Tales Told of Shem and Shaun by James Joyce (19 results)

Condition: very good. Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

Reihe: Bibliothek Suhrkamp Großband 1468. Mit einem Titelporträt. OPappband mit OUmschlag und Bauchbinde, 100 S. Mit dem Umschlagstreifen. Sehr gut. Irische Literatur.

4to. (212 x 168 mm). [44 leaves; pp. (viii), xv, (i), 55, (i)]. Half-title, title printed in red and black, contents leaf, leaf with monochrome etched abstract portrait frontispiece by Constanin Brancusi signed in the plate, preface by C. K. Ogden, (pp. xv), The Mookse and the Gripes (pp. 1 - 16), The Muddest Thick that was Ever Heard Dump (with mathematical diagram on pg. 32), (pp. 17 - 43), The Ondt and the Gracehoper (pp. 45 - 55), justification leaf with achevé d'imprimer (June, 1929). Printed 21 lines per page in hand-set Caslon, headlines and initials printed in red throughout. Original publisher's cream wrappers with printing in red and black to upper cover and spine, monochrome 'black sun' vignette to rear wrapper, original glassine wrapper. Harry Marks' nominatif copy on Japon signed by Joyce. From the edition limited to 650 copies, with this one of 50 hors commerce on Japanese Vellum signed by Joyce in black ink to the half-title; this nominatif copy was printed for Harry F. Marks: 'This copy is for / Harry F. Marks' (see the justification). 'The entire edition is for sale at the / Bookshop of Harry F. Marks / 31 West 47 Street New York'. (From the justification). Printed in Paris by Harry and Caresse Crosby's Black Sun Press and with an introduction by C. K. Ogden, 'Tales Told of Shem and Shaun' was offered for sale in New York at the 'Bookshop of Harry F. Marks, 31 West 47 Street New York'. This was the second separately published fragment of Joyce's fabled 'Work in Progress' (after 'Anna Livia Plurabelle' in 1928), although sections had been printed in periodicals as early as 1924, a work which would eventually coalesce - on May 4th, 1939 after 17 years of work - into Finnegans Wake. Picasso had been the first choice to provide a frontispiece but refused on the grounds that he did not produce portraits 'sur commande' and Joyce suggested Constantin Brancusi as an alternative. Brancusi's final 'portrait', the abstract 'Symbol of James Joyce' prompted Joyce's father to remark on seeing it: 'the boy seems to have changed a good deal'. 'A portrait as abstract as the author's text . '. (The Artist and the Book). [The Artist and the Book 32; Slocum & Cahoon A36; see Joyce by Richard Ellmann, pg. 614].

Soft cover. Condition: Good. 1st Edition. 21cm x 16.5cm. (xv)55pp. Top edge rough trimmed; all others untrimmed. Heavy paper wraps with folding flaps (lacking original glassine dust-jacket) are heavily toned, showing foxing on front panel and a few small spots of soiling on rear panel. Spine is chipped at base with a 3cm loss to backstrip which does not affect vertical titling ("FRAGMENTS JOYCE") but does lose the final "9" in "1929". Internally very good; original owner's ex libris (John Leed Kerr / New York 1929) on second preliminary endpaper, otherwise unmarked. Brancusi's abstract "portrait" of Joyce, with original tissue guard intact but partially detached, opposite preface. Of 500 copies printed on Van Gelder Zonen Holland paper (from a total edition of 650), this is numbered 64 on colophon page.

Original Wraps. Condition: Fine. Brancusi, Constantin (illustrator). 1st Edition. Original white wraps printed in red and black. New glassine. Housed in original slipcase with On laid gilt. Edition limited to 500 numbered copies. This is #233. Frontis by Brancusi. 53 pp. A fine copy of a now scarce item. Size: 8vo - over 7¾ - 9¾" tall. Book.

