Italo Svevo sits in a carved wooden chair against a plain backdrop. He wears a dark three-piece suit, a patterned tie, and polished shoes, with one leg crossed over the other. A cigar is held in one hand resting on the knee. His posture is relaxed, and he looks directly at the camera.
State University of New York at Buffalo. Poetry Collection
State University of New York at Buffalo. University Libraries
NO COPYRIGHT – UNITED STATES. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information.
John [O']Sullivan in costume for the opera "Aida"
John [O']Sullivan wearing an elaborate costume poses in profile. The outfit features a highly decorated collar and chest piece with detailed beadwork and embroidered patterns. The metallic helmet is adorned with a raised snake motif and chains hanging at the side. The costume appears to be theatrical or operatic. Handwritten text above the figure reads "John Sullivan (Aida)."
On verso "à Sylvia Beach | la Sainte famille (Morel) | en 1933" and "Noël | a Sylvia | 20 mai 1951"
A hammock is suspended outdoors, containing a baby who is wearing a patterned hood or cap. Auguste Morel stands to the right of the hammock and the other person stands to the left. Both people are looking at the baby. The fabric of the hammock features a detailed crocheted or lace trim. Trees and foliage are visible in the background, suggesting an outdoor garden or forested setting.
IN COPYRIGHT - RIGHTS-HOLDER(S) UNLOCATABLE OR UNIDENTIFIABLE. This Item is protected by copyright and/or related rights. However, for this Item, either (a) no rights-holder(s) have been identified or (b) one or more rights-holder(s) have been identified but none have been located. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use.
James Joyce with Lucia in the garden at Lake Constance
James Joyce, dressed in a light-colored suit and hat stands next to Lucia, dressed in a sleeveless top and skirt, also wearing a hat. They are surrounded by tall leafy tropical plants, possibly in a park or garden. Trees and a body of water with a railing are visible in the background, along with several other figures in the distance.
James Joyce with Nora, Lucia and unidentified little girl at table in garden
On verso in Maria Jolas's handwriting "In clearing out some old papers | I found an undeveloped negative | which turned out to be this | M. J. (April 1968) | It was probably taken in Austria | (terrace of the Schloss at Feldkirk [Feldkirch]?) | in 1932, and I imagine the photo- | graph was taken by Mathilde, the nurse who accompanied Lucia at that time. The other figures, of | course, are the servant and her child. | The three Joyces are good likenesses. But | how sad they all look!"
A group of people is gathered around a table covered with a cloth and set with glassware, seated in a shaded outdoor area beneath trees. A child sits on the left side, next to Lucia Joyce, while James Joyce and Nora Barnacle Joyce sit on the opposite side of the table, one wearing sunglasses and the other a cloche-style hat with a fur-collared garment. A fifth person stands behind the table, partially in sunlight, near a vase of flowers. The setting appears to be a garden or patio.
James Joyce and Nora Joyce in London on their way to be married
On verso in handwriting "For private use only & not for publication" with Planet News stamp. In Sylvia Beach's handwriting "James & Nora Joyce in London on their way to the Registrar's office to be married." An inserted negative "This neg. no doubt from Sylvia Beach" per note on sleeve.
Nora Barnacle Joyce, James Joyce, and another person walk side by side on a sidewalk in London. Nora Barnacle Joyce wears a long coat with a large fur collar and a cloche hat. In the center, James Joyce wears a suit with a bow tie, fedora, and a cane. The person to Joyce's left wears a three-piece suit with a tie and brimmed hat, holding a hand near the mouth. A wrought iron fence lines the left side of the walkway, and parked cars and bicycles are visible in the background.
Herbert Gorman, Joyce's first biographer, three-quarter view
Herbert S. Gorman sits in front of a brick wall. They are dressed in a collared shirt and textured tie. The individual is facing slightly to the side with a neutral expression. A large cursive signature is visible at the bottom of the image. It says "Herbert S. Gorman."
Pacific & Atlantic Photo stamp on verso. Inserted negative "?This neg. rec'd from Sylvia Beach?"
James Joyce stands next to a fireplace in an ornate interior space. Joyce is wearing a robe and glasses and holds a stack of pages. Philippe Soupault stands to Joyce's left and is dressed in a suit and tie and holds a folded sheet of paper and looks down at it. A decorative clock and candelabra sit atop the mantel beside them.
Seated woman, possibly Helen Fleischman Joyce
A person, possibly Helen Fleischman Joyce, sits on a wooden bench, wearing a long, light-colored dress with dark cuffs and collar accents. A wide-brimmed hat with decorative buttons covers the head. The background appears to be a painted studio backdrop with soft, indistinct scenery. One arm rests on the bench armrest while the other hand is raised to the side of the face.
Stamped on verso "Photo Lutetia | 111, rue de Rennes |Paris"
Helen Fleischman Joyce faces the camera in a formal portrait against a plain, dark backdrop. They are wearing a dark garment with a multi-strand pearl necklace. Their hair is braided. The lighting is soft and even, highlighting the facial features clearly.
Giorgio Joyce faces the camera in a formal portrait against a plain, dark background. They are wearing round eyeglasses, a dark suit jacket, a light-colored shirt, and a diagonally striped tie. Their hair is neatly combed and they have a small mustache. The lighting is even and highlights facial features clearly.
On verso in handwriting "Joyce avec Augustus John"
inserted negative "This neg. rec'd. from S. Beach" per note on sleeve
Two individuals are posed in front of a patterned curtain. James Joyce, on the left, wears a dark suit, a plaid tie, and round sunglasses, with hands in their pockets. Augustus John, on the right, wears a belted robe over an open-collared shirt and holds a pipe in one hand. The background includes part of a cushioned chair and draped fabric.
Herbert Gorman, Joyce's first biographer, in profile
Herbert Gorman is shown in profile, facing right, wearing a buttoned cardigan and a patterned tie. Their hair is tousled and the background reveals a structure resembling a rooftop railing or scaffolding. The lower portion of the image includes a dark ink inscription and signature reading “Sincerely, Herbert S. Gorman.”
