Fine Books and Manuscripts

Byron, George Gordon, Lord An apparently unpublished autograph letter signed ("Noel Byron") to Charles Barry 2pp. on bifolium (200 x 197 mm), 2 April 1823, to Charles Barry, with remnants of wax seal; old folds, repairs to folds and margins, or two stray spots. A remarkable letter by Byron addressing his banking needs and culinary habits, sent to his banker, Charles Barry, in Genoa Charles F. Barry, the addressee of this fine letter, was an English banker, and head of the Genoa office of Webb & Co., whose main branch was located in in Leghorn. Barry was also a friend and frequent dining partner of his client Lord Byron, when Byron was in Genoa. "Sir," Byron begins. "My steward misunderstood or mistated. I referred soley to the circular notes – which I am willing to change to the amount of fifteen hundred [?] sterling. – Will you have the goodness previously to tell me what I gain per cent on the present exchange by the difference. ...I shall want two hundred pounds for my immediate expences – then a hundred to remain in yr bank to be drawn when called for". Byron's fascination with Italy began around 1816—or perhaps even before—and his last home in that country was Genoa. The precarious nature of his financial situation began long before this. As a young man, he accumulated huge debts, and his mother, Catherine Gordon, feared his creditors. He was well-known for his extravagant lifestyle, and it is said that he even kept a bear in his rooms at Trinity College, Cambridge. In 1813, he determined to marry Annabella Millbanke, who was reputed to be a wealthy heiress, in the hope that she might release him from his financial burdens, and put to bed the rumour that he had fathered the child of his half-sister, Augusta Leigh. Byron and Millbanke married on the 2nd of January, 1815, and their daughter, Ada (Lovelace), was born in December of that year. The union was not a happy one. Following Byron's many affairs and his increasing interest in Leigh, Millbanke—believing him to be quite insane—took Ada, and set in motion proceedings for a legal separation. The scandal that ensued following the separation, along with Byron's ever-increasing debts, forced him to leave England in April of 1816, never to return. While the main body of the letter, which so candidly chronicles Byron's financial needs, offers an intimate glimpse into the poet's daily life and concerns, the postscript remains the standout portion of this piece of correspondence: "P.S. I am almost ashamed to accept your Cheshire cheese but I will contrive to swallow it and my shame together. – The interest Mr. Webb of Leghorn allows on the undrawn money of [mine] in his bank is four per cent."

View 1 of Lot 97: Byron, George Gordon, Lord | A glimpse into the poet's financial needs and daily life

byron, george gordon, lord | a glimpse into the poet's financial needs and daily life

Fine Books and Manuscripts Online

The Property of a Gentleman BYRON, GEORGE GORDON NOEL, LORD A Group of Three First Editions The Siege of Corinth. A Poem. Parisina.; A Poem. London: John Murray, 1816. 8vo (5 3/4 x 8 7/8 in.; 142 x 227 mm). Half-title, publisher's advertisements at end. Original drab wrappers, manuscript title to upper wrapper in the hand of James Watt; edges slightly feathered. In custom red cloth covered slipcase and folding chemise. First edition. Griffith and Jones 40; Wise I: 106. Inventor James Watt's copy — Poems. London: John Murray, 1816. 8vo (5 1/2 x 8 7/8 in.; 140 x 226 mm). Half-title, publisher's advertisements; some closed marginal tears, some soiling to half-title and final leaf. Stitched as issued. First edition, second issue, and includes one of Byron’s most famous lyrics, “Fare Thee Well!” (pp. 21-24). Wise I:112 — The Prisoner of Chillon, and Other Poems. London: John Murray, 1816. 8vo (5 1/2 x 9 in.; 145 x 228 mm). Half -title, notes and publisher's advertisements at end; minor offsetting. Original drab wrappers; minor spotting, some chips to edges. First edition, Randolph’s state A (page 61 blank, list of Byron’s poems and imprint on page 62). Wise I:113 Group lots not subject to return. A fine group of first editions in original wrappers

byron, george gordon noel, lord | a group of three first editions

Joseph H. Hirshhorn: Collector for a Nation, Part II

Sold by the Order of the Trustees of The Hirshhorn Museum and Sculpture Garden to Benefit its Acquisition Program

