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JOYCE, James

Editore: Limited Editions Club, New York (1935)

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Descrizione: Limited Editions Club, New York, 1935. Hardcover. Henri Matisse (illustratore). 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. 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. Codice articolo 018961

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James Joyce, (Illustrator) Henri Matisse, (Introduction) Stuart Gilbert

Editore: The Limited Editions Club, New York (1935)

ISBN 13: 2900012717102

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Da: Strand Book Store, ABAA (New York, NY, U.S.A.)

Valutazione venditore: 4 stelle

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Descrizione: The Limited Editions Club, New York, 1935. Hardcover. Condizione: Very Good. LIMITED EDITION. 4to. LIMITED SIGNED EDTION, one of 1500 copies SIGNED by illustrator Henri Matisse. Nice bright copy. Bumping to upper corner of rear board, causing slight creasing to upper corner of leaves throughout. Previous owner's bookplate to front paste-down. Slipcase somewhat rubbed and soiled, with matching bump to upper corner. A few scratches and abrasions to slipcase panels, with a bit of minor splitting to edges and corners. VG in VG slipcase. Illustrator. Codice articolo 3241808

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Ulysses: LIMITED EDITIONS CLUB];

LIMITED EDITIONS CLUB]; JOYCE, James; MATISSE, Henri; GILBERT, Stuart

Editore: New York: The Limited Editions Club, 1935 (1935)

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Descrizione: New York: The Limited Editions Club, 1935, 1935. First Openly Published U.S. Edition Illustrated and Signed By Henri Matisse JOYCE, James. [MATISSE, Henri, illustrator]. Ulysses. With an introduction by Stuart Gilbert and illustrations by Henri Matisse. New York: The Limited Editions Club, 1935. First openly published American edition, limited to 1500 numbered copies signed by the artist, this being copy number 1251. Large quarto (11 3/4 x 9 1/8 inches; 298 x 230 mm.). xv, [3], 363, [1, blank], [1, colophon], [5, blank] pp. Twenty-six plates, consisting of six soft-ground etchings, printed by hand, and twenty lithographic drawings, made as studies for the etchings, printed on thin colored papers. Publisher's brown Bancroft buckram embossed in gold on front cover and spine from a design by LeRoy H. Appleton. Edges sprinkled brown. Pictorial bookplate of W.S. Adams engraved by Alexander Runciman on the front paste-down. The gilt on the spine very slightly dull otherwise a very fine copy in a very good publisher's original slipcase. With The Limited Editions Club Monthly letter Number 77, October 1935, loosely laid-in. When Limited Editions Club founder and publisher George Macy decided to commission Henri Matisse to illustrate his edition of James Joyce's Ulysses, he was boldly moving into difficult territory: the scandalous Ulyssess had been branded obscene and banned in the United States until 1933, just two years prior to this edition. When Macy initially approached Matisse, the artist confessed that he had not read the book; Macy provided him with a French translation. "The very next morning, M. Matisse reported that he had read the book, that he understood its eighteen episodes to be parodies of similar episodes in the Odyssey, that he would like to give point to this fact by making his illustrations actually illustrations of the original episodes in Homer!" (Macy). Macy's original plan was for Joyce to sign each of the 1500 copies along with Matisse. The author only signed 250. The reasons are apocryphal: His poor eyesight was strained by the effort; writer's cramp; or umbrage that Matisse had illustrated Homer's Odyssey rather than his. And who did Leopold Bloom travel with on his odyssey though Dublin (aside from Stephen Dedalus) on June 16th, 1904? "Sinbad the Sailor and Tinbad the Tailor and Jinbad the Jailer and Whinbad the Whaler and Ninbad the Nailer and Finbad the Failer and Binbad the Bailer and Pinbad the Pailer and Minbad the Mailer and Hinbad the Hailer and Rinbad the Railer and Dinbad the Kailer and Vinbad the Quailer and Linbad the Yailer and Xinbad the Phtailer." Whether signed by both or just Matisse, this edition of Joyce's modern classic remains amongst the most desirable and collectible illustrated books of the twentieth century and one of the few livres d'pientres of the pre-WWII era. Duthuit 235. Garvey 197. LEC Bibliography 71. Slocum and Cahoon A22. Codice articolo 03384

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Ulysses six signed lithographs: James Joyce Henri

James Joyce Henri Matisse

Editore: Limited Editions Club (1935)

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Da: Stately Plump Books (Upland, CA, U.S.A.)

