Catalog 133, J
James Joyce Works and Criticism
100. JOYCE, James. A Portrait of the Artist as a Young Man. NY: Huebsch, 1916. The first American edition, and true first edition, of Joyce's first novel. The American edition precedes the British edition, which was bound from American sheets early the following year. Pencilled owner name; rear hinge starting; spine lightly rubbed at extremities and gilt slightly dulled but still quite clear. A sound, very good copy of one of the important novels of the 20th century, lacking the rare dust jacket.
101. JOYCE, James. Exiles. NY: Huebsch, 1918. The first American edition of Joyce's only published play, written the year after his first collection of stories, Dubliners, was published. The play was staged unsuccessfully in Munich in the year of its publication but not performed in England until 1926, by which time Joyce was already widely recognized as a major literary figure -- which was not the case at the time of its original publication. Owner name and notes; modest foxing to pages and handling to boards; a very good copy, lacking the dust jacket.
102. -. Same title. NY: Viking, 1951. A limited reissue, which includes previously unpublished notes by Joyce, discovered after his death, and an introduction by Padraic Colum. One of 1900 copies. Owner name, foredge foxing, cloth nibbled; a very good copy in a good, price-clipped dust jacket with fading to the spine lettering and rubbing to the jacket.
103. JOYCE, James. Pomes Penyeach. Paris: Shakespeare and Co., 1927. The first trade edition, after 13 specially bound copies. 3 3/4" x 4 7/8." With errata sheet tipped in at the rear, opposite the colophon. Owner signature and notes in text, and the previous owner has transcribed Joyce's poem, "Ecce Puer" -- about the death of his father and the birth of his son -- on the rear endpaper. Spine sunned and almost fully cracked; a good copy only in printed paper-covered boards.
104. JOYCE, James. Chamber Music. London: Jonathan Cape (1927). The fourth British edition, one of 393 copies bound from sheets remaining at the time Jonathan Cape acquired Egoist Press. Owner name and slight textual markings; foxing; about near fine in a very good, sunned and lightly chipped dust jacket. Quite uncommon in dust jacket.
105. -. Same title. NY: Columbia University Press, 1954. Edited and with introduction and notes by William York Tindall. Gift inscription and owner stamp; pencilled notes in text. Near fine, without dust jacket.
106. JOYCE, James. Tales Told of Shem and Shaun: Three Fragments From Work in Progress. Paris: Black Sun, 1929. One of 500 numbered copies of the trade edition, of a total edition of 650 copies, printed at Harry Crosby's legendary Black Sun Press. An attractive production, in white wrappers printed in red and black, with an etched frontispiece by Constantin Brancusi. After the success of Ulysses, Joyce's next work was eagerly awaited, and excerpts from it -- simply called "Work in Progress" -- were themselves literary events on publication. Crosby's press specialized in attractive and elegant editions by avant-garde writers, and publishing Joyce was a natural. Earlier, he had reportedly done the printing for Joyce's Pomes Penyeach: the printer named on the back of that book, "Herbert Clarke," is widely thought to be a pseudonym for Crosby. Later, in 1936, the Black Sun Press published an edition of Joyce's collected poems. Pencilled owner name; minor foxing; else a near fine copy in self-wrappers and in original glassine with spine missing, in near fine slipcase. The glassine wrapper is seldom seen, and usually the slipcase turns up quite worn. This is a very nice example.
107. JOYCE, James. Haveth Childers Everywhere. London: Faber & Faber (1931). Published as Criterion Miscellany No. 26, one of a small number published in cloth; the rest of the edition was issued in paper wrappers. In 1948, Faber reported that it had sold only 249 copies of the cloth edition, and 5341 copies of the softcover. Pencilled owner name on flyleaf; foxing to cloth with light spine fading; about near fine, lacking the plain tissue dust jacket.
108. JOYCE, James. The Mime of Mick, Nick and the Maggies. The Hague/New York: Servire Press/Gotham Book Mart, 1934. Another fine press edition of an excerpt from Joyce's "Work in Progress," which later became Finnegans Wake. One of 1000 numbered copies in wrappers, with a cover design by Joyce's daughter, Lucia, who also designed the multicolored initial letter and tailpiece. Pencilled owner signature; foxing to page edges and self-wrappers; near fine in very good clear cellophane dust jacket (shrunken over time) and slipcase.