Sold by the Order of the Trustees of The Hirshhorn Museum and Sculpture Garden to Benefit its Acquisition Program Pierre-Jean David d'Angers 1788 - 1856 Five Portrait Medallions of Poets including Népomucène Lemercier, Zacharias Werner, Pierre-Jean de Béranger, Lord Byron, and Auguste-Marseille Barthelemy one signed and dated P.J. David 1832 and inscribed Nepomucene L. Lemercier with names of other historical figures one signed P.J. David and inscribed Frederic Louis Zacharie Werner with a number of other names and dates one signed and dated David 1830 and inscribed J. P. de Beranger one signed David and inscribed Lord Byron one signed and dated P.J. David 1832 and inscribed Marseille-Auguste Barthelemy bronze with dark brown patina diameters: from 5 3/5 to 6 ¾ inches (14.2 cm to 17.1 cm)

View 1 of Lot 41: Five Portrait Medallions of Poets including Népomucène Lemercier, Zacharias Werner, Pierre-Jean de Béranger, Lord Byron, and Auguste-Marseille Barthelemy  one signed and dated P.J. David 1832 and inscribed Nepomucene L. Lemercier with names of other historical figures

five portrait medallions of poets including népomucène lemercier, zacharias werner, pierre-jean de béranger, lord byron, and auguste-marseille barthelemy one signed and dated p.j. david 1832 and inscribed nepomucene l. lemercier with names of other historical figures

Bibliothèque de Pierre Bergé : le dernier chapitre

Byron, George Noël Gordon, Lord Childe Harold’s Pilgrimage. A Romaunt. Londres, John Murray, 1841. Grand et fort in-8 (230 x 150 mm). Chagrin vert, large encadrement doré, armes du Royaume-Uni au centre des plats, dos à nerfs orné, nom doré en pied, doublure et gardes de soie rose dans une large bordure ornée et dorée, tranches dorées (Reliure de l’éditeur). Étui de toile verte. Première édition illustrée du célèbre ouvrage de Byron. Exemplaire de l’éditeur offert à Samuel Rogers, écrivain et ami de l'auteur. Illustration gravée sur acier tirée sur Chine appliqué, par William et Edward Finden : portrait de l’auteur d’après T. Phillips, titre lithographié et 59 figures dans le texte. Avec une carte dépliante in fine. Long ex-dono autographe signé de l’éditeur à Samuel Rogers : "To Samuel Rogers Esq. After the First Second Cantos of Childe Harold had been declined by the two leading Publishers of the Day, they were offered to Mr Murray & when it was known that he had given the sum of Four Hundred Guineas for them, everybody thought he had acted most injudiciously – except one person – who called upon Mr Murray & told him ‘not to be disheartened for he might rely upon its turning out the most fortunate purchase he had ever made' – & so it has proved. That encouraging friend was Mr Rogers The Poet – to whom I have now the pleasure of presenting a copy of the complete Poem, embellished with Illustrations in humble imitation of a Style which his acknowledged task first originated & of subscribing myself, His Obliged Servant. John Murray Albemarle St. Nov 27 1841". John Murray II ─ surnommé par Byron "The Anak of Publishers" du nom d’un personnage biblique de la race des géants, évoque dans son envoi l’histoire de l’édition de Childe Harold en 1812 et le rôle joué par le poète et banquier Samuel Rogers (1763-1855) qui, grâce à sa fortune, put se consacrer à ses passions, l’art et la littérature, et auteur lui-même, devenir le soutien de nombreux écrivains. Dans une reliure richement décorée aux armoiries de l’Angleterre portant les devises de l’ordre de la Jarretière (Honni soit qui mal y pense) et des souverains britanniques (Dieu et mon droit).

View 1 of Lot 66: Childe Harold’s Pilgrimage. John Murray, 1841. Première édition illustrée. Exemplaire offert par l'éditeur à Samuel Rogers, un ami de Lord Byron.

childe harold’s pilgrimage. john murray, 1841. première édition illustrée. exemplaire offert par l'éditeur à samuel rogers, un ami de lord byron.

