The Joyces at Rocofoin--Nora Joyce, James Joyce and M. Monnier
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 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.
The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions.
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.
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."
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)"
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.
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.
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 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.
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 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.
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.
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 "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.
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."
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.
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."
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.
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, 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--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 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.
James Joyce and John Sullivan [O'Sullivan]
In handwriting (Sylvia Beach's?) on recto "John Sullivan Joyce." Stamp for Daily Sketch On verso.
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] 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.
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, 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] 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, 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 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 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.
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.
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.
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.
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.
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.
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.
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.
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.
Joyce's apartment, 2 Square Robiac, Paris
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 "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.
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.”
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.
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.
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.
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.
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.”
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.
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 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--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 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--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 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--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--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--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.
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--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.
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--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--The Ulysses mounts
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.
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 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.
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 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--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.
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
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.
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.
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.
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.
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.”
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.
Stamped on verso "Photo Lutetia | 111, rue de Rennes |Paris"
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.
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.
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.
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.
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."
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.
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 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.
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.
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)."
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.
Wawel (Kraków, Poland)--Buildings, structures, etc
A two-story Renaissance courtyard featuring rounded arches supported by stone columns with decorative capitals. The lower and upper levels are lined with evenly spaced balustrades. The architecture creates a rhythmic pattern of light and shadow, with overhead rods or wires extending across the open space. A window and doorway are visible on the upper floor in the background. The lighting emphasizes the geometric shapes of the arches and columns.
Jan Bulhak Art. Fotograf. Wilno Jagiellonska 8
Poland in Pictures, photographer J. Bulhak
IN COPYRIGHT. This Item is protected by copyright and/or related rights. 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. For other uses you need to obtain permission from the rights-holder(s).
Cracow: The entrance of the Jagiellonian Library
Collegium Maius (Uniwersytet Jagielloński)
Kraków (Poland)--Buildings, structures, etc.
A large Gothic-style doorway with a pointed arch and diamond-patterned wooden doors, one of which is partially open. The door is set in a stone façade featuring stepped decorative molding. Above the arch, there is a carved statue of a robed figure in a niche, possibly religious. The surrounding wall is made of large rectangular stone blocks, with a mixture of weathered and repaired sections. Cobblestones cover the foreground area in front of the entrance.
Poland in Photographical Pictures by J. Bulhak
Cracow: The Kanonicza |street| near Wawel
Zamek Królewski na Wawelu (Kraków, Poland) Castles--Poland--Kraków. Kraków (Poland)--Buildings, structures, etc.
A narrow, cobblestone street lined with old buildings leads to an open park area. Horse-drawn carts are parked along the left side of the street. Several people are visible, including a person walking on the left sidewalk and a pair standing in conversation near the street's center. On the right, windows on the tall building are open outward. In the background, a large light-colored building with rows of windows rises behind a tree-lined area. The setting appears calm and historical in atmosphere.
Bazylika Archikatedralna w Warszawie p.w. Męczeństwa św. Jana Chrzciciela
A view of ornate Gothic spires and domed structures rising behind simpler, gabled residential rooftops. The foreground includes plain chimneys and brick walls, while the background reveals elaborate vertical pinnacles, finials, and statues atop a richly decorated church. A statue of a robed figure stands on a pedestal in front of the taller church towers. The scene captures a contrast between modest domestic architecture and the grandeur of ecclesiastical design.
A narrow cobblestone street leads to a stone archway set into a Renaissance-style gatehouse, with decorative finials lining the roofline. To the left is a brick building with small windows, and to the right is a Gothic structure with tall arched windows, engaged columns, and carved detailing. The scene is flanked by stone walls, and the archway provides a view of a distant path or hillside through the opening. The architecture reflects a mix of late medieval and early modern European styles.
A historic cathedral complex with several architectural features in view, including tall towers, domes, and ornate detailing. The central structure includes a rectangular bell tower with small arched openings and a pyramidal roof. Surrounding it are domed chapels with lanterns and decorative facades. In the background, a taller tower with a clock and statues stands beside another large dome topped with a spire and balustrade. The building showcases a mix of Romanesque, Gothic, Renaissance, and Baroque architectural elements. Trees, a fence, and a small figure with a cart are visible in the foreground.
