signature – Page 6 – Julian Barnes Bibliography

The Sense of an Ending (London Review Bookshop, 2011; Limited Edition Quarter Leather)

Notes on this edition: Julian Barnes. The Sense of an Ending. London: London Review Bookshop, 2011. Limited Edition Quarter Leather. The book itself measures 20.6 x 13.8 cm. The slipcase measures 21.5 x 14.2 cm.

In 2011, the London Review Bookshop issued two limited editions of Julian Barnes’s The Sense of an Ending, one quarter-bound in leather (75 copies) and one full leather (25 copies). The text block of both editions is tinted green, as pictured.

The limitation page of both editions are identical:

A special signed limited First Edition of
The Sense of an Ending by Julian Barnes
comprising 100 copies housed in a cloth slipcase
of which 25 have been full bound in leather
numbered I to XXV and 75 quarter bound in the
same leather with cloth sides, numbered 1 to 75.

The bindings have been designed by
Andrew Stilwell and the books have been bound by
The Fine Book Bindery, Finedon, Northants, under
the direction of Patrick Roe.

This is number
[# and signature by Julian Barnes]

Note: The limitation page of this example has been digitally altered to remove the personalized inscription from Julian Barnes to the edition’s owner.

Nothing to be Frightened of (London Review Bookshop, 2008; Limited Edition Full Leather)

Notes on this edition: Julian Barnes. Nothing to be Frightened of. London: London Review Bookshop, 2008. Limited edition bound in full leather and signed by the author. The book itself measures 22.2 x 14.2 cm. The solander box measures 24.5 x 16 cm.

In 2008, the London Review Bookshop issued two limited editions of Julian Barnes’s Nothing to be Frightened of, one quarter-bound in leather (100 copies) and one full leather (25 copies). The text block of both editions is tinted blue, as pictured.

The limitation page of both editions are identical:

A special signed limited First Edition of
Nothing to be Frightened of, comprising 125 copies,
of which one hundred have been quarter-bound
in Harmatan fine grain leather (Crimson 21)
with patterned boards designed by Enid Marx
(© Judd Street Gallery 1988), housed in a cloth
slipcase and numbered 1-100 and twenty-five
fully bound in the same leather, housed in
a solander box and numbered I-XXV.

The bindings have been designed by
Andrew Stilwell and the books have been bound,
slipcased and boxed by The Fine Book Bindery,
Wellingborough, Northants.

This is number
[# and signature by Julian Barnes]

Nothing to be Frightened of (London Review Bookshop, 2008; Limited Edition Quarter Leather)

Notes on this edition: Julian Barnes. Nothing to be Frightened of. London: London Review Bookshop, 2008. Limited edition bound in quarter leather and signed by the author. The book itself measures 22.2 x 14.3 cm. The slipcase measures 23.0 x 14.8 cm.

The limitation page of both editions are identical:

The bindings have been designed by
Andrew Stilwell and the books have been bound,
slipcased and boxed by The Fine Book Bindery,
Wellingborough, Northants.

This is number
[# and signature by Julian Barnes]

“Harmony” (Granta 109: Work, 2009)

Notes on this edition: “Harmony” by Julian Barnes. London: Granta, 2009. Issue 109 (“Work”). Pp. 97-122. Edited by John Freeman. ISBN: 9781905881130.

Illustration accompanying Barnes’s story by George Butler.

Others authors included in this volume: Daniel Alarcón, Donald Ray Pollock, Steven Hall, Derek Walcott, Salman Rushdie, Colum McCann, Kent Haruf, Mikhael Subotzky, Patrick Waterhouse, Brad Watson, Yiyun Li, Aminatta Forna, Jim Crace, Martin Kimani, Peter Stothard, Ruchir Joshi, V. V. Ganeshananthan, Joshua Ferris, Ngũgĩ wa Thiong’o.

Staring at the Sun (Random House Canada, 1987; Advance Review Copy)

Notes on this edition: Staring at the Sun. Toronto: Random House Canada, 1987. Pp. 200.

This Advance Review Copy is identical to the First Canadian Edition, except for the stamps to the inside cover and front endsheets. This particular edition is inscribed by Julian Barnes to Greg Gatenby, former Artistic Director of the International Festival of Authors at Harbourfront in Toronto. Barnes’s inscription reads: “To Greg | (who didn’t even pay | money for this) | Julian Barnes | [line] | Toronto, April 1987”. Gatenby’s signature and date are also on the endsheet.

The book is stamped as a review copy, and a review notice is loosely inserted in to the book.

Staring at the Sun (Random House Canada, 1987)

Notes on this edition: First Canadian edition – Toronto: Random House, 1987. $19.95.