Photographs from the La Hune exhibition--Joyce's death mask
A close-up view of a plaster "death mask" cast depicting James Joyce's head with closed eyes. The surface shows fine texture and detail, including wrinkles and a mustache. The hair appears sculpted with prominent grooves. The head is oriented slightly downward.
Group of unmounted photographs from the La Hune exhibition
Photo Maywald stamp on verso. "mention obligatoire."
Indoor exhibition area featuring a white partition wall covered with various papers and posters, including a sign that reads “CATALOGUE.” Behind it is a large illustrated educational chart with labeled categories arranged on a tree diagram, and a figure of a person. To the left, there's a wall-mounted telephone and posters, including one referencing “VERSAILLES.” On the right, shelves are filled with stacked publications. The space includes tiled flooring and white structural columns.
Holbrook Jackson, seated, smoking a pipe
Embossed on recto "Hana Studios Ltd. London." On verso in handwriting, "Holbrook Jackson." Shakespeare and Company stamp.
Holbrook Jackson is shown seated in a dark-toned portrait, holding a pen and writing on a pad or paper. They wear a dark suit with a tie and have a pipe in their mouth. Their eyes are directed downward in concentration. The image has an embossed stamp in the bottom right corner that reads “Hana Studios Ltd London.” There are visible ink marks or blemishes on the lower portion of the image.
James Joyce, Adrienne Monnier, and guests at the "Dejeuner Ulysse"
On recto in Adrienne Monnier's handwriting "Philippe Soupault Mm Joyce Edmond Dujardin - Paul Valéry - James Joyce - Leon-Paul Fargue | Lucia Joyce - Thomas McGreevy - Sylvia Beach - Adrianne Monnier - Mm Paul Valéry - Main Scheikeritch | Lucianne [illegible] Marc Chadourne - Jules Romains - André Chamson [illegible] | Déjeuner "Ulysse" le Jeudi 27 Juin 1929." Inserted negative "This film from Sylvia Beach" per note on sleeve.
A group of individuals pose for a formal portrait behind and around a long banquet table set with glassware, vases of flowers, and a tablecloth. Most of the seated figures in the front row are identified in handwritten notes beneath the image, including notable literary and cultural figures such as James Joyce, Paul Valéry, Sylvia Beach, Adrienne Monnier, and Léon-Paul Fargue. The inscription at the bottom reads, “Déjeuner ‘Ulysse’ le Jeudi 27 Juin 1929.” The group appears to be commemorating the celebration of James Joyce's Ulysses. Many attendees are dressed in formal or semi-formal attire, and the scene is set indoors near windows with open shutters.
Group of unmounted photographs from the La Hune exhibition--Case showing death mask
Photo Maywald stamp on verso. "mention obligatoire." Douane Centrale stamp on verso
Group of unmounted photographs from and of the La Hune exhibition--Map of Dublin
Photo Maywald stamp on verso. Douane Centrale stamp on verso.
The display shows a large wall-mounted map of Dublin with sections marked by numbers and overlaid photographs, referencing locations from James Joyce's Ulysses. The date “16 Juin 1904” is prominently noted, indicating Bloomsday, the day the novel takes place. To the left, there is French text and a smaller map or illustration. Below the map is a labeled section titled “ULYSSE” and a display case filled with books and documents, alongside a woven-seat wooden chair.
Photograph of case at James Joyce exhibition, American Embassy, London
Handwritten on verso: "Case containing Joyce items | from Sylvia Beech collection from LML | to exhibition at American | Embassy, London, Summer 1960"
A museum exhibit dedicated to James Joyce features two rows of framed images. The upper row includes painted portraits of various individuals, likely Joyce and associates. The lower row displays a chronological series of photographs of Joyce, labeled with the years 1888, 1902, 1914, 1923, and 1928, documenting his life stages. Between the portrait rows is a display case filled with books, photographs, manuscripts, and documents, all protected by glass and arranged to highlight milestones in Joyce’s literary career.
Group of unmounted photographs from and of the La Hune exhibition
Photo Maywald stamp on verso. " "mention obligatoire." Douane Centrale stamp on verso.
A literary exhibition showcases materials related to James Joyce. Along the top row, painted portraits of Joyce and others are framed and hung on a wall above glass display cases. The display cases contain books, letters, and photographs. Below them, a sequence of five large black-and-white photographic panels labeled with the years 1888, 1902, 1914, 1923, and 1933 shows Joyce at different stages of life, from childhood to adulthood. Each panel presents a portrait corresponding to the specified year.
Photograph from the La Hune exhibition--The Ulysses mounts
A distant sailboat with two dark sails moves across the right side of the ocean, with low rocky islands visible on the horizon to the left. The water appears calm, and the overall tone of the photograph is light and hazy, suggesting it may have been taken on an overcast day.
A coastal scene with rocky cliffs and a few small buildings along the shoreline. A large tree frames the upper right corner, while additional tree-covered landforms and small islands are visible across a calm body of water. The photo appears to be taken at dusk or dawn, with low light and a faint glow in the cloudy sky.
A rugged coastal landscape with uneven rocky terrain sloping down to the water. Large boulders and scattered stones cover the shoreline, with shallow pools of water collecting in the depressions. A steep rock face rises toward the background, and the sea stretches out to the horizon under a pale sky. The scene appears remote and natural, with minimal vegetation and no visible human structures.
Photograph from the La Hune exhibition--Statue of Virgin Mary passed by Stephen Dedalus in Ulysses
A stone statue stands elevated on a square pedestal within a fenced enclosure. The statue depicts a robed figure with outstretched arms, adorned with a floral arrangement. The iron fence surrounding the pedestal features decorative pointed finials. The background includes a plain wall and partial foliage on the right side. Lighting suggests the statue is photographed from a low angle in bright daylight.
Photograph from the La Hune exhibition--Principal altar: Star of the Sea Church at Sandymount
View down the central aisle of a Gothic-style church, showing high vaulted wooden ceilings supported by pointed arches and columns. The nave contains several rows of wooden pews leading up to a large altar. The altar area is decorated with ornate woodwork and a multi-panel stained-glass window. A white pulpit is visible to the left. Hanging lights are suspended along both sides of the ceiling.
