Fitzgerald, F. Scott

Tales of the Jazz Age. New York: Charles Scribner's Sons, 1922

8vo. Publisher's dark blue green cloth, stamped in blind and gilt; spine gilt rubbed. In a quarter-morocco slipcase.

Bruccoli A9.I.a

In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

A presentation copy of the first edition, inscribed to his immensely influential agent: “For Harold Ober / who fathered / The Camel’s Back / Benjamin Button / The Diamond as Big as the Ritz / The Jellybean / The Lees of Happiness & / The Russet Witch / from his gratefully / F Scott Fitzgerald / (note table of contents)”                        

The importance in Fitzgerald’s life and work of Harold Ober, his long-time agent and supporter, cannot be overstated. Ober represented Fitzgerald in the sale of a short story in 1920; in this inscription, Fitzgerald poignantly credits him with having “fathered” a good many others, by representing their sale to various magazines. Ober remained his agent (and served as his personal bank) until 1939, when Fitzgerald interpreted Ober’s mild admonitions over his failure to make himself available for Hollywood work as a betrayal. Ober and Fitzgerald had assumed the positions of debtor and creditor since the 1920s, when Ober began a pattern of advancing funds to Fitzgerald on the strength of short stories not yet written. Fitzgerald’s need for significant sums of money was chronic, as was his outstanding debt to Ober. What did change over time was the market value of the stories upon which the monies were advanced, declining to a heartbreaking $250 in the final year of their relationship. Without Ober’s support in the early ’30s, Fitzgerald would not have been able to complete Tender Is the Night.