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    James Joyce. Ulysses. Paris: Shakespeare and Company, 1922. First edition. One of 150 numbered copies on vergé d'Arches paper, out of a total edition of 1,000 copies. This copy is No 190, signed in pencil by the original subscriber on preliminary page [iii]: "John Kettelwell [flourish] / Sevilla 1922." Large quarto (10.3125 x 7.875 inches; 263 x 200 mm.). [4, blank], [2, fly-title (list of books "By the Same Writer" on verso)], [2, title (copyright notice on verso)], [2, limitation notice (verso blank)], [2, "The publisher asks the reader's indulgence for typographical errors" (verso blank)], 732, [1, colophon], [7, blank] pages. Complete with the original two preliminary and three final blank leaves, the first blank leaf and the final blank leaf originally inserted under the folding flaps of the wrappers (flaps not present on this copy). Later twentieth-century full vellum over thick boards with smooth spine lettered in gilt. Marbled endpapers. Beige silk ribbon bookmark. All edges untrimmed, and largely unopened. Original fragile blue paper wrappers lettered in white have been backed and are bound in at front and rear. Boards beginning to bow; vellum a little soiled and faintly spotted in places; rear wrapper with a quarter-inch horizontal tear at lower gutter; the two preliminary and two final blank leaves browned slightly around the edges from the folding flaps of the wrappers. A few leaves carelessly opened at the top edge; however, beginning with gathering 20, most leaves are unopened. Residue of a sticky substance on the top edge of some leaves, very occasionally causing two leaves to almost adhere to one another. Occasional faint mostly marginal smudging or soiling; a few very faint stains or fox marks; a little light foxing to preliminary and final blank leaves, and to the untrimmed edges; occasional tiny spots or adhesions mostly in the margins; a few leaves with light handling creases or folds in corners. A very attractive copy in near fine condition. Connolly, The Modern Movement, 42; Slocum and Cahoon A17. See also Edward De Grazia, Girls Lean Back Everywhere: The Law of Obscenity and the Assault on Genius (New York: Random House, 1992), pages 20-39.

    More Information:

    Of the 1,000 copies of the first edition, copies numbered 1 to 100 were printed on Dutch handmade paper (measuring 23.7 x 19.5 cm.) and signed by Joyce, priced 350 francs; copies numbered 101 to 250 were printed on vergé d'Arches paper (measuring 26.2 x 20.1 cm.), priced 250 francs; and copies numbered 251 to 1000 were printed on handmade paper (measuring 23.7 x 18.5 cm.), priced 150 francs.

    "For a little over a year-from May 21, 1921 to July 1, 1922-Sylvia Beach recorded the disposition of the first edition of Ulysses in an inexpensive, black paper covered notebook...Section two...Begins with a large, boldly lettered note by Beach stating that the lists for the issues on Dutch and vergé d'Arches paper are complete through July 1, 1922-the last dated entry in the notebook" (Appendix, by Laura Barnes, to Glenn Horowitz's 1996 catalogue James Joyce Books and Manuscripts, pages 111-134). On page 121 of the Appendix, this copy recorded in Sylvia Beach's notebook as having been sent to "Ketterwell" [sic] on April 3, 1922. John Kettelwell (fl. 1916-1930) was an illustrator, whose "fantastic drawings recall the style of John Austen and Harry Clarke...Books written and illustrated [by him] include: Beaver: An Alphabet of Beards (Werner Laurie, 1922); The Story of Aladdin and the Wonderful Lamp (Knopf, 1928)" Alan Horne, The Dictionary of 20th Century British Book Illustrators (Woodbridge, Suffolk: Antique Collectors' Club, 1999), page 276).

    "The first printing of Ulysses consisted of 1,000 copies, divided into three issues. Copies 1-100 were printed on fine Dutch handmade paper, numbered 1-100, and signed by Joyce. Copies 101-250, unsigned, were printed on vergé d'Arches (a lesser grade than the first 100); these copies bulk dramatically larger than copies from the other two issues, earning them the sobriquet of 'Giant Joyces.' Copies 251-1,000, unsigned-the 'trade' issue of 750 copies-were printed on linen, the least expensive stock of paper employed...The book was formally published on February 2, 1922-Joyce's fortieth birthday-but because of problems in printing the cover, only two copies were ready on that date...We believe the order in which copies left Shakespeare and Company-the first from the 750 series on February 9, the first from the 100 series on February 13, and the first from the 150 series on March 4-reflects the sequence in which Darantière printed the issues: 750, then 100, and then 150" (Glenn Horowitz Bookseller, Inc., James Joyce Books and Manuscripts (New York, 1996), pages 36-37). Because of the larger format of the 150 copies on vergé d'Arches, the printer had to reimpose the forms, which gave Joyce the opportunity to correct one typo, "borad" to "board" on page 31, line 10 (corrected in this copy).

    "Within a month of the Shakespeare and Company publication, the first printing of Ulysses was practically sold out, and within a year James Joyce had become a well-known figure. Ulysses was explosive in its impact on the literary world of 1922. Probably no significant novelist, poet, or dramatist from that time on has been untouched by Joyce's Ulysses. Then began the great game of smuggling the Shakespeare and Company edition into countries where it was forbidden, especially England and the United States. The contraband article was transported across the seas and national borders in all sorts of cunning ways: in the bottom of hatboxes, hidden in underwear, stuck under the traveler's waistcoat, even with the covers of the Bible pasted over it. So many copies left Sylvia Beach's bookshop for dissemination abroad in surreptitious ways that eight months after the initial printing of one thousand copies a second printed appeared" (de Grazia, page 27).

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    7th Wednesday
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