BECKETT, SamuelBiblio.com
5 143 résultats
499291New York: Limited Editions Club 1989. Hardcover. Fine. First edition. Illustrated with six etchings by Robert Ryman. Quarto. 128pp. Black Nigerian goatskin titled in gilt. Fine in fine clamshell case with the LEC newsletter laid in. One of 550 copies Signed by Beckett and Ryman. A beautiful production and a fitting collaboration between the author and artist. Limited Editions Club hardcover
366639New York/London: Blue Moon Books and John Calder 1988. Limited edition number 168 of 200 signed by the author and the artist. 1 vols. Folio. Quarter bound in parchment and natural linen that is stamped in 18 carat gold. Publisher's cloth slipcase. As new. Brocquy Louis le. Limited edition number 168 of 200 signed by the author and the artist. 1 vols. Folio. Beckett's last work with illustrations by Louis le Brocquy including one original duotone lithograph. Limited to an edition of 200 numbered copies and 26 copies designated A-Z printed on deckle edged Velin de Rives paper and all signed by the author and the artist. This book is Beckett's last work and was sold out shortly after publication. Blue Moon Books and John Calder unknown
499394New York / London: Blue Moon Books / John Calder 1988. Hardcover. Fine. First edition. Large quarto. Illustrated with one color and eight black and white lithographs by Louis le Brocquy. Vellum and linen boards gilt. Fine in fine slipcase. One of 200 numbered copies Signed by Beckett and le Brocquy on the limitation page of a total edition of 226 copies. Additionally Signed and dated by the dedicatee legendary publisher Barney Rosset beneath the printed dedication. Beautifully printed and illustrated. Blue Moon Books / John Calder hardcover
41090Paris: Georges Richar Les Èditions de Minuit. Printed by l'Atelier Georges Leblanc Paris 1970. Oblong 4to. 7 3/8 x 10 inches. Number 25 of 25 copies printed in black on handmade laid paper from Auvergne by Moulin Richard-de-Bas with 5 additional etchings on China paper and an original drawing from a total edition of 175; plus 17 non-commercial copies: copies numbered I-VII were reserved for the authors and editor; copies numbered VIII-XV reserved for collaborators; and 2 copies numbered 0 and 00 reserved for the Bibliothèque Nationale. Signed by Beckett in ink and with Deyrolle's atelier stamp. Text in French. Illustrated with 5 etchings after drawings by Jean Deyrolle etched by Louis Maccard. 12 5 etchings 4 1 drawing 1-10 11-24 8. Loose folded sheets in stiff folded wrappers as issued. Housed in the publisher's beige clamshell box<br/> <br/> One of twenty-five signed first edition copies of Samuel Beckett's collaboration with the French abstractionist Jean Deyrolle that include 5 additional etchings and an original Deyrolle drawing. Séjour was Deyrolle's last work; he died in Toulon during its production.<br/> <br/> Séjour is the first section of text from Samuel Beckett's 1906-1989 short story "Le Dépeupleur" which Les Èditions de Minuit published in French in 1970 and which was later published in English as "The Lost Ones" New York: Grove Press 1972. In spare prose Beckett relates the existence of a people living in a minimalist world inside of a flattened cylinder whose relations are highly restricted by the cylinder's climate of constantly fluctuating weather. The first line of "The Lost Ones": "Abode where lost bodies roam each searching for its lost one" appears in Séjour as "Séjour òu des corps vont cherchant chacun son dépeupleur." Beckett the Irish modernist writer was a giant of twentieth-century English literature and is most well-known for his plays Waiting for Godot and Endgame both of which take place in similarly bleak blank worlds of bizarre interaction and existential black humor. Jean Deyrolle 1911-1967 was a leading abstract painter in Post-War France who took ill prior to Séjour's publication convalescing and then dying in Toulon. The suite of five drawings presented here as engraved printed illustrations were chosen by Beckett out of a group of 32 drawings Deyrolle had drawn in the hospital for this collaboration. The artist's book was subsequently published posthumously according to Deyrolle's plans. This is why a studio stamp has been used for Deyrolle's signature. Georges Richar-Riviere who published Séjour under the auspices of both "G. R." and Les Èditions de Minuit also wrote its introduction and later in life edited Deyrolle's catalogue raisonne published in 1998 by Cercle d'Art.<br/> <br/> Georges Richar-Rivier Deyrolle Catalogue Raisonne Paris: Cercle d'Art 1998. Monod n° 1274. Georges Richar (Les Èditions de Minuit). Printed by l'Atelier Georges Leblanc, Paris unknown