The Property of a Gentleman BYRON, GEORGE GORDON, LORD Hebrew Melodies. London: John Murray, 1815 8vo (5 1/2 x 8 3/4 in.; 140 x 221 mm). Half-title, verso of E4 with advertisement for Rogers' "Jacqueline" followed by a six line advertisement for Campbell's "Selected Beauties of English Poetry," publisher's advertisements at end; one or two stray spots. Original drab paper wrappers, untrimmed; wrappers chipped at top of backstrip, split at center upper wrapper split but holding. In a blue cloth folding chemise case. First edition, first issue, in original wrappers At the urging of composer Isaac Nathan, Byron produced Hebrew Melodies, which included some of his most enduring lyrics, such as "She Walks in Beauty" and "The Destruction of Sennacherib." The former was based on the poet's first meeting with Ann Wilmot. Wilmot was the wife of Byron’s cousin, Sir Robert Wilmot, and Byron was so taken with her unusual beauty, that the now iconic poem was completed the morning after they were introduced to one another. Randolph notes that the present edition consisted of 6,000 copies. REFERENCES Randolph 50; Wise I: 103-4

byron, george gordon, lord | hebrew melodies. london: john murray, 1815

The Property of a Gentleman BYRON, GEORGE GORDON NOEL, LORD Manfred, A Dramatic Poem. London: John Murray, 1817 8vo (5 1/2 x 8 3/4 in.; 142 x 222 mm). Half-title, four pages of advertisements at end dated June 1817; one or two stray spots, minor offsetting. Original drab wrappers, small contemporary London bookseller’s label pasted to corner of upper wrapper; some chipping to foot of spine. In red cloth folding chemise case. First edition, first issue, in original wrappers The first issue (with no quotation from Hamlet on the title page and the printer’s imprint on two lines on verso of title page) of this "closet drama." In keeping with the popular ghost stories of the period, Manfred contains supernatural elements, and is a stirring example of Gothic fiction. Byron set about drafting this work in 1816, only a few months after the famous ghost-story sessions with Percy Bysshe and Mary Shelley, which gave birth to Frankenstein. REFERENCES Randolph 64-67; Wise I: 122-3 PROVENANCE W.H. Robinson (described in his 1930 catalogue as "a superlatively fine copy") — Frank Brewer Bemis (purchased by Bemis from Robinson, catalogue 31; bookplate to front pastedown)

byron, george gordon noel, lord | manfred, a dramatic poem. london: john murray, 1817

The Property of a Gentleman BYRON, GEORGE GORDON NOEL, LORD Three First Editions Sardanapalus, A Tragedy; The Two Foscari, a Tragedy; Cain, a Mystery. London: John Murray, 1821. 8vo (5 1/2 x 8 3/4 in.; 140 x 223 mm). General half-title, general title, three section titles. Original blue boards, tan paper spine, printed cream-colored label to spine; vertical creases to spine, one or two chips to label, minor marginal toning. In half purple morocco slipcase and folding chemise. First edition, first issue, in original boards — Marino Faliero, Doge of Venice. An Historical Tragedy...The Prophecy of Dante, a Poem. London: John Murray, 1821. 8vo (5 1/2 x 8 3/4 in.; 140 x 225 mm). Half-title, publisher's advertisements at end; minor foxing. original brown boards, cream-colored paper label to spine; extremities rubbed, loss of paper to head of spine, label chipped. In custom quarter burgundy cloth over marbled board clamshell case. First edition, first issue, John Cam Hobhouse, Baron Broughton's copy. Wise II: 29-30. John Cam Hobhouse, Baron Broughton (ownership inscription to front pastedown) — Mary Hobhouse (ownership inscription to front pastedown) — The Age of Bronze; or, Carmen Seculare et Annus Haud Mirabilis. London: John Hunt, 1823. 8vo (5 5/8 x 8 3/4 in.; 144 x 223 mm). Half-title, publisher's advertisements at end; one or two stray spots. Original brown wrappers; minor chipping to head and foot of spine, minor toning to edges. Housed in a custom cloth chemise, gilt lettered on spine. First edition in original wrappers. Randolph 81; Wise II: 41-42 Group lots not subject to return. Together three first editions The present copy of Sardanapalus is a fine example of this collection of dramatic works, together representing a historical tragedy in blank verse set in ancient Nineveh (Sardanapalus); a verse play set in 15th century Venice based on the downfall of doge Francesco Foscari and his son Jacopo (The Two Foscari); and a closet drama exploring the story of Cain and Abel from Cain's point of view (Cain). This copy of Marino Faliero bears the ownership signature of John Cam Hobhouse, Baron Broughton, who founded a Whig club while at Cambridge, and as a result of this became a close friend of Lord Byron. In 1809 the pair travelled together across Portugal and Spain to Gibraltar, Malta, Albania and into Greece, and Hobhouse’s Imitations and Translations (1809) contained several poems by Byron. Hobhouse served as best man at Byron’s wedding, and although censorious of some of Byron’s poetry, remained his close friend throughout Byron’s life, with the two men meeting for the last time in Pisa in September 1822. Hobhouse was appointed Byron’s executor, and was present at the burning of Byron’s memoirs in the offices of John Murray following Byron’s death. An exceptional association copy The Age Of Bronze was Byron's anonymously published satire inspired by the Congress of Verona. Byron first visited Spain in 1809, and romanticized his impressions in Childe Harold’s Pilgrimage. A decade later, Byron—who had called Ferdinand VII a fool and a bigot— praised the Spanish liberal revolution, and quite rightly saw it as the catalyst to the rise of other revolutions in southern Europe. With the Neapolitan uprising defeated by an Austrian army, and the Holy Alliance poised to decimate the Spanish constitutional régime, Byron sought to offer apolitically engaged poetical response to this state of affairs, the result being The Age of Bronze