Photograph from the La Hune exhibition--Reading room of the National Library, Dublin
On verso in pencil: "National Library | Cc Hypogée de pensée | Author de moi, | momies compartimentées, embaumées | dans des aromates de mots." Douane Centrale stamp on verso.
Large reading room with high ceilings and elaborate classical architectural details, including carved panels, decorative molding, and a frieze depicting figures holding garlands. The room contains rows of long wooden tables equipped with slanted bookstands, where numerous people are seated and reading. Two archways, flanked by bookshelves and topped with decorative pediments, lead to another section of the building. A gallery with turned balusters runs along the upper level. Signs reading “Silence is requested” are placed on the tables.
On verso in handwriting "Clinique du Dr Borsch | rue du Cherche Midi"
Street-level view of a building bearing a sign that reads “CROIX ROUGE FRANÇAISE PERMANENCE DU 6ᵉME ARR.”, indicating it is a building in the 6th arrondissement. The structure has barred windows and a door with two posters displayed behind the glass. A circular Red Cross sign extends outward above the entrance. Several people are visible walking or standing on the adjacent sidewalk. The building's exterior shows signs of wear, and the street is lined with mid-rise buildings stretching into the background.
Photograph from the La Hune exhibition--Parnell's grave
On verso in pencil: "Parnell ne reviendra | jamais. D'it il il | est la. Tout ce qui | etait mortel en lui | est la. Paix à ses |cendras." Douane Centrale stamp on verso
A grassy clearing features a large boulder with the name “PARNELL” engraved on its face, situated near the center of the composition. At the front edge of the grass is a small plaque reading “PERPETUAL CARE.” The background is densely lined with tall trees, creating a shaded natural enclosure around the boulder. The scene suggests a memorial or gravesite.
Photograph from the La Hune exhibition--St. Stephen's Green
Douane Centrale stamp on verso. Illegible handwriting in French on verso
A landscaped park with flowerbeds, open grassy areas, and a central pond. Bare tree branches frame the top of the scene, suggesting late autumn or early spring. A few people are visible on benches or walking along the paths. The background includes additional trees and what appears to be a structure or monument faintly visible in the distance.
Photograph from the La Hune exhibition--Rathgar
Douane Centrale stamp on verso and illegible handwriting in French on verso.
A long row of attached brick houses stretches into the distance on the right side. In the foreground, a fenced yard contains a clothesline with white laundry hanging to dry. The yard is bordered by a stone wall and a small structure with a corrugated roof. Trees and vegetation are visible on the left.
Photograph from the La Hune exhibition--View of Dublin
View over the rooftops of a densely packed industrial area in Dublin, Ireland, featuring multiple buildings with corrugated roofs and chimneys. Several smokestacks emit visible plumes of smoke. In the background, church spires and larger structures rise through the haze, indicating an urban environment with mixed industrial and architectural elements.
Photograph from the La Hune exhibition--The Dublin Custom House
The Dublin Custom House, a large neoclassical structure with a symmetrical façade, featuring a central domed tower flanked by colonnaded sections and flat-roofed wings. The building is situated along a river, and its reflection is visible in the calm water in the foreground. A horse-drawn carriage and pedestrians appear near the base of the building.
Photograph from the La Hune exhibit--Birthplace of Joyce
Douane Centrale stamp on verso. "Maison natale de Joyce" handwritten on verso.
A two-story brick row house with a slate roof, featuring sash windows with curtains on both floors. The entrance has an arched opening, and a low iron fence separates the house from the sidewalk. Decorative brickwork frames the windows and doorway.
Photograph from the La Hune exhibition--Portal of restaurant "Les Trianons"
A close-up view of the corner awning of a building labeled "Les Trianons" with large text reading "Restaurant" and "BAR." The awning extends over the entrance, which features glass doors and a decorative number 5 above an arched doorway on the adjacent wall. Part of a balcony railing and ornamental detail are visible above.
Photograph of La Hune exhibition--Panel illustrating Joyce's place in literary history
Interior view of the La Hune exhibit featuring a tall central wall filled with framed portraits arranged in a grid. The paintings include formal portraits of individuals in historical dress, with the largest central portrait showing an older person seated. Below the portraits is a wooden display cabinet containing objects. The lower row displays a chronological series of photographs of Joyce, labeled with the years 1888, 1902, 1914, 1923, and 1928, documenting his life stages. Between the portrait rows is a display case filled with books, photographs, manuscripts, and documents, all protected by glass and arranged to highlight milestones in Joyce’s literary career.
The original photograph is mounted and framed.
Photograph from the La Hune exhibition--Grave of Joyce at Zurich
Cemetery scene showing a slanted gravestone in the foreground engraved with the name "James Joyce, 1882–1941." The grave is bordered by two small numbered markers labeled "1450" and "1449." To the left stands a larger upright headstone with partially legible text, including the word "Family." In the background is another vertical headstone with the name "Luise Guyer, 1865–1941." Low vegetation and a fence are also visible in the scene.
Photograph from the La Hune exhibition--Lucia Joyce
Black and white portrait of Lucia Joyce in left profile. The individual has neatly combed short hair and is wearing a dark-colored garment with a V-shaped neckline. The background is softly lit and plain. The photograph has a soft focus, contributing to a smooth, shaded appearance.
Photographs from the La Hune exhibition--Joyce standing in great coat with "Joyce during the first Paris years" printed on front
James Joyce stands facing forward in a long dark coat and wide-brimmed hat. His hands are at his sides, and he is wearing a patterned scarf. The background is blank and evenly lit, and the image has a slightly soft focus. A printed caption below the image reads: “Joyce during the first Paris years.”