109. JOYCE, James. Ulysses. NY: Limited Editions Club (1935). First thus, with an introduction by Stuart Gilbert and illustrations by Henri Matisse. One of 1500 numbered copies, signed by Matisse. Matisse contributed six etchings, and the book was produced with reproductions of his earlier sketches for each etching bound in. The entire edition was to have been signed by Joyce and Matisse, but Joyce only signed 250 copies, reportedly irked that Matisse's illustrations depicted the characters from Homer's Ulysses, not his own version of it. Joyce's Ulysses was the book that redefined the modern novel, and to which all postmodern writing since has been compared. With this book and his later, and last, novel, Finnegans Wake, Joyce expanded the parameters of modern fiction, self-consciously applying a variety of literary techniques to the description of one day in the life of the book's characters. A groundbreaking novel, originally published in Paris in 1922, thereby becoming the model of experimentation, and the anchor of literary accomplishment, for that extraordinary generation of expatriate writers who came to be known as the "Lost Generation." Eventually, the Modern Library would name Ulysses the number one book on its list of the 100 greatest English-language novels of the century. The title also appeared in the top ten of the Radcliffe list and the Waterstone's list and on the New York Public Library's Books of the Century. This copy has a pencilled owner signature and one line of notes; mild foxing to foredge; near fine in a very good slipcase.
110. -. Same title. NY: Modern Library (1934). The first Modern Library edition, a Modern Library "Giant." Owner name; about near fine in a very good, spine-faded dust jacket with four pieces of tape fixing the flaps to the pastedowns.
111. JOYCE, James. Finnegans Wake. NY: Viking Press, 1939. The first American edition of Joyce's final novel, considered by many to be his best work, a culmination of the experimentation with language and structure that he had begun with Ulysses. Together, the two volumes decisively influenced all subsequent fiction, by their use of language, interior monologue, stream-of-consciousness and, most importantly, by their intent to broaden the subject of the novel to encompass the widest range of human activity and knowledge. Owner name to half title, pencilled notes in text; text block shaken; a very good copy with partial dust jacket: pieces of the front and rear panel intact and affixed via the flaps to the pastedowns.
112. JOYCE, James. Stephen Hero. (NY): New Directions (1944). A posthumously published short novel, written when the author was in his early twenties, and being an early version of what became Portrait of the Artist as a Young Man. One of 3000 copies. Pencilled owner signature and notes in text. Near fine in a good dust jacket, heavily rubbed along the folds, tape-strengthened at the corners and spine ends and with flaps affixed to pastedowns.
113. JOYCE, James. The Indispensable James Joyce. NY: Book Society, 1949. With an introduction and notes by Harry Levin. This is a reissue of The Portable James Joyce, published in 1947. Near fine in chipped glassine and an insect-damaged slipcase.
114. JOYCE, James. Epiphanies. (n.p.): University of Buffalo, 1956. A small, attractively printed volume, published posthumously. Approximately two dozen encounters or moments recorded by Joyce in the period 1904-1906, and previously unpublished. Printed in a total edition of 550 copies. Small bookstore label front flyleaf; modest foxing; near fine in a very good, modestly soiled and spine-tanned plain white dust wrapper with one edge tear. Uncommon, especially with the original dust jacket.
115. (JOYCE, James). GORMAN, Herbert S. James Joyce. His First Forty Years. NY: Huebsch, 1924. An early critical biography of Joyce, which contains the first publication in the U.S. of some excerpts from Ulysses. Pencilled owner name to flyleaf and notes in text; pages foxed; spine sunned. About very good, lacking the dust jacket.
116. (JOYCE, James). Transition, No. 1. Paris: Shakespeare and Co., 1927. The first issue of what was probably the most important and influential literary magazine of its era, published in Paris by Sylvia Beach's Shakespeare & Co., and edited by Elliot Paul and Eugene Jolas. Includes Joyce's "Opening Pages of a Work in Progress." Also includes Kay Boyle, Robert M. Coates, and Gertrude Stein, among many others. Pencilled owner signature and notes in text. Spine and half of rear wrapper absent; braced with tape; a fair copy. A fragile production: Transition was printed on cheap, pulpy paper which acidifies, turning brown and cracking and chipping over time. Few copies survive in fine condition, and Number 1 is especially cheaply made and thus uncommon.
117. (JOYCE, James). Transition, No. 11. Paris: Shakespeare and Co., 1928. Includes Joyce's "Continuation of a Work in Progress." Also includes Kafka, Picasso, Djuna Barnes, Yves Tanguy, among others. Pencilled owner signature. Split along front joint; braced with tape; a good copy.
