ulysses di joyce, Prima edizione, shakespeare (24 risultati)

Hardcover. Condizione: Very Good. Shakespeare and Company, Paris 1927. Ninth Printing of the First Edition. Rebound in cloth boards. Blue covers not present. Book Condition: Good, shelf wear, light spots. Spine fraying, age toning, hole at the front endpaper.

Hardcover. Condizione: Fair. 1st Edition. Hardcover book in fair condition. Originally soft cover, book has been rebound using the original blue wraps to cover boards. Spine bound in cloth with Ulysses and Joyce written in pen. Shows toning, wear, scuffs and stains. Interior fairly well-preserved. Previous owner's signature to ffep, dated 1944. Interior pages age-toned at edges, but are clean with no markings and comparatively bright considering the age and condition of the book. Stated eighth printing, technically the second edition, when type was re-set to correct the typos in the first printing. Questions welcome. We ship internationally from the United States and Canada every week. If buying internationally, please be aware that additional charges may apply for heavier books. We guarantee a safe, quick, and secure transaction. 10+ years in online bookselling experience.

Hardcover. Condizione: Good. No Jacket. 1st Edition. Seventh printing, October 1925. Printed for Sylvia Beach by Maurice Darantiere, Dijon, France. Bound in a later blue-grey colour hardcover with title in gilt on black leather spine. Internally, the original front wrapper and text are present, but not the original rear wrapper. The recent hardcover binding is in very good condition, with just a hint of shelfwear. Internally the edges of the original front cover appear to have been strengthened with good quality paper conservation tape. Binding sound. No inscriptions. 732pp.plus 4pp. additional corrections.

Soft cover. Condizione: Fair. 1st Edition. First edition, eighth printing, May 1926 (an important edition, the sixth Paris and eighth overall the type being reset to correct various errors in the original, and those added at the point of the fourth printing). Included is the original card from publisher Sylvia Beach's Shakespeare & Company, presumably from the year of publication and tipped in when book was originally purchased. This copy belonged to early 20th century fiction writer Clifford L. Near, Jr., with his name & address in ink on title page. Front cover is detached, with a small notation written on upper left corner; rear cover & endpaper missing, with typical wear to edges/spine. All text pages otherwise complete & intact. Many copies of this edition were later bound in hardcover boards due to the fragility of the paper wraps (as well as the historical importance of the text), a treatment that may also serve this copy well. Vertical crease to left side of card, with a small closed tear at top of crease. Additional photos available.

Cloth. Condizione: Very Good. First Edition. Stated, 6th printing, August 1925, published by the famous Shakespeare and Company of Paris. Brown leatherette cloth spine and corners with gold, textured boards, gilt titles at head of spine. Discrete ink stamp on rear pastedown from original bindery, small ink star on FFEP. Spine has been repaired by James Currier bindery of Newport.

Soft cover. Condizione: Very Good. 1st Edition. JOYCE, James. Ulysses. Paris, Shakespeare and Company, 1926. Eighth printing, the first with the type entirely reset, revised and corrected by the author. Arguably the most significant literary achievement of the twentieth century, Ulysses was first published in 1922 by Sylvia Beach s Shakespeare and Company in Paris. Deemed obscene and subsequently banned in both the UK and the US, several early copies faced destruction by customs and postal authorities (see the book s colophon for details). For this eighth printing, also by Shakespeare and Company, the type was reset, incorporating Joyce s corrections from the earlier printings. The iconic blue wrappers with white lettering of the first printing were retained. Small quarto, pp. 735; a very good copy; original blue wrappers, titles to cover and spine in white (spine slightly sunned and worn, joints neatly restored, extremities slightly rubbed, tail of spine chipped).

