Modern Discoveries

Property from a Private Collector, London

Property from a Private Collector, London George Grosz 1893 - 1959 The Hemingway Story (Death in the Afternoon) signed Grosz (lower right); titled (on the verso) watercolor and pen and ink on paper 15⅜ by 19¾ in. 39 by 50 cm. Executed circa 1954-55. To be included in the forthcoming Grosz Catalogue raisonné being prepared by Ralph Jentsch.

View 1 of Lot 802: The Hemingway Story (Death in the Afternoon)

the hemingway story (death in the afternoon)

Modern & Contemporary Day Auction

Property from a Private Collector, London George Grosz 1893 - 1959 The Hemingway Story (Death in the Afternoon) signed Grosz (lower right); titled on the reverse watercolour and pen and ink on paper 39 by 50cm., 15⅜ by 19¾in. Framed: 63.5 by 74cm., 25 by 29⅛in. Executed circa 1954-55. To be included in the forthcoming Grosz Catalogue raisonné being prepared by Ralph Jentsch.

View 1 of Lot 496: The Hemingway Story (Death in the Afternoon)

Fine Books & Manuscripts, Including Americana

Hemingway, Ernest Death in the Afternoon. New York: Charles Scribner’s Sons, 1932 8vo. Publisher’s black cloth gilt; spine shaken, lightly bumped. First issue dust jacket; head and foot of spine chipped, spine lightly toned, areas of restoration to joints and head and foot of spine, creasing. Clamshell box. First edition, presentation copy of Death In The Afternoon, signed and inscribed: “To Eleanore Havre / remembering aperitifs and a confused itinerary set forth at the Deux Magots / Ernest Hemingway.” A warmly inscribed copy of Hemingway’s eighth book, evoking his Paris years and the literary milieu that shaped so much of his early work. Les Deux Magots, referenced in the inscription, was one of the central gathering places for the expatriate writers and artists of the 1920s, and features prominently in Hemingway’s later memoir A Moveable Feast. The recipient, Eleanore Havre, was connected to Pauline Pfeiffer, Hemingway’s second wife, reportedly as a former roommate during their time in Paris; her presence in this inscription situates the book within the close personal network that defined Hemingway’s life during the interwar years. Death in the Afternoon is Hemingway’s authoritative study of bullfighting, blending history, technique, and philosophy with his broader exploration of bravery, ritual, and confrontation with mortality. As one of the major nonfiction works of his career, it exemplifies his interest in the structures—both cultural and psychological—that underlie acts of courage, and it remains a monument to his engagement with Spanish culture and its traditions. REFERENCES Hanneman A10a PROVENANCE Eleanore Havre (presentation inscription) — Bonham’s San Francisco, 14 February 2010, Lot 1133

View 1 of Lot 1060: Hemingway, Ernest | First edition, presentation copy of Death in the Afternoon

hemingway, ernest | first edition, presentation copy of death in the afternoon

Important Modern Literature from the Library of an American Filmmaker

Hemingway, Ernest Death in the Afternoon. New York: Charles Scribner's Sons, 1932 8vo. Original black cloth, gilt; spine ends rubbed with a spot of frayed loss at tail, gilt somewhat dulled. Cloth slipcase. First edition with a reluctant inscription by the author in the midst of feuding with the publisher: "To Miss Anne Roe with my very best wishes, Ernest Hemingway September 1932" Accompanied by a rather amusing typed letter on Scribner's letterhead, dated 5 October, 1932, just two weeks after Death in Afternoon was published. Therein Sterling Galt of the Scribner's Trade Sales Department explains how unusual getting a signed copy of the book is, "Under separate cover I am sending you an inscribed, signed copy... He hates to autograph books but finally consented to do ten so yours is one of only ten existing autographed copies which makes it of considerable value." He then adds an autograph postscript asking Miss Roe to keep the presentation confidential... "there are a great many who feel badly if they knew there were any autographed copies at all!" It seems that Hemingway was not in fact reluctant to sign books in general, especially for friends, but signing copies on behalf of the publisher's request presented more of an issue — especially as he was then rather dissatisfied with Scribner's handling of Death in the Afternoon so far. He chafed at the galleys he was sent that had the title "Hemingway's Death" that aroused his superstitious nature, and the publicity that was issued often referenced material that he had cut from the final text. Even the publicity photos used proved irksome. He wrote Max Perkins, "for christ sake no more of those open mouth open collar wonders. Promise me that..." Given Hemingway's mood around the work's publication, it does seem quite an achievement that Miss Roe received the present copy. "... the author at his best, first as a writer and second as someone who was never satisfied with knowing only a little about his subject but who always dug deeply until he had both the essence and the smallest details" (Charles M. Oliver, Ernest Hemingway A to Z. New York, 1999, p. 74). REFERENCE: Hanneman A10a PROVENANCE: Anne Roe (presentation inscription)

View 1 of Lot 25: Hemingway, Ernest | Death in the Afternoon, with a reluctant inscription

hemingway, ernest | death in the afternoon, with a reluctant inscription

The Maurice Neville Collection of Modern Literature (Part III)

8vo. Illustrated with photographs. Original black cloth; sides a trifle spotted, a few stains on front free endpaper. Pictorial dust jacket; spine soiled with wear at ends, rear panel a bit soiled and with small piece chipped from top edge. Case.

death in the afternoon. new york: scribner’s, 1932

L12005

a hemingway story, death in the afternoon

L12408

8vo, first edition, colour frontispiece by Juan Gris and 81 photographic illustration plates, full terracotta morocco signed by Bayntun-Riviere with design of a bullfight after Picasso in dark brown goatskin onlays, gilt edges

death in the afternoon. charles scribner's sons, 1932

The Library of an English Bibliophile, Part II

8vo (230 x 160mm.), first edition, coloured frontispiece by Juan Gris and numerous photographic illustrations, original black cloth lettered in gilt, dust-jacket, ownership signature on front fixed endpaper, head and foot of spine slightly bumped, soiled dust-jacket frayed at extremities with some minor loss or tears to head and foot of spine and corners

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