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Details
JOYCE, James (1882-1941). Ulysses. Paris: Shakespeare and Company, 1922.
4° (234 x 190mm). Half-title. (Lacking the first 2 blanks, half-title lightly browned and with light marginal finger-soiling, slight offset from title, title, limitation notice and following 3 leaves lightly spotted, occasional light, mainly marginal spotting or soiling.) Blue morocco gilt by Kiernan, dated 1965, radiating sun motif in blind and gilt on covers, incorporating a central circular blue morocco onlay on front cover with author’s signature in gilt, spine in six compartments, lettered in 2, radiating sun motif in the other 4, inner blue doublures with gilt rays emanating from a plain central oval, original 'Greek flag' blue printed wrappers bound in, top edges gilt, others uncut, in a morocco-backed folding box, titled in gilt with radiating sun motif below, cloth slipcase (joints of slipcase rubbed and front joint split, spine slightly discoloured).
FIRST EDITION, LIMITED AND SIGNED, ATTRACTIVELY BOUND BY KIERNAN, NO. 47 OF 100 COPIES on Dutch handmade paper, overall limitation 1000 copies. The impact of Joyce's Ulysses was revolutionary in its own time, and the book continues to stand as the single most significant English language novel of the last century. The complexities of its formal structure, its linguistic inventiveness and its imaginative cohesion of historical sources have made Ulysses the most diligently studied work of modern literature in English.
The publication of Ulysses was a trying experience for its author, and no less so than the difficulties endured while writing it. Early manuscripts of the novel show Joyce beginning to move beyond the more formally traditional work represented in his Dubliners and A Portrait of the Artist as a Young Man and towards his mature style. Introduced to Harriet Shaw Weaver by Ezra Pound, Joyce first hoped to publish the novel serially in her journal the Egoist, but legal problems in England and America (resulting from the novel's presumed obscene content) halted this plan. Sylvia Beach of the Shakespeare and Company bookshop in Paris intervened at this seemingly desperate stage and Ulysses, published under her imprint, was revived for publication.
The first printing consisted of 1,000 copies, divided into three various limitations. The first 100 copies were printed on fine handmade paper, numbered 1-100, and signed by Joyce. Copies 101-250 were also printed on handmade paper, though of a lesser grade than the first 100, and were not signed by Joyce. The final 750 copies were numbered 251-1,000, printed on the least expensive stock of paper, and like the previous limitation, were not signed by Joyce. Connolly, The Modern Movement 42; Slocum & Cahoon A17.
4° (234 x 190mm). Half-title. (Lacking the first 2 blanks, half-title lightly browned and with light marginal finger-soiling, slight offset from title, title, limitation notice and following 3 leaves lightly spotted, occasional light, mainly marginal spotting or soiling.) Blue morocco gilt by Kiernan, dated 1965, radiating sun motif in blind and gilt on covers, incorporating a central circular blue morocco onlay on front cover with author’s signature in gilt, spine in six compartments, lettered in 2, radiating sun motif in the other 4, inner blue doublures with gilt rays emanating from a plain central oval, original 'Greek flag' blue printed wrappers bound in, top edges gilt, others uncut, in a morocco-backed folding box, titled in gilt with radiating sun motif below, cloth slipcase (joints of slipcase rubbed and front joint split, spine slightly discoloured).
FIRST EDITION, LIMITED AND SIGNED, ATTRACTIVELY BOUND BY KIERNAN, NO. 47 OF 100 COPIES on Dutch handmade paper, overall limitation 1000 copies. The impact of Joyce's Ulysses was revolutionary in its own time, and the book continues to stand as the single most significant English language novel of the last century. The complexities of its formal structure, its linguistic inventiveness and its imaginative cohesion of historical sources have made Ulysses the most diligently studied work of modern literature in English.
The publication of Ulysses was a trying experience for its author, and no less so than the difficulties endured while writing it. Early manuscripts of the novel show Joyce beginning to move beyond the more formally traditional work represented in his Dubliners and A Portrait of the Artist as a Young Man and towards his mature style. Introduced to Harriet Shaw Weaver by Ezra Pound, Joyce first hoped to publish the novel serially in her journal the Egoist, but legal problems in England and America (resulting from the novel's presumed obscene content) halted this plan. Sylvia Beach of the Shakespeare and Company bookshop in Paris intervened at this seemingly desperate stage and Ulysses, published under her imprint, was revived for publication.
The first printing consisted of 1,000 copies, divided into three various limitations. The first 100 copies were printed on fine handmade paper, numbered 1-100, and signed by Joyce. Copies 101-250 were also printed on handmade paper, though of a lesser grade than the first 100, and were not signed by Joyce. The final 750 copies were numbered 251-1,000, printed on the least expensive stock of paper, and like the previous limitation, were not signed by Joyce. Connolly, The Modern Movement 42; Slocum & Cahoon A17.
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