Hardcover. Brancusi, Constantin (illustrator). First edition. 55 pages. 21 x 17 cm. Limited edition, copy 325 of 500 on Holland Van Gelder Zonen. Preface by C.K. Ogden. Portrait of the author by C. Brancusi. Title printed in red and black: The three fragments are entitled; "The Mookse and the Gripes. The Muddest Thick That Was Ever Heard Dump. The Ondt and the Gracehoper." Binding by Andrea Kohler. The three fragments comprise pp. 152-159, 282-304 and 414-419 respectively of "Finnegans Wake." The image by Brancusi is a graphic work. THE ARTIST & THE BOOK 1860-1960," notes: "A portrait as abstract as the author's text." This was one of the last books printed at the Black Sun Press. Crosby committed suicide in December, 1929. Slocum and Cahoon A36. Kohler binding in fine red velvet and gold framed slipcase housed in fine black leather spine folding box lettered in red and black. Orig. printed stiff wrappers. Fine in original glassine nicked with some minor loss.

paperback. Condition: fine. Dust Jacket Condition: fine. First. Three Fragments from a Work in Progress. With a "Portrait" by Brancusi. Sq. 8vo, printed wrappers with original glassine. Paris: The Black Sun Press, 1929. First Edition. Contains work that was later to appear in Finnegans Wake. Number 66 of 500 copies. Fine, in the original gilt slipcase. Slocum & Cahoon, A-36.

First edition. Limited, one of 500 numbered copies, printed in red and black on Holland Van Gelder Zonen (650 copies altogether). Provenance: the author's grandson's, Stephen James Joyce's bookplate. Illustrated with the famous abstract portrait by Constantin BrâncuÈi. In publisher's wrappers. In the original gilt leafed cardboard slipcase. [10] XV [1] 55 [7] p., and one loose plate protected with tracing paper. Limited first edition of Joyce's Tales Told of Shem and Shaun, the author's grandson's copy. This book includes three fragments from Work in Progress, later published as Finnegans Wake. Stephen James Joyce (1932-2020) was the grandson of James Joyce and the executor of Joyce's literary estate. . Slipcase slightly worn. Spine somewhat worn and stained. Otherwise in fine condition. In publisher's wrappers. In the original gilt leafed cardboard slipcase First edition. Limited, one of 500 numbered copies, printed in red and black on Holland Van Gelder Zonen (650 copies altogether). Provenance: the author's grandson's, Stephen James Joyce's bookplate. Illustrated with the famous abstract portrait by Constantin BrâncuÈi.

Soft cover. Condition: Near Fine. Limited Edition. One of 500 copies on Holland Van Gelder Zonen of a total edition of 650, with an original etched abstract portrait frontispiece by Constantine Brancusi. Bound in wraps in later glassine with foil covered slipcase with ribbon pull. Modest discoloration to the binding; the slipcase rubbed.

First edition. Number 38 of 100 copies on Japanese Vellum signed by the author. 4to. 212x168mm. [8], XV, [1], 55, [3]. Original cream paper wrappers lettered in black and red to upper cover and spine and with 'black sun' motif on the lower cover. Original glassine wrapper. Slight chipping to head of spine and there are some tears to the glassine wrapper at the spine and to the front wrapper but overall in very good condition. Internally excellent with only very minor marking in a few places. Housed in the cardboard slipcase covered with green paper and edged in silver paper to which there is some slight marking and wear to the edges. Signed on the half title by James Joyce in black ink and illustrated with Constantin Brancusi's etching Symbole de Joyce, intended by the artist to capture Joyce's "sens du pousser" and described as "a portrait as abstract as the author's text". With a preface by C.K.Ogden who, in the same year as the publication of Shem and Shaun, arranged a recording of Joyce reading from Anna Livia Plurabelle, the first published section of Work in Progress. In an interview of 1936, Joyce said "I haven't lived a normal life since 1922, when I began Work in Progress. It requires an enormous amount of concentration.Since 1922 my book has become more real to me than reality, and everything has led to it". "My book" is Finnegans Wake to which, during its seventeen year gestation, Joyce gave the name Work in Progress. In the late 1920s, Joyce published three sections of Work in Progress: Tales Told of Shem and Shaun is the second. Reviews concentrated on the Joyce's verbal brilliance while noting its limited appeal. To H.G.Wells, Work in Progress was "an extraordinary experiment" but also "a dead end". Joyce was undeterred. In 1937, two years before the publication of Finnegans Wake, Joyce said of "the few fragments which I have published" that they "have been enough to convince many critics that I have finally lost my mind.And perhaps it is madness to grind up words in order to extract their substance, or to graft them one onto another, to create crossbreeds and unknown variants, to open up unsuspected possibilities for these words, to marry sounds which were not usually joined together before, although they were meant for one another, to allow water to speak like water, birds to chirp in the words of birds, to liberate all sounds of rustling, breaking, arguing, shouting, cracking, whistling, creaking, gurgling - from their servile, contemptible role and to attach them to the feelers of expressions which grope for definitions of the undefined".