19591701010Grove Press 1959. 1st Edition. Hardcover. Fine/Fine. First Grove Press Edition 1959 stated on the copyright page INSCRIBED by Samuel Beckett on the title page. First collected edition. Fine in a fine dust jacket. Housed in a custom-made collector's clamshell case. Grove Press hardcover
1959380024New York: Grove Press 1959. Softcover. Very Good. Uncorrected proof of the first American edition in sewn but unbound folded and gathered sheets. Several old ink and pencil notes possibly used to correct a later edition and small nicks and tears on first and last leaf very good. Rare in this format. Grove Press unknown
195746380New York: Grove Press 1957. Very Good /Very Good. New York: Grove Press 1957. First Edition Limited Issue of 25 Specially Bound copies signed by Samuel Beckett this being #16. Octavo; clear acetate dust jacket; brown cloth-backed boards lettered in gilt; small two-tone circle to front cover; 59pp. Dust jacket worn scuffed with a few splits to extremities; red dot sticker to spine. Light wear to edges and corners slightly bumped; binding sound; pages unmarked; Very Good or better in a Very Good dust jacket. <br /> <br /> The uncommon signed limited edition 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." <br /> <br /> Federman & Fletcher 34.01; Carlton Lake "No Symbols Where None Intended." University of Texas at Austin 1984; pp. 93-94. Grove Press unknown
195744534Paris: Les Editions de Minuit 1957. Very Good. Paris: Les Éditions de Minuit 1957. First Trade Edition one of 3000 copies. Small slim octavo 18.5cm; publisher's white wrappers printed in blue and black; 124pp. Light dust-soil to wrappers especially along spine panel else a Very Good internally clean sound and unopened example. Signed by Beckett on title page.<br /> <br /> Excellent copy of Beckett's "one-act horror" followed by his wordless mime. The English translation followed the next year. <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. 97-99<br /> <br /> Federman & Fletcher 265. Les Editions de Minuit unknown
195376377Paris: s. n. 1953. Fine. s. n. Paris s. d. ca 1953 21 x 27 cm 11 feuillets rédigés au recto Manuscript partly unpublished of an article on cabaret nine pages plus two additional pages written in purple ink on perforated squared paper sheets. Numerous deletions and corrections as well as several additions. The sheets are numbered in the upper right margin from 1 to 9 then 12 and 13. The first nine sheets of this text which was never published during Boris Vian's lifetime were transcribed in Les Vies posthumes de Boris Vian by Michel Fauré 1975. The text was erroneously dated 1948 by Fauré: the mention of Samuel Beckett's En attendant Godot whose premiere took place in 1953 makes this dating impossible. An interesting text evoking cabarets and the ""troglodytes"" a fine echo to the famous Manuel de Saint-Germain-des-Prés 1951: ""Let us give back to Saint-Germain-des-Prés what rightfully belongs to it: besides a certain tonnage provided to journalists short of copy this much-decried district - by those who precisely only knew it in its journalistic aspect - is at the origin of the profound transformation of cabaret. Yes there was indeed a reason why intelligent people like Sartre Prévert Camus Merleau-Ponty etc. in short all those who today count in literature or the arts followed with such attention the great movement of the cellars despite the turbulence of the troglodytes and the incongruity of the photographer monkeys despite the muddled activity of a generation of illiterate and boorish journalists despite the vacant curiosity of the gawker and the bitter resentment of the chamber pot emptiers of rue Dauphine."" After briefly evoking jazz a subject on which he is usually dithyrambic Boris Vian devotes the greater part of his text to theater: ""Jazz on one side carved out with great trumpet blows a place in the shade on the engine room side; that is its true environment: a smoky cellar a back room a dark laboratory where the faithful gather. . The musicians finally relaxed. But for their part the actors did not remain inactive."" Visionary Vian senses ""in the air a scent of renewal"" understanding the importance that cabaret theater would assume in the years to come. Two sheets not transcribed in Fauré's work evoke the theatrical avant-garde of the early 1950s: ""And it is no accident if En attendant Godot Samuel Beckett's astonishing play is a clown entrance that lasts two hours deals with nothing in particular poses all problems wrests laughter at the moment when one should be terrified . And it is no accident if the principal interpreter of Beckett's work this pillar of avant-garde theater is a cabaret veteran."" s. n. unknown
