Ulysses by James Joyce, First Edition (23 results)

Paperback. Condition: new. Paperback. This revised volume of the acclaimed novel follows the complete unabridged text as corrected in 1961. Set entirely on one day, 16 June 1904, Ulysses follows Leopold Bloom and Stephen Daedalus as they go about their daily business in Dublin. From this starting point, James Joyce constructs a novel of extraordinary imaginative richness and depth. Unique in the history of literature, Ulysses is one of the most important and enjoyable works of the twentieth century.This edition contains the original foreword by the author and the historic court ruling to remove the federal ban. It also contains page references to the first American edition of 1934. A classic depiction of exile, estrangement, paralysis, and the disintegration of a society, Ulysses records the events of one average day, June 16, 1904, in the lives of three central figures. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

First Edition. Fine colour-printed board copy in an equally fine dust-wrapper. Particularly well-preserved overall; tight, bright, clean and especially sharp-cornered. Physical description: ix, 721p. ; 23cm. Subjects: Joyce, James -- (1882-1941) -- Irish literature. 1 Kg.

1st edition. Good paperback copy; edges somewhat dust-dulled and nicked. Creased corners. Remains quite well-preserved overall. Physical description; xiii,649 pages : 1ill, music ; 24 cm. Subjects; Fiction in English 1900-1945 Texts. Alienation (Social psychology) ; Fiction. City and town life ; Fiction. Male friendship ; Fiction. Married people ; Fiction. Jewish men ; Fiction. Artists ; Fiction. Stream of consciousness fiction. Irish literature 19th century. Irish literature 20th century. Irish fiction 19th century. Irish fiction 20th century. Bloom, Leopold (Fictitious character) Fiction. Bloom, Molly (Fictitious character) Fiction. Men Ireland Dublin Fiction. Dublin (Ireland) ; Fiction. James Joyce. Ulysses, critical texts - Irish literature. 1 Kg.

Hardcover. Condition: New. 1st Edition. This is an oddity, a single copy bound upside-down and in a variant cover color of this facsimile of the first edition originally published in Paris in 1922. Please see my attached photos. More photos and information available on request. I obtained this from the founder and owner of the publisher when he moved to another state.

Hardcover. Condition: Near Fine. Dust Jacket Condition: No Dust Jacket. Limited Edition. About fine first thus ed. Leather Bound. Accented in 22kt gold. Gilt edges. Endpapers are of moire fabric with a silk ribbon page marker. Smyth sewing and concealed muslin joints Raised bands on spine. Limited ed. Free of former owner writing or bookplates. (THIS BOOK IS IN OUR POSSESSION. WE SHIP MOST BOOKS SIX DAYS A WEEK AND WILL CONFIRM WITH TRACKING NUMBER FOR DOMESTIC ORDERS OR CUSTOMS NUMBER FOR NON DOMESTIC) ; 8vo.

Condition: Fine. First printing of this sizable reproduction of the original notebooks in which James Joyce wrote his masterwork. ULYSSES first saw print in part through the modernist literary magazine THE LITTLE REVIEW, edited by Margaret Anderson and Jane Heap. Midway through their serialization, issues of the magazine were seized and the editors were brought to trial in the fall of 1920. When they were convicted, ULYSSES was abandoned, only about half of it published. This disaster led to the now iconic publication of the book by Sylvia Beach at Shakespeare & Company in Paris. This facsimile of Joyce's various notebooks containing the first drafts of the story is a fascinating look at his writing process. The third volume, comparing the changes between the notebooks and the first edition, is particularly enlightening. 3 volumes, 11'' x 8.5''. Original blue cloth boards with white lettering. Unpaginated. In original white slipcase. Slipcase with a hint of edgewear. Sharp.

