“Let us leave theories there and return to here's hear": First Edition of James Joyce's Finnegans Wake
Item Number: 97867
London: Faber & Faber Limited, 1939.
First edition of which 3400 copies were printed, 950 later destroyed. Octavo, original cloth. Fine in a near fine dust jacket with some light chipping to the extremities. Housed in a custom clamshell box.
Joyce began working on Finnegans Wake shortly after the 1922 publication of Ulysses. By 1924 installments of Joyce's new avant-garde work began to appear, in serialized form, in Parisian literary journals transatlantic review and transition, under the title "fragments from Work in Progress". The actual title of the work remained a secret until the book was published in its entirety, on 4 May 1939. The work has assumed a preeminent place in English literature. Anthony Burgess praised the book as "a great comic vision, one of the few books of the world that can make us laugh aloud on nearly every page." Harold Bloom called the book "Joyce's masterpiece", and wrote that "[if] aesthetic merit were ever again to center the canon [Finnegans Wake] would be as close as our chaos could come to the heights of Shakespeare and Dante." Modern Library named it one of the 100 best English-language novels of the 20th century.
Other Books by this Author
"Think you're escaping and run into yourself. Longest way round is the shortest way home": First Edition of Ulysses; One of 750 Numbered Copies
Paris: Shakespeare & Company, 1922.
First edition, one of 750 numbered copies on handmade paper from a total edition of 1000 copies, this is number 992. Thick quarto, original blue and white wrappers. A near fine example, internally fresh and largely unopened, completely unrestored. Housed in a custom half morocco clamshell box. This example contains the original prospectus with the tipped-on reproduction of the 1918 photo of Joyce by C. Ruf. The front panel of the prospectus has been amended, as often, to indicate the book “is now ready,” and the original buyer must have jumped at the opportunity, as the order panel of the prospectus has been neatly cut away. Sisley Huddleston’s 5 March 1922 review from The Observer is also laid in (though both items are in prophylactic sleeves that have prevented any offsetting). Also laid into the slipcase is some correspondence relating to the sale of this copy in 1972 by Duschnes in New York City. An exceptional example with noted provenance.
"The Most Important Work of Modern Times": One of the Earliest Presentation Copies of James Joyce's Ulysses; Inscribed by Joyce to Lewis Galantiere
Paris: Shakespeare and Company, 1922.
First edition, one of 750 numbered copies, this example is number 282. Quarto, original blue wrappers as issued. Association copy, inscribed by the author on the half-title page, “To Lewis Galantiere James Joyce Paris 11 February 1922.” Ulysses was scheduled for publication on Joyce‘s fortieth birthday (February 2, 1922), but only two copies were ready on that date due to technical difficulties in printing the cover, the color of which Joyce wanted to match with the blue of the Greek flag. One of these was the copy delivered by Sylvia Beach to Joyce on February 2, which he then inscribed to his wife Nora, being the only known presentation copy to predate Galantiere’s. The present copy in turn predates by two days the three copies presented to Sylvia Beach, Harriet Shaw Weaver and Margaret Anderson, and by three days the copy inscribed to Robert McAlmon, who helped Joyce prepare the final typescript. Galantiere was an American translator of French literature, writer, playwright and journalist. From 1920 to 1927 he was secretary of the International Chamber of Commerce in Paris, and came to know most of the literary figures of the day, including Hemingway. In a letter to Harriet Weaver of 17 April 1926, Joyce writes: “I am to read [from Finnegans Wake] … to a small group, this time including … a young American Galantiere who is preparing a course of lectures of Ulysses” (Joyce Letters vol 3, p 140). Slocum & Cahoon A17; Connolly The Modern Movement 42. In excellent condition with light rubbing, rebacked without the folding flaps. With Galantiere’s marginal markings in pencil and in ink. Housed in a custom full morocco clamshell box. An exceptional rarity of this twentieth century milestone.
“The supreme question about a work of art is out of how deep a life does it spring”: First Edition of Ulysses; One of 750 Numbered Copies
Paris: Shakespeare & Company, 1922.
First edition, one of 750 numbered copies on handmade paper from a total edition of 1000 copies, this is number number 347. Thick quarto, original blue and white wrappers. In excellent condition, the volume is square and tight, without marks of any kind, with some some restoration to the spine. Housed in a custom half morocco clamshell box. A nice example.
“The object of the artist is the creation of the beautiful. What the beautiful is is another question": First Edition of James Joyces Portrait of the Artist as a Young Man
New York: Huebsch, 1916.
First edition of Joyce’s classic stream-of-consciousness work, his first novel. Octavo, original blue cloth with titles to the spine in gilt. In excellent condition without the usual fade to the spine. From the library of Henry W. Keyes, with his signature to the front free endpaper along with his daughters. Keyes was the Governor of New Hampshire and a United States Senator and married to the writer Frances Parkinson Keyes. A nice example with noted provenance.
“Let us leave theories there and return to here's hear": Signed Limited Edition of James Joyce's Finnegans Wake
London: Faber & Faber, 1939.
First Signed limited edition. Octavo, original red cloth, titles to spine in gilt, top edge gilt, original publisher’s yellow cloth slipcase. One of 425 numbered copies, this being number 251 signed by James Joyce on the limitation page. In fine condition, with the publishers slipcase. Housed in a custom half morocco clamshell box. A superior example.
“The object of the artist is the creation of the beautiful. What the beautiful is is another question": First Cape Edition of James Joyces Portrait of the Artist as a Young Man
London: Jonathan Cape, 1924.
The first Cape edition with reset type. Octavo, original cloth. Near fine in a very good dust jacket with some light reinforcement to the verso at spine tips and loss at foot of spine. With original extract notes laid in. Rare in the original dust jacket.
New York: The Viking Press, 1939.
First American edition, one of 6000 copies printed. Octavo, original cloth. A review copy with a letter from the publisher laid in, near fine in a near fine dust jacket. An exceptional example.
New York: Random House, 1934.
First authorized American edition of Joyce’s masterpiece. Octavo, original white cloth. Fine in a fine first state dust jacket with Reichl on the bottom corner of the front panel with some rubbing and wear. Jacket design by Ernst Reichl.
New York: HarperCollins, 1995.
Early printing of the 35th Anniversary edition of the author’s Pulitzer Prize-winning novel. Octavo, original half cloth. Presentation copy, inscribed by the author on the half-title page, “To Jary and Lola -best wishes, Harper Lee.” Fine in a fine dust jacket. Jacket design by Suzanne Noli.
“ONE OF THE MAJOR SCIENTIFIC CONTRIBUTIONS OF THE FIRST HALF OF THE 20TH CENTURY”: SECOND EDITION OF VON NEUMANN & MORGENSTERN'S THEORY OF GAMES AND ECONOMIC BEHAVIOR
Princeton: Princeton University Press, 1947.
Second edition of the author’s groundbreaking work on game theory. Octavo, original cloth. Light red pencil marginalia in the text, very good.
New York: Liveright, 2012.
First edition of “this monumental exploration of the biological origins of the human condition” (James D. Watson). Octavo, original half cloth. Signed by Edward O. Wilson on the title page. Fine in a near fine dust jacket.
New York: Basis Books, 2002.
First edition of this widely acclaimed biographical essay on George Orwell. Octavo, original boards. Signed by Christopher Hitchens on the title page. Fine in a fine dust jacket. Jacket design by Rich Pracher.