‎Beckett samuel‎

‎Samuel BECKETT‎

‎Poèmes‎

‎Les Editions de Minuit | Paris 1968 | 14.50 x 19.50 cm | broché‎

‎Edition originale, un des 100 exemplaires hors commerce numérotés sur B.F.K. de Rives, seuls grands papiers avec 662 autres B.F.K. de Rives. Précieux envoi autographe daté de Février 1968 et signé de Samuel Beckett à son ami le peintre Geer (Van Velde) et à sa femme Lise. Petites piqûres sur le premier plat marginalement et légèrement insolé. « Que dire de ces plans qui glissent, ces contours qui vibrent, ces corps comme taillés dans la brume, ces équilibres qu'un rien doit rompre, qui se rompent, et se reforment à mesure qu'on regarde ? Comment parler de ces couleurs qui respirent, qui halètent ? de cette stase grouillante ? de ce monde sans poids, sans force, sans ombre ? Ici tout bouge, nage, fuit, revient, se défait, se refait. Tout cesse, sans cesse. On dirait l'insurrection des molécules, l'intérieur d'une pierre un millième de seconde avant qu'elle ne se désagrège. C'est ça la littérature. » (La Peinture des van Velde ou Le monde et le pantalon, in Cahiers d'Art n°11-12, Paris 1945) Beckett ne parle pas ici, malgré les apparences, de son uvre littéraire mais de la peinture de Geer Van Velde, ajoutant quelques lignes plus loin: «[Bram] Van Velde peint l'étendue. G[eer] Van Velde peint la succession.» Cet éloge, publié à l'occasion de la double exposition des Van Velde, Geer chez Maeght et Bram à la galerie Mai, est le premier texte d'importance sur ces peintres alors à peu près inconnus du public: «On ne fait que commencer à déconner sur les frères VanVelde. J'ouvre la série. C'est un honneur.» Il est aussi le premier texte critique écrit directement en français par un jeune écrivain irlandais qui n'a encore jamais publié en France. Ainsi, le premier et plus important écrit sur l'art de Beckett, composé à l'aube de sa carrière littéraire, instaure, dès l'origine, une relation fondamentale entre son uvre en gestation et la peinture de ses amis: «Aussi a-t-on souvent lu ce texte en creux, ou en miroir, comme une des rares désignations de la poétique (à venir) de Beckett par lui-même, une sorte de programme anamorphique d'écriture» (Un pantalon cousu de fil blanc: Beckett et l'épreuve critiquepar Pierre Vilar) Véritable déclaration d'intention du dramaturge, ce texte fondamental - dont Beckett confesse dès l'introduction la valeur introspective: «avec les mots on ne fait que se raconter» - inaugure la période créatrice la plus fructueuse de l'écrivain. En effet, à l'instar d'Apollinaire et de Cendrars, Beckett puise dans les problématiques artistiques de ses contemporains le ferment de son écriture à venir par «la mise en cause la plus profonde des présupposés narratifs, figuratifs ou poétiques.» (Pascale Casanova inBeckett l'abstracteur) L'influence majeure de la peinture moderne sur la structure - ou déstructuration - narrative du théâtre et des romans de Beckett sera révélée et analysée par de nombreux penseurs, dont Gilles Deleuze, Julia Kristeva ou Maurice Blanchot. C'est justement à partir de la peinture des Van Velde, de Geer, puis de Bram, que Beckett formalise cette volonté de traduire la question picturale en dramaturgie. Ainsi refuse-t-il les décors de Nicolas de Staël pourEn attendant Godotcar: «Il faut que le décor sorte du texte, sans y ajouter. Quant à la commodité visuelle du spectateur, je la mets là où tu penses. Crois-tu vraiment qu'on puisse écouter devant un décor de Bram, ou voir autre chose que lui?» (Lettre à Georges Duthuit, 1952). Lorsqu'il rencontre Geer en 1937, «Beckett traverse une crise existentielle majeure, il vient de remodeler son premier romanMurphy, refusé par un grand nombre d'éditeurs, il sombre dans l'alcoolisme, quitte l'Irlande et s'installe définitivement à Paris» (Le Pictural dans l'uvre de Beckett,Lassaad Jamoussi). Il revient d'un long voyage artistique en Allemagne où il s'est imprégné d'uvres classiques et d'art contemporain - c'est lors de ce voyage qu'il découvre lesDeux hommes contemplant la lunede Caspar David Friedrich, à l'origine d‎