byron, george gordon noel, lord | three first editions

Fine Autograph Letters and Manuscripts from a Distinguished Private Collection: Part II | Music, Americana, English and Continental Literature

Autographed letter signed ("Noel Byron"). 2pp. on bifolium (9 7/8 x 7 3/4 in.; 200 x 197 mm), 2 April 1823, to Charles Barry, with remnants of wax seal; old folds, repairs to folds and margins, or two stray spots.  

an apparently unpublished autograph letter signed, from byron to his banker, charles barry, in genoa

Don Juan. Cantos I-XVI. London: Thomas Davison, 1819 [Cantos I-II]; 1819–1821 [Cantos I-V]; John Hunt, 1823 [Cantos VI–XIV]; John and H. L. Hunt, 1824 [Cantos XV–XVI]

Don Juan. Cantos I-XVI. London: Thomas Davison, 1819 [Cantos I-II]; 1819–1821 [Cantos I-V]; John Hunt, 1823 [Cantos VI–XIV]; John and H. L. Hunt, 1824 [Cantos XV–XVI] 7 volumes: one volume, 4to and 6 volumes, 8vo (11 1/2 x 8 3/4 in.; 292 x 222 mm and 8 3/4 x 5 5/8 in.; 222 x 143 mm, uncut). 4to volume: Half-title, engraved frontispiece with integral facsimile letter;  faded contemporary marginal on K2, a few scattered spots in quire GG. 8vo volumes: Half-titles in vols. 1–2, publisher's advertisements in Vols. 3 (2 pages), 4 (4 pages) and 6 (2 pages); some light paper discoloration, occasional browning (particularly vol. 2), light scattered foxing in vol. 1.  Uniformly bound in polished tan calf paneled gilt, gilt dentelles, maroon coated endpapers, spines gilt with raised bands and lettering pieces; top edges gilt; spines age-darkened, spines and joints very dry and starting, upper joint of 4to volume cracked.

byron, george gordon noel, lord

A group of 14 volumes, chiefly first editions, various formats and bindings including several in original boards and wrappers, including of his first publicly printed book.

