published in the US until 1961. In the early days of the project, believing that the artist "[knew] the French translation very well" and only wanted for an idea of the Irish context, Joyce proposed to send him an illustrated Dublin weekly of 1904 for visual reference. But Matisse had no interest in the specificities of Ireland, and, though his drawings were organized around the Odyssey itself, barely more interest in the specificities of Greece (the two struggling women of his "Calypso," Hillary Spurling suggests, were "an image that had more to do with the artist's own home life that summer than with either Joyce or Homer.") Seeing the sample drawings, George Macy began to plea for some connection, any connection between image and text: "While we understand, and admire, the idea by which the plates are to be illustrative of Homer's Odyssey, it is essential that the incidents of the Odyssey which are illustrated must also make reference to incidents in Joyce's book." This was no way to speak to a great artist. Matisse responded by matching his drawings to individual chapters without explanation, saying only that they represented "reactions of my mind before Joyce's work" and, by the way, "Mr. James Joyce, who knows about the way I am illustrating his book, quite agrees with me on it." This would perhaps have been news to Mr. James Joyce, whose best-known comment on the finished product was: "If they had been signed L.J. [Lucia Joyce] instead of H.M. people would have had a different tale to tell. I am only too painfully aware that Lucia has no future but that does not prevent me from seeing the difference between what is beautiful and shapely and what is ugly and shapeless. As usual I am in a minority of one." Setting aside Joyce's opinion, Matisse's work may be viewed as conceptually linked to his own: not illustrations in any conventional sense, but a parallel artistic project, a second great modernist manipulation of the ODYSSEY. Another plausible interpretation of Matisse's drawings understands them as a response not to the text but to "the critical apparatus that developed around the novel during the 1930s" (Brown), and specifically to Stuart Gilbert's perceptive introduction. As for contemporary reception, members of the Limited Editions Club expressed one of three reactions: A vile book, dressed up with great art; a great book, ruined by "crackpot drawings"; or a magnificent work, the expression of "perfect rapport among author, illustrator and designer." The third judgment has held up quite well. 11.75'' x 9''. Original brown Bancroft buckram with gilt globe stamped to front board. In original slipcase. Designed by George Macy. Introduction by Stuart Gilbert. Illustrated with six etchings and 20 tipped-in drawings on blue and yellow paper. 363, [1] pages. Edition of 1500 numbered copies signed by Matisse. This copy no. 1264. Slipcase with light expert restoration at edges; some rubbing and soiling overall. Book just starting at top of rear hinge, but firm. Else clean and bright. Both housed in a custom quarter leather over black cloth archival clamshell box with gilt title spine. Very good plus in a very good slipcase.

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. A notable production, singled out for notice in several key exhibitions, including selective shows by Franklin Furnace and the Boston Athenaeum. 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 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) One of 50 numbered copies, from a total edition of 65 (including fifteen artist's proofs), signed by Susan Weil and Marjorie Van Dyke.

Hardcover. First Edition. 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. Partly unopened. Light soiling, mostly to the rear; spine darkened. Near Fine.

First edition, signed limited issue, number 666 of 800 copies signed by the author. The book is rare in the publisher's glassine and slipcase, which are unrecorded by the bibliographers Slocum and Cahoon. This edition, which included a further 50 unsigned copies printed on green paper and bound in black cloth, precedes the British edition by two years. Anna Livia Plurabelle is an early published chapter from Joyce's famous "Work in Progress" that eventually became Finnegans Wake (1939). T. S. Eliot thought it an excellent chapter to select for early publication, writing that "this fantasy of the course of the river Liffey is the best-known part of Finnegans Wake, and is the best introduction to it" (p. 7). Slocum and Cahoon A32. T. S. Eliot, Introducing James Joyce: A Selection of Joyce's Prose, 1942. Duodecimo. Original brown cloth, spine lettered and decorated in gilt, blind rules and dog-tooth roll on covers, front cover with gilt triangular centrepiece, top edge gilt, fore and bottom edges untrimmed. In the publisher's glassine and original green card slipcase. Two later postcards with Joyce's portrait, one by Man Ray, loosely inserted. Spine head knocked, bump to upper corners, cloth bright and contents clean; glassine with tear to upper spine and fold ends, with singular chip: a near-fine copy.

