Dust Jackets As Collectible Items
Dust jackets from the 1920s and later were often decorated in art deco styles which are highly prized by collectors. Some of them are worth far more than the books they cover. The most famous example is the jacket on the first edition of The Great Gatsby by F. Scott Fitzgerald, published in 1925. Without jacket, the book brings $1,000 or so. With the jacket it can bring $20,000 or $30,000 or more, depending on condition. One copy in a near mint jacket was listed for sale in 2009 for half a million dollars. The most valuable jackets are usually those on the high spots of literature. Condition is of paramount importance to value. Other examples of highly prized jackets include those on most of Ernest Hemingway's titles, and the first editions of books such as Harper Lee's To Kill A Mockingbird, J. D. Salinger's Catcher in the Rye and Dashiell Hammett's The Maltese Falcon, among many others. Prices for dust jackets have become so inflated in recent years that even early reprints of certain titles in jacket can command good prices. Conversely, if the book itself is unimportant, or at least has little demand, the jacket is usually of little value either, but nearly all surviving pre-1920 jackets add some additional value to the book they cover.
Some collectors and dealers, in an effort to increase the value of a first edition that has lost its original jacket, will take a jacket from a later printing and "marry" it to the earlier one. This practice persists because some customers will pay more for a first edition in a later jacket than they would for a jacketless copy. However, switching jackets muddles the bibliographical record and creates a forgery of sorts.
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Famous quotes containing the words dust and/or items:
“The fly sat upon the axel-tree of the chariot-wheel and said, What a dust do I raise!”
—Aesop (6th century B.C.)
“In ordinary speech the words perception and sensation tend to be used interchangeably, but the psychologist distinguishes. Sensations are the items of consciousness—a color, a weight, a texture—that we tend to think of as simple and single. Perceptions are complex affairs that embrace sensation together with other, associated or revived contents of the mind, including emotions.”
—Jacques Barzun (b. 1907)