How to Identify a Scribner's First Edition — The 'A' and Beyond

Charles Scribner’s Sons is one of the most important American publishing houses in the history of book collecting. Its roster of authors includes Ernest Hemingway, F. Scott Fitzgerald, Thomas Wolfe, Ring Lardner, Edith Wharton, and Marjorie Kinnan Rawlings — writers whose first editions are among the most sought-after in the market. Identifying a Scribner’s first edition is therefore one of the most important skills a collector can acquire. The method is straightforward for most periods of the house’s history, centering on the famous capital “A” that Scribner’s placed on the copyright page of first printings.

The Scribner’s “A” System

From the 1930s through the late 20th century, Scribner’s used a simple alphabetical system to identify printings:

• First printing: The letter “A” appears on the copyright page
• Second printing: The “A” is replaced with “B”
• Third printing: “C”, and so on

This system is beautifully simple. If you see an “A” on the copyright page of a Scribner’s book, it is a first printing. If you see any other letter, it is a later printing — “B” for second, “C” for third, etc.

Where to Find the Letter

The letter typically appears near the bottom of the copyright page, often on a line by itself or following the copyright notice. In some periods, it appears within the line of manufacturing information: “A” may be printed small, sometimes easily overlooked. Examine the entire copyright page carefully.

Pre-”A” Era Scribner’s (1846–1929)

Before Scribner’s adopted the “A” system, first edition identification requires different methods:

Matching Dates

For early Scribner’s books, the most common method is comparing the date on the title page with the copyright date on the verso. If the dates match and there is no mention of subsequent printings, the book is likely a first printing. However, this method is not always reliable — Scribner’s sometimes reprinted books without changing the title page date.

No Additional Printings Listed

If the copyright page shows only the original copyright date with no additional printing dates listed below it, this supports (but does not prove) first printing identification.

Bibliographic References

For important Scribner’s authors of this period, specific bibliographies document the issue points:

F. Scott Fitzgerald: Matthew Bruccoli’s F. Scott Fitzgerald: A Descriptive Bibliography is the definitive reference. First printings of The Great Gatsby (1925) are identified by the “sick in tired” error on page 205 and other textual points.

Ernest Hemingway: Audre Hanneman’s Ernest Hemingway: A Comprehensive Bibliography documents the issue points for each Hemingway first edition. Scribner’s first printings of The Sun Also Rises (1926), A Farewell to Arms (1929), and later titles have well-documented identification criteria.

The “A” Era (1930s–1990s)

This is the golden period for Scribner’s identification — the “A” system makes first printing identification unambiguous.

Key Scribner’s First Editions from This Era

Ernest Hemingway:

• For Whom the Bell Tolls (1940) — Look for the “A” and the Scribner’s seal on the copyright page
• The Old Man and the Sea (1952) — The “A” with the Scribner’s seal and the blue cloth binding
• A Moveable Feast (1964) — Published posthumously, the “A” identifies first printing

Thomas Wolfe:

• Look Homeward, Angel (1929) — Pre-dates the “A” system; first printing identified by blue cloth binding, publisher’s seal on copyright page, and no mention of additional printings
• Of Time and the River (1935) — Look for the “A”

Marjorie Kinnan Rawlings:

• The Yearling (1938) — The “A” on copyright page; first printing has no Pulitzer Prize mention

Scribner’s Seal

Many Scribner’s books also carry a small publisher’s seal or colophon — an “S” with a torch and book — on the copyright page. The presence of this seal, combined with the “A,” confirms a Scribner’s first printing. However, the seal alone does not indicate first printing.

Modern Scribner’s (1990s–Present)

In 1978, Scribner’s was acquired by Macmillan, and in 1994 it became an imprint of Simon & Schuster. Modern Scribner’s books use standard number lines in addition to (or instead of) the “A” system:

1 3 5 7 9 10 8 6 4 2

The presence of “1” in the number line indicates first printing. Some modern Scribner’s books also retain the “FIRST EDITION” statement.

Common Mistakes

Confusing the “A” with Other Marks

Some sellers mistake other letters or marks on the copyright page for the Scribner’s printing indicator. The “A” is specifically a printing identification mark — not part of a Library of Congress number, a copyright code, or any other system.

Ignoring the “A” Entirely

Some inexperienced dealers identify Scribner’s first editions by the title page date matching the copyright date, without checking for the “A.” This can lead to misidentification of later printings that happen to carry matching dates.

Book Club Editions

Scribner’s titles were frequently selected by book clubs, and BCEs can closely resemble trade editions. The BCE of The Old Man and the Sea, for example, has a very similar appearance to the trade first edition. Check for the standard BCE indicators: no price on the jacket flap, blind stamp on the rear board, and absence of the “A” on the copyright page.

The Scribner’s Premium

Scribner’s first editions carry a significant market premium, driven by the house’s extraordinary roster of authors:

• A first printing of The Great Gatsby (1925) in jacket: $200,000–$400,000+
• A first printing of The Sun Also Rises (1926) in jacket: $50,000–$150,000
• A first printing of A Farewell to Arms (1929) in jacket: $20,000–$75,000
• A first printing of The Old Man and the Sea (1952) in jacket: $5,000–$15,000
• A first printing of For Whom the Bell Tolls (1940) in jacket: $5,000–$20,000

These values make accurate identification essential. The difference between a first printing with an “A” and a second printing with a “B” can be tens of thousands of dollars.

Practical Tips

Always check the copyright page first. Before examining condition, dust jacket, or any other feature, flip to the copyright page and look for the “A.”

Learn the physical characteristics. Scribner’s used distinctive binding materials and design elements in different periods. Familiarity with the feel and look of genuine Scribner’s trade editions helps distinguish them from book club editions and reprints.

Consult author-specific bibliographies. For high-value Hemingway and Fitzgerald titles, the published bibliographies document every known variant and issue point. These references are essential for serious collecting.

Buy the bibliography before the book. Bruccoli’s Fitzgerald bibliography and Hanneman’s Hemingway bibliography are themselves collectible — but they are also indispensable tools. Invest in these references before investing heavily in the authors’ first editions.