Quarto. (11 1/8 x 7 1/2 inches). First edition. 1-72 [2], pp. 72. Title and text printed in black and green. Running heads printed in green. Signed by Joyce in pencil on the limitation leaf. Numbered 70 out of 100 copies. Original glassine and white printed wrappers. Small area of loss at lower spine, minor tear and losses to glassine along spine. Within a modern full green morocco box with gilt decoration and lettering on spine, cloth chemise. First edition, deluxe issue: number 70 of 100 signed copies of what would ultimately become Joyce's final novel, Finnegans Wake. In 1930, Joyce sent to Faber and Faber's T. S. Eliot the following "nursery rhyme" to promote Haveth Childers Everywhere: Humptydump Dublin squeaks through his norse, Humptydump Dublin hath a horrible vorse And with all his kinks english Plus his irismanx brogues Humptydump Dublin's grandada of all rogues. Though Faber made little use of it, Joyce's jingle is a key to Haveth Childers Everywhere and Joyce's inherent contradictions: the giant of English literature, who was Irish; the pre-eminent Irish cultural figure, who couldn't speak the language - and wrote in English; the Anglo who had to go to the continent to find an audience; the difficult, cryptic modernist who still has millions of mainstream readers. In 1931, a New York Times reviewer wrote that Haveth Childers Everywhere is "an attempt to enrich and refashion the English language, and as such is highly stimulating and carries the reader through a form of mental gymnastics." Unfortunately, for the same reviewer, it "still remained absolutely incomprehensible." It took Joyce sixteen years to write Finnegans Wake, a book once aptly titled, as here, "Work in Progress." The finished novel was still nine years from publication when this fragment was released. Joyce began writing what would become Finnegans Wake shortly after Ulysses was published in 1922. Fragments of the novel were issued in a variety of formats by different publishers, including Haveth Childers Everywhere, produced in Paris by Obelisk Press founder Jack Kahane and the editor Henry Babou in April of 1930, and distributed in America by The Fountain Press. The publication nearly bankrupted Kahane and Babou. Haveth Childers Everywhere consists of the final part of what is now Chapter 3 of Book III of Finnegans Wake. This copy is one of one hundred numbered copies on "Imperial hand-made iridescent Japan" signed by the author, from a total edition of 685 copies. Slocum & Cahoon A41.

Softcover. Zustand: Good. No Jacket. First Edition. The first German edition of Joyce's play Exiles and the first of his works to be published in translation in any language. One of 600 copies printed: Joyce was living in Zurich at the time and he paid for the publication of this book out of his own pocket. This copy is inscribed by the author: "To J.R. [sic] Watson, Jun / with grateful regards / James Joyce / 8. ix. 1919." J.S. Watson, Jr. was at the time the co-owner of the modernist literary journal The Dial, which he bought from Martyn Johnson with his friend and fellow Harvard graduate, Scofield Thayer. Watson became president of the magazine and Thayer became its editor. The "grateful regards" refers to a gift of $300 that Watson had sent Joyce earlier in the year at the urging of Thayer, who had himself sent Joyce $700. These sums bailed Joyce out of dire financial straits, allowed him to settle a court case against him, and helped him support the theater group that he had associated with in Zurich, the English Players. In 1920 The Dial published a piece by Joyce, and in 1921 Thayer was one of his most ardent and influential supporters in the censorship case in New York against Ulysses and its publication in the Little Review. A notable association copy of Joyce's first translation. Slocum & Cahoon D44. Pages browned and acidified, and covers strengthened at all the edges and spine with tape, with a hole cut in the spine for the title to show through. The first blank, on which the inscription appears, is also strengthened at the edges with tape. Fragile, and a candidate for de-acidification, but a significant association copy from a critical point in Joyce's life and career. Unless otherwise noted, our first editions are first printings.