Valutazione venditore: 4 stelle

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Descrizione: Limited Editions Club, 1935. Hardcover. Condizione: Fine. 1st Edition. The Limited Editions Club: NY, 1935. Illus. by Henri Matisse. Six soft ground etchings hand-signed by Henri Matisse (Le Cateau-Cambrésis, 1869 - Nice, 1954) in pencil in the lower right margin. Numbered from the edition of 150 in pencil in the lower left margin. This is the only copy available of these etchings in their original buckram binding as issued. All other copies are individual lithographs for sale. All etchings are in fine condition. The buckram binding is in fine condition except for slight rubs to the buckram at the top and bottom of the spine, see picture. Image: 11 9/16 in x 9 1/16 in (29.4 cm x 23 cm) Sheet: 15 15/16 in x 12 7/16 in (40.5 cm x 31.6 cm). Signed by Author(s). Codice articolo 1011

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Ulysses. With an introduction by Stuart Gilbert.: MATISSE, Henri.) JOYCE,

MATISSE, Henri.) JOYCE, James.

Editore: New York: The Limited Editions Club, 1935 (1935)

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Da: Regno Unito a: U.S.A.
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Descrizione: New York: The Limited Editions Club, 1935, 1935. Quarto. Original brown cloth, title and decoration to spine, front cover with design by Le Roy Appleton incorporating Matisse's illustration to the Nausicaa episode in gilt bas-relief circled by Roman numerals representing the 24-hours of Bloomsday, brown speckled top edge, others untrimmed. Housed in the publisher's card slipcase. Slight wear to extremities of slipcase, minor short split at head of front hinge, else a fine copy. Six soft-ground etchings by Matisse and 20 reproductions of preliminary drawings on yellow and blue paper; printed in double columns; sidenotes and pagination printed in bisque. First illustrated edition, number 600 of 1,500 copies signed by Matisse. The text is based on the second impression of the Odyssey Press edition (1933), which is "generally considered to be the most accurate and authoritative text" (Slocum & Cahoon, p. 30). Matisse's etchings depict the Calypso, Aeolus, Cyclops, Nausicaa, Circe, and Ithaca episodes. The story behind the Limited Editions Club Ulysses is one of the most intriguing in the history of Joyce's masterpiece. Within weeks of the lifting of the US ban on the book (6 December 1933), Limited Editions Club impresario George Macy approached Joyce about a special edition of Ulysses and by February 1934 he was en route to Paris to speak to Matisse about illustration. The artist had not read the book and despite being sent a copy of the French translation by Joyce scholar Stuart Gilbert was, according to the artist's neighbour Dorothy Bussy (nee Strachey, sister of Lytton Strachey), "in a complete fog about it" (cited in Goodwin, p. 91). Bussy lent Matisse a copy of Gilbert's seminal James Joyce's Ulysses: a Study (1930), which, she remarked, "he will certainly find useful as a guide through the labyrinth" (ibid.). Following this Matisse quickly accepted the commission, saying that he had "spent the night reading the book and had discerned how the eight episodes in Joyce's Ulysses had their impulse in corresponding episodes in Homer's Odyssey. Macy accepted the suggestion and Matisse went to work" (ibid). Gilbert was commissioned to write an explanatory introduction. However, when Matisse's preliminary drawings and final etchings were delivered to Macy in New York it was the publisher's turn to be nonplussed and he requested that Matisse supply some statement of explication with each plate. Matisse replied that "these 6 plates are really the product of reactions of my mind before Joyce's work, in which I chose the scenes having a correspondence in Homer's work Mr. James Joyce, who knows about the way I am illustrating his book, quite agrees with me" (cited in Goodwin, p. 95). Joyce, however, was not happy either, although, as Goodwin points out, at this time "the turmoil of Lucia's illness, Joyce's own chronic eye problem, and his struggle to finish Finnegans Wake must have weighed heavily on him occluding any pleasure he may have found in Matisse's designs". Despite the vagaries of production the book remains a landmark in the history of Joyce's modernist classic. In her excellent study of Matisse and his relationship to literature, Kathryn Brown places the Limited Editions Club Ulysses "at the intersection of four important relationship: artist and writer; visual art and literary criticism; innovation and tradition; France and the United States". Slocum & Cahoon A22; see also Brown, Kathryn, Matisse's Poets: Critical Performance in the Artist's Book, Bloomsbury Academic (2017); Goodwin, William, "A Very Pretty Picture M. Matisse But You Must Not Call It Joyce": The Making of the Limited Editions Club Ulysses, Joyce Studies Annual Vo. 10 (Summer 1999), pp. 85-103. Codice articolo 135748