Préface de C. K. Ogden et portrait de l'auteur par C. BRANCUSI. P., The Black Sun Press, 1929, in-8, broché, couv. rempl., 58 p., sous chemise étui de l'éditeur papier vert et argent. Edition originale. Cette édition est due à Harry et Caresse Crosby qui dirigeaient une maison d'édition, The Black Sun Press, installée à Paris rue Cardinale. Elle comporte trois importants fragments de " Work in Progress " : The Mookse and the Gripes, The Muddest Thick that was Ever Heard Dump et The Ondt and the Gracehoper. En outre le recueil est illustré en frontispice du célèbre portrait " abstract " de Joyce par Brancusi constitué d'une spirale et de trois lignes verticales, dans lequel on reconnaît sans peine l'auteur d'Ulysses. Tirage à 650 exemplaires, celui-ci 1/100 de tête num sur Japon (thirty-four), signé à l'encre par Joyce page de faux-titre. Excellent état. Slocum & Cahoon, A 36.

Preface by C. K. Ogden. Pp. [vi]+xvi+56(last blank)+[2](colophon, verso blank), printed in red & black, black & white frontispiece abstract portrait of Joyce by Constantin Brancusi, with loose tissue guard; f'cap. 4to; printed paper wrappers with flap folds, lettered in red & black on the upper wrapper and spine, with publisher's device in black at centre of lower wrapper; uncut; with the original glassine wrapper (slightly soiled, edges browned and split, with a few small chips, now protected by a later mylar sleeve); lacking the original card slipcase but housed within a later custom made black cloth solander box with gilt lettered red leather title label on spine, book label of David Levine, Sydney, on reverse of box lid; Black Sun Press, Paris, 1929. First edition, being one of 50 hors de commerce copies [total edition 650], stamped HC below the colophon. Minkoff A21; Slocum & Cahoon A36. *With the publisher's With Compliments card loosely inserted. The three 'fragments' (The Mookse and the Gripes, The Muddest Thick That Was Ever Heard Dump and The Ondt and the Gracehoper) eventually became part of Finnegans Wake.

First edition. xvi, 64 pp. Original printed wrappers, in publisher's slipcase. One of 500 copies on Holland Van Gelder Zonen paper, of a total edition of 650 copies. Frontispiece portrait of Joyce by Brancusi. A fine copy with supplied later acetate wrapper, in the original slipcase, which is rubbed with tape repair at the corners, splitting at the top edge, and lacking a three-inch piece of the lower edge. Brancusi's frontispiece portrait, commissioned by the publishers Harry and Caresse Crosby, was a "Symbol of Joyce" intended to convey the sense of "enigmatic involution." When the sketch was shown to Joyce's father in Dublin, he remarked gravely, "The boy seems to have changed a good deal." (Ellmann, p. 614). Slocum & Cahoon A36. Minkoff, Black Sun, A-21.