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19859955737Hermann 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
1986Q-0500091714W W Norton & Co Inc 1986-04-01. Hardcover. New. In shrink wrap. Looks like an interesting title! W W Norton & Co Inc hardcover
1986ART 18-40W W Norton & Co Inc 1986. Book. FIRST. A NEAR FINE FIRST IN DJ. W W Norton & Co Inc unknown
196646805Paris: Les Editions de Minuit 1966. Fine. Les Editions de Minuit Paris 1966 - broché Les éditions de minuit Paris 1966 original wrappers. First edition one of 662 numbered copies on vélin cuve B.F.K. de Rives this one of 100 hors commerce advance copies. Inscribed copy signed by Samuel Beckett to Ludovic Janvier and his wife. A good copy. Les Editions de Minuit unknown
196651863Paris: 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'uvre 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
albe5ab810b2633947dTragic comedy in two acts with parallel texts in French English and Russian: Rev. Yuri Friedstein: edited by M. Vorsanov Yuri Friedstein O. Tsarykina: lean M. Fedorov. Scenography series in the book Moscow Institute of Translation: Rudomino Book Center 2021. 384 Please contact us for details on condition of available copies of the book.�SKUalbe5ab810b2633947d. unknown
198273883Paris: 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
198254723Paris: Les Editions de Minuit 1982. Fine. Les Editions de Minuit Paris 1982 10 x 18 cm broché BECKETT Samuel. Berceuse suivi de l'Impromptu d'Ohio Rockaby and Ohio Impromptu Les éditions de minuit Paris 1982 10 x 18 cm original wrappers First edition one of 99 numbered copies on vélin d'Arches this one of some hors commerce copies justified H.C. the only grand papier deluxe copies. Autograph inscription from Samuel Beckett to a close friend. A good copy. Les Editions de Minuit unknown
196651867Paris: 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'uvre 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
1971G0571097952I5N00Faber and Faber Ltd. 1971. Paperback. Acceptable. Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More Spend Less.Dust jacket quality is not guaranteed. Faber and Faber Ltd. paperback
1978054411New 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
0571249841.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1977018519New 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
198432496New York: Grove Press 1984. Very Good/Very Good. New York: Grove Press 1984. First Hardcover Edition stated with full numberline. Octavo; publisher's cloth in blue dust jacket lettered in teal white and orange; 316pp. Orange jacket spine titling faded corners rather significantly bumped textblock toned a bit moreso along edges else a Very Good and sound copy. Grove Press unknown
1977G0714536083I3N01Calder 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
1984BN134983John Calder 1984. 1984. Hardcover. Collected Shorter Prose 1945-1980 <br/><br/>Collected Shorter Prose 1945-1980 Samuel Beckett John Calder hardcover
1984C000029042New 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
1966165058Paris: Keystone 1966. Vintage borderless photograph of playwright Samuel Beckett with actors Annie Bertin Simone Valere and Madeleine Renaud during a rehearsal for the 1966 short play. Printed mimeo snipe in French affixed to the verso.<br /> <br /> Originally written in French and English "Come and Go" was first staged in German at the Schillertheater in Berlin in January of 1966. The French version was staged the same year at the Odeon in Paris. <br /> <br /> 9.25 x 7.25 inches. About Near Fine. Keystone unknown
196142939Paris: 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
196160478Paris: Les Editions de Minuit 1961. Fine. Les Editions de Minuit Paris 1961 12 x 19 cm broché First edition on ordinary paper. Autograph inscription signed by Samuel Beckett to Gaetan Picon. Spine sunned. Les Editions de Minuit unknown
199869320s. 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
196673835Paris: Les Editions de Minuit 1966. Fine. Les Editions de Minuit Paris 1966 11.50 x 18.50 cm broché First edition one of 80 numbered copies on pur fil paper deluxe copy. Handsome copy. Les Editions de Minuit unknown
196660477Paris: 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
196651870Paris: Les Editions de Minuit 1966. Fine. Les Editions de Minuit Paris 1966 11.50 x 18 cm broché First edition on ordinary paper. Precious copy inscribed by Beckett to his friend the painter Geer Van Velde and his wife Lise. Small holes on the first cover. 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'uvre 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 the Moon his source for Waiting for Godot. Art was thus at the heart of his creative thinking and t Les Editions de Minuit unknown
1931ARC94279Brewer 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
