hemingway, autograph (10 Ergebnisse)

IP signed photograph, shows Mariel Hemingway as `Lacy Warfield` in `Superman IV: The Quest for Peace`,8 x10 inch, signed ingolden felt tip "Mariel Hemingway",obtained In-Person, in very fine condition.

Signed vintage photograph, shows an unidentified man on horseback, 8 x 10 inch, signed and inscribed by Ernest Hemingway in blue ballpoint ink "My old friend Bill Bridge*. - I sold old Baldy and hung up my saddle, and then I bid farewell to the god-damn cattle - Best always, - Ernest Hemingway" - on the verso an autograph rhyme signed by Hemingway to Bill, mostly based on an old cowboy song `The Old Christholm Trail`and later bawdy versions of the same, attractively mounted (removable) for fine display with a photograph of Ernest Hemingway on a safari (altogether 16,5 x 11,75 inch), with mild creases and bumped corner tips - in fine condition.* It seems likely that Bill Budge was a hunting friend of Hemingway.

4to. 2 pages. With autograph envelope. To Arnold Gingrich in New York, following their chance first meeting at House of Books. While in New York, Hemingway had met Gingrich on the 20th of January at House of Books, run by Capt. Louis Henry Cohn. Hemingway had gone there to discuss a limited edition of his story "God Rest You Merry, Gentlemen", which Cohn was to publish in April. Quite by accident, Gingrich was also at House of Books, to purchase (for $75) a copy of Hemingway's "Three Stories and Ten Poems". Now back home in Key West, Hemingway writes: "It was a great pleasure to meet you and I was only sorry that I had to leave to get to the hotel to pack [.] Anytime you send the book I will be glad to write in it. [.] That Capt. Cohn is a strange bird. He will write, wire, bother, pester and drive you for something until you give it in order to be let alone but when I finally give him a hell of a good story [see above] he never even writes to acknowledge it. (The way of a bibliographer in the air) I hope to Christ he won't go around defending me against adverse reviews - a role he was outlining as you came in. I know what I am doing and need no defence. I don't mind attacks. If they have any truth I learn something from them and if they are all wrong they don't worry me [.] I respect you [.] But I do not respect and actively dislike all the non-combatants and camp followers of the arts [.]". - In brown ink on both sides of a sheet of fine ecru stationery, original stamped envelope addressed by Hemingway and with his name and return address in his hand. - 1) Arnold Gingrich (recipient). - 2) Jonathan Goodwin (Sotheby's Parke Bernet, 12 April 1978, part of lot 717). - 3) Maurice F. Neville (Sotheby's New York, 13 April 2004, lot 104). - Hemingway, Letters (ed. Spanier et al.) V, 315f.

4to. 6 pages on 3 ff. With autograph envelope. A wide-ranging letter to Arnold Gingrich in Chicago ("Dear Major G"), editor of the newly minted "Esquire" magazine, written ten days after the publication of "Winner Take Nothing". Half of the letter is about writing short stories; the rest concerns Esquire (Hemingway's comments on the first issue, his editorial advice, his arrangements with the magazine, etc.): "Your statement [in a recent letter] about when and where stories published absolutely correct and exactly what I wrote Scribners in July. Also wrote them what magazines to give credit to. That hasn't been done either. I am not responsible for their front matter. OK-ed final proof by cable with corrections. Never saw jacket until got book at Sylvia Beach's [Shakespeare and Co. in Paris] [.] 'Mother of a Queen' and 'Day's Wait' [stories in 'Winner Take Nothing'] are better stories than you think they are. But thanks very much for taking the trouble to comment. Trouble with 'One Reader Writes' [another story in the book] is that letter is exactly true and because I didn't make you a picture of the woman. Papa was careless or it was too hot that day in Havana. I've written 3 books of stories now and there are 2 unsuccessful ones in the 3 books. I mean that [they] don't do what they are supposed to do. There are no phony ones [.] Also when you have the time mark a volume - any one - of De Maupassant, Turgenieff, Chekov, Kipling, Merimee and see how you come out on stars and how many phonies there are. Turgenieff and Kipling rate plenty high. I've written more good stories and as good stories as Turgenieff - already. Kipling wrote 20 times as many and a damned sight better stories than I have. But I am going to get better as I get older and he didn't. So may have a chance. All right - Take a book of stories by [Sherwood] Anderson, [Morley] Callaghan, Faulkner and Co. Shit. I don't compete with those punks. Faulkner will go straight for a damned fine wonderful first paragraph - Then get tired and start faking all over the place - Morley was damned honest but dull. He's still dull. Since it seemed I learned everything I know from Sherwood better not criticize him. But the funny thing is that Sherwood and I both learned everything we knew at the start not from Stein but where Stein learned it - From Huckleberry Finn by Mark Twain. Anderson, however, wrote some damned fine stories [.]". - In pencil on three sheets of grey paper watermarked "Joynson Extra Superfine". Some light staining on the first sheet, last page a trifle soiled, original stamped envelope addressed in Hemingway's hand. At the top of page 4 he has typed "Ernest Hemingway / Paris Letter", followed by a five-line typed beginning of the piece; all of this has been crossed through in pencil by him. - 1) Arnold Gingrich (recipient). - 2) Jonathan Goodwin (Sotheby's Parke Bernet, 12 April 1978, part of lot 717). - 3) Maurice F. Neville (Sotheby's New York, 13 April 2004, lot 109). - Hemingway, Letters (ed. Spanier et al.) V, 531-534.