110069Cambrige Rampant Lions Press 1987. . First edition thus number 92 of 325 copies inscribed by the author; 4to; text printed in red and black facsimile of the manuscript is reproduced on the endpapers internally fine; publisher's brown cloth-backed patterned paper boards silver lettering to spine a fine example.<br /> Number 92 of 325 copies inscribed by the author in black ink to the title page: 'for Eoin / with gratitude and affection / from Sam / Paris / February 1988.' <br /><br />As the Story Was Told was originally published in periodical Gunter Eich zum Gedachtnis in 1971. This book was designed and printed by Sebastian Carter with variant readings selected and transcribed by Christopher Ricks. It is a typographical masterpiece and one of Carter's greatest endeavours.<br /> Cambrige, Rampant Lions Press, 1987. hardcover
112062Paris Les Éditions des Minuit 1952. . First trade edition first printing only preceded by the private edition of just 35 numbered copies; small 8vo; somewhat browned internally as always with the papier courant issue; original wrappers printed in blue and black in the very early if not original glassine vertical crease to backstrip else very good.<br /> Effectively the earliest obtainable manifestation of Godot.<br /><br />Written between October 1948 and January 1949 the play was not produced until January 1953 with Roger Blin directing at the Theatre de Babylone the English language version premiered some two years later in London. First published in September 1952 by Les Editions de Minuit ahead of the first full performance only 2500 copies were printed. Thirty 'reviewers came to the générale of En attendant Godot before the public opening. Contrary to later legend the reviewers were kind. Some dozen reviews in daily newspapers ranged from tolerant to enthusiastic. Reviews in the weeklies were longer and more fervent; moreover they appeared in time to lure spectators to that first thirty-day run' Cohn From Desire to Godot.<br /> Paris, Les Éditions des Minuit, 1952. unknown
1962BECKETTS015756Faber and Faber London. 1962. First U.K. edition. Octavo. 48 pages. Presentation copy from the author inscribed by him on the title-page: ''for Rosemary Goad with all good wishes - Sam. Beckett - London Jan. 1973''. The recipient was the first female director of Faber and Faber and the book was presumably inscribed for her in their offices in Russell Square.Fine in very good dustwrapper a bit rubbed at the edges. Faber and Faber, London. unknown
1974BECKETTS010898M'Arte Edizioni Milano. 1974. First edition. Folio. Loose gatherings in wrappers board folder and slipcase. Printed on handmade card. The original manuscript is reproduced in facsimile; this is signed at the end by the author. Then comes the printed text in Italian and English. The translation is by Luigi Majno. Three coloured abstract etchings signed and numbered by Stanley William Hayter. Abraham Jacob Leventhal writes biographical pieces on the author and the artist; these are also in dual-language texts.Number IX of fourteen hors commerce ad personam copies the etchings also being numbered IX/XIV. This copy was given to Marion Boyars and has her name printed in the colophon. She and John Calder had of course been Samuel Beckett's chief publishers in the U.K.The slipcase is falling apart and the topstrip is missing. The contents are fine. M'Arte Edizioni, Milano. unknown
195621248691956. New York: Grove Press. 1954. 8vo. Original black cloth spine lettered in gilt and silver and in blind across boards and spine red endpapers in the dust-jacket priced $4.75 to upper edge of front flap; pp. 7 ff. 7-60 pp. 5; 2 ff. photographic plates after p. iv; extremities of dust-jacket lightly rubbed spine a little toned small pink stain to lower edge of rear flap; a near-fine copy in a very good jacket.A crisp bright copy of the first printing in English of Beckett's most famous work preceding the expurgated UK issue by two years.En attendant Godot was first published by Les Editions de Minuit in 1952 and premiered on 5 January 1953 at the Theatre de Babylone in Paris. Beckett's English translation completed later the same year was first staged on 3 August 1955 at London's Arts Theatre directed by Peter Hall the American premiere directed by Alan Schneider taking place on 3 January 1956 at the Coconut Grove Playhouse in Miami. The US edition of the translation issued by Grove Press in September 1954 predates the UK edition which was published by Faber and Faber in February 1956. The Faber edition included cuts to the text required by the Lord Chamberlain the play described by censor C. W. Heriot as an 'ugly little jet of marsh-gas' and 'two hours of angry boredom'; the cuts would remain unrestored in UK editions until 1965.Federman & Fletcher 373. hardcover