Referenz des Buchhändlers : 51865

‎Samuel Beckett‎

‎Premier amour‎

‎Les Editions de Minuit Sans date.‎

‎Etat correct‎

Referenz des Buchhändlers : 500246991

‎SAMUEL BECKETT‎

‎RESIDUA‎

‎TUSQUETS/CUADERNOS MARGINALES. 1976. In-12. Broché. Etat d'usage, Couv. légèrement passée, Dos satisfaisant, Intérieur frais. 77 pages. Premier plat illustré en couleurs. Texte en espagnol.. . . . Classification Dewey : 860-Littératures espagnole et portugaise‎

‎Classification Dewey : 860-Littératures espagnole et portugaise‎

Referenz des Buchhändlers : RO60092084

‎Samuel BECKETT - (envoi à Geer van VELDE)‎

‎Sans - Exemplaire du peintre Geer Van Velde‎

‎Les Editions de Minuit | Paris 1969 | 14.50 x 19.50 cm | broché‎

‎Edition originale, un des 100 exemplaires hors commerce numérotés sur B.F.K. de Rives, seuls grands papiers avec 642 autres B.F.K. de Rives. Précieux envoi autographe daté de Janvier 1970 et signé de Samuel Beckett à son ami le peintre Geer (Van Velde) et à sa femme Lise. Agréable exemplaire. « Que dire de ces plans qui glissent, ces contours qui vibrent, ces corps comme taillés dans la brume, ces équilibres qu'un rien doit rompre, qui se rompent, et se reforment à mesure qu'on regarde ? Comment parler de ces couleurs qui respirent, qui halètent ? de cette stase grouillante ? de ce monde sans poids, sans force, sans ombre ? Ici tout bouge, nage, fuit, revient, se défait, se refait. Tout cesse, sans cesse. On dirait l'insurrection des molécules, l'intérieur d'une pierre un millième de seconde avant qu'elle ne se désagrège. C'est ça la littérature. » (La Peinture des van Velde ou Le monde et le pantalon, in Cahiers d'Art n°11-12, Paris 1945) Beckett ne parle pas ici, malgré les apparences, de son uvre littéraire mais de la peinture de Geer Van Velde, ajoutant quelques lignes plus loin: «[Bram] Van Velde peint l'étendue. G[eer] Van Velde peint la succession.» Cet éloge, publié à l'occasion de la double exposition des Van Velde, Geer chez Maeght et Bram à la galerie Mai, est le premier texte d'importance sur ces peintres alors à peu près inconnus du public: «On ne fait que commencer à déconner sur les frères VanVelde. J'ouvre la série. C'est un honneur.» Il est aussi le premier texte critique écrit directement en français par un jeune écrivain irlandais qui n'a encore jamais publié en France. Ainsi, le premier et plus important écrit sur l'art de Beckett, composé à l'aube de sa carrière littéraire, instaure, dès l'origine, une relation fondamentale entre son uvre en gestation et la peinture de ses amis: «Aussi a-t-on souvent lu ce texte en creux, ou en miroir, comme une des rares désignations de la poétique (à venir) de Beckett par lui-même, une sorte de programme anamorphique d'écriture» (Un pantalon cousu de fil blanc: Beckett et l'épreuve critiquepar Pierre Vilar) Véritable déclaration d'intention du dramaturge, ce texte fondamental - dont Beckett confesse dès l'introduction la valeur introspective: «avec les mots on ne fait que se raconter» - inaugure la période créatrice la plus fructueuse de l'écrivain. En effet, à l'instar d'Apollinaire et de Cendrars, Beckett puise dans les problématiques artistiques de ses contemporains le ferment de son écriture à venir par «la mise en cause la plus profonde des présupposés narratifs, figuratifs ou poétiques.» (Pascale Casanova inBeckett l'abstracteur) L'influence majeure de la peinture moderne sur la structure - ou déstructuration - narrative du théâtre et des romans de Beckett sera révélée et analysée par de nombreux penseurs, dont Gilles Deleuze, Julia Kristeva ou Maurice Blanchot. C'est justement à partir de la peinture des Van Velde, de Geer, puis de Bram, que Beckett formalise cette volonté de traduire la question picturale en dramaturgie. Ainsi refuse-t-il les décors de Nicolas de Staël pourEn attendant Godotcar: «Il faut que le décor sorte du texte, sans y ajouter. Quant à la commodité visuelle du spectateur, je la mets là où tu penses. Crois-tu vraiment qu'on puisse écouter devant un décor de Bram, ou voir autre chose que lui?» (Lettre à Georges Duthuit, 1952). Lorsqu'il rencontre Geer en 1937, «Beckett traverse une crise existentielle majeure, il vient de remodeler son premier romanMurphy, refusé par un grand nombre d'éditeurs, il sombre dans l'alcoolisme, quitte l'Irlande et s'installe définitivement à Paris» (Le Pictural dans l'uvre de Beckett,Lassaad Jamoussi). Il revient d'un long voyage artistique en Allemagne où il s'est imprégné d'uvres classiques et d'art contemporain - c'est lors de ce voyage qu'il découvre lesDeux hommes contemplant la lunede Caspar David Friedrich, à l'origine deEn attendant Godot. L'art est alors au cur de sa‎