A group of 14 volumes, chiefly first editions, various formats and bindings including several in original boards and wrappers, including of his first publicly printed book. Hours of Idleness, A Series of Poems, Original and Translated. Newark, 1807.  Half-title, errata on verso of p. xiii, 3 additional typographical errors not listed in the errata (p. 5, lines 2–3 reading  "where | where"; p. 114, line 4 reads "thnnder'; and p. 181, penultimate line reads: "Thc"; minor spotting. Later full navy straight-grained morocco paneled in blind; spine lettered gilt, marbled endpapers, top edge gilt; joints rubbed, spine slightly faded. First edition. —  English Bards and Scotch Reviewers. London, 1809. Half-title, p. 5, line 7 corrected to read "Dispatch." Modern half brown morocco. First edition, second issue. — Lara. A Tale. Jacqueline. A Tale. London, 1814.  Half-title; a few marginal stains and spots. Full dark blue morocco. First edition, first issue, unwatermarked. — Hebrew Melodies. London, 1815. Half-title, 4-page publisher's advertisement at the end; occasional spotting, advertisement foxed. Modern half blue morocco; upper joint rubbed. First edition, first issue, with the title of "The Destruction of the Sennacherib" reading "Semnacherib" and inclusion of Samuel Rogers' Jacqueline in the advertisements. — The Siege of Corinth.  Parisina. London, 1816.  Half-title, publisher's 4-page advertisement at the end dated February 1816; light scattered foxing. Contemporary straight-grained red morocco paneled in blind; spine age-darkened. Slipcase. First edition. —  The Prisoner of Chillon. London, 1816. Half-title, 4-page publisher's advertisements at the end. Full dark blue morocco; upper joint dry and cracked. First edition, Randolph's State A with p. 61 blank, list of poems on the verso, paper watermarked G | 1816. — [John William Polidori]. The Vampyre. London, 1819. Full dark blue morocco by Rivière; upper joint dry and cracked, lower board detached.  First edition, second issue with the half-title reset removing Byron's name. — Marino Faliero, Doge of Venice. London, 1821. Half-title; scattered foxing.  Uncut in original boards; boards detached, text block split.  Blue chemise and slipcase. First edition.  — Sardanapalus. The Two Foscari. Cain. London, 1821. Half-title; scattered foxing, chiefly marginal. Uncut in original boards. Slipcase. First edition. — Werner. London, 1823. Half-title, 7-page publisher's advertisements bound in the front. Uncut in original drab wrappers. Slipcase. First edition, first issue. — The Age of Bronze.  London, 1823. Half-title, publisher's advertisement leaf at the end. Modern half blue morocco; upper joint rubbed. First edition. — The Island. Half-title, publisher's advertisement leaf at the end. Original drab wrappers; wrappers brittle, age-darkened and detached. Slipcase. First edition. — and 2 other volumes being Boston imprints of Poems on [Byron's] Domestic Circumstances and Mazeppa, dated 1816 and 1819.  

Childe Harold's Pilgrimage. London: Thomas Davison for John Murray; William Blackwood, Edinburgh; John Cumming, Dublin, 1812–1816–1818

Childe Harold's Pilgrimage. London: Thomas Davison for John Murray; William Blackwood, Edinburgh; John Cumming, Dublin, 1812–1816–1818 3 volumes, 4to [Cantos I–II] and 8vo [Cantos III–IV] (11 x 8 1/2 in.; 279 x 216 mm; 8 3/4 x 5 5/8 in.; 224 x 143 mm).  [Cantos I–II]: Engraved facsimile of letter in Romaic, 2-page publisher's advertisement bound in at the end, BB3 (pp.189–190) is a cancel with the title reading "Written beneath a Picture."; p. 97, line 11 reads: "vengeance forego:"; one leaf browned, scattered foxing, chiefly marginal, light paper discoloration in second half of volume. — [Canto III]: Half-title, 4-page publisher's adveritsement dated November 1816, "L" in "Lettre" falling below "là" on title-page, no exclamation point at the end of the first line of Stanza II on p. 4, p. 67, line 5 incorrectly reading "Eagle" instead of "Falcon"; occasional foxing, 2 leaves lightly discolored. — [Canto IV]: All points agreeing with the second issue; light scattered foxing, 2 quires slightly discolored.  Uniformly bound in polished tan calf paneled gilt, gilt dentelles, coated black endpapers, spines gilt; spines age-darkened.  Cantos I–II in calf-tipped slipcase.