118. (JOYCE, James). Transition, No. 13. Paris: Shakespeare and Co., 1928. Includes Joyce's "Continuation of a Work in Progress." Also includes Paul Bowles, Gertrude Stein, Kay Boyle, William Carlos Williams, Laura Riding, Katherine Anne Porter, photographs by Man Ray, artwork by Picasso, others. Sunned, with tears to the fold and rubbing and wear to the surfaces; a good copy.
119. (JOYCE, James). Transition, No. 15. Paris: Shakespeare and Co., 1929. Includes Joyce's "Continuation of a Work in Progress." Also includes Harry Crosby, Louis Zukofsky, William Carlos Williams, Italo Svevo, Katherine Anne Porter, Malcolm Cowley, Robert McAlmon, and others. Includes eight surrealist photographs by Man Ray, as well as two portraits by him. Spine creased and a touch faded; pages a bit wavy; very good in wrappers, with the publisher's promotional label still tipped to the front cover.
120. (JOYCE, James). Transition, Nos. 16-17. Paris: Shakespeare and Co., 1929. A double issue, which includes the famous "Proclamation" of the "Revolution of the Word," in which editor Eugene Jolas attempted to define the ethos of a new approach to literature and the responsibilities of writers, and enlisted a number of Transition regulars to sign the statement. Includes Samuel Beckett's "Dante...Bruno. Vico...Joyce" and "Assumption," and Stuart Gilbert's "Joyce Thesaurus Minusculus." Also includes Harry Crosby, Erskine Caldwell, Gertrude Stein, and others. Pencilled owner name and notes in text; spine darkened; very good in wrappers, with the remnants of the publisher's promotional label tipped to the front cover, and the label laid in.
121. (JOYCE, James). Our Exagmination Round His Factification for Incamination of Work in Progress. Paris: Shakespeare and Company, 1929. A book of essays about Joyce's "Work in Progress" (later Finnegans Wake), with some excerpts that did not appear in Transition nor in the final book. Includes Samuel Beckett's "Dante...Bruno. Vico...Joyce," his first book appearance. The volume concludes with two "Letters of Protest" decrying Joyce's work in the new book, which are reputed to have been written by Joyce himself. Pencil owner name and notes in text; spine is tape-repaired; shallow insect damage to covers; good in wrappers.
122. (JOYCE, James). Transition, No. 18. Paris: Shakespeare and Co., 1929. Includes Joyce's "Continuation of a Work in Progress." Also includes Harry and Caresse Crosby, Paul Klee, William Carlos Williams, Martha Foley, Tina Modotti, René Crevel, Charles Henri Ford, and others. Owner name in pencil. Promotional label missing from front cover. Spine-faded and creased; very good in wrappers.
123. (JOYCE, James). Transition, Nos. 19-20. Paris: Shakespeare and Co., 1930. A double issue. Includes "James Joyce's Work in Progress" by Carola Giedon-Welcker. Also includes tributes in memory of Harry Crosby, as well as work by Carl Jung, Samuel Beckett, Paul Bowles, Hart Crane, Rainer Marie Rilke, Tristan Tzara, Bob Brown, Antonin Artaud, paintings by Picasso and Paul Klee, photographs by Edward Weston, and many others. Promotional label intact on front cover. Owner name in pencil; some spine creasing from binder's glue; near fine in wrappers. A very nice copy of a large and important issue of this quarterly.
124. (JOYCE, James). Transition, No. 21. The Hague: Servire Press, 1932. Includes "Homage to James Joyce," a section by various writers, and contributions by Beckett, Kafka, Miguel Angel Asturias, Gertrude Stein, Edward Roditi, Henry [sic] Michaux, sculptures by Giacometti, a cover by Hans Arp, and much more. Owner name in pencil and some pencil notes in the text in the Joyce section. Foxing to text; spine-darkened; very good in wrappers nibbled along the lower foredge, with promotional label intact on front cover.
125. (JOYCE, James). Hound & Horn, Vol. V, No. 4. (Concord): Hound & Horn, 1932. Includes "From a Banned Writer to a Banned Singer" by Joyce. With additional contributions by Carl Rakosi, Gertrude Stein, William Carlos Williams, Allen Tate and others. Foxing to outer pages; sunning and foxing to covers; very good in wrappers.
126. (JOYCE, James). DUFF, Charles. James Joyce & The Plain Reader. London: Desmond Harmsworth (1932). Pencilled owner name and notes in text; offsetting to endpages; foxing to page edges; very good in a very good, spine-tanned dust jacket with slight spotting and edge wear. Errata slip laid in.