Referenz des Buchhändlers : 51864

‎Samuel Beckett - Hugh Kenner - Lee Gerlach - Homer Swander- Edward W. Loomis - Alan Stephens -Charles. Tomlinson - Russell Mc Clain - Barbara Hull.‎

‎Spectrum. Volume IV Winter 1960 Number 1‎

‎Santa Barbara University of California 1960 in-8° Agrafé‎

‎Samuel Beckett, Hugh Kenner, Lee Gerlach, Homer Swander, Edward W. Loomis, Alan Stephens, harles. Tomlinson, Russell McClain, Barbara Hull. Très bon 0‎

Referenz des Buchhändlers : 012534

‎Samuel Beckett‎

‎Three Dialogues‎

‎Editions Rodopi B.V. (21 août 2003)‎

‎Livre à l'état de neuf, très frais sans annotations ni défauts dissmulés.‎

Referenz des Buchhändlers : lc_84464

‎Samuel BECKETT‎

‎Tous ceux qui tombent‎

‎Les Editions de Minuit | Paris 1957 | 12 x 19 cm | broché‎

‎Edition originale de la traduction française établie par Robert Pinget, un des 80 exemplaires numérotés sur pur fil, seuls grands papiers. Agréable exemplaire. - Photographies et détails sur www.Edition-Originale.com -‎

Referenz des Buchhändlers : 50565

‎Samuel Beckett‎

‎Watt‎

‎Les Editions de Minuit 1968 in8. 1968. Broché. Watt devient domestique au service de Mr Knott un maître énigmatique vivant dans une maison isolée. Il y découvre un univers régi par des règles incompréhensibles et des rituels absurdes offrant une réflexion sur les limites du langage et les errements de la logique‎

‎Bon état couverture latérale tachée pages jaunies intérieur propre‎

Referenz des Buchhändlers : 100150085 ISBN : 270730140

‎Samuel Beckett (Edward Gorey)‎

‎All Strange Away In Slipcase‎

‎New York: Gotham Book Mart 1976. Decorative Boards. Fine. Edward Gorey. An all-but-immaculate copy of this 1976 Samuel Beckett/Edward Gorey signed/limited. #123 OF 200 COPIES SIGNED BY BOTH BECKETT AND GOREY at the limitation. Clean and Near Fine to Fine in its leather-backed pictorial chocolate boards. Thin quarto wonderfully illustrated along the margins by the maestro Gorey. Also includes a very sharp Near Fine example of the publisher's unprinted slipcase with just a touch of light rubbing to the bottom-edges. The maiden title in the "Gotham Book Mart Master Series" edited by the legendary Andreas Brown the owner of the Gotham Book Mart. Gotham Book Mart unknown‎