The Deformed Transformed; a Drama. London: for J. and H. L. Hunt, 1824

The Deformed Transformed; a Drama. London: for J. and H. L. Hunt, 1824 8vo (8 15/16 x 5 3/4 in.; 228 x 146 mm.). Half-title, 6-pp. advertisement dated February 1824, uncut; some foxing on endpapers and advertisement. Original brown wrappers, in a cloth clamshell box; foxed, edges worn.

manning, frederick, aldous huxley and lord byron.

Manfred. London, 1817, first edition, 8vo, half title, later crushed blue morocco gilt by Riviere, contemporary wrappers bound in; Ibid. Don Juan [Cantos I–II]. London,1819, first edition, 4to, half-title, later crushed blue morocco gilt by Riviere; Ibid. Sardanapalus… The Two Foscari… Cain. London, 1821, first edtion, half-title, 8vo, later crushed blue morocco gilt by Riviere; Ibid. The Works. London, 1833, 17 volumes, engraved frontispieces and additional titles, nineteenth century green morocco gilt, all works with the armorial bookplate of Oliver Nowell Chadwyk-Healey (20)

byron, george gordon noel, lord.

English Literature, History, Children's Books & Illustrations

8vo, FIRST EDITION, 27pp., without half-title as issued, modern dark brown crushed morocco gilt by Riviere, last page with loss of fore-margin including page numerals, skilfully repaired and supplied in pen-facsimile, inner margin of title repaired

waltz: an apostrophic hymn. by horace hornem, esq. s. gosnell for sherwood, neely and jones, 1813

portion of a footnote to English Bards and Scotch Reviewers ("...Macneill, whose poems are deservedly popular, particularly 'Scotland's Smith or the Woes of War' of which four thousand copies were sold in a month..."), one page, slip cut from a quarto leaf (60 x 185mm), [c.1809], laid down on an album leaf (225 x 185mm) with engraved portrait above and caption below

autograph manuscript fragment

6 volumes, 4to and 8vo, FIRST EDTIONS, 4to volume with half-title, original boards, original paper labels on spines; [together with:] Don Juan...A new edition [of Cantos I and II]. Thomas Davison, 1819, 8vo; Don Juan. Cantos III, IV, and V...fifth edition, revised and corrected. Thomas Davison, 1822; the 8 volumes preserved in five matching quarter morocco fleece-lined boxes, some occasional spotting, some slight splitting to joints, some staining and further wear to boards, some neat repairs and restoration to spines

don juan. cantos i-xvi. thomas davison, 1819 [cantos i-ii]; 1819-1821 [cantos iii-v]; john hunt, 1823 [cantos vi-xiv]; john and h. l. hunt, 1824 [cantos xv-xvi]

agreeing to buy drawings from "the Barone" ("...1 of Athens, 1 of Cape Colonna, 2 of Constantinople, four of the Road, and two of any parts of the Bospherus & Hellespont which may suit his taste...") and leaving Cockerell to settle "the when, the where, the how, and the how much", one page, blue paper, 8vo (186 x 125mm), [Athens], 27 December 1810, endorsed with a note on the sum agreed and receipt of funds from Byron on 20 April 1811, tear to lower corner affecting text, frayed at edges, spotting 

autograph letter signed, with swirl signature, to charles robert cockerell

The Library of an English Bibliophile Part VII

8vo (225 x 134mm.), first edition, half-title, two advertisement leaves at the front and one at the rear, UNCUT IN THE ORIGINAL WRAPPERS, preserved in green cloth chemise and folding box, stab-holes to inner margins throughout (stab-marked for stitching but apparently never sewn), some staining to covers, small piece missing from head of the spine

the island, or christian and his comrades. london: for john hunt, 1823

Travel, Atlases, Maps and Natural History

Folio (532 x 360mm.), 12 aquatint plates by Robert Havell and son after Cartwright, all coloured by hand and mounted, contemporary red half morocco, lacking title-page, one plate (Ali Pacha) with imprint pasted onto both recto and verso (and slightly smaller in size), binding rubbed

selections of the costume of albania and greece with explanatory quotations from the poems of lord byron and gally knight. london: r. havell, 1822]

English Literature, History, Children&#39;s Books and Illustrations

Byron. Don Juan [cantos I-II]. A new edition. London: Thomas Davison, 1819, 8vo (222 x 142mm.), original blue boards, label of Millikens, bookseller in Dublin, on upper cover, occasional light foxing or staining