Hardcover. Condition: Fair. 1st Edition. Ulysses. By James Joyce. Shakespeare and Company, 12, Rue de l Odéon, 12, Paris. May, 1927. 735 p, fine half-leather red Moroccan leather binding 8.75 x 6.5 , 8vo. [actually Adolph & Rudolph Loewinger, 230 West 17th St., New York for Samuel and Max Roth], 1929. FIRST TRUE American Edition - Pirated and UNAUTHORIZED by Joyce. Among the many points in which this piracy differs from the legitimate ninth printing are the misprint "Jonthan" for "Jonathan" (p.[2]). In fair condition. Boards rubbed at edges and leather corners; front board s top corner scuffed from a previous sticker. Hinges & raised bands rubbed; gilt lettering and ruling overall bright and clean. Fore-edge deckled, bottom edge UNCUT. Previous ownership signature, in black ink, found on front end-page. Small oil stain on leaf containing pages 3/4, causing a tiny hole (no loss of text). Small tear on page 525/6 - no loss of text. Normal toning throughout text-block, some normal instances of finger-soiling. Binding tight and intact. Please see photos and ask questions, if any, before purchasing. Ulysses is a modernist novel by the Irish writer James Joyce (1882-1941). Parts of it were first serialized in the American journal The Little Review from March 1918 to December 1920, and the entire work was published in Paris by Sylvia Beach's Shakespeare and Company on 2 February 1922, Joyce's fortieth birthday. It is considered one of the most important works of modernist literature. The novel chronicles the experiences of three Dubliners over the course of a single day, 16 June 1904. Ulysses is the Latinised name of Odysseus, the hero of Homer's epic poem the Odyssey, and the novel establishes a series of parallels between Leopold Bloom and Odysseus, Molly Bloom and Penelope, and Stephen Dedalus and Telemachus. There are also correspondences with other literary and mythological figures, and such themes as antisemitism, human sexuality, British rule in Ireland, Catholicism, and Irish nationalism are treated in the context of early 20th-century Dublin. The novel is highly allusive and written in a variety of styles. "t was unauthorized by Joyce and sold illegally in the United States. Many copies of this piracy were seized by the Society for the Suppression of Vice on October 5, 1929. RAREF1927KUVX - 02/25 - HK2321 RAREA1929KXYB - 03/25 - HKREVISION.

First Edition printed in Britain. Thick quarto. Deluxe Edition, bound in full vellum; gilt-stamped boards famously designed by Eric Gill, with his Homeric bow motif. Hand-numbered as 10 of 100 copies and SIGNED by Joyce to colophon. This much-anticipated luxury edition of James Joyce's opusadvertised by Bodley Head as the work's "final and definitive" edition, with proofs corrected by the authorwas published after the landmark 1933 trialUnited States v. One Book Called Ulysses, in which Random House successfully challenged the work's American publication ban for obscenity; a legal history that's represented by three appendices of materials reproduced at rear, including a letter from Joyce to Random House's head Bennett Cerf. This copy bumped to top of spine, with thumb-soling to vellum and some dusting to textblock edges. Overall: a close to near fine copy with remarkably crisp interior and firm hinges. Accompanied by the publisher's original patterned slipcasenow increasingly uncommonwith printed Bodley Head label affixed to front panel; no. 10 of 100 accomplished in manuscript. Original slipcase shows some scuffing and wear at corners, with previous collector's label to spine. Housed in custom half-leather slipcase with pull-tab chemise and gilt lettering to spine. A very pleasing copy of this milestone Joyce edition.

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. Condition: 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.