Referenz des Buchhändlers : 24335

‎Samuel Beckett‎

‎All That Fall Signed‎

‎New York: Grove Press 1957. Very Good/Very Good . New York: Grove Press 1957. First American Trade Edition. Signed by Samuel Beckett without inscription at title page. Octavo; printed dust jacket retaining original $2.50 price; cloth boards; 59pp. Light edgewear to dust jacket with a few minor nicks to edges and a couple scuffs to rear. Soiling to top edge of boards; binding sound; pages unmarked. A Very Good and sound signed copy of Beckett's second play following Godot the conception of which he described in a letter to Nancy Cunard "in the dead of t'other night got a nice gruesome idea full of cartwheels and dragging of feet and puffing and panting which may or may not lead to something." Trade issue uncommon signed.<br /> <br /> Federman & Fletcher 34; Carlton Lake "No Symbols Where None Intended." University of Texas at Austin 1984; pp. 93-94. Grove Press unknown‎

Referenz des Buchhändlers : 43137

‎Samuel Beckett‎

‎All That Fall‎

‎Grove Press 1957. First Edition. Hardcover. Fine. Octavo. Very light rubbing to the very tips of the jacket spine protected by the Brodart cover; otherwise a fine unclipped jacket. Book is clean and unmarked. A very well preserved copy. Grove Press hardcover‎

Referenz des Buchhändlers : P-09754

‎Samuel Beckett‎

‎Arikha‎

‎Hermann 1985. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. In fair condition suitable as a study copy. Dust jacket in fair condition. Please note the Image in this listing is a stock photo and may not match the covers of the actual item1450grams ISBN:9780500091715 Hermann hardcover‎

Referenz des Buchhändlers : 9955737 ISBN : 0500091714 9780500091715

‎Samuel Beckett; Avigdor Arikha‎

‎Arikha‎

‎W W Norton & Co Inc 1986. Book. FIRST. A NEAR FINE FIRST IN DJ. W W Norton & Co Inc unknown‎

Referenz des Buchhändlers : ART 18-40 ISBN : 0500091714 9780500091715

‎Samuel BECKETT - (inscribed to Geer van VELDE)‎

‎Assez - Exemplaire du peintre Geer Van Velde‎

‎Paris: Les Editions de Minuit 1966. Fine. Les Editions de Minuit Paris 1966 14.50 x 19.50 cm broché First edition. One of 100 deluxe advance copies on B.F.K. de Rives only deluxe copies along with 512 others on B.F.K. de Rives. Precious copy inscribed and dated April 1966 by Beckett to his friend the painter Geer Van Velde and his wife Lise. Nice copy. “What to say of the sliding planes the shimmering contours the cut-out figures in the fog the balance that any little thing can break breaking and re-forming themselves under our very eyes How to talk about the colors that breathe and pant Of the swarming stasis Of this world without weight without force without shadow Here everything moves swims fells comes back falls apart re-forms. Everything stops non-stop. One would say it's the revolt of the internal molecules of a stone a split second before its disintegration. That is literature” The van Veldes' Art or the World and the Trousers in Cahiers d'Art n°11-12 Paris 1945. Beckett here is not talking – despite how it may appear – about his literary oeuvre but about the paintings of Geer Van Velde going on to add a few lines later “Bram Van Velde paints distance. Geer Van Velde paints succession.” This elegy published on the occasion of the double exhibition of the Van Veldes Geer at Maeght's and Bram at the Galerie Mai is the first important text on these painters more or less unknown to the public at the time: “We've only just started spouting nonsense about the Van Velde brothers and I'm the first. It's an honor.” This is also the first critical text written directly in French by a young Irish writer who had not as yet published anything in France. Thus the first and most important of Beckett's writings on art composed at the dawn of his literary career establishes – right from the start – a fundamental relationship between his developing work and his friends' art: “Thus this text has often been read in a hollow or in the mirror as one of the rare designations of Beckett's poetry to come by the man himself a sort of anamorphic program of writing” Un pantalon cousu de fil blanc : Beckett et l'épreuve critique by Pierre Vilar. A real statement of dramaturgical intent this fundamental text whose introspective value Beckett lays out from the introduction on “one does nothing but tell stories with words” ushers in the writer's most fruitful creative period. In essence like Apollinaire and Cendrars Beckett draws from the artistic problems of his contemporaries the catalyst of his own future writing through “the deepest questioning of narrative figurative or poetical presuppositions” Pascale Casanova in Beckett l'abstracteur. The major influence of modern painting on the narrative structure – or destructuring – of Beckett's drama and novels would be pointed out and examined by a number of thinkers among them Gilles Deleuze Julia Kristeva and Maurice Blanchot. It was in fact with the art of the Van Veldes first Geer then Bram that Beckett began to formalize this desire to translate the pictorial question into dramaturgical terms. Thus it was that he rejected Nicolas de Staël's set design for Godot since: “the set must come out of the text without adding anything to it. As for the visual comfort of the audience you can imagine how much I care. Do you really think you can listen with the backdrop of Bram's set or see anything other than him” Letter to Georges Duthuit 1952. When he met Geer in 1937 “Beckett was going through a major existential crisis and had just been reworking his first novel Murphy which had been rejected by a great many publishers. He was lost in alcohol leaving Ireland and moving once and for all to Paris” Le Pictural dans l'œuvre de Beckett Lassaad Jamoussi. He returned from a long artistic journey in Germany where he was marked by classical works as well as contemporary art – it was during this journey that he discovered Caspar David Friedrich's Two Men Contemplating th Les Editions de Minuit unknown‎