Hardcover. Condizione: Very Good. 1st Edition. Paris: Shakespeare and Company, [actually Adolph & Rudolph Loewinger, 230 West 17th St., New York for Samuel and Max Roth], 1929. FIRST TRUE American Edition - Pirated and UNAUTHORISED by Joyce. Recent dark green full coarse grained morocco, spine with five raised bands, gilt title and author s name, all edges untrimmed, boards with blind decoration to the edge of the bands. Pages tanned and age toned, some marks and staining, all edges untrimmed, page with I bound in before the title [as called for in 'A Bibliography of James Joyce by Slocum and Cahoon A19, page 28], "Jonthan" instead of "Jonathan" on "By the Same Writer" page, on page 93 with some print effect to the 3rd and 5th row of text (see photos), page 359 page numbered to the inner rather than the outer margin, some pages badly trimmed or cut (473-480) with roughly cut margin (not impacting the text), page 511 torn and repaired to the inner margin, impacting the text - see photos, pages 531 and 533 cut poorly with loss to the outer margin (not impacting the text), from page 369 onwards some pages uncut, repaired to pages 511, 733 and 735. The number 1 printed just below the page number to page 525. We have photographed many pages to show the extent of the poor trimming and cutting of the pages, which was common with these editions of Ulysses. Photos have been taken with and without flash. There is no loss to the text. Slocum & Cahoon comment as follows "It was unauthorised by Joyce and sold illegaly in the United States. Many copies of this piracy were seized by the Society for the Suppression of Vice on October 5, 1929."; "Number of Copies: c 2,000-3,000." "Among the many points in which this piracy differs from the legitimate ninth printing are the misprint "Jonthan" for "Jonathan" (p.[2])." A handsomely bound copy. One for sale online at over £11,000. 735pp. Provenance: no inscriptions or bookplates. Approximately 9 inches tall. Condition Report Externally Spine very good condition gilt titles, five raised bands, six compartments, gilt year of publication at the foot of the spine. Joints very good condition. Corners very good condition. Boards very good condition blind stamped decoration to both boards aligning with the raised bands. Page edges fair to good condition all untrimmed, some uncut. See above and photos. Internally Hinges very good condition. Paste downs very good condition new, marbled. End papers very good condition new, marbled. Title fair to good condition tanned, minor marks. Pages fair to good condition tanned, minor marks (see Description above for detailed condition). Binding very good condition sound and attractive. See photos Publisher: see above. Publication Date: 1929 Binding: Hardback.

Hardcover. Condizione: Very Good. 1st Edition. The 9th printing, printed from the wholly new and corrected setting of type prepared for the eighth edition. Original blue wrappers bound in 3/4 leather boards and green, tan and gilt paper. Green and tan designed end pages. Gilt title on spine. Gilt topstain.

Condizione: NEAR FINE. 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.

Fourth printing of Joyce's masterpiece, signed by him. Quarto, original wrappers. Signed by the author in the month of publication on the front free endpaper, "JamesÂJoyce Paris 7 January 1924." In very good condition, the joints lightly repaired. Housed in a custom clamshell box. Uncommon signed. 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).

Soft cover. Condizione: Near Fine. 1st Edition. 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.

First edition of Joyce's masterpiece, one of 750 numbered copies printed on handmade paper from a total edition of 1000 copies, this is number number 276. Thick quarto, original blue and white wrappers. In very good condition with some expert restoration to the spine. Housed in a custom half morocco chemise and clamshell box. 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).

Hardcover. Condizione: Wie neu. Condizione sovraccoperta: Wie neu. 1. Auflage. First Edition, First Printing. This is number 959 of the edition of 750 numbered copies (of a total edition of 1000 copies). Original blue wrappers - front and back - bound in. A tall copy (leaf size 183 by 235mm) in near fine state: the wrappers very fresh, the pages clean, only the edges slightly browning. Most beautifully bound in different dark blue leathers by renowned Swiss bookbinder Jean Luc Honegger (and signed by him). While we always prefer unbound books in their original condition, Ulysses is such a fragile book that we have come to love bound issues: you can take the book into your hands ("yes"), read it ("yes") and appreciate it much more ("Yes.").