A surreal, scandalous letter, in which the author imagines the film star "drunk and naked" in an erotic fantasy which gets darker and more salacious by the line. Hemingway also expresses his loving feelings for Dietrich, and describes his fishing work for the film adaptation of The Old Man and the Sea. Hemingway and Dietrich first met on the New York-bound ocean liner SS �le de France in 1934 and went on to enjoy a lifelong friendship. Although their letters to each other are heartfelt and provocative, they never became lovers, and Hemingway himself described them as "victims of un-synchronized passion. Those times when I was out of love, the Kraut was deep in some romantic tribulation, and those occasions when Dietrich was on the surface and swimming about with those marvellously seeking eyes, I was submerged" (quoted in Hotchner). Both Dietrich and Hemingway enjoyed great success in their respective careers in the 1950s - Dietrich starred in films by Hitchcock and Billy Wilder, and Hemingway won the Nobel Prize - but by 1955 both were forced to compromise their artistry to maintain an income. Dietrich was mainly doing live performances in cabarets, and Las Vegas had become a frequent venue. Addressing Dietrich as "Dearest Kraut", Hemingway opens his letter by replying to her complaints about her Las Vegas show, offering some irreverent suggestions for a collaboration: "If I were staging it would probably have something novel like having you shot onto the stage, drunk, from a self propelled minnenwerfer which would advance in from the street rolling over the customers. We would be playing 'Land of Hope and Glory'. As you landed on the stage drunk and naked I would advance from the rear, or your rear wearing evening clothes and would hurriedly strip off my evening clothes to cover you revealing the physique of Burt Lancaster Strognfort and announce that we were sorry that we did not know the lady was loaded. All this time the Thirty ton S/P/ Mortar would be bulldozing the customers as we break into the Abortion Scene from Lakme. I play it with a Giant Rubber Whale called Captain Ahab and all the time we are working on you with pulmotors and reversed vacuum cleaners which blow my evening clothes off you. You are foaming at the mouth of course to show that we are really acting and we bottle the foam and sell it to any surviving customers." The letter reveals Hemingway's intense and colourful feelings for Dietrich: "I love you very much and I never wanted to get mixed in any business with you as I wrote you when this thing first was brought up. Neither of us has enough whore blood for that. Not but what I number many splendid whores amongst my best friends and certainly never, I hope, could be accused of anti-whoreism. What I hear from the boys is that many people in Las Vegas or three of four anyway of the mains are over-extended. But watch all money ends. Some people would as soon have the publicity of making you look bad as of your expected and legitimate success. But that is the way everything is everywhere and no criticism of Nevada. Cut this paragraph out of this letter and burn it if you want to keep the rest of the letter in case you thought any of it funny. I rely on you Kraut as an officer and gentleman to do this." While Dietrich was performing in Vegas, Hemingway was being courted in Hollywood to turn The Old Man and the Sea into a film. He describes in his letter his thoughts on adapting his work for the screen: "Marlene, darling, I write stories but I have no grace for fucking them up for other mediums. It is hard enough for me to learn to write to be read by the human eye. I do not know how, nor do I care to know how to write to be read by parrots, monkeys, apes, baboons, nor actors. This week Thursday we start photography on fishing. Am in charge of fishing etc. and it is going to be difficult enough." Hemingway signs the letter "Papa" and adds an autograph postscript on the difficulty of finding fish big enough to represent the story's famous giant marlin: "Started OK in on fishing - one 472 lbs and one 422 lbs very good close shots of harpooning at the end but fish was too small even in cinemascope for what we need - must have bigger fish - system of photography and the way local boats work and how close we can ride herd on them very good. Steer 7 to 10 hrs on flying bridge and it is hard work." Parts of the letter were quoted in The Guardian (10 March 2014), but the full text remains unpublished. A. E. Hotchner, Papa Hemingway: A Personal Memoir, 2018. Two sheets of Finca Vigia letterhead paper (278 x 215 mm), typed on one side only, second sheet handwritten on verso. Lightly creased from folding, otherwise excellent condition.

295 : 210 mm (Tr�gerkarton). Das montierte Portr�t stammt aus dem Life Magazine vom 8. November 1954, das sich auf acht Seiten dem gerade gek�rten Literaturnobelpreistr�ger desselben Jahres widmete. Das ikonische Photo wurde von Leonard McCombe in Hemingways kubanischem Domizil aufgenommen. Die obere rechte Ecke des Tr�gerkartons leicht knickspurig.