Referenz des Buchhändlers : 51863

‎Samuel BECKETT‎

‎Berceuse suivi de Impromptu d'Ohio‎

‎Paris: Les Editions de Minuit 1982. Fine. Les Editions de Minuit Paris 1982 10 x 18 cm broché First edition one of 99 numbered copies on Arches vellum the only deluxe copies. Handsome copy. Les Editions de Minuit hardcover‎

Referenz des Buchhändlers : 73883

‎Samuel BECKETT - (inscribed to Geer van VELDE)‎

‎Bing - Exemplaire de Geer Van Velde • Bing – Geer Van Velde’s Copy‎

‎Paris: Les Editions de Minuit 1966. Fine. Les Editions de Minuit Paris 1966 14.50 x 19.50 cm broché First edition one of 100 hors commerce numbered copies on BFK de Rives paper the only grand papier deluxe copies with 662 other copies on BFK de Rives paper. Precious copy inscribed and dated October 1966 by Beckett to his friend the painter Geer Van Velde and his wife Lise. Nice copy. “What to say of the sliding planes the shimmering contours the cut-out figures in the fog the balance that any little thing can break breaking and re-forming themselves under our very eyes How to talk about the colors that breathe and pant Of the swarming stasis Of this world without weight without force without shadow Here everything moves swims fells comes back falls apart re-forms. Everything stops non-stop. One would say it's the revolt of the internal molecules of a stone a split second before its disintegration. That is literature” “The Van Veldes' Art or the World and the Trousers” in Cahiers d'Art n°11-12 Paris 1945. Beckett here is not talking – despite how it may appear – about his literary oeuvre but about the paintings of Geer Van Velde going on to add a few lines later “Bram Van Velde paints distance. Geer Van Velde paints succession.” This elegy published on the occasion of the double exhibition of the Van Veldes Geer at Maeght's and Bram at the Galerie Mai is the first important text on these painters more or less unknown to the public at the time: “We've only just started spouting nonsense about the Van Velde brothers and I'm the first. It's an honor.” This is also the first critical text written directly in French by a young Irish writer who had not as yet published anything in France. Thus the first and most important of Beckett's writings on art composed at the dawn of his literary career establishes – right from the start – a fundamental relationship between his developing work and his friends' art: “Thus this text has often been read in a hollow or in the mirror as one of the rare designations of Beckett's poetry to come by the man himself a sort of anamorphic program of writing” Un pantalon cousu de fil blanc : Beckett et l'épreuve critique by Pierre Vilar. A real statement of dramaturgical intent this fundamental text whose introspective value Beckett lays out from the introduction on “one does nothing but tell stories with words” ushers in the writer's most fruitful creative period. In essence like Apollinaire and Cendrars Beckett draws from the artistic problems of his contemporaries the catalyst of his own future writing through “the deepest questioning of narrative figurative or poetical presuppositions” Pascale Casanova in Beckett l'abstracteur. The major influence of modern painting on the narrative structure – or destructuring – of Beckett's drama and novels would be pointed out and examined by a number of thinkers among them Gilles Deleuze Julia Kristeva and Maurice Blanchot. It was in fact with the art of the Van Veldes first Geer then Bram that Beckett began to formalize this desire to translate the pictorial question into dramaturgical terms. Thus it was that he rejected Nicolas de Staël's set design for Godot since: “the set must come out of the text without adding anything to it. As for the visual comfort of the audience you can imagine how much I care. Do you really think you can listen with the backdrop of Bram's set or see anything other than him” Letter to Georges Duthuit 1952. When he met Geer in 1937 “Beckett was going through a major existential crisis and had just been reworking his first novel Murphy which had been rejected by a great many publishers. He was lost in alcohol leaving Ireland and moving once and for all to Paris” Le Pictural dans l'œuvre de Beckett Lassaad Jamoussi. He returned from a long artistic journey in Germany where he was marked by classical works as well as contemporary art – it was during this journey that he discovered Caspar David Fr Les Editions de Minuit unknown‎