198921814New York: Limited Editions Club 1989. leather_bound. Orig. full black morocco. Fine in fine matching black clamshell case. 128 pages. 27.5 x 19 cm. Limited edition copy 53 of 550 signed by Beckett and Robert Ryman. The letterpress type is set by hand in 12 pt. English Monotype Bodoni 357 by Julia Ferrarie and Dan Carr at Golgonooza Letter Foundry with the typographic refinement of extensive kerns. Text printed by David Wolfe at The Shagbark Press in South Portland Maine on 100 percent cotton paper made by Cartiere Enrico Magnani in Pescia Italy. All six aquatints printed on 200 gram Arches paper in combination with handmade Japanese papers. The book carefully hand-sewn and bound in full black Nigerian Oasis goatskin spine and front board stamped in twenty-two carat gold leaf. Six different book binders split the work of this edition with the boxes made by hand at Portfoliobox in Providence Rhode Island from black cotton lined on the inside with gray ultra suede. The label inlaid on the spine of the box is black goatskin stamped in gold. The engravings by Ryman are in white hardly perceptible reliefs an attempt to present Beckett's hauntingly elusive prose. Beckett's work became increasingly minimalist in his later career. LEC prospectus laid-in. Limited Editions Club unknown books
23230Paris: Les Editions de Minuit. 1957. Limited edition issued simultaneously with the first trade edition. Limited edition issued simultaneously with the first trade edition. Inscribed by Samuel Beckett to his publisher John Calder. One of seventy copies printed on Marais pure linen rag paper this copy is no. 23. Crown 8vo pages untrimmed and uncut. Stitch-bound. Original paper wraps lettered and ruled in blue and black to front and rear panels. A fine unread copy the binding square and firm the contents and wraps bright and clean. Housed in a custom folding blue and white cloth box lined with marbled paper lettered and ruled in gilt to a red leather label affixed to the spine. A lovely association copy. Inscribed by Beckett in blue ink to the front endpaper "For John / from Sam / Paris Avril / 1966". The recipient John Calder 1927-2018 the author's friend and his long-standing UK publisher issued all Beckett's prose from the 1950s until and after the author's death in 1989 the dramatic works were handled by Faber and Faber. 'All That Fall' was written for the BBC Third Programme it wasn't commissioned but "suggested". In a letter to Nancy Cunard 4 July 1956 Beckett writes "Saw Barry of BBC TV who is interested in the mime and why not and am told Gielgud wants a play for 3rd Programme. Never thought about radio play technique but 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." The play was finished in English by September the autograph copy "Ussy September 1956" bearing the title "Lovely Day for the Races" a clue to the Irishness of the play. The finished and retitled play directed by Donald McWhinnie with Mary O'Farrell and J. G. Devlin as Maddy Rooney and her blind husband Dan was broadcast on the Third Programme on Sunday 13 January 1957. The play unusually naturalistic for its author is suffused with memories of and allusions to his Foxrock childhood. First published in the US by Grove Press with the Faber edition following in August the French translation is credited to Beckett's friend and fellow playwright Robert Pinget though Federman and Fletcher note that Beckett as usual when he wasn't the sole translator "thoroughly revised the text" before its publication in October 1957. Federman and Fletcher 146.1. Further details and images for any of the items listed are available on request. Lucius Books welcomes direct contact with our customers. Paris: Les Editions de Minuit. 1957 paperback
1952160621001Paris: Les Editions de Minuit 1952. First Edition. Paperback. Very Good. First trade edition first printing in the original French. Approaching Near Fine with toning to pages spine and lightly to wraps light soiling and light wear to wraps with light wear to base of spine. Beckett's masterpiece was first composed and published in French and performed in 1953 at the Theatre de Babylone in Paris. It would later be translated into English by Beckett himself. Les Editions de Minuit paperback books
