Joyce, James

8vo, first edition, presentation copy inscribed by the author ("To | Robert Prezioso | James Joyce | Trieste. 19 June 1914") on preliminary blank, original dark red cloth, lettered in gilt on upper cover and spine, extremities very slightly bumped, cloth slightly cockled on lower cover with minor abrasions

Slocum and Cahoon 8; Richard Ellmann, James Joyce, 1959; Massimo Soranzio, 'The Expatriate and the Ex-Patriot: Joyce's Friend Roberto Prezioso.' Prospero, 6 (1999): 117-31

Condition is described in the main body of the cataloguing, where appropriate.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

No other copy of Joyce's collection of short stories with a contemporary inscription has been sold at auction in the last thirty years.

This copy, inscribed four days after publication, was presented to “one of the most intriguing characters to cross Joyce’s personal and creative life in Trieste” (Soranzio). Roberto Prezioso was Joyce's model for the character of Robert Hand in "Exiles".

In 1916 Joyce kept a notebook containing his wife’s dreams and his interpretations of them. One dream (see Ellmann, p. 451) is recorded as:

Prezioso weeping
I have passed him in the street
My book ‘Dubliners’ in his hand

This is the presentation copy of Joyce’s Dubliners, inscribed to Roberto Prezioso who was Joyce’s pupil, friend, model for a couple of Joyce’s characters and the man who made significant advances to Nora Joyce in 1911 or 1912.

Roberto Prezioso (1869-1930) was, from 1902, the editor of Il Piccolo della Sera, the influential voice of Triestine Italian nationalism. Ellmann first describes him as ‘an intelligent, dapper Venetian’ (p. 204) who in 1905 became one of Joyce’s pupils at the Trieste branch of the Berlitz school. In 1907 Prezioso commissioned Joyce to write a number of articles on the evils of empire, as identified in Ireland, for his paper. Further pieces followed including a review of Shaw’s Blanco Posnet in 1909. Ellmann notes, however, that there is no article by Joyce between December 1910 and September 1912 and suggests that ‘at some time in 1911 or 1912 Prezioso endeavoured to become Nora’s lover rather than her admirer’ (p. 327). Ellmann also suggests that Joyce drew upon the Joyces’ relationship with Prezioso in the later chapters of A Portrait of the Artist as a Young Man. Joyce apparently confronted Prezioso and caused him to break down in tears. Ellmann further notes that ‘with this spectacle… Joyce (quick to be cool again) had the rest of the plot for Exiles where Prezioso’s overtures form a considerable part of the action.’ (p. 328). Joyce had a history of wanting other men to attempt to seduce Nora, fuelling his sexual and creative energies.