Referenz des Buchhändlers : 51867

‎Samuel Beckett‎

‎Cascando And Other Short Dramatic Pieces The Collected Works of Samuel Beckett‎

‎New York NY USA: Grove Press 1978. Book. Very Good. Hardcover. 8vo - over 7¾ - 9¾" tall. The book and jacket are in very good condition little shelf rubbing apparent jacket has been wrapped by a previous owner with mylar for preservation purposes. The text inside appears clean and clear throughout. 'This collection of short dramatic pieces for various media all dwell on age its coming and its going. The pieces include: Cascando a radio play; Words and Music a radio play; Eh Joe a television play; Play a stage play; Come and Go dramaticule; and Film a film script.' 88 pages. 5.4 x 8.25 inches. May require additional postage. This listing was made by a small independent book shop. We carefully inspect every single book we list and give accurate descriptions. If you require we will promptly send pictures of listed books upon request. . Grove Press Hardcover‎

Referenz des Buchhändlers : 054411 ISBN : 0394474961 9780394474960

‎Samuel Beckett‎

‎Collected Poems in English and French‎

‎New York : Grove Press Inc. 1977. 1st Edition . Hardcover. Fine/Near Fine. This is the first Grove Press Edition. Clean unmarked copy no remainder mark close tomnew minor rubbing to dust jacket dj now in a new protective mylar sleeve. <br/> <br/> Grove Press, Inc. hardcover‎

Referenz des Buchhändlers : 018519

‎Samuel Beckett‎

‎Collected poems in English and French‎

‎Calder 1977. Hardcover. Good. Missing dust jacket; Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More Spend Less.Dust jacket quality is not guaranteed. Calder hardcover‎

Referenz des Buchhändlers : G0714536083I3N01 ISBN : 0714536083 9780714536088

‎Samuel Beckett‎

‎Collected Shorter Plays‎

‎New York: Grove Press 1984. First American edition. Hardcover. Very Good/very good . First American Edition. First Printing. c.1984. Hardcover. 8vo. 316pp. Very Good in Very Good dustjacket. Light general shelfwear moderate age toning / tanning to contents. Light wear to dustjacket. Grove Press hardcover‎

Referenz des Buchhändlers : C000029042 ISBN : 0394538501 9780394538501

‎Samuel Beckett‎

‎Comment C'est How It Is Signed‎

‎Paris: Les Editions de Minuit 1961. Very Good. Paris: Les Éditions de Minuit 1961. First Trade Edition one of 3000 copies. Small octavo 18.5cm; publisher's white wrappers printed in blue and black; 177pp. Light shelf wear wrappers a bit dust-soiled and spine panel toned else Very Good internally clean sound and unopened. Signed by Beckett on title page.<br /> <br /> Beckett's stylistically and structurally challenging 'novel' which he called his "most difficult ever." The English translation "How It Is" appeared in 1964.<br /> <br /> References:<br /> <br /> No Symbols Where None Intended: A Catalogue of Books Manuscripts and Other Material Relating to Samuel Beckett in the Collections of the Humanities Research Center pp. 119-121<br /> <br /> Federman & Fletcher 268. Les Editions de Minuit unknown‎