Byron. Don Juan [cantos I-II]. A new edition. London: Thomas Davison, 1819, 8vo (222 x 142mm.), original blue boards, label of Millikens, bookseller in Dublin, on upper cover, occasional light foxing or stainingByron. Don Juan, cantos III, IV, and V. London: Thomas Davison, 1821, 8vo, original blue boards, printed paper lettering-piece on spine, uncutByron. Don Juan, cantos VI.-VII.-and VIII. London: John Hunt, 1823, 8vo, original blue boards, printed paper lettering-piece on spine, uncutByron. Don Juan, cantos IX.-X.-and XI. London: John Hunt, 1823, 8vo, original blue boards, printed paper lettering-piece on spine, uncutByron. Don Juan, cantos XII.-XIII.-and XIV. London: John Hunt, 1823, 8vo, original blue boards, printed paper lettering-piece on spine, uncutByron. Don Juan, cantos XV. and XVI. London: John and H.L. Hunt, 1824, 8vo, original boards, uncut; the six 8vo volumes in single green buckram slipcase together 7 volumes

don juan [cantos i-ii]. london: thomas davison, 1819, 4to (295 x 225mm.), original blue boards, uncut, green buckram slipcase

Books and Manuscripts from the English Library of Archibald, 5th Earl of Rosebery and Midlothian, K.G., K.T.

Writing of poetry ("...Who is the hero of Paradise Lost? Why Satan..."), love ("...I almost rejoice when one I love dies young, for I could never bear to see them old or altered..."), religion ("...we are miserable enough in this life, without the absurdity of speculating on another..."), and revolution ("...the Neapolitan treachery & desertion have spoilt  all our hopes here..."), the most important byron material to have been offered at auction since the sale of the manuscript of Beppo in 1976, comprising 15 complete autograph letters signed ("Byron", "Bn", "MPAIRWN" [GREEK]), 5 incomplete letters and lengthy fragments, one brief note, one separate post-script, one short fragment, and one address wrapper with free frank, four letters with address panels and one integral address leaf, in total 71 pages in Byron's autograph with many unpublished passages, chiefly 4to (one letter and one post-script 8vo), 27 November 1808 to 12 May 1821, loosely inserted in a brown morocco album with a lock, some nicks and tears (only two tears with significant loss of text), two seal-tears, a few ink stains and some light spotting, some marginal comments and underlinings in a later hand, lock on album broken

Writing of poetry ("...Who is the hero of Paradise Lost? Why Satan..."), love ("...I almost rejoice when one I love dies young, for I could never bear to see them old or altered..."), religion ("...we are miserable enough in this life, without the absurdity of speculating on another..."), and revolution ("...the Neapolitan treachery & desertion have spoilt  all our hopes here..."), the most important byron material to have been offered at auction since the sale of the manuscript of Beppo in 1976, comprising 15 complete autograph letters signed ("Byron", "Bn", "MPAIRWN" [GREEK]), 5 incomplete letters and lengthy fragments, one brief note, one separate post-script, one short fragment, and one address wrapper with free frank, four letters with address panels and one integral address leaf, in total 71 pages in Byron's autograph with many unpublished passages, chiefly 4to (one letter and one post-script 8vo), 27 November 1808 to 12 May 1821, loosely inserted in a brown morocco album with a lock, some nicks and tears (only two tears with significant loss of text), two seal-tears, a few ink stains and some light spotting, some marginal comments and underlinings in a later hand, lock on album broken [together with:] three autograph letters signed by Annabella Milbanke, later Lady Byron, principally concerning a bond for £500 signed by Byron for Hodgson and referred to in his letter of 3 January 1813, 5 pages, 4to and 8vo, 25 November 1814 to 24 January 1825; autograph letter signed by William Fletcher, Byron's valet, to Hodgson, 3 pages, 8vo, 8 September 1838; autograph letter signed by John Murray (IV), 2 pages, 14 July 1898; a transcript of an additional letter by Byron to Hodgson; Catalogue of some highly important letters in the autograph of Lord Byron to which are added interesting letters the collection of the Rev. Canon Hodgson, Sotheby, Wilkinson and Hodge, 2 March 1885, tears to Lady Byron letters

a highly important series of autograph letters to his close friend francis hodgson