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Ulysses. With an introduction by Stuart Gilbert.: MATISSE, Henri.) JOYCE,

MATISSE, Henri.) JOYCE, James.

Editore: New York: The Limited Editions Club, 1935 (1935)

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Da: Regno Unito a: U.S.A.
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Descrizione: New York: The Limited Editions Club, 1935, 1935. Quarto. Original brown cloth, title and decoration to spine, front cover with design by Le Roy Appleton incorporating Matisse's illustration to the Nausicaa episode in gilt bas-relief circled by Roman numerals representing the 24-hours of Bloomsday, brown speckled top edge, others untrimmed. Housed in the publisher's card slipcase. Attractive contemporary etched bookplate of W. Wellington George, M. D., of Florida, mounted to a full-sized sheet tipped-in between the two preliminary blanks. Old splash stains to spine of slipcase, tidemark to fore-edge, a few chips, gilt spine of binding dulled, foxing to fore-edge and prelims (caused by the presence of the bookplate) and margin of plates, last two blanks creased. A very good copy Six soft-ground etchings by Matisse and 20 reproductions of preliminary drawings on yellow and blue paper; printed in double columns; sidenotes and pagination printed in bisque. First illustrated edition, number 811 of 1,500 copies, of which 250 only were signed by both Joyce and Matisse, the artist alone signing the entire run. The is based on the second impression of the Odyssey Press edition (1933), which is "generally considered to be the most accurate and authoritative text" (Slocum & Cahoon, p. 30). Matisse's etchings depict the Calypso, Aeolus, Cyclops, Nausicaa, Circe, and Ithaca episodes. The story behind the Limited Editions Club Ulysses is one of the most intriguing in the history of Joyce's masterpiece. Within weeks of the lifting of the US ban on the book (6 December 1933), Limited Editions Club impresario George Macy approached Joyce about a special edition of Ulysses and by February 1934 he was en route to Paris to speak to Matisse about illustration. The artist had not read the book and despite being sent a copy of the French translation by Joyce scholar Stuart Gilbert was, according to the artist's neighbour Dorothy Bussy (nee Strachey, sister of Lytton Strachey), "in a complete fog about it" (cited in Goodwin, p. 91). Bussy lent Matisse a copy of Gilbert's seminal James Joyce's Ulysses: a Study (1930), which, she remarked, "he will certainly find useful as a guide through the labyrinth" (ibid.). Following this Matisse quickly accepted the commission, saying that he had "spent the night reading the book and had discerned how the eight episodes in Joyce's Ulysses had their impulse in corresponding episodes in Homer's Odyssey. Macy accepted the suggestion and Matisse went to work" (ibid). Gilbert was commissioned to write an explanatory introduction. However, when Matisse's preliminary drawings and final etchings were delivered to Macy in New York it was the publisher's turn to be non-plussed and he requested that Matisse supply some statement of explication with each plate. Matisse replied that "these 6 plates are really the product of reactions of my mind before Joyce's work, in which I chose the scenes having a correspondence in Homer's work Mr. James Joyce, who knows about the way I am illustrating his book, quite agrees with me" (cited in Goodwin, p. 95). Joyce, however, was not happy either, although, as Goodwin points out, at this time "the turmoil of Lucia's illness, Joyce's own chronic eye problem, and his struggle to finish Finnegans Wake must have weighed heavily on him occluding any pleasure he may have found in Matisse's designs". Despite the vagaries of production the book remains a landmark in the history of Joyce's modernist classic. In her excellent study of Matisse and his relationship to literature, Kathryn Brown places the Limited Editions Club Ulysses "at the intersection of four important relationship: artist and writer; visual art and literary criticism; innovation and tradition; France and the United States". Slocum & Cahoon A22; see also Brown, Kathryn, Matisse's Poets: Critical Performance in the Artist's Book, Bloomsbury Academic (2017); Goodwin, William, "A Very Pretty Picture M. Matisse But You Must Not Call It Joyce": The Making of the Limited Editions Club Ulysses, Joyce Studies Annual Vo. 10 (Summer 1999), pp. 85-103. Codice articolo 134276