Referenz des Buchhändlers : 42939

‎Samuel BECKETT‎

‎Comment dire • What Is The Word‎

‎s. l.: S. n. Jean-Jacques Sergent 1998. Fine. S. n. Jean-Jacques Sergent s. l. s. d. 1998 17 x 25.50 cm broché Comment dire What Is The Word no publisher no place ca 1980 17 x 25.5 cm original wrappers A curious and fascinating Lettrist publication about which we have not been able to find any publication details. A good and very rare copy in tracing-paper covers occasionally interlaced with leaves of flexible plastic the whole sewn and protected with a cover of thicker tracing paper. he text is illustrated with images that now recall the Middle Ages and now look forward into modernity. A very good copy despite the missing initial self-adhesive sticker on silver paper at the beginning of the volume bearing the title. S. n.[ Jean-Jacques Sergent] unknown‎

Referenz des Buchhändlers : 69320

‎Samuel BECKETT‎

‎Comédies et actes divers‎

‎Paris: Les Editions de Minuit 1966. Fine. Les Editions de Minuit Paris 1966 12 x 19 cm broché First edition on ordinary paper. Autograph inscription signed by Samuel Beckett to Gaetan Picon. Les Editions de Minuit unknown‎

Referenz des Buchhändlers : 60477

‎SAMUEL BECKETT‎

‎contributes four poems to The European Caravan. An Anthology of the New Spirit in European Literature. Part I: France Spain England and Ireland. Compiled and edited by Samuel Putnam Maida Castlehun Carton George Reavey and J. Bronowski. With special introductions by André Berge Massimo Bontempelli Jean Cassou and E.Giménez Cabellero.‎

‎Brewer Warren & Putnam New York 1931. Book. Very Good. Hardcover. 1st Edition. First Edition first printing. 8vo. xviii 577pp. Black cloth lettered in green at the spine. A tiny knock to the tip of one corner the backstrip ends gently bruised and the free endpapers lightly toned. Price inked to the tip of the front free endpaper and subsequently scribbled out. A very good copy. No dust wrapper. Beckett contributes his poems 'Hell Crane to Starling' 'Casket of Pralinen for the Daughter of a Dissipated Mandarin' 'Text' and 'Yoke of Liberty' - constituting his first appearance in print in the US. Other contributors include James Joyce an eleven-page extract from 'Ulysses' Virginia Woolf a six-page extract from 'To the Lighthouse' Lyle Donaghy Herbert Read his essays 'Cupid's Everlasting Honeymoon' and 'James Joyce' A. S. J. Tessimond his poems 'Sea Port' 'Chaplin' and 'Birch Tree' H. D. her poem 'Choruses from Morpheus' and a novel extract entitled 'Tatter' Edgell Rickword D. H. Lawrence a chapter from 'Lady Chatterley's Lover' T. S. Eliot his poems 'Gerontion' 'A Song for Simeon' and 'Journey of the Magi' William Empson five poems Richard Aldington T. F. Powys Nancy Cunard Hugh MacDiarmid Tristan Tzara Paul Morland Jean Cocteau Paul Valéry Juan Ramón Jiménez Frederico Garcia Lorca &c. &c. &c. An uncommon and wide-ranging anthology of post-war European literature and verse. It is perhaps worth noting than despite the subtitle "Part I: France Spain England and Ireland" no further volumes were produced. Brewer, Warren & Putnam, New York Hardcover‎

Referenz des Buchhändlers : ARC94279

‎Samuel Beckett‎

‎Disjecta: Miscellaneous writings and a dramatic fragment‎

‎hardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover‎

Referenz des Buchhändlers : 0394535006.G ISBN : 0394535006 9780394535005