127. (JOYCE, James). Transition, No. 22. The Hague: Servire Press, 1933. Includes Joyce's "Continuation of a Work in Progress." Also pieces by Hans Arp, Hamilton Basso, and others, and includes a Transition "bibliography," or index, of the contributors and contributions in the first 22 issues. Owner name in pencil and a few pencil annotations in the Joyce piece. Pages edges and margins foxed; spine-creased and darkened. Very good in wrappers.
128. (JOYCE, James). Transition, No. 23. The Hague: Servire Press, 1933. Includes Joyce's "Continuation of a Work in Progress" and two pieces on Joyce, as well as a contribution by Kafka, cover art by Paul Klee, photographs of artworks by Giacometti, Arp, Brancusi, and others, and more. Owner name in pencil. Pages edges and margins foxed; cover sunned. Very good in wrappers.
129. (JOYCE, James). GOLDING, Louis. James Joyce. London: Thornton Butterworth (1933). A critical biography in the Modern Writers and Playwrights series. Owner name to flyleaf and notes in text; pages edges foxed; a very good copy in a near fine, spine-tanned dust jacket.
130. (JOYCE, James). Transition, No. 26. (NY): Transition (1937). An important issue of this journal, with famous cover art by Marcel Duchamp, and including Joyce's "Work in Progress" as well as Kafka's "Metamorphosis." Other contributors include James Agee, Randall Jarrell, Muriel Rukeyser, Paul Eluard, Raymond Queneau, and artwork by Man Ray -- photographs and a drawing -- Brassai, Edward Weston, Josef Albers, Miró, Kandinsky and others. Owner signature. Mild foxing; modest and shallow insect damage to lower rear cover; very good in wrappers.
131. (JOYCE, James). CAMPBELL, Joseph and ROBINSON, Henry Morton. A Skeleton Key to Finnegans Wake. NY: Harcourt Brace (1944). The first important book-length critical work on Finnegans Wake; a seminal work of Joyce criticism. Pencilled owner name to flyleaf and notes in text. Book condition presumed very good: a very good spine-tanned dust jacket is affixed to it with tape.
132. (JOYCE, James). PARKER, Alan. James Joyce: A Bibliography. Boston: F.W. Faxon, 1948. The first attempt at a comprehensive Joyce bibliography, later supplanted by Slocum and Calhoun. Pencilled owner name and notes; cloth mottled; very good in handmade dustwrapper. Laid in is a 2-page typescript of "Publication of Separate Fragments of Work in Progress."
133. (JOYCE, James). A James Joyce Yearbook. Paris: Transition Press, 1949. One of 1000 numbered copies of this collection of works about Joyce, and including an unsigned piece, "Ad-Writer," attributed to Joyce himself in the bibliography. Owner name and notes to text. Page edges and endpages foxed; else near fine in wrappers.
134. (JOYCE, James). James Joyce. Sa Vie. Son Oeuvre. Son Rayonnement. Paris: Librairie La Hune, 1949. Text in French, with the exception of a page by T.S. Eliot. One of 1500 copies of the catalog of a Joyce exhibition held in Paris in 1949. A very good copy in wrappers beginning to separate at the spine fold and with wear at the extremities.
135. (JOYCE, James). SVEVO, Italo. James Joyce. (Milan): New Directions, 1950. The text of a 1927 lecture on Joyce by Svevo, translated in 1950 to be used as a miniature keepsake for the friends of James Laughlin and New Directions. One of 1500 numbered copies for New Directions, of a total edition of 1600. Owner name in pencil. Fine in wrappers and near fine pictorial dust jacket.
136. (JOYCE, James). SLOCUM, John J. and CAHOON, Herbert. A Bibliography of James Joyce 1882-1941. New Haven: Yale University Press, 1953. First edition of the definitive Joyce bibliography. Fine in a near fine, sunned dust jacket with one edge tear.
137. (JOYCE, James). LOEHRICH, Rolf. The Secret of Ulysses. McHenry: Compass Press (1953). An important critical work on Ulysses. Owner name on flyleaf and pencilled notes on flyleaf and in text. Page edges foxing; near fine in a very good, spine-faded dust jacket.
138. (JOYCE, James). JONES, William Powell. James Joyce and the Common Reader. Norman: University of Oklahoma Press (1955). Owner name and notes in text. Near fine in a very good dust jacket with small holes at the folds. Publisher's order card laid in.
139. (JOYCE, James). KENNER, Hugh. Dublin's Joyce. Bloomington: Indiana University Press, 1956. A critical work by the noted critic, who was the first to use the large collection of Joyce's letters at Yale to inform his perspective on Joyce's writings, and the particular importance of place in them. Owner name on flyleaf and notes in text. Foxing to endpages and page edges; very good in a near fine dust jacket with trace corner wear. Notes, reviews, and book store order card laid in.