First edition, number 418 of 750 copies on handmade paper numbered 251 to 1,000. This attractive copy is finely bound, retaining the distinctive original blue wrappers at the front and rear. The edition was published on 2 February 1922 in imitation of the traditional three-tiered French format, which was aimed at both connoisseurs and general readers. It consisted of 100 signed copies on Dutch handmade paper, 150 large-paper copies printed on heavier vergé d'Arches, and 750 copies on vergé à barbes, which formed the trade issue. One of the key texts of 20th-century modernist literature, Ulysses also proved a major test case for laws of freedom of expression. "Forced underground by censors, this was a cryptoclassic already before it was read, a subversive colossus" (Sherry, p. 1). Its creator is considered one of the great geniuses of modern literature: "Joyce, not to mince words, is Ireland's Shakespeare, its Goethe, its Racine, its Tolstoy" (Sutherland). Horowitz, Census, p. 121; Slocum & Cahoon A17. Brian Patrick Duggan, Saluki: The Desert Hound and the English Travelers Who Brought It to the West, 2014; Vincent Sherry, Joyce: Ulysses, 2004; John Sutherland, "Ireland's Shakespeare", The Guardian, 10 Feb. 2004. Small quarto (234 x 184 mm). Finely bound by the Chelsea Bindery in greenish blue morocco, spine lettered in gilt, quintuple gilt ruled border to spines and covers, turn-ins ruled in gilt, cream endpapers, top edge gilt, others untrimmed, original wrappers bound in. Housed in a matching leather entry slipcase by the Chelsea Bindery. A fine copy.

Hardcover. Condizione: Near Fine. 1st Edition. This is the original 1922 text, limited to 1000 copies published by Shakespeare and Company, this being # 784 (used for the Orchises Press facsimile, a copy of which is included). Rebound in teal green, the color to which most of the 1922 covers have oxidized. The front cover is bound into the text. Clean throughout, deckle edges. Please see my attached photos of the two books included in your purchase. More photos and information available on request.

Original Wraps. First Edition. First edition. Limited to 1000 copies. The 1000 copies were divided into three limitations: 100 copies (nos. 1-100) printed on Dutch paper and signed by Joyce; 150 copies (nos. 101-250) printed on Vergé d'Arches paper; and the final 750 copies (nos. 251-1000) printed on linen paper, of which this is number 349. Original publisher's teal paper wrappers, lettered in white. Light rubbing to wrapper edges, wear to spine with a small chip below first spine band and some loss to lower spine, very mild crease to first several leaves, front wrapper joint tender but holding. Housed in custom slipcase with folding chemise, slipcase with some wear. Joyce's masterpiece, Ulysses, was first published serially in The Little Review from March 1918 to December 1920, at which time copies of the magazine were seized and the magazine's publishers were taken to trial due to the sexually explicit nature of the novel. Because of the controversy surrounding Ulysses, Joyce was unable to find a publisher for the book until his friend Sylvia Beach, the American owner of Shakespeare and Company bookstore in Paris, agreed to publish it. This first book edition was published in February 1922, in a limited run of 1000 copies. For a number of years, the book was banned and suppressed in various countries, though a turning point came on December 6, 1933 when U. S. Judge John Munro Woolsey ruled that the book was not obscene. It is now recognized as one of the most important works of Modernist literature. Assessing the impact of Ulysses, T. S. Eliot said of Joyce, "He single-handedly killed the 19th century." Ulysses is a stream-of-consciousness novel that follows Leopold Bloom through Dublin on an ordinary day (June 16, 1904 - notably the same day that Joyce first went on a date with Nora Barnacle, who would later become his wife). The book is heavily fragmented and allusive, with a structure that loosely parallels Homer's same-titled epic. Regarding the book's complexity, Joyce famously said, "I've put in so many enigmas and puzzles that it will keep the professors busy for centuries arguing over what I meant, and that's the only way of ensuring one's immortality.".

