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The Great Gatsby.
  • The Great Gatsby.
  • The Great Gatsby.
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FITZGERALD, F. Scott.

The Great Gatsby.

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First edition, first printing, first state of the text, first issue dust jacket. The copy is the correct first printing, with “chatter” on p. 60, line 16, “northern” on p. 119, line 22, “it’s” on p. 165, line 16, “away” on p. 165, line 29, “sick in tired” on p. 205, lines 9-10, and “Union Street station” on p. 211, lines 7-8; the jacket is the first printing, with lowercase “j” in “jay Gatsby” on the back at line 14 hand-corrected in ink. An excellent example of the famous dust jacket designed by Francis Cugat (1893-1981). Charles Scribner III (“Celestial Eyes – from Metamorphosis to Masterpiece”) argues that not only is the jacket recognised as the most eloquent in American literary history, but that Cugat’s artwork demonstrably had an effect on Fitzgerald’s evolution of his literary masterpiece, as the author responded to sketches and artwork shown to him before the book was complete, a perhaps unique occurrence in literary history. Fitzgerald wrote to his publisher sometime in August 1924 from France: “For Christ’s sake don’t give anyone that jacket you’re saving for me. I’ve written it into the book.” Though artistically superb, the jacket included a misprint on the back panel that required hand-correction and it was left a little taller than the book itself. As a consequence almost all of the small number of examples that do survive have wear of some description at the edges.

Octavo. Original green cloth, titles to spine gilt and to upper board in blind, top edge trimmed others uncut. With the dust jacket. Housed in a dark green quarter morocco solander box made by The Chelsea Bindery. Foxing to page edges and the first and last gatherings, mild browning to the endpapers but an especially bright copy, tight and square in the slightly chipped dust jacket with a little professional repair. The folds have been internally strengthened and several tears repaired with retouching to the creases and rubbing. A very attractive copy; the brightness of the blue is especially good.

Bibliography: Bruccoli A11.I.a; Connolly, The Modern Movement 48.

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