1952160621001Paris: Les Editions de Minuit 1952. First Edition. Paperback. First trade edition first printing in the original French. Approaching Near Fine with toning to pages spine and lightly to wraps light soiling and light wear to wraps with light wear to base of spine. Beckett's masterpiece was first composed and published in French and performed in 1953 at the Theatre de Babylone in Paris. It would later be translated into English by Beckett himself. Les Editions de Minuit paperback
018362London: Enitharmon Press 1972. First Edition. wraps. Fine. Avigdor Arikha. Folio 11-3/4" x 15" in wraps loosely housed as issued in a paper folder cloth chemise and slipcase. Text printed by Will and Sebastian Carter on paper made by J. Barcham Green. Of a total of 137 numbered copies illustrated with 3 original etchings by Avigdor Arikha each signed in pencil by the artist this is copy #121 and is one of only 12 "Ad personam" copies. Rather than being signed on the colophon page as with the regular copies this is INSCRIBED and SIGNED by the author on the front of the folder: "for Herbert Myron/from his friend/Sam. Beckett/Paris May/1973." The text of THE NORTH comprises the penultimate paragraph of THE LOST ONES with minor variants from the full edition in English. <br/><br/>Herbert Myron a professor of French at Boston University was a friend who had a lengthy correspondence with Beckett. Myron introduced Beckett to Lawrence Harvey who wrote SAMUEL BECKETT: POET AND CRITIC focusing on Beckett's least known writings. Enitharmon Press paperback
21814New York: Limited Editions Club 1989. leather_bound. Orig. full black morocco. Fine in fine matching black clamshell case. 128 pages. 27.5 x 19 cm. Limited edition copy 53 of 550 signed by Beckett and Robert Ryman. The letterpress type is set by hand in 12 pt. English Monotype Bodoni 357 by Julia Ferrarie and Dan Carr at Golgonooza Letter Foundry with the typographic refinement of extensive kerns. Text printed by David Wolfe at The Shagbark Press in South Portland Maine on 100 percent cotton paper made by Cartiere Enrico Magnani in Pescia Italy. All six aquatints printed on 200 gram Arches paper in combination with handmade Japanese papers. The book carefully hand-sewn and bound in full black Nigerian Oasis goatskin spine and front board stamped in twenty-two carat gold leaf. Six different book binders split the work of this edition with the boxes made by hand at Portfoliobox in Providence Rhode Island from black cotton lined on the inside with gray ultra suede. The label inlaid on the spine of the box is black goatskin stamped in gold. The engravings by Ryman are in white hardly perceptible reliefs an attempt to present Beckett's hauntingly elusive prose. Beckett's work became increasingly minimalist in his later career. LEC prospectus laid-in. Limited Editions Club unknown
20862Montpellier, Fata Morgana, 1975, in-4, en feuilles, couv. rempliée, chemise et étui. Édition originale de cet hommage collectif rendu à Bram van Velde. 1/100 ex. de tête num. sur Arches comprenant une suite de 5 très belles lithographies en couleurs, toutes justifiées et signées par l'artiste.
19751267Montpellier, Éditions Fata Morgana, 1975. 1 fort volume In-4 (28 x 22 cm) en ff, 145 pages, couverture rempliée, sous chemise de toile orange vif et étui noir. 5 LITHOGRAPHIES ORIGINALES EN COULEURS SIGNÉES DE BRAM VAN VELDE. Tirage : 60 ex + 11 + 28 + 1 épreuve d'artiste : celui-ci exemplaire n° 32/60.
499418New York: Gotham Book Mart 1976. Hardcover. Near Fine. First edition. Illustrated by Edward Gorey. Quarto. 23pp. Quarter-leather and decorated paper-covered boards. Some of the usual rubbing along the edges of the leather spine else a near fine bright copy in about fine publisher's slipcase. Limited and signed issue. Copy number 185 of 200 numbered copies Signed by both Samuel Beckett and Edward Gorey. Gotham Book Mart hardcover
20332Limited Editions Club. Near Fine. 1989. Hardcover. Signed by author and illustrator. Limited edition of 550 copies this being copy #83. Black leather cover has a handful of tiny very faint modest scuffs or rubbed spots and bottoms corners are bumped ever so slightly and is in very good condition some might label as near fine. Boards and spine are straight. Binding is tight. Publisher's notes laid-in. Pages are clean and pristine. Black cloth clamshell case is sunned on spine else fine. ; 0 pages; Signed by Author . Limited Editions Club hardcover
195748499NY: Grove Press 1957. First US edition numbered & signed issue. 72 pp. Light sunning to spine and to the top of the cloth on the rear panel else fine in brown quarter cloth with gold stamping. Very near fine clear acetate dust jacket with one tiny chip. One of 250 numbered copies SIGNED by Beckett. His second book originally published in the UK in 1931. Federman & Fletcher 7.12. NY: Grove Press hardcover