On verso in SB's handwriting "Photo by C. S. | Clinic rue St. Place |rue des Regara | where JJ treated by Dr. Borsch." Inserted negative "This neg. rec'd from Sylvia Beach" per note on sleeve
A worn, two-story building stands on a corner in Paris. The sign over the entrance reads "CROIX ROUGE FRANÇAISE - PERMANENCE DU 6e ARR" indicating a building in the 6th arrondissement. The façade is weathered, with barred windows and a faded advertisement painted on the upper wall. A circular red cross emblem is mounted to the right. A person is walking on the sidewalk in the lower left of the image.
Photograph from the La Hune exhibition--Finnegans Wake charme and pen
A small metal charm in the shape of a hinged book is attached to the clip of a fountain pen. The charm bears the inscription “FINNEGANS WAKE – JAMES JOYCE – 1922–1938” on its cover, presented upside down in the image. The background is plain, emphasizing the detail of the charm and pen.
Photograph from the La Hune exhibition--Necklace given to Nora Joyce by James Joyce
A necklace made of elongated rectangular chain links and spaced black square beads is displayed against a plain background. At the center of the necklace hangs a small, rectangular pendant shaped like a book, attached by a loop. The chain features a circular clasp on the lower right side.
A dark button-up vest featuring a pattern of embroidered dog and deer heads across the fabric. The vest has a rounded neckline, visible stitching, and a single welt pocket on the lower left side. The interior lining is a lighter fabric, partially visible around the collar and arm openings. The vest is laid flat against a light background.
Façade of Victoria Palace, rue Blaise Desgoffe, Paris
On verso in handwriting "Victoria Palace | rue Blaise Desgoffes." Inserted negative "This neg. rec'd from Sylvia Beach" per note on sleeve
Entrance to the Victoria Palace Hotel, featuring a large arched doorway with a glass and metal canopy above it. The hotel's name is displayed in cursive script on the canopy. The building's façade is decorated with ornate stonework and wrought iron balcony railings. Two mid-20th century automobiles are partially visible in the foreground, parked along the curb. A small sign near the entrance reads “Hotel Restaurant.”
Joyce's apartment, 2 Square Robiac, Paris
On verso in handwriting "2 Square Robiac VII°"
A street-level view of a stone building façade featuring horizontal grooves and an arched double doorway framed with decorative molding. The building contained James Joyce's apartment. Above the doorway is a sculpted ornament consisting of a wreath and leaf design. A rectangular window with a metal railing is situated directly above the entrance. The building is marked with the number "2" to the right of the doorway. A compact mid-20th-century car is parked at the curb on a cobblestone street in the foreground. "2 Square Robiac VII" is written on the back of the photograph.
On verso in SB's handwriting "Photo C. S. | 2 Square Robiac | cor. Rue de grenelle"
A multi-story curved stone building at the corner of a street, featuring both smooth and brick surfaces. A vertical sign on the upper wall reads "TRIESTE VENISE," and a larger awning-style sign above a storefront on the ground floor reads "CHESNOT." The ground-floor entrance is protected by a metal gate. A plaque on the corner wall identifies the location as "1er SQUARE ROBIAC N°2." Several windows with iron railings are visible, and a mid-20th-century vehicle is parked along the curb in the foreground. "Photo C. S. | 2 Square Robiac | cor. Rue de grenelle" is written on the back of the photograph in Sylvia Beach's handwriting. A Shakespeare and Company stamp is also on the back of the photograph.
On verso in handwriting "Dr Louis Borsch's clinic | rue du Cherche Midi" Inserted negative "Clinique de Dr. Borsch | This neg. from Sylvia Beach" per note on sleeve.
A two-story building on a narrow street corner houses the "Croix Rouge Française" with signage indicating "Permanence du 6e Arr." The building has shuttered windows and worn exterior walls. A smaller plaque is mounted on the corner wall, and a circular red cross emblem is attached to the upper facade. To the left, a storefront with "ANTIQUITES" written above the entrance is visible. Three people walk along the sidewalk. A faded advertisement is painted on the upper wall, partially reading "JOURS PLISSES." Adjacent buildings line both streets in the background.
Lucia Joyce with Eileen Veale and [Bojene Delimeto?]
In handwriting on verso "Eileen Veale | Lucia Joyce | [Bojene Dilemeto] | This picture was | sent me by Mabel | Worthington | Adaline Glasheen | ? 1974"
Lucia Joyce is seated in an upholstered armchair. Eileen Veale and another person are seated in armchairs to Joyce's left. The room has light floral wallpaper and a framed landscape painting hangs tilted on the wall above them. A closed white door with a dark vertical push plate is visible on the right. All three individuals are dressed in light-colored attire and appear to be posing casually.
A group of dancers is captured in the middle of a theatrical performance. They wear costumes resembling leaves or foliage, and their movements are expressive, with arms extended and bodies contorted in various poses. The stage is set against a large painted backdrop that features abstract, swirling patterns, possibly depicting a natural or forest-like setting. The lighting highlights the dancers in the foreground, while others appear slightly blurred, suggesting motion.
A group of dancers poses mid-performance on a theatrical stage. They wear textured costumes resembling leaves or natural materials, and many are in expressive, dynamic positions, with outstretched arms and bent knees. The background features a large, swirling painted curtain, contributing to a forest-like or abstract visual effect. The lighting emphasizes the performers' movements and forms.
Lucia Joyce in dance pose, Paris (see "Lucia Joyce" page 100)
Lucia Joyce stands poised in a dance position with one arm bent above the head and one leg lifted behind. Joyce wears a sleeveless leotard with shorts. The background features a painted set with architectural elements and foliage, creating a theatrical or artistic atmosphere. The photograph has a sepia tone and a staged studio composition.
Lucia Joyce in class photograph, Trieste
A group of children is arranged in six rows, with some seated on the ground, others on chairs, and the rest standing. An adult is seated at the far left in the front row. The children wear a variety of light and dark clothing, with some wearing bows or lace collars. The setting is outside a textured stone building with two visible windows and a dirt ground.
In handwriting on verso "Photo de Joyce |prisi l'année de | sa mort, à Zurich. | Donnée à moi par | Georges Borgeaud." Inserted note on Shakespeare and Company envelope "photo de Joyce l'année de sa mort | à Zurich donnée a' Adrienne par | George Borgeaud: donnée par Adrienne a Sylvia."