First edition, number 220 of 150 copies from the large-paper issue numbered 101-250, here finely bound by Sangorski & Sutcliffe with Irish motifs and with the distinctive original blue wrappers bound in. As recorded in Sylvia Beach's notebook, kept from 21 May 1921 to 1 July 1922 to account for the original customers of Ulysses, this copy was ordered by Sybil Amhurst on 11 May 1922. The watercolourist Sybil Margaret Tyssen-Amhurst (1858-1926), of Didlington Hall in Norfolk, came from the family of book and antique collectors whose Egyptian artefacts inspired the young Howard Carter. The family later recommended him for missions in Egypt, setting in motion his discovery of the tomb of Tutankhamun in 1922, the same year that Ulysses was published. Sybil Amhurst also travelled to Egypt: "Once, deep inside a tomb in the Valley of the Kings, the metallic smoke blew into Sybil's eyes and she inhaled a lung full of fumes. On the verge of blacking out, she had to be hurriedly carried to fresh air" (Duggan, p. 28). The edition comprised 1,000 copies published on 2 February in the traditional three-tiered French format aimed at both connoisseurs and readers. There were 100 signed copies printed on Dutch handmade paper, 150 copies on the larger vergé d'Arches (sometimes called the 'giant Joyce'), and 750 copies on vergé à barbes forming the trade issue. Perhaps the key text of 20th-century English literature, the book also proved a major test case for laws of freedom of expression. "Forced underground by censors, this was a cryptoclassic already before it was read, a subversive colossus" (Sherry, p. 1). Its creator is one of the great literary geniuses: "Joyce, not to mince words, is Ireland's Shakespeare, its Goethe, its Racine, its Tolstoy" (Sutherland). Horowitz, Census, p. 121; Slocum & Cahoon A17. Brian Patrick Duggan, Saluki: The Desert Hound and the English Travelers Who Brought It to the West, 2014; Vincent Sherry, Joyce: Ulysses, 2004; John Sutherland, "Ireland's Shakespeare", The Guardian, 10 Feb. 2004. Quarto (264 x 200 mm). Finely bound by Sangorski & Sutcliffe in dark brown morocco, spine lettered in gilt, three raised bands dividing gilt-ruled compartments, covers with gilt rule enclosing shamrock cornerpieces, board edges and turn-ins ruled in gilt, original wrappers bound in at end. Housed in custom brown quarter morocco folding box by the Chelsea Bindery. Loosely inserted newspaper clipping and sheet (New York Times, 11 February 1934) discussing the publication history of Ulysses in Europe and America. A little rubbing, neatly retouched, browning to free endpapers from turn-ins, sporadic faint foxing and spots to contents. A very handsome copy.

First Edition; one of 750 numbered copies (this is no. 843; the special issues of 100 and 150 were also numbered). 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. All books described as first editions are first printings unless otherwise noted.

Hardcover. Condizione: Very Good. No Jacket. 1st Edition. Specially bound in full leather in 2 volumes. This is number 389 of a the special 750 copies printed on handmade, laid paper. Signed and dated in ink by James Joyce: "James Joyce, Paris, 9. ix. 1924" on the front endpaper following the front blue wrapper. Joyce's Signature has been authenticated by Glenn Horowitz of NYC. Volume I contains 370 pages. Volume II begins on page 371 and and ends on p. 732 with the "Trieste-Zurich-Paris, 1914-1921" dateline. The next page is printed in capital letters: "Printed for Sylvia Beach by Maurice Darantiere at Dijon, France." The rear wrapper is not present at the end of volume two. Both volumes have been specially bound in full leather with 4 gilt rectangular rules and a delicate inner rectangle of hand-tooled chain patterns culminating in larger floral designs at the inside corners of the front and rear boards. Both front boards bear the name of "JOAN" in vertical gilt capital letters. The spine of volume I is missing 6" of the 9.5" of the spine length, but the top portion with "I" is present. The front blue wrapper printed in White with "Ulysses" by James Joyce is clean and crisp, as is the text throughout volumes one and two. The top edges are gilded. And there are predominantly orange and grey marbled endpapers. There is hand-tooled dentelle gilding along the front and rear inside edges of the boards as well. Both volumes have some pencil scrawlings on the front endpapers, but nothing affecting the text. Despite the unusual two-volume format and the missing rear wrapper, modern first edition authority Allen Ahearn opined that this signed and dated copy in Joyce's hand of one of the 750 specially printed first editions is perhaps as scarce as one of the 100 signed copies, given that none of the 750 copies was issued with Joyce's signature. This copy was signed and dated two years after publication in 1924. This edition is limited to 1000 copies: 100 copies (signed) on Dutch handmade paper numbered from 1 to 100; 150 copies on vergé d'Arches numbered from 101 to 250; 750 copies on handmade paper numbered from 251 to 1000. This is copy No. 389. "The publisher asks the reader s indulgence for typographical errors unavoidable in the exceptional circumstances. S.B." In a review in The Dial, T.S. Eliot said of Ulysses: "I hold this book to be the most important expression which the present age has found; it is a book to which we are all indebted, and from which none of us can escape." He went on to claim that Joyce was not at fault if people after him did not understand it: "The next generation is responsible for its own soul; a man of genius is responsible to his peers, not to a studio full of uneducated and undisciplined coxcombs." The book has its critics; Virginia Woolf stated that "Ulysses was a memorable catastrophe immense in daring, terrific in disaster." Ulysses has been called "the most prominent landmark in modernist literature", a work where life's complexities are depicted with "unprecedented, and unequalled, linguistic and stylistic virtuosity." That style has been stated to be the finest example of the use of stream-of-consciousness in modern fiction, with the author going deeper and farther than any other novelist in handling interior monologue. This technique has been praised for its faithful representation of the flow of thought, feeling, mental reflection, and shifts of mood. (Wikipedia) First Edition, One of 750 numbered copies. Signed by Author(s).

