4 Antiquariato Librario Bado e Mart s.a.s. Booth No.7

Booth No.7
Antiquariato Librario Bado e Mart s.a.s.
MATTIOLI, Pietro Andrea. I discorsi… nelli sei libri di Pedacio Dioscoride Anazarbeo della materia medicinale. Venezia, Vincenzo Valgrisi, 1568 Folio, 402x260 mm; Two volumes; Eighteenth Century half calf binding; 957 hand colour woodcuts; Wide Margins. Nice exemplar. Rare first Italian Edition in folio. Excellent hand‐coloured copy of this Italian editio princeps with the large woodcuts drawn by Giorgio Liberale ed engraved by Wolfgang Meyerpeck. While conducting his medical career, Mattioli began translating the works of Dioscorides, adding his commentaries and opinions, plus his observations on the references to plants from other writers, as well as the increasing number of newly discovered plants and their medicinal uses and virtues. The last part of the work deal with distillation. Nissen, 1304; Pritzel, 5987; Wellcome, I, 4135. Euro 48.000 4
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Antiquariato Librario Bado e Mart s.a.s.
PETITJEAN, Edmond Marie. Voyage en zig‐zag. 1876 – 1877 Illustrated Manuscript, France 1877 Folio, mm. 500x325; Boards; pp. 32; Author’s dedication: “Votre antique ami Petitjean. Mai 1877”. A Manifesto of Impressionism. Rare and extremely important travel book with 27 watercolours and one drawing of the famous French painter Edmond Petitjean. The author describes his travel in the south of France and Algeria. This is one of the first writings where the word Impressionism is used to describe the new Eighteenth Century art movement. At page number 4 he writes: “Enfin je n’ai en ce moment d’autre but que de vous donner un aperçu des sites que j’ai remarqués soit dans mon pays soit dans d’autres contrées. Il m’arrivera parfois de vous faire de la peinture d’impression. Ce genre est préconisé de nos jours par une certaine catégorie d’artistes. Voilà ce qui c’est: vous arrivez devant un site quelconque, vous fermez un peu les jeux, puis, au bout d’une ou deux secondes de contemplation, crac !, vous couchez sur une toile ou sur du papier l’impression subie par votre rétine et transmise à votre cerveau. Il est vrai que le public voit quelquefois un champ de blé ou vous avez voulu peindre une mare, et une meule de foin ou vous avez mis une chaumière. Ce sont ses impressions, à lui, et il ne se gêne pas pour vous les faire connaitre. Alors vous le traitez de crétin, et tout est dit.” Euro 18.000 PETRARCA, Francesco. Trionfi e canzoniere. Venezia, Bartholomaeus de Zanis, 1497 Folio, mm. 299x205; Vellum Binding; Leaves: 8 nn., 128, 98, first and last blank; 6 full page woodcuts. Rare illustrated incunable. The work is divided in two parts: I Trionfi and Il Canzoniere. The first part with the commentary by Bernardo Lipini, the second one with the commentary by Francesco Filelfo, Girolamo Squarciafico and Girolamo Centone. Magnificent Venetian edition, published by Bartholomaeus de Zanis, with the woodcut architectural frames of the Maestro Pico. BMCV, 433; Essling 81; HC, 12776. Euro 28.500 5
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Booth No.7
Antiquariato Librario Bado e Mart s.a.s.
VIERO, Teodoro. Raccolta di 120 Stampe, che rappresentano, figure ed Abiti di varie Nazioni, secondo gli Originali, e le Descrizioni dei più celebri recenti viaggiatori, e degli scopritori di Paesi nuovi. Venezia, Teodoro Viero, 1783‐1791 Folio, mm. 468x314; Three volumes; Half calf binding; 3 Half Titles, 365 plates not numbered. Splendid ante‐litteram edition. The 365 plates describes the costumes of the populations of the Earth. This is a superlative large size exemplar. The work is divided into three volumes, the third one contains the illustrations of the costumes of Asia, America, Russia and the famous portrait of Omai. Colas, 3007; Lipperheide, 39. Euro 35.000 [VESALIUS]. GREVIN, Jacques. Les portraicts anatomiques de toutes les parties du corps humain. Parigi, Wechel, 1569 Folio, mm. 384x245; Splendid Lobstein’s Binding; pp. 8 nn., 106, 2 nn.; 40 plates. First French Illustrated Edition of Epitome of Vesalius. The work contains the famous forty plates engraved by Thomas Geminus. Quoting Mortimer: “as influential as the woodcuts in the development of anatomical illustration”. This is the first French translation by Jacques Grevin. Magnificent binding of the famous bookbinder Alain Lobstein. Mortimer, 541; Cushing, V94; Durling, 2175. Euro 25.000 VIÈTE François. Universalium Inspectionum ad Canonem Mathematicum Liber Singularis. [with] ‐ Canon Mathematicus seu ad Triangula Cum Adpendicibus. [with] ‐ Additamenta Libro Universalium Inspectionum ad Canonem Mathematicum. Lutetiae Paris, apud Ioannem Mettayer, 1579 Three parts in one volume; Large Folio; Mm. 430x280; Contemporary full calf binding; Complete with the 5 folding tables. Extremely important and complete first edition of Viete’s First book. A fundamental work on Mathematics and Trigonometry. Viète's work consists of all its parts: Canon mathematicus, Canonion triangulorum and