James Joyce dressed in a dark overcoat and round eyeglasses standing with his hands on hips near a metal railing. Trees and multi-story buildings are visible in the background across a body of water in Zurich.
Stuart Gilbert on balcony of his home, Ile St. Louis
Inserted negative "This neg. probably rec.'d fr. Sylvia Beach" per note on sleeve
Stuart Gilbert dressed in a suit stands on a wrought iron balcony overlooking a tree-lined river. They are holding several sheets of paper and have a pipe in their mouth. A large building with gothic-style architecture is visible in the background behind the trees on the opposite riverbank.
James Joyce seated, speaking to Helen Fleischman Joyce
In an outdoor garden setting, James Joyce, dressed in a suit and glasses, reclines in a deck chair, holding a cane and gesturing while looking up. Helen Fleischman Joyce stands nearby, leaning forward slightly, wearing a striped dress and a dark hat. Potted plants, hedges, and the entrance to a building are visible in the background.
James Joyce seated, holding baby (possibly Stephen Joyce)
James Joyce, dressed in a suit and white shoes, is seated in a wicker chair, holding a baby (possible Stephen Joyce) dressed in light-colored clothing. They are positioned on a paved outdoor surface near a stucco building with multiple shuttered windows, one of which has its shutter open and angled upward. The baby looks toward the camera while the James Joyce looks at the baby.
James Joyce, Nora and Ole Vinding, Copenhagen
In handwriting on verso "James Joyce, his wife, and | Ole Vindig | Copenhagen--Summer, 1936. | gift of Bill Potts"
Nora Joyce, James Joyce, and Ole Vinding walk down a paved sidewalk bordered with cobblestones next to a row of buildings. James Joyce, walking in the center, wears a suit, hat, and glasses, holds a walking stick, and appears to be reading a paper. Nora Joyce, walking to James' right, wears a long dark coat and hat. The person on James Joyce's left, Ole Vinding, wears a long coat and hat and holds a hand near the brim of the hat.
James Joyce, James Stephens and John Sullivan [O'Sullivan] talking on Rue Raspail, Paris
Embossed on recto "New York Times | 106, Rue Reaumur, Paris". Shakespeare and Company stamp of verso, taped. Inserted note "Trois Irlandais: James Joyce: James Stephens | John Sullivan (ténor à l'Opéra) | se promènent sur le Boulevard Raspail à Paris."
James Stephens, James Joyce, and John Sullivan [O'Sullivan] standing on a wet sidewalk beside a Paris street, dressed in long overcoats and brimmed hats. James Joyce, in center of image, holds a walking cane. John Sullivan [O'Sullivan], to Joyce's left, also holds a walking cane. All individuals appear engaged in conversation. Behind them, an individual is walking along the building-lined street. Leafless trees line the road, and the street surface appears wet, suggesting a cold or rainy season.
James Joyce, James Stephens and John Sullivan [O'Sullivan] walking in Rue Raspail, Pairs
Embossed on recto "New York Times | 106, Rue Reaumur, Paris." In handwriting on verso "James Joyce avec James Stephens et John Sullivan | Boulevard Raspail à Paris"
James Stephens, James Joyce, and John Sullivan [O'Sullivan] walk on a wet sidewalk beside a city street, dressed in long overcoats and brimmed hats. James Joyce, in center of image, holds a walking cane. John Sullivan [O'Sullivan], to Joyce's left, also holds a walking cane. All individuals appear engaged in conversation. Behind them, two more individuals are walking along the building-lined street. Leafless trees line the road, and the street surface appears wet, suggesting a cold or rainy season.
James Joyce, James Stephens and John Sullivan [O'Sullivan], Paris
In handwriting (Sylvia Beach's?) on recto "Sullivan Joyce James Stephens." "New York Times | 106, Rue Reaumur, Paris" embossed.
James Joyce, John Sullivan [O'Sullivan], and James Stephens are posed indoors in a furnished room. Joyce and Stephens are seated in armchairs near a fireplace, facing each other in conversation. John Sullivan [O'Sullivan] stands behind them, looking off to the side. All three wear suits and ties. In the background are framed pictures, a display shelf with decorative objects, and patterned curtains.
James Joyce and John Sullivan [O'Sullivan] at James Stephens' apartment, Paris
Embossed on recto "New York Times | 106, Rue Reaumur, Paris." World Wide Photos stamp on verso. Inserted note with signatures of James Stephens, John Sullivan [O'Sullivan], and James Joyce. Inserted note in Sylvia Beach's handwriting "Photograph of James Joyce James Stephens John Sullivan (3 Irishmen in Paris) | in James Stephens' apartment, rue Campagne Première, Paris | given to Sylvia Beach by Joyce and signed by the three." Shakespeare and Company stamp.
John Sullivan [O'Sullivan] and James Joyce are indoors in a room with heavy curtains and decorative furnishings. John Sullivan [O'Sullivan] is seated at a table with an open book and is dressed in a dark three-piece suit. James Joyce stands behind, wearing a light-colored jacket with a crest on the pocket and a bow tie. Both are looking toward the camera. A hanging light fixture is partially visible in the upper right.
James Joyce and John Sullivan [O'Sullivan]
In handwriting (Sylvia Beach's?) on recto "John Sullivan Joyce." Stamp for Daily Sketch On verso.
James Joyce with Nora, John Sullivan [O'Sullivan] and Mrs. Sullivan, grouped at piano
In Sylvia Beach's handwriting on recto "Nora Joyce Mrs Sullivan John Sullivan Joyce at the Joyces' flat." stamp for Daily Sketch on verso
Nora Barnacle Joyce, Mrs. Sullivan, John Sullivan [O'Sullivan], and James Joyce gathered around an upright Gaveau piano. Mrs. Sullivan is seated at the piano bench with hands on the keys, turned to look at the camera. James Joyce stands behind Mrs. Sullivan, dressed in a light-colored jacket with a crest, bow tie, and round glasses. Nora Barnacle Joyce sits beside the piano, and John Sullivan leans with an arm resting on the piano, dressed in a dark suit. Sheet music is propped up on the piano, and framed portraits hang on the wall behind them. A handwritten note in Sylvia Beach's handwriting identifies the individuals as Nora Joyce, Miss Sullivan, John Sullivan [O'Sullivan], and Joyce at the Joyce’s flat.