A detailed view of multiple domes and spires on a historic church, featuring prominent bulbous copper roofs with vertical seams and finials. The central dome is large and octagonal, with several smaller domes surrounding it. The rooftops of nearby buildings and parts of the surrounding city are visible in the background. The surface of the metal domes appears weathered, and the image includes some signs of physical damage or aging.
A detailed architectural tower with a bulbous dome, lantern, and slender spire rises prominently in the foreground. The tower features decorative finials, an open belfry with columns, and a tall pinnacle topped with a crown-like ornament. Surrounding the main structure are smaller domed rooftops. In the background, additional domed and gabled buildings stretch across a hazy cityscape under overcast skies. The scene is framed on the left and right by dark vertical edges.
A carved stone skull and crossbones relief set in an arched recess. The skull faces forward with empty eye sockets and an open nasal cavity, while the bones are crossed behind it in an X formation. Draped fabric wraps around the top and sides of the skull, adding a funerary or memorial element. The surface of the sculpture is worn and scratched, with visible etchings and graffiti marks. The background stone is textured, contributing to the aged and somber atmosphere.
An ornate stone-carved heraldic eagle displayed on an oval shield. The eagle is crowned and shown in a dynamic pose with outstretched wings and claws. A wide diagonal sash crosses the eagle’s body from the upper left to the lower right. The feathers are carved in detailed, layered textures, and the wings curve outward with dramatic flair. The dark tones and shadowing give the carving a sculptural depth. The background surface appears to be wooden paneling.
A stone-carved heraldic shield featuring a crowned eagle with outstretched wings and talons, sculpted in high relief. The eagle's feathers are stylized, and its beak is open. The shield has a slightly rounded bottom and is adorned with scrollwork around the wings. Two metal loops are visible at the top, suggesting the shield is mounted on a vertical surface. A small plaque beneath the shield reads “ORZEŁ HERB POLSKI,” identifying the emblem as the coat of arms of Poland.
A historic architectural complex situated on a sloped street, featuring a castle-like building with an ornate Baroque-style dome and multiple decorative turrets. The foreground includes a high brick retaining wall with crenellations and an arched turret, separating the structure from the road. The castle's windows, steep roof, and architectural details suggest Renaissance and Baroque influences. A large tree partially shades the left side of the frame, and the lighting indicates a late afternoon or early morning sun.
A historic fortification consisting of a large cylindrical brick tower with crenellations at the top, and an adjacent building with a steep, shingled roof. The tower is vertically windowed and sits slightly elevated above the tree line, while the adjacent structure has rectangular windows and decorative roofline detailing. Both structures are partially obscured by dense foliage in the foreground, suggesting a location on a wooded hill. The sky is mostly clear with a few clouds.
Interior view of a Renaissance-style courtyard with multiple arched arcades supported by stone columns featuring Ionic capitals. The balustrades along the walkways consist of robust, vase-shaped balusters. Strong sunlight casts elongated shadows across the floor, emphasizing the architectural rhythm. The upper level mirrors the lower with similar columns, arches, and balustrades, suggesting a palace or historic civic building.
Elevated view of St. Mary's Basilica in Kraków, Poland, featuring its asymmetrical twin towers: the taller with a spire and the shorter with a domed top. The Gothic brick façade includes pointed windows and a prominent decorative entrance. In the foreground, the Adam Mickiewicz Monument stands in the middle of the Main Market Square (Rynek Główny), surrounded by pedestrians and trees. The surrounding buildings reflect 19th-century European urban architecture.
A Gothic-style church with a steeply pitched metal roof and two tall, narrow arched stained-glass windows flanked by decorative stone detailing. The brick facade includes prominent vertical elements and stone accents. In the background, a multi-tiered spired tower with pointed pinnacles and a decorative crown rises against the sky. A small structure with arched windows and a pitched roof stands at the base of the church. Electric wires cross the foreground.
A vertical view of a historic church tower featuring a square base with narrow arched windows and a sharply pitched metal roof topped with a cross. A smaller dome with a lantern is visible in the lower right. Surrounding the tower are tiled-roof residential and institutional buildings. In the distance, open fields and low-rise structures extend toward the horizon under a cloudy sky.
A close-up view of the upper section of a Gothic tower constructed from brick and stone. The lower portion features narrow arched windows set into alternating bands of light and dark masonry. Above this is an octagonal lantern with decorative stonework, surmounted by a steep, shingled spire ringed by eight slender pinnacles. At the base of the central spire is a crown-like finial with sculptural detailing. The sky in the background is overcast.