First edition thus. The iconic modernist book, signed by Matisse one of the great editions of one of the great books. Joyce's masterpiece, in the deluxe edition published after the 1933 landmark ruling in the case of United States v. One Book Called Ulysses. Eleven years after the book's initial publication, a US court affirmed that in the matter of obscenity, One Book Called Ulysses had soundly defeated the United States, and immediately thereafter, Limited Editions Club founder George Macy began to plan what would be a monumental achievement: a landmark among Matisse's livres d'artiste, reproducing his preparatory drawings alongside the final soft-ground etchings; the only illustrated ULYSSES with an introduction that Joyce allowed to be published; and the most accurate text of the novel published in the US until 1961. In the early days of the project, believing that the artist "[knew] the French translation very well" and only wanted for an idea of the Irish context, Joyce proposed to send him an illustrated Dublin weekly of 1904 for visual reference. But Matisse had no interest in the specificities of Ireland, and, though his drawings were organized around the Odyssey itself, barely more interest in the specificities of Greece (the two struggling women of his "Calypso," Hillary Spurling suggests, were "an image that had more to do with the artist's own home life that summer than with either Joyce or Homer.") Seeing the sample drawings, George Macy began to plea for some connection, any connection between image and text: "While we understand, and admire, the idea by which the plates are to be illustrative of Homer's Odyssey, it is essential that the incidents of the Odyssey which are illustrated must also make reference to incidents in Joyce's book." This was no way to speak to a great artist. Matisse responded by matching his drawings to individual chapters without explanation, saying only that they represented "reactions of my mind before Joyce's work" and, by the way, "Mr. James Joyce, who knows about the way I am illustrating his book, quite agrees with me on it." This would perhaps have been news to Mr. James Joyce, whose best-known comment on the finished product was: "If they had been signed L.J. [Lucia Joyce] instead of H.M. people would have had a different tale to tell. I am only too painfully aware that Lucia has no future but that does not prevent me from seeing the difference between what is beautiful and shapely and what is ugly and shapeless. As usual I am in a minority of one." Setting aside Joyce's opinion, Matisse's work may be viewed as conceptually linked to his own: not illustrations in any conventional sense, but a parallel artistic project, a second great modernist manipulation of the ODYSSEY. Another plausible interpretation of Matisse's drawings understands them as a response not to the text but to "the critical apparatus that developed around the novel during the 1930s" (Brown), and specifically to Stuart Gilbert's perceptive introduction. As for contemporary reception, members of the Limited Editions Club expressed one of three reactions: A vile book, dressed up with great art; a great book, ruined by "crackpot drawings"; or a magnificent work, the expression of "perfect rapport among author, illustrator and designer." The third judgment has held up quite well. 11.75'' x 9''. Original brown Bancroft buckram with gilt globe stamped to front board. In original slipcase. Designed by George Macy. Introduction by Stuart Gilbert. Illustrated with six etchings and 20 tipped-in drawings on blue and yellow paper. 363, [1] pages. Edition of 1500 numbered copies signed by Matisse. This copy no. 1264. Slipcase with light expert restoration at edges; some rubbing and soiling overall. Book just starting at top of rear hinge, but firm. Else clean and bright. Both housed in a custom quarter leather over black cloth archival clamshell box with gilt title spine. Very good plus in a very good slipcase.

First illustrated edition of Joyceâs landmark Ulysses, one of only 250 examples signed by James Joyce in pen and Henri Matisse in pencil, with 26 illustrations by him, one of the 20th-centuryâs most desirable illustrated books, combining the work of two great modern artists. Large quarto, original gilt-stamped pictorial brown cloth, original slipcase. In fine condition with the rare original slipcase which is in good condition and original glassine jacket. With an introduction by Stuart Gilbert. An exceptional example, most rare in this condition and in the seldom seen glassine jacket. One of the most arresting collaborations in 20th-century literature. "It was a great idea to bring them together; celebrities of the same generation, of similar virtuosity" (Wheeler, 15). The 26 beautiful full-page illustrations by Matisse accompany the text of Joyce's Ulysses, including six soft-ground etchings with reproductions of the sketches on blue and yellow paper. "One of the very few American livres de peintres issued before World War II. According to George Macy [this work's designer], who undertook this only American publication of Matisse's illustrations, he asked the artist how many etchings the latter could provide for $5000. The artist chose to take six subjects from Homer's Odyssey. The preparatory drawings reproduced with the soft-ground etchings (Matisse's only use of this medium) record the evolution of the figures from vigorous sketches to closely knit compositions" (Artist and the Book 197).

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).

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).

Collection of several editions of Joyce's masterpiece Ulysses. The collection is comprised of a first American edition of Ulysses [New York: Random House, 1934]; early printing of the Unlimited edition of Ulysses [London: The Bodley Head, 1949]; the Odyssey Press edition of Ulysses in two volumes [Hamburg: The Odyssey Press, 1932]; early printing of the New edition of Ulysses in a dust jacket [London: The Bodley Head, 1967]; facsimile edition of the first edition of Ulysses housed in a custom full buckram box [Shelton: The First Edition Library, n.d.]; facsimile edition of the second edition of Ulysses [London: The Folio Society, 1998]; a first American edition of Finnegans Wake [New York: The Viking Press, 1939]; and two others. Each volume is in near fine to fine condition. A unique set illustrating the evolution of this great literary work. James Joyce's Ulysses was first published by Shakespeare and Company, Paris, in February 1922. Between 1922 and 1925 the text was reprinted six times. In May 1926, Shakespeare and Company issued a second edition (mistakenly called the eighth printing) in which the type of the text was entirely reset and Joyce's corrections from the previous printings were absorbed. Since its publication, the book has attracted controversy and scrutiny, ranging from an obscenity trial in the United States in 1921 to protracted textual "Joyce Wars". The novel's stream of consciousness technique, careful structuring, and experimental proseâ"replete with puns, parodies, and allusionsâ"as well as its rich characterization and broad humor have led it to be regarded as one of the greatest literary works in history.