The Joyces at Rocofoin--James Joyce and M. Monnier
On verso in Sylvia Beach's handwriting "Joyce and M. Monnier | at Rocfoin near Maintenon | (Eure et Loir)"
James Joyce and M. Monnier sit on a slatted wooden bench in an outdoor setting with brick architecture in the background. Both are dressed in suits and flat caps. James Joyce, seated on the left is sitting with legs crossed and arms folded, while M. Monnier, on the right, rests their head on one hand and leans against the armrest. The bench is positioned on a dirt or gravel surface, and there is shrubbery on the right side of the frame. On the back of the photograph, a note written in Sylvia Beach's handwriting reads, "Joyce and M. Monnier | at Rocfoin near Maintenon | (Eure et Loir)."
James Joyce, Nora, Mrs. John Drinkwater and Kathleen Markwell, Salzburg, Austria
James Joyce, Kathleen Markwell, Daisy Drinkwater and Nora Barnacle Joyce stand in front of a building entrance with large doors and decorative stonework. James Joyce, on the far left, wears a dark suit, tie, and straw boater hat, holding a cane. Kathleen Markwell, standing to Joyce's left, holds a large hat. Daisy Drinkwater wears a long necklace and Nora Barnacle Joyce is dressed in light-colored dress and wide-brimmed hat, typical of 1920s summer fashion. The setting appears to be a formal or public building, and the individuals are posed and smiling.
The Joyces at Rocofoin, a portfolio of eight photographs of the Joyces with Adrienne Monnier and her family
Captions in Sylvia Beach's handwriting. Postcard of Maintenon serves as cover image to portfolio. Inserted photocopies of portfolio as it appeared with photographs intact.
A vintage postcard labeled “61. – MAINTENON (E.-et-L.) La Rue de la Ferté – Vue prise du Pont” shows a quiet cobblestone street in Maintenon, France, viewed from a bridge. Several people are seen leaning over the bridge railing, fishing or observing the water below. A covered horse-drawn cart moves along the street, which is lined with buildings featuring dormer windows and steeply pitched roofs. Trees partially obscure parts of the view, adding to the scene's tranquil and historic atmosphere. The photograph is credited to G. Foucaud, a publisher in Dreux. The postcard is a cover of a portfolio of photographs of the Joyces with Adrienne Monnier and her family. Captions are in Sylvia Beach's handwriting.
James Joyce and John Drinkwater in Salzburg, Austria
James Joyce, on left, and John Drinkwater, on right, stand side by side in front of an ornate doorway and stone building façade. Both wear light-colored straw boater hats and suits with ties. Joyce is dressed in a dark suit and holds a cane, while Drinkwater wears a lighter suit and also holds a cane, with an umbrella tucked under one arm. The sunlight casts sharp shadows, suggesting a bright day.
Proprietor and staff of Restaurant Au Sourd in Toulon France (Photo sent to Sylvia Beach at James Joyce's request)
On verso in Sylvia Beach's handwriting "Mention of this restaurant in J.J. letter from Toulon 22.V.28 | this photo sent to SB by proprietor of restaurant AU SORD at Joyce's request"
A group of people is posed in front of a restaurant named "Au Sourd," as indicated by signage on the awnings and above the doorway. The individuals include uniformed chefs in tall hats, servers in formal attire, and a few others in regular clothing. A dog sits at the feet of one person near the center-left. The restaurant’s name is repeated on both window awnings, and a sign reading “L. Ferrando” appears above the door. On the back of the photograph, in Syliva Beach's handwriting, "Mention of this restaurant in J.J. letter from Toulon 22.V.28 | this photo sent to SB by proprietor of restaurant AU SORD at Joyce's request."
Georg Goyert, German translator of Ulysses
Inscribed on recto "Für Fräulein Sylvia Beach | Georg Goyert |Mai 1927"
A close-up profile of Georg Goyert, a person with short hair, wearing a tweed jacket. He is looking to the left. A handwritten inscription in German addressed to "Fräulein Sylvia Beach" and signed "Georg Goÿert" with the date "Mai 1927" overlays the lower portion of the image.
James Joyce seated on bench at Fechamp--full front view
Handwriting on verso "Ficamp Summer 1925"
James Joyce sits on a wooden bench in an outdoor setting, wearing round glasses and a relaxed suit with the collar of the white shirt open. Joyce has their hands loosely folded over the waist and appears to be in a shaded area. A table is partially visible in the foreground. Handwriting on verso says, "Ficamp Summer 1925."
Handwriting on verso "cadre plat en 11% argent." Shakespeare and Company stamp. Inserted photograph of this picture framed and displayed with 5.9, 5.10, 5.11.
James Joyce seated on a wooden bench outdoors, facing to the left. Joyce wears glasses, a light-colored open-collared shirt, and a dark jacket. Their hands are clasped at the waist, and their expression is calm. Sunlight highlights the side of the face and upper torso, while the background remains in shadow. A handwritten note in the lower right corner reads, “James Joyce, Fécamp, July 1925.” Handwriting on verso reads "cadre plat en 11% argent," and features a Shakespeare and Company stamp. Inserted photograph of this picture framed and displayed with 5.9, 5.10, 5.11.
Inserted negative "This neg. 'rec'd from Sylvia Beach'" per note on sleeve.
James Joyce standing and facing forward, dressed in a light-colored suit and hat. Joyce holds a walking stick in one hand and what appears to be a coat draped over the other arm. The image is extremely faded and lacks detail due to age or overexposure, with only the faint outline of the figure discernible against the sepia-toned background. Cracks and wear are visible in the upper portion of the image. Inserted negative "This neg. 'rec'd from Sylvia Beach'" per note on sleeve.