8vo. Sp�tere Ausgabe des bedeutenden Werkes mit eigenh. Widmung For Karl Karlsson | remembering a happy meeting on ,Vretaholm' Best always Ernest Hemingway Havana 1955." Der Umschlag mit deutlichen Gebrauchsspuren und Einrissen. Als Hemingway 1954 der Literaturnobelpreis verliehen wurde, konnte er aufgrund von Verletzungen nach einem Flugzeugabsturz nicht nach Stockholm kommen, um den Preis entgegenzunehmen. Im Januar 1955 wurde Hemingway daher auf Initiative des Reeders Tor Erland Brostr�m zu einem versp�teten Nobelpreis-Mittagessen auf dem Schiff M/S Vretaholm eingeladen, das in Havanna ankerte. Etwa 20 G�ste waren bei dem dreist�ndigen Mittagessen anwesend. F�r das Essen sorgte Chefsteward Karl Kalle" Karlsson aus Halmstad, der am n�chsten Tag von Hemingways Sekret�rin Hemingways eigenes Exemplar von Der alte Mann und das Meer" mit einer sch�nen Widmung als Geschenk �berreicht bekam.

Large 4to. Altogether 3� pp. on 4 pp. With one autogr. envelope. To George Brown, the owner of a gymnasium in Manhattan, Hemingway's personal trainer, boxing coach, and friend. - I: Hemingway's affection for his sporting pal is evident in this revealing and highly personal letter, written shortly before Ernest and Mary left for an African safari: "How are you kid? Mary sends her best. We are fine and in very good shape and think of you often. Were out on a trip together on the boat for two weeks and we go to bed every night after it gets dark and have plenty of time to talk and to sleep good [.]". Hemingway then gives news of his sons, and mentions his youngest son ("Gig"), who, in his early twenties, was turning violently hostile to his father: "I am sorry I spoke against Gig since he is a friend of yours and used to be of mine as well as my favorite son. But he changed very strange very fast. As bad as though the devil was managing him. I couldn't ever see him again; not even to go and see him hanged. But if he seems good to you, O.K. I haven't heard from him since last November when he came of age [.]" (Finca Vigia, San Francisco de Paula, Cuba, May 12, 1953). - II: Written on the eve of the latter's visit to Cuba and while preparations are being made for the film of The Old Man And The Sea: "George you can't have any confidence in any of those characters. They are all tighter than a hogs ass in fly time. That Goldwyn kid was nice as could be when it was a question of seeing us and thus becoming an old pal of old Ernie []" (ibid., August 18, 1955). - III: Written from his sickbed. Preparations were still being made for the film mentioned above, and Hemingway had spent September trying to get actions shots of leaping marlins for the producer Leland Hayward. Apparently, too, Hemingway was making an effort to get Brown involved in getting Spencer Tracy in shape, for he writes: "I am very sorry about [Peter] Viertel [wrote the screenplay] behaving so carelessly. He is a very selfish boy but I think he has a little bit of an excuse in that he was with Zinneman on the script and was expecting you out there. While Zinneman was down here we discussed the whole thing about your getting Spencer in shape and agreed it was absolutely necessary and we spoke about it again on the long distance phone []" (ibid., November 25, 1955; with several autogr. lines in pencil). - On personal stationery of Finca Vigia. - Partly light-soiled, otherwise in fine condition.

114 : 88 mm. A privately taken photograph of Hemingway (75 : 105 mm) at Pamplona with English visitors Olive and Doreen Mills, unsigned. All three smiling at the photographer's lense. There is a photograph of the Spanish bullfighter Antonio Ord��ez surrounded by a group of people. This photograph is signed, inscribed, and dated by Hemingway: To Olive | always | Ernesto Hemingway | Pamplona | 12/7/59". Hemingway visited Pamplona eight times between 1924-1959 and he stayed on his last visit to Pamplona from July 7-14, 1959.Ord��ez met a number of writers and actors, and he also starred in a few films. Antonio was a long time friend of Ernest Hemingway, whom he called Father Ernesto. Hemingway wrote an account of Ord��ez's rivalry with the matador Luis Miguel Domingu�n (also Ord��ez's brother-in-law) titled The Dangerous Summer.

125 : 90 mm. A privately taken photograph of Hemingway (105 : 75 mm) at Pamplona with English visitors Olive and Doreen Mills, unsigned. All three smiling at the photographer's lense. There is a photograph of the Spanish bullfighter Antonio Ord��ez surrounded by a group of people. This photograph is signed, inscribed, and dated by Hemingway: To Doreen with all good wishes always | Ernesto Hemingway | Pamplona | 12/7/59". Hemingway visited Pamplona eight times between 1924-1959 and he stayed on his last visit to Pamplona from July 7-14, 1959.Included is also a photograph showing Antonio Ord��ez, the famous Spanish bullfighter, signed, inscribed on the image. Ord��ez met a number of writers and actors, and he also starred in a few films. Antonio was a long time friend of Ernest Hemingway, whom he called Father Ernesto. Hemingway wrote an account of Ord��ez's rivalry with the matador Luis Miguel Domingu�n (also Ord��ez's brother-in-law) titled The Dangerous Summer.