140. (JOYCE, James). MANNING, Mary. Passages from Finnegans Wake. Cambridge: Harvard University Press, 1957. "A Free Adaptation for the Theater." Pencilled owner name and notes in text; foxing to page edges; near fine in a very good, spine and edge-sunned dust jacket.
141. (JOYCE, James). SCHUTTE, William M. Joyce and Shakespeare. New Haven: Yale University Press, 1957. A study of the nature and extent of Shakespeare in Ulysses. Owner name and comments to text; minor mottling to rear board; about near fine in a good, spine-sunned dust jacket with wormholes the length of both flap folds.
142. (JOYCE, James). NOON, William T. Joyce and Aquinas. New Haven: Yale University Press, 1957. A study of the religious elements in Joyce's writings. Owner name on flyleaf and notes in text; near fine in a faintly spine-tanned dust jacket with one edge tear and a spot of rubbing; about near fine.
143. (JOYCE, James). GILLET, Louis. Claybook for James Joyce. London: Abelard-Schuman (1958). Owner name to flyleaf; foxing to page edges and endpages; about near fine in a very good, price-clipped dust jacket with minor surface soiling. Book store order card laid in.
144. (JOYCE, James). JOYCE, Stanislaus. My Brother's Keeper: James Joyce's Early Years. NY: Viking Press, 1958. Edited and introduced by Richard Ellmann; preface by T.S. Eliot. One of 375 copies specially bound for friends of the publisher. Pencilled owner name; foredge foxing; cloth edges slightly worn or nibbled; a very good copy in cloudy, original acetate, tape-repaired on the rear panel.
145. (JOYCE, James). COLUM, Mary and Padraic. Our Friend James Joyce. Garden City: Doubleday, 1958. Foxing to page edges and endpages; near fine in a good dust jacket with several holes to the rear flap fold and a soiled but otherwise intact dust jacket.
146. -. Another copy. Pencilled owner name to flyleaf; foxing to pages edges; near fine in a very good dust jacket. Book store order card and book review laid in, as well as a typed note indicating "Sent by Mrs. Efrem Zimbalist."
147. (JOYCE, James). BEACH, Sylvia. Shakespeare and Company. NY: Harcourt Brace (1959). A memoir by the woman who published Ulysses and was one of the key figures in the Paris literary scene of the 1920s and 1930s. Owner name stamp and ink date on half-title; else fine in a near fine, spine-faded dust jacket, with an order card from the Gotham Book Mart laid in.
148. (JOYCE, James). HODGART, Matthew J.C. and WORTHINGTON, Mabel P. Song in the Works of James Joyce. NY: Temple University/Columbia University, 1959. A study of the references to songs in Joyce's writings. Pencilled owner name on flyleaf; fine in a very good dust jacket with insect damage to the upper flap edges. Uncommon.
149. (JOYCE, James). A James Joyce Miscellany, Second Series. Carbondale: Southern Illinois University Press, 1959. Edited by Marvin Magalaner. Fifteen essays on Joyce; publication of newly-found pages from Stephen Hero; a fold-out schematic listing of Ulysses, done by Joyce. Owner name and small book store stamp on flyleaf; else a fine copy in a good, spine-tanned dust jacket with wear and rubbing to the outer layer of paper on the rear panel, spine and folds.
150. (JOYCE, James). HIGGINSON, Fred H. Anna Livia Plurabelle. Minneapolis: University of Minnesota Press (1960). A critical study of one chapter of Finnegans Wake. Small hole at the lower portion of the front and rear hinges; near fine in a very good, lightly tanned dust jacket with slight insect damage to the folds. Prospectus for the book laid in, along with an announcement of the Bloomsday meeting of the James Joyce society.
151. (JOYCE, James). ATHERTON, James S. The Books at the Wake. NY: Viking Press, 1960. "A Study of Literary Allusions in James Joyce's Finnegans Wake." Owner name on flyleaf; notes in text; near fine in a very good, spine-sunned dust jacket with light rubbing to the edges and folds.
152. (JOYCE, James). CONNOLLY, Thomas E. Scribbledehobble. (n.p.): Northwestern University Press (1961). "The Ur-Workbook for Finnegans Wake," edited by Connolly. Pencilled owner name on flyleaf; near fine in a very good, spine and edge-sunned dust jacket.
153. (JOYCE, James). LITZ, A. Walton. The Art of James Joyce. London: Oxford University Press, 1961. "Method and Design in Ulysses and Finnegans Wake." Foxing to page edges; near fine in a near fine dust jacket.