Beckett samuel

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LEECH, John (illus); A BECKETT, Gilbert AbbottBiblio.com

The Comic History of England; and: The Comic History of Rome.

Thackeray, Albert Smith, Gilbert a Beckett, the Brothers MayhewBiblio.com

The Comic Almanack. An Ephemeris in Jest and Earnest Containing Merry Tales Humorous Poetry Quips and Oddities. 2 vol complete

187017195London: Chatto and Windus Piccadilly 1870. First Series 1835-1843. Second Series 1844-1853. Cloth Hardcovers. Very Good/No Dust Jacket As Issued. Cruikshank George. Rebound with leather spine titles in crimson cloth with renewed endpages; retained half title pages. Top edge gilt. 12mo; 7.5 inches tall; 4 388; 2 428; inserted frontispieces 1 folding and title pages illustrated throughout with nearly 2000 woodcuts and steel engravings some folding Undated 1870 The bindings are tight and square. Text clean light even toning. Minimal shelf handling wear. . The "Comic Almanacks" of George Cruikshank have long been regarded by admirers of this inimitable artist as among his finest most characteristic productions. Extending over a period of nineteen years from 1835 to 1853 inclusive they embrace the best period of his artistic career and show the varied excellences of his marvelous power. The late Mr. Tilt of Fleet Street first conceived the idea of the "Comic Almanack" and at various times there were engaged upon it such writers as Thackeray Albert Smith the Brothers Mayhew the late Robert Brough Gilbert A'Beckett and it has been asserted Tom Hood the elder. Thackeray's stories of "Stubbs' Calendar or the Fatal Boots" which subsequently appeared as "Stubbs' Diary;" and "Barber Cox or the Cutting of his Comb" formed the leading attractions in the numbers for 1839 and 1840. The Almanack was published at 2s. 6d. but in 1848-9 the size was reduced and the price altered to 1s. The change did not produce the increased circulation expected and in 1850 it was again enlarged and published at 2s. 6d. In this year some very spiritedly designed folding plates were added and this feature continued until 1853 when Mr. Tilt's partner the late Mr. Bogue thought proper to discontinue the work. Chatto and Windus, Piccadilly hardcover

Blind Horse Books [ABAA - FABA] · États-Unis265,00 $US≈ 224,22 €

Reavey, George [First Literary Agent of Samuel Beckett] / Irene Rice Pereira [American abstract [modernist] artist, poet and phiBiblio.com

The Colours Of Memory Signed Presentation-copy / With signed original ! Artwork by Irene Rice Pereira as frontispiece George Reavey's wife at the time of publication / One of the very rare 26 copies only.

195532138AB1955. First Edition. New York Grove Press 1955. Octavo. 60 pages. Original Hardcover with original dustjacket in protective collector's mylar. Dustjacket stained. Small coffee-stain on pages 5/6. An excellent extremely rare book being Letter "Y" of only 26 lettered copies. Very good overall-condition with only minor signs of wear. Irene Rice Pereira August 5 1902 January 11 1971 was an American abstract artist poet and philosopher who played a major role in the development of modernism in the United States. She is known for her work in the genres of geometric abstraction abstract expressionism and lyrical abstraction as well as her use of the principles of the Bauhaus school. Her paintings and writings were significantly influenced by the complex intellectual currents of the 20th century. Irene Rice Pereira's first husband was the commercial artist Humberto Pereira a painter whom she married in 1929. They divorced in 1938 and in 1941 she married George Wellington Brown a naval architect who shared her interest in applying new materials to art. When this marriage ended in divorce she married the Irish poet George Reavey in 1950; that marriage too ended in divorce in 1959.Wikipedia ____________________________________________________ George Reavey 1 May 1907 11 August 1976 was a Russian-born Irish surrealist poet publisher translator and art collector. He was also Samuel Beckett's first literary agent. In addition to his own poetry Reavey's translations and critical prose helped introduce 20th century Russian poetry to an English-speaking audience. He was also the first publisher to bring out a collection of English translations of the French surrealist poet Paul Éluard. Perhaps one of the most controversial aspects of Reavey's literary career was his claim made to the New York press and to British editor and publisher Alan Clodd that he had written "The Painted Bird" for Jerzy Kosinski. Reavey's father Daniel Reavey was a flax engineer from Belfast and his mother Sophia Turchenko was Russian. He was born in Vitebsk and the family moved to Nizhni Novgorod in 1909 where the young poet was educated and became a fluent Russian speaker. When Daniel was arrested in 1919 during the Russian Civil War mother and son fled to Belfast. Reavey attended the Royal Belfast Academical Institution until 1921 at which point the family moved to Fulham London. Here he attended the Sloan School. He spent the summer holidays in Belfast where he recorded folk ballads and Gaelic poetry in a series of notebooks. In 1926 he entered Gonville and Caius College Cambridge where he studied history and literature. Then he became associated with the group of Cambridge writers associated with the magazine Experiment including William Empson Jacob Bronowski Charles Madge Kathleen Raine and Julian Trevelyan. He contributed prose and poetry to Experiment along with translations from Boris Pasternak. In 1929 Reavey moved to Paris with his friend Trevelyan. Ostensibly this was so that he could improve his French for the entry examinations for the Indian Civil Service but in fact he was in search of an entry into the avant garde artistic circles based in that city. He met Thomas MacGreevy who introduced him to Beckett James Joyce Brian Coffey and Denis Devlin and to many of the writers who published in transition. He also became a regular contributor to Samuel Putnam's The New Review. Putnam published Reavey's first book Faust's Metamorphoses in 1932 a series of twenty vers libre monologues based on Christopher Marlowe's Faust with illustrations by S. W. Hayter who worked with Trevelyan at Atelier 17. Around this time Reavey started his literary agency the Bureau Littéraire Européen later the European Literary Bureau and his Europa Press imprint. The first three books from the press were Reavey's own Nostradam 1932 and Signes d'Adieu and Beckett's Echo's Bones and Other Precipitates both 1935. Just after publishing Echo's Bones Reavey moved this agency and press to London. This move can be placed in a context of a general surrealist exodus from the French capital. Between 1934 and 1936 Trevelyan David Gascoyne Herbert Read Roland Penrose and E. L. T. Mesens made similar moves. As a result London became a hub of surrealist-related exhibitions and publishing. Reavey found himself extremely active in this scene collecting paintings contributing to Read's Surrealism 1936 and representing authors via the Bureau. His most notable client was Beckett whose novel Murphy Reavey unsuccessfully attempted to place with a publisher. Apart from occasional trips to Paris London Dublin and Belfast Reavey lived out his life in the United States where he published a number of important translations including Alexander Esenin-Volpin's A Leaf of Spring 1961 Fyodor Abramov's New Life: A Day on a Collective Farm 1963 the bilingual anthology The New Russian Poets 1953 1968 1968 and contributions to Yevgeny Yevtushenko's Stolen Apples 1972. As a poet Reavey fell more or less out of the public eye after moving to the States. However he continued to publish collections including Colours of Memory 1955 and Seven Seas 1971. This latter was issued by Coffey from his Advent Press imprint. A group of seven Reavey poems were printed in the 1971 1930s special issue of The Lace Curtain and he was represented in John Montague's Faber Book of Irish Verse 1974. hardcover

Inanna Rare Books Ltd. · Irlande680,00 €

Beckett samuel

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