PF1230

d'après lord Byron, Huile sur toile, Signé en bas à droite et titré en italien en bas à gauche Byron-Sposa d'Abido

selim et zuleika, d'après lord byron

L12230

bust of lord byron (1788–1824)

S/O Buhl Collection

photogenic drawing negative from a manuscript original, framed, Buhl Collection and Guggenheim Museum exhibition labels on the reverse, before April 1840 (Schaaf 604)

a stanza from 'ode to napoleon' in lord byron's hand

Books &amp; Manuscripts

1 page (9 1/2 x 7 1/4 in.; 241 x 184 mm), Venice, 31 August 1818; formerly folded, small hole in text leaf affecting one letter, a few spots and stains, hole in blank portion of address leaf. Accompanied by an engraved portrait after a drawing by Thomas Phillips.

autograph letter signed ("byron"), to captain basil hall

Greece and the Levant: A Private Library

first edition, 8vo (212 x 132mm.), half-title, 2 folding facsimiles of letters, modern half morocco, some spotting

a narrative of lord byron's last journey to greece. extracted from the journal of count peter gamba, who attended his lordship on that expedition. london: john murray, 1825

Ibid. Letters from Greece: with remarks on the Treaty of Intervention. London: James Ilbery, 1828, first edition, 2 parts, contemporary tree calf gilt

Ibid. Letters from Greece: with remarks on the Treaty of Intervention. London: James Ilbery, 1828, first edition, 2 parts, contemporary tree calf gilt Together 2 volumes, 8vo

narrative of a second visit to greece, including facts connected with the last days of lord byron. london: geo. b. whittaker, 1825, first edition, half-title, lithographed frontispiece of athens from a drawing by j.d. harding, folding facsimile letter in greek, pencil annotations throughout, modern blue half calf gilt, annotations cropped

Fine Books and Manuscripts Including Americana

Don Juan, [Cantos I–XVI]. London: Thomas Davison, 1819–1821 [Cantos I–V]; and John Hunt, 1823–1824 [Cantos VI–XVI]

Don Juan, [Cantos I–XVI]. London: Thomas Davison, 1819–1821 [Cantos I–V]; and John Hunt, 1823–1824 [Cantos VI–XVI]6 volumes, one in 4to (Cantos I–II: 11 x 8 1/2 in.; 280 x 216 mm), and five in 8vo (Cantos III–XVI: 8 1/8 x 5 in.; 206 x 127 mm). Half-titles in vols. 1-2 (Cantos I–II, III–V), errata slip bound in at the end of vol. 6; without advertisements, occasional marginal foxing in vols. 1, 2, and 4. Blue half morocco with gilt borders, spines gilt, t.e.g.

byron, george gordon, (lord)

cut from his head after his death at Missolonghi, coiled and tied with a pink ribbon, with an accompanying wrapper inscribed in the hand of Byron's intimate friend John Cam Hobhouse ("a lock of hair cut from the head of Lord Byron after his death by Dr Bruno"), and with a later envelope recording that the lock was later presented "by Miss Leigh to Miss Marianne Gidely"

a lock of byron's hair, dark brown with some white strands,

8vo extended to large folio, an extra-illustrated copy extended to two volumes with a supplied printed title dated 1897 and table of contents, about 170 items mounted into the volumes including 27 autograph letters and manuscripts by Byron, his family, friends, and other poets, as well as engravings, mezzotints, and lithographs depicting Byron and others, views of locations relating to the poet's life, and related illustrations, some hand coloured, all leaves in window mounts, in red morocco by Zaehnsdorf dated 1898, inside dentelles, marbled endpapers, lettering on spine, gilt edges, hinges tender, splitting at joints, slightly scuffed

byron, macmillan and co., 1888

Livres et manuscrits

en belle reliure de l'époque première édition. 1 volume in-4 (292 x 220 mm ) et 5 volumes in-8 (224 x 134 mm). reliure de l'époque. Veau blond, triple filet, dos orné. Charnières fragiles.

Results for "Lord Byron"