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HEMINGWAY, Ernest. in our time. Paris: Three Mountain Press, 1924.
Small 2o in 4s. Woodcut portrait of Hemingway after Henry Strater on half-title verso; publisher's device on title. Original decorated tan boards, uncut (spine skilfully repaired, minor wear to extremities, endpapers slightly discolored, as usual). Provenance: Alma Estelle Lloyd, concert pianist friend of Hemingway in Paris (presentation inscription); Richard Manney (bookplate, his sale, Sotheby's New York, 11 October 1991, lot 171).
FIRST EDITION, number 45 of 170 numbered copies. AN IMPORTANT ASSOCIATION COPY, INSCRIBED BY HEMINGWAY TO THE UNDERWRITER OF 'IN OUR TIME', ALMA LLOYD on the front free endpaper: "It being impossible to write £30 worth of dedication So---------- with affection to Lloyd from Ernest Hemingway Paris, April, 1924."
Having heard of Edmund Wilson's interest in his sketches in the Little Review, Hemingway sent him a copy of his first book, Three Stories and Ten Poems, with a request that Wilson hold off on reviewing it until the publication of in our time. After the small "mosaic of modern violence" had appeared, Hemingway explained in a letter to Wilson (25 November 1923), "the two [books] together could make one review." According to Kenneth Lynn, the proposal to the only critic who, in Hemingway's opinion, possessed the wide curiosity, intellect, and reputation that really influential reviewing required, was well-conceived. Eleven months later in the Dial, Wilson heralded to the world of letters Hemingway's arrival as a prose writer of "the first distinction... In the dry compressed little vignettes of In Our Time, [he] has almost invented a form of his own ... [The] book has more artistic dignity than any other that has been written by an American about the period of the war" (Kenneth S. Lynn, Hemingway, New York, 1987, p. 268).
Estelle Lloyd was a concert pianist in Paris in the 1920s. Her life crossed Hemingway's in a very meaningful way in 1924, and as reflected in this inscription: her gift of thirty pounds permitted Hemingway to pay for the printing at the Three Mountains Press of in our time. A VERY FINE ASSOCIATION COPY. Connolly, The Modern Movement 49 (also the 1925 and 1930 editions); Hanneman A2a.
Small 2
FIRST EDITION, number 45 of 170 numbered copies. AN IMPORTANT ASSOCIATION COPY, INSCRIBED BY HEMINGWAY TO THE UNDERWRITER OF 'IN OUR TIME', ALMA LLOYD on the front free endpaper: "It being impossible to write £30 worth of dedication So---------- with affection to Lloyd from Ernest Hemingway Paris, April, 1924."
Having heard of Edmund Wilson's interest in his sketches in the Little Review, Hemingway sent him a copy of his first book, Three Stories and Ten Poems, with a request that Wilson hold off on reviewing it until the publication of in our time. After the small "mosaic of modern violence" had appeared, Hemingway explained in a letter to Wilson (25 November 1923), "the two [books] together could make one review." According to Kenneth Lynn, the proposal to the only critic who, in Hemingway's opinion, possessed the wide curiosity, intellect, and reputation that really influential reviewing required, was well-conceived. Eleven months later in the Dial, Wilson heralded to the world of letters Hemingway's arrival as a prose writer of "the first distinction... In the dry compressed little vignettes of In Our Time, [he] has almost invented a form of his own ... [The] book has more artistic dignity than any other that has been written by an American about the period of the war" (Kenneth S. Lynn, Hemingway, New York, 1987, p. 268).
Estelle Lloyd was a concert pianist in Paris in the 1920s. Her life crossed Hemingway's in a very meaningful way in 1924, and as reflected in this inscription: her gift of thirty pounds permitted Hemingway to pay for the printing at the Three Mountains Press of in our time. A VERY FINE ASSOCIATION COPY. Connolly, The Modern Movement 49 (also the 1925 and 1930 editions); Hanneman A2a.