Handwriting on verso "summer 1925." Shakespeare and Company stamp
Lucia Joyce and Nora Joyce standing side by side in front of a hedge on a sunny day. Both are wearing cloche hats and mid-length dresses typical of 1920s fashion. Lucia Joyce is on the left and wears a light-colored dress with a textured or embroidered pattern and white shoes. Nora Joyce is on the right and wears a patterned dress with a contrasting border and is holding a small handbag. The ground is grassy and uneven. Handwriting on verso "summer 1925" and a Shakespeare and Company stamp.
James Joyce and Lucia Joyce, Brittany, France
James Joyce and Lucia Joyce posed in front of a body of water, with a small island or landmass visible in the background. James Joyce is on the left and wears a dark suit, patterned tie, and sunglasses, and has slicked-back hair and a mustache. Lucia Joyce is on the right and stands closer to the camera, wearing a light-colored coat with dark trim, a dark scarf, and a textured knit dress. Both appear to be looking toward the camera, and the scene is brightly lit, likely during daylight.
A sepia-toned head-and-shoulders portrait of James Joyce with short, neatly combed hair, wearing round eyeglasses. Joyce is dressed formally in a dark suit jacket, white collared shirt, and a tie. The background is plain and unfocused, drawing attention to the subject’s face and attire. The expression is neutral, and the person is posed in three-quarter view, looking just off to the side of the camera.
James Joyce is formally dressed and centered in the frame, wearing round glasses, a dark jacket, a white shirt, and a bow tie. Joyce is posed facing forward with a neutral expression and slicked-back hair. The background is plain and slightly blurred. A handwritten inscription appears in the upper left corner and says, "James Joyce Paris." The photograph is signed by James Joyce.
Composite of four photographs of James Joyce
Composite is compiled of two separate photograph prints. Two inserted sets of negatives "This neg. rec'd from Sylvia Beach" per note on sleeves.
James Joyce stands outdoors on a flat, open surface, wearing a light-colored three-piece suit, a tie, and a wide-brimmed hat. He holds a cane in one hand and a dark coat draped over the other arm. The background is empty, suggesting an expansive setting such as a beach or plain. The image appears faded or overexposed. Composite is compiled of two separate photograph prints two inserted sets of negatives "This neg. rec'd from Sylvia Beach" per note on sleeves.
Giorgio Joyce standing in street wearing cap, hands in pockets
Giorgio Joyce stands on a broad city sidewalk with tall, ornate buildings in the background. Joyce wears a cap, round glasses, a dark jacket over a vest and tie, and high-waisted trousers with hands tucked in the pockets. Several pedestrians and architectural details are visible in the background, suggesting a busy urban setting.
The Joyces at Rocofoin--Nora Joyce, James Joyce and M. Monnier
Nora Joyce, James Joyce, and M. Monnier are seated on a slatted wooden bench in front of a brick-framed doorway. Nora Joyce, on the left, wears a cloche hat and a dress with a pleated skirt. In the middle, James Joyce wears a cap, round glasses, a tie, and a dark jacket. The person on the right is M. Monnier, who has a beard, wears a flat cap and a three-piece suit, and holds a cane resting between their knees. The ground appears uneven, with stones and patches of grass. On verso in SB's handwriting "Nora and James Joyce with | Adrienne's father M. Clovis Monnier | at his hous Rocfoin near | Maintenon (Eure-et-Loir)"
The Joyces at Rocofoin--Madame Monnier, Adrienne Monnier, Sylvia Beach, James Joyce and M. Monnier
James Joyce and M. Monnier are seated on a slatted wooden bench in front of a brick-framed doorway. Seated on the left, Joyce wears a cap, round glasses, and a dark jacket, while M. Monnier, seated on the right, has a beard, wears a flat cap, a three-piece suit, and holds a cane. Behind them, three people stand closely together. Madame Monnier, on the left, has hands on hips and wears a belted dress with buttons. Adrienne Monnier, standing in the center, wears a blouse and cardigan. Sylvia Beach stands on the right and wears a jacket with a scarf tied at the neck. All five individuals are outdoors, standing in front of a textured wall with some sunlight casting shadows. On verso in Sylvia Beach's handwriting "Adrienne, Madame Monnier & SB | Joyce and M. Monnier | at Rocfoin near Maintenon."
James Joyce and M. Monnier sit on a wooden bench in an outdoor setting bordered by brick columns and greenery. James Joyce, seated at left, wears a light-colored cap, round glasses, and dark clothing; M. Monnier, seated at right, has a white beard, wears a flat cap, and holds a cane. Nora Joyce stands behind the bench, dressed in a light-colored outfit with a cloche hat. The group is positioned near a building entrance, with sunlight casting shadows on the ground.
On verso in Sylvia Beach's handwriting "Nora Joyce, James Joyce | and M. Monnier at Rocfoin | near Maintenon"
James Joyce and M. Monnier sit on a slatted wooden bench in front of a stucco building with brick-trimmed openings. Both are dressed in suits and wearing caps, with M. Monnier on the right, leaning back, and James Joyce on the left, resting an arm on the bench’s backrest. There is a plant growing near the wall on the right side of the frame. On verso in Sylvia Beach's handwriting "Joyce and M. Monnier | at Rocfoin near Maintenon."
On verso in Sylvia Beach's handwriting "Joyce and Adrienne's father | M. Clovis Monnier | at his house Rocfoin near | Maintenon"
James Joyce and M. Monnier sit on a wooden slatted bench in front of a wall with brick accents around an opening. James Joyce sits on the left and wears a light-colored cap, round glasses, a suit with a patterned tie, and patterned socks. M. Monnier sits on the right and wears a flat cap, a dark three-piece suit, and holds a cane in one hand while raising the other near the face. Sunlight casts shadows across the ground and wall.