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).

Poster. Condition: Near Fine. Dust Jacket Condition: No Jacket, As Issued. 1st Edition. Publisher's promotional poster, 21"w x 29" h, for the book published June 16, 1986, featuring a brass bed over which the passage that begins "yes when I put the rose in my hair like the Andalusian girls used or shall I wear a red yes . and his heart was going like mad and yes I said yes I will Yes.". Near Fine, faint creases in margins. A poster distributed in a limited edition at the ABA Convention in 1986, well suited for framing. Poster will be shipped loosely rolled in a sturdy mailing tube. Size: 21"w x 29" h. Poster.

Poster. Condition: Near Fine. Dust Jacket Condition: No Jacket, As Issued. First Printing. Publisher's promotional poster, 21"w x 29" h, for the book published June 16, 1986, featuring a brass bed over which the passage that begins "yes when I put the rose in my hair like the Andalusian girls used or shall I wear a red yes . and his heart was going like mad and yes I said yes I will Yes.". Near Fine, faint creases in margins. A poster distributed in a limited edition at the ABA Convention in 1986, well suited for framing. Poster will be shipped loosely rolled in a sturdy mailing tube. Size: 21"w x 29" h. Book.

Condition: Very Good. First American Edition. First American Edition, first printing. Bound in publisher's beige cloth stamped in black and red; lacking the dust jacket. 768pp. Very Good with toning to spine, foxing, soiling and edge wear to cloth. Various notations and appendages mounted to prelims and terminals, including bookplates, related newsclippings and a portion of the original dust jacket. Age staining to preliminaries and toning to contents. Slocum & Cahoon 21.

Paris: John Rodker for the Egoist Press, 1922. 4to, [15], 732, (1)pp. Later half black morocco, gilt top, backstrip richly gilt, original Aegean blue printed wrappers bound in. A very good copy tastefully bound and preserving the iconic wrappers. § First UK edition, number 715 of 2,000 copies printed (500 were seized and burned by the U.S. customs upon arrival); with half-title and 7 pages of errata at the front. Long bookseller's note in pencil at back (by John Howell-Books), priced $75. Joyce's ground-breaking modernist novel was first serialized in the American journal The Little Review and was the target of the first of many censorship attempts soon after the publication of the Nausicaa episode. Despite being banned in the UK and suppressed in the US well into the 1930s the novel was recognized as a landmark in literature from its earliest reviews. "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." - T.S. Eliot. Slocum & Cahoon A18.

Condition: Very Good+. Dust Jacket Condition: Very Good+. First American Edition. First American edition, first printing. Bound in publisher's original cream-colored cloth lettered in black and red. Very Good+. CLoth with toning to spine and edges, light wear to front joint. Former owner name to front free endpaper and contents tanned. In a Very Good+ unclipped dust jacket with designer's name Reichl to bottom corner of front panel, with tanning and edge wear, several small splits at the joints with a mending tissue repair made to the verso of the rear spine joint. A nice copy of the once banned novel.

First British edition. First British edition. (Published by John Rodker in London, October of 1922, following the Paris printing in February the same year. Technically printed in France, but for British private distribution.) [vi], 732 pp. Bound in publisher's printed wraps, on handmade paper. Copy #275 in a limitation of 2000. Near Fine with the fragile wraps in truly excellent shape; very rarely found unsophisticated with such little wear, especially on the spine, which typically has much, much more chipping and wear; no restoration done to it. Typical toning to contents, bump to bottom right corner with a hint of creasing. A literary milestone in wonderful shape.

Condition: Near Fine. Dust Jacket Condition: Near Fine. First British trade edition. First British trade edition, first printing. [viii], 766, [2] pp. Publisher's green cloth with gilt lettering. Very Near Fine with subtle bowing to boards, a little offsetting to endpapers and few tiny stains, in an unclipped dust jacket, very lightly shelfworn, else Fine. An attractive copy of the classic novel.