Descriptive Bibliography:

Collation: 21.2 x 14.4 cm. Untrimmed pages. Pp. [i-viii, 1-8] 9-65 [66-70] 71-137 [138-142] 143-197 [198-200] [Note: no even page numbers were printed]. [i]: blank. [ii]: ‘ALSO BY JULIAN BARNES | Metroland | Before She Met Me | Flaubert’s Parrot’. [iii]: ‘STARING AT THE SUN’. [iv]: blank. [v]: title page. [vi]: copyright page. [vii]: ‘to Pat’. [viii]: blank. [1]: ‘STARING AT THE SUN’. [2]: blank. [3-4]: text. [5]: ‘[multiple lines of alternating thickness arranged to suggest the image of a sunset] | ONE | You ask me what life is? It is like asking what a carrot | is. A carrot is a carrot, and nothing more is known. | –CHEKHOV TO OLGA KNIPPER, 20 April 1904 | [ruled lines of alternating thickness]’. [6]: blank. [7]-[66]: text. [67]: ‘[multiple lines of alternating thickness arranged to suggest the image of a sunset] | TWO | Three wise men—are you serious? | –GRAFFITO, c. 1984 | [ruled lines of alternating thickness]’. [68]: blank. [69]-137: text. [138]: blank. [139]: ‘[multiple lines of alternating thickness arranged to suggest the image of a sunset] | THREE | immortality is no learned question. | –KIERKEGAARD | [ruled lines of alternating thickness]’. [140]: blank. [141]-197: text. [198]: blank. [199]: ‘A NOTE ON THE TYPE | The text of this book was set in a digitized version of Bembo, a | well-known Monotype face. Named for Pietro Bembo, the cele- | brated Renaissance writer and humanist scholar who was made a | cardinal and served as secretary to Pope Leo X, the original cut- | ting of Bembo was made by Francesco Griffo of Bologna only a | few years after Columbus discovered America. | Sturdy, well balanced, and finely proportioned, Bembo is a | face of rare beauty, extremely legible in all of its sizes. | Composed by Creative Graphics, Inc. | Printed and bound by Fairfield Graphics, | Fairfield, Pennsylvania. | Book design by Marysarah Quinn’. [200]: blank.

General description: Binding 22 x 15 cm. White boards, light purple quarter binding gold blocked on spine. White endpapers. White dust jacket lettered in light purple (title), blue (author), and black (quotes on lower panel). Multi-colored cover illustration by Havier Romero. Photograph of the author by Nancy Crampton located on back flap. Appears nearly identical to the First American edition, except for Random House markings to jacket spine and back flap. No price to front flap.

The Only Story (London Review Bookshop, 2018; Limited Edition Quarter Leather & Cloth)

Notes on this edition: The Only Story. London: London Review Bookshop, 2018. The book itself measures 22.2 x 14.8 cm. The slipcase measures 23.1 x 15.3 cm.

This is the quarter-leather and cloth edition of the signed, limited edition in slip case. The limitation pages reads:

A special signed limited
First Edition
of
The Only Story
printed on
Longan Book Wove 150gsm paper.
Numbers 1 to 75 have been quarter-bound
in Harmatan Green 16 goatskin with
Dubletta cloth sides and contain one
facsimile page from the author’s notebook.
25 copies (i to xxv), plus 3 hors commerce,
have been fully bound in the same leather
and contain a portfolio of six facsimile pages
of early draft passages and notebook entries.

The book presented here is number 4 of the quarter-bound edition limited to 75 copies. The full leather edition was published simultaneously.

The Noise of Time (London Review Bookshop, 2016; Limited Edition Quarter Leather)

Notes on this edition: Julian Barnes’s novel The Noise of Time was published in 2016, concurrently with the London Review Bookshop’s limited edition. The edition featured here is comprised of 75 copies signed by the author.

The book itself measures 20.6 x 13.7 cm. The slipcase measures 21.3 x 14.2 cm.

From the limitation page:

A special signed limited First Edition of
The Noise of Time
printed on Longan Book Wove 150gsm paper.
Numbers 1 to 75 have been quarter-bound
in Harmatan Yellow 30 Goatskin
with Atlantic Cloth sides and contain one
facsimile page from the author’s notebook.
25 copies (i to xxv), plus three hors de commerce,
have been fully bound in the same leather
and contain a portfolio of six facsimile pages
of early draft passages and notebook entries.

The edition featured here is numbered “11” and is signed by Julian Barnes to the limitation page. The facsimile page is contained in a paper folder with the following letterpressed to the front:

Draft of section when the opening
episode returns as a memory in the
second part of the novel.

The Truth about Dogs by Volker Kriegel (Bloomsbury, 1990)

Notes on this edition: Volker Kriegel. The Truth about Dogs. London: Bloomsbury, 1990. Pp. 121 + [7]. 15.1 x 9.2 cm. Translated and introduced by Julian Barnes. Introduction on pages 7-10.

Evermore (Penguin Books, 1996; Pictures by Howard Hodgkin)

Notes on this edition: Julian Barnes. Evermore. London: Penguin Books, 1996. Pp. 42 [43] + [5]. 13.7 x 10.5 cm. ISBN: 9780140260410.

This small format paperback features the short story “Evermore” from Julian Barnes’s collection Cross Channel. Published at 75p in the UK and $1.99 in Canada.

Pictures by Howard Hodgkin included. Two deluxe, signed, limited editions of this story were published by the Palawan Press. One edition was limited to 50 copies and the other to 150 copies.

A small number of the Penguin paperback were signed by Howard Hodgkin, as shown in the last picture above. This particular copy was also signed by Julian Barnes to his bibliographer in July 2018.