James Joyce and M. Monnier sit on a slatted wooden bench in front of a building with brick accents around doorways. James Joyce sits on the left and leans back with one arm over the bench and the other on the lap. M. Monnier sits on the right and rests his head on one hand and has a cane across the legs. The setting appears to be a sunlit courtyard or garden. On verso in Sylvia Beach's handwriting "Joyce and M. Clovis Monnier | Adrienne's father, at his house | Rocfoin near Maintenon (Eure et | Loir)"
Giorgio Joyce wears a long overcoat and suit and stands slightly angled toward the camera in an outdoor setting. The background includes a tree-lined path with a few other individuals walking or standing in the distance. The lighting suggests daylight, and the setting appears to be a park or garden.
Four individuals pose indoors against a dark curtain. Lucia Joyce, seated on left, and Nora Joyce, seated on right are on an upholstered couch with carved wooden trim, wearing dresses with decorative details. James Joyce, at left, and Giorgio Joyce, at right, stand behind the couch. Both wear suits with ties or bow ties. All are looking toward the camera. The composition is balanced with a formal atmosphere. Signatures of each member of Joyce family on recto and Wide World Photos stamp on verso.
Nora Joyce and Giorgio Joyce seated outdoors at table, Ostend
Giorgio Joyce and Nora Joyce sit closely on a slatted wooden bench outdoors, surrounded by leafy vegetation. Giorgio Joyce, on the left, wears glasses and a suit with a tie, while Nora Joyce, on the right, is dressed in a light-colored coat and a cloche-style hat. A small table in the foreground is covered with a patterned cloth and holds teacups, a teapot, and glassware.
James Joyce, Nora Joyce, and Giorgio Joyce seated at table, possibly at Ostend
Three individuals sit at a rectangular table set with glassware, dishes, and a patterned tablecloth in a garden setting. On the left, Nora Joyce wears a light-colored coat with a fur collar and a cloche hat. In the center, James Joyce wears an eye patch and leans their head on one hand. On the right, Giorgio Joyce, with neatly combed hair and glasses, is mid-bite with a spoon held to their mouth. Dense foliage fills the background. Inserted negative "This neg. rec'd. from Sylvia Beach?" per note on sleeve.
Giorgio Joyce and Nora Joyce sit closely on a slatted wooden bench outdoors, surrounded by leafy vegetation. Giorgio Joyce, on the left, wears glasses and a suit with a tie, while Nora Joyce, on the right, is dressed in a light-colored coat and a cloche-style hat. A small table in the foreground is covered with a patterned cloth and holds teacups, a teapot, and glassware. Shakespeare and Company stamp on verso.
Nora Joyce seated on bench before cabana, Ostend
Nora Joyce is seated on a patterned blanket at the beach, dressed in a light-colored coat with fur trim and a cloche hat. In the background, several people are walking along the sand, and striped beach cabins or tents are visible. The scene appears to be at a seaside resort or coastal area.
Nora Joyce sits on a patterned blanket at the beach, wearing a cloche hat and a light-colored coat with fur trim. Behind them are striped beach cabins, people walking along the sand, and a distant view of buildings and flags. The scene suggests a coastal resort setting during the early 20th century. Shakespeare and Company stamp on verso.
Nora Joyce is sitting in a cushioned armchair with vertical upholstery stripes. They are leaning to one side with their elbow propped on the armrest and their head resting on their hand. Joyce individual is wearing a light-colored, long-sleeved blouse and a skirt. The lighting is dim, with most of the background in shadow, including part of a side table or desk.
Nora Joyce is seated in a vertically striped armchair, wearing a light-colored blouse and skirt. They are leaning slightly to their left with their elbow on the armrest and their hand supporting their head. A small side table is partially visible in the background, and the lighting highlights the figure while leaving much of the background in shadow. Shakespeare and Company stamp on verso. Inserted negatives "This neg. rec'd. from Sylvia Beach" per note on sleeve.
Nora Joyce standing near airplane, Ostend
Nora Joyce stands in front of a biplane on a grassy field. Joyce is wearing a light-colored dress and a long coat with fur trim, along with a cloche-style hat. One hand holds a blanket or shawl, and the other carries a bag. The tail and vertical stabilizer of the aircraft are visible behind them, with a partial registration number ending in "G" on the tail fin. The photograph has a slightly blurred focus.
A child sits on a sandy beach area in the foreground, focused on digging or playing in the sand with a small container or toy. Behind the child, a brick-paved promenade leads to a bench where Nora Joyce, in a light-colored coat and hat, is seated. The background features multi-story buildings with balconies and large windows, typical of early 20th-century European coastal architecture. The scene suggests a seaside town, and the photograph has a soft focus.
Nora Joyce wearing a light-colored, knee-length dress and a cloche hat stands beside a chain-link fence, holding a small clutch and gloves. The dress features lace sleeves and decorative stitching near the hem. Joyce is positioned on a dirt path that curves into the distance, bordered by trees and a grassy area. The background shows a few more people walking further down the path. The photo has a soft focus and sepia tone.
Nora Joyce seated on steps of cart, Ostend
Nora Joyce sits on wooden steps leading up to a beach wagon or bathing hut, which has a large visible wheel on the left. Joyce is dressed in a light-colored coat with fur trim and a cloche hat, and have her legs crossed. The background includes sand, a wooden chair, and a partially visible building with signage reading "PLACE." The overall setting appears to be a seaside location. The photograph is softly focused and sepia-toned.
James Joyce, Nora Joyce, and P.J. Hoey seated on grass
On verso in handwriting "The man on the right | is Mr. Hoey." Inserted calling card of P.J. Hoey.
Three individuals sit on a grassy slope. James Joyce, on the left, wears a light-colored boater hat, an eye patch, and a dark jacket over a white shirt and trousers. Nora Joyce, in the middle, wears a cloche hat, a light blouse, and a skirt with floral detail. P.J. Hoey sits on the right and wears a dark suit and tie with a bowler-style hat. The group appears relaxed, posing outdoors in natural light. The photo is sepia-toned with a soft focus. On verso in handwriting "The man on the right | is Mr. Hoey." Inserted calling card of P.J. Hoey.