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Ulysses; Introduction by Gilbert Stuart: JOYCE, James (1882-1941)

JOYCE, James (1882-1941) and Henri MATISSE (1869-1954)

Editore: The Limited Editions Club, New York (1935)

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Descrizione: The Limited Editions Club, New York, 1935. Large 4to (305 x 242 mm; 12 x 9½ in.). 382 pages. 6 etchings and 20 reproductions of preliminary drawings by Henri Matisse, tipped in. Original gilt-stamped pictorial brown cloth from a design by LeRoy H. Appleton; printed slipcase. A fine copy, the slipcase with a few repairs and minor stains. FIRST ILLUSTRATED EDITION, LIMITED ISSUE, one of 1500 copies, signed by Henri Matisse on the limitation leaf. Signed by Henri Matisse on the limitation leaf; printed on Worthy paper and bound by George McKibben & Son. "One of the very few American livres de peintres issued before World War II. According to [the publisher] George Macy, who undertook this only American publication of Matisse's illustrations, he asked the artist how many etchings the latter could provide for five thousand dollars. The artist chose to take six subjects from Homer's Odyssey" (Riva Castleman, A Century of Artists Books, pp. 35, 61). It was long thought that Joyce was unaware of Matisse's use of the Odyssey - and not his own novel - as the basis for his illustrations, but James A. Knapp discovered confirmation in the papers of Paul Léon that this was done with Joyce's knowledge and consent. "The second-hand claim that Matisse had never read Ulysses (based on an interview with Mme. Lucie Léon in 1953 and a letter to [Joyce biographer Richard] Ellmann from Mrs. Maria Jolas in 1959) does not prove that Matisse ignored the novel in favor of the Homeric epic, as Ellmann implies. The extent to which Matisse was familiar with the novel by the time he began work on the etchings is still not clear, especially when Joyce's confidence in Matisse is considered. Even if it is true that Matisse never read the novel, it is likely that he knew something of its experiment and its technique. According to Alfred Barr, at the very least Matisse had enough experience with the novel to suggest to Macy that he base his etchings on The Odyssey" (James A. Knapp, "Joyce and Matisse Bound: Modernist Aesthetics in the Limited Editions Club 'Ulysses.'" ELH, vol. 67, no. 4, 2000, pp. 1055-1081). See Alfred H. Barr, Jr., Matisse: His Art and His Public (New York: The Museum of Modern Art, 1951, p. 249). The American Livre de Peintre 32; The Artist and the Book 197; LEC Bibliography 71; Slocum & Cahoon A22. Codice articolo 402913

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