Softcover. Condizione: Wie neu. Condizione sovraccoperta: Wie neu. 1. Auflage. Paris: Shakespeare and Company, 1922. First Edition, First Printing. Original blue printed wrappers. 4to. This is number 986 of the edition of 750 numbered copies of a total edition of 1000 copies (+ some more described below). Very minor wear to extremities of the spine and some slight toning to the wrappers, else a lovely copy: uncut, mostly unopened and completely untouched by any restorer. Small contemporary portrait of Joyce by C. Rup mounted on the recto of the half-title (taken from the original subscriber's form, which is in itself very rare) together with the neat signature of Frank Layton, who bought this copy on the 16th of March in 1922 according to Sylvia Beach's "Ulysses" Notebook. There are six known versions of the first edition of Ulysses: 1. Unbound proofs. 2. Review copies that came without the famous blue wrappers. 3-5. The three editions of the published version: 100 signed (3); 150 on large paper (4); 750 regular copies numbered like the one we are offering here (5). 6. There are some unnumbered copies - most prominently the one inscribed to the printer Darantiere - hors commerce. Please note that any copy of the first edition of Ulysses in its original condition is flimsier than any paperback you have ever owned: the book is heavy, the folded blue paper front and back covers only strengthened by a sheet of paper and the spine directly glued on to the book. This copy formed part of the Allan D. McGuire Collection of Cyril Connolly's "The Modern Movement - 100 Key Books from England, France and America 1880-1950" and was also exhibited in the "Allspace in a Notshall" Exhibition in Zürich in 1991. It comes with a beautiful three-quarter morocco slipcase and all the documentation of provenance and exhibtion. The Book of Books on any list of modern fiction (even after 100 years) and a great and funny read at that, which comes here in beautiful condition and with a full record of provenance. It is part of our Catalogue 10: James Joyce.

First edition, number 825 of 750 copies on handmade paper numbered 251 to 1,000. Sylvia Beach's notebook records that this copy was one of two dozen sold to "Miss Weaver (on sale)". Harriet Shaw Weaver was Joyce's indispensable patron, without whose munificent backing Portrait of the Artist as a Young Man, Ulysses, and Finnegans Wake might never have been published. As a measure of Weaver's paramount importance to Joyce, he inscribed copy number 1 of Ulysses to her. 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. The novel was published on 2 February 1922. Widely recognized as the key book of 20th-century English literature, Ulysses is among the major works in the modernist canon, and its creator one of the great geniuses of all literature: "Joyce, not to mince words, is Ireland's Shakespeare, its Goethe, its Racine, its Tolstoy" (John Sutherland). The book also proved to be a major test case for laws of freedom of expression. "Forced underground by censors. this was a cryptoclassic already before it was read, a subversive colossus" (Norman Sherry, James Joyce, Ulysses, 2nd edition). Slocum & Cahoon A17. Horowitz, Census, p. 131. Small quarto. Original blue wrappers, titles to cover in white. Housed in a dark blue leather backed bookform box. Mild rubbing to extremities with some loss to wrappers around spine corners, some light soiling but the whole still fresh and attractive, and entirely untouched by restoration, very few trivial spots within, a very good copy indeed. Pencil ownership inscription to first blank of the veterinarian and James Joyce collector, Alfred T. Cowie (1916-2003), dated 1954.

First edition of Joyce's masterpiece, one of 750 numbered copies printed on handmade paper from a total edition of 1000 copies, this is number number 276. Thick quarto, original blue and white wrappers. In near fine condition, square and tight with a touch of rubbing to the crown and foot of the spine. Housed in a custom slipcase. An exceptional 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).

