[BRANCUSI] — James JOYCE (1882-1941). Tales Told of Shem and Shaun. Three Fragments from Work in Progress. Paris: The Black Sun Press, 1929. In-4 (215 x 165 mm). Portrait de l’auteur d’après Brancusi reproduit en frontispice. Couverture originale imprimée et jaquette de glassine (couverture tachée et inégalement brunie, dos partiellement brisé, sans étui). ÉDITION ORIGINALE tirée à 650 exemplaires. Un des 100 sur vélin d’Arches, signés par l’auteur, celui-ci le n° 34. « This sole example of the sculptor Brancusi’s graphic contribution to a book is as important for the reproduction of his drawing as for the publication of Joyce’s fragments from his not-yet-completed masterpiece Finnegan’s Wake . For their Black Sun Press, Harry and Caresse Crosby wanted Picasso to draw Joyce’s portrait for the frontispiece, but he refused. Brancusi, who knew Joyce, made two attempts: the second, less representational, sketch was used. After setting the text the printer discovered that the last page contained only two lines. The author was quite willing to write more to save the awkward page’ (Castleman 184). ‘”A portrait as abstract as the text” (Garvey 32).
[BRANCUSI] — James JOYCE (1882-1941). Tales Told of Shem and Shaun. Three Fragments from Work in Progress. Paris: The Black Sun Press, 1929. In-4 (215 x 165 mm). Portrait de l’auteur d’après Brancusi reproduit en frontispice. Couverture originale imprimée et jaquette de glassine (couverture tachée et inégalement brunie, dos partiellement brisé, sans étui). ÉDITION ORIGINALE tirée à 650 exemplaires. Un des 100 sur vélin d’Arches, signés par l’auteur, celui-ci le n° 34. « This sole example of the sculptor Brancusi’s graphic contribution to a book is as important for the reproduction of his drawing as for the publication of Joyce’s fragments from his not-yet-completed masterpiece Finnegan’s Wake . For their Black Sun Press, Harry and Caresse Crosby wanted Picasso to draw Joyce’s portrait for the frontispiece, but he refused. Brancusi, who knew Joyce, made two attempts: the second, less representational, sketch was used. After setting the text the printer discovered that the last page contained only two lines. The author was quite willing to write more to save the awkward page’ (Castleman 184). ‘”A portrait as abstract as the text” (Garvey 32).
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