Ninth Printing of the First Edition. 205 x 160 mm. (8 1/8 x 6 1/4"). 4 p.l. (first blank), 735 pp. DRAMATIC DARK BLUE-GRAY CRUSHED MOROCCO, BLIND-TOOLED AND INLAID TO AN ABSTRACT DESIGN, BY SALLY LOU SMITH (stamp-signed with her initials in gilt on rear doublure), with overall wraparound design of inlaid elongated, irregular-shaped pieces of black, gray, blue, tan, and yellow morocco with blind-tooled lines extending from these shapes, MATCHING MOROCCO DOUBLURES tooled in gilt with branch-like lines, yellow handmade free endpapers, gray flyleaves, all edges gilt. In the matching morocco-backed clamshell box. Front flyleaf INSCRIBED BY JOYCE TO H. G. WELLS: "To / H. G. Wells / Respectfully / James Joyce / 5 November 1928 / Paris." Slocum and Cahoon 17. â Isolated faint foxing or marginal spots, but a clean, fresh copy with few signs of use, in a new binding. This later printing of what is generally recognized to be the most important 20th century novel in English is inscribed by the author to one of his earliest and most important supporters, and is offered in a binding by an influential Designer Bookbinder. First issued in 1922, "Ulysses" rocked the literary world. J. B. Priestley, writing in the "Clarion" in 1934, said what most scholars and critics acknowledge--that "as a literary feat, an example of virtuosity in narration and language, it is an astounding creation. Nobody who knows anything about writing can read the book and deny its author, not merely talent, but sheer genius." Our copy was presented by Joyce to H. G. Wells (1866-1946), whose support of "Portrait of the Artist as a Young Man" was instrumental in establishing Joyce's literary reputation. Reviewing that book in 1916, Wells praised "its quintessential and unfailing reality. One believes in Stephen Dedalus as one believes in few characters in fiction." He considered "Portrait" to be "by far the most living and convincing picture that exists of an Irish Catholic upbringing," and noted how sharply it contrasted the Irish and the English: "No single book has ever shown how different they are, as completely as this most memorable novel." The two men did not meet until 12 years later, in Paris, at which time Joyce inscribed the present copy of his masterwork to Wells. At the same time, Joyce presented Wells with some excerpts of what would become "Finnegan's Wake." On 23 November 1928, Wells wrote to Joyce from his winter home in the south of France, expressing his regret that he could not promote these latest works with the same enthusiasm: "I have enormous respect for your genius dating from your earliest books and I feel now a great personal liking for you but you and I are set upon absolutely different courses. . . . I want a language and statement as simple and clear as possible. . . . Who the hell is this Joyce who demands so many waking hours of the few thousand I have still to live for a proper appreciation of his quirks and fancies and flashes of rendering?" Still, Wells acknowledged, "Your work is an extraordinary experiment and I would go out of my way to save it from destructive or restrictive interruption." The abstract binding by distinguished modern artisan Sally Lou Smith evokes a journey: as the multicolored inlays march from the rear edge around the spine and across the front against a grim, gray ground, Bloom's peregrinations through Dublin and the characters he encounters seem to be brought to mind. Born in the United States, Smith (1925-2007) spent several years in France, then settled in 1958 in London. There, she spent four and a half years learning bookbinding under John Corderoy at Camberwell School of Arts & Crafts before beginning to work out of her own bindery in 1963. Her work has been widely honored both in her early days (she won the bookbinding award given by Major J. R. Abbey in 1965) and for many years since (among others, she won three Thomas Harrison Competition prizes). In the catalogue for the "Modern British Bookbinding" exhibit held in Brussels and The Hague in 1985, five of the 50 bindings pictured were executed by Smith, who is listed in the catalogue as one of the 20 Fellows of Designer Bookbinders, the principal bookbinding society in Great Britain. She served as president of that society and was a greatly respected teacher of bookbinding. A comprehensive survey of her work appeared in "The New Bookbinder" no. 21 (2001).

Signed limited first edition of Joyce's masterpiece, one of 100 numbered copies printed on handmade paper from a total edition of 1000 copies, this is number 51. Thick quarto, original blue and white wrappers. Laid in are the following pamphlets: Extracts from Press Notices of UlyssesÂby JamesÂJoyce" and the Shakespeare and Company prospectus for Ulysses, with woodcut vignette of Shakespeare, photographic portrait of Joyce tipped in. In near fine condition, rebacked. Housed in a custom full morocco clamshell box. An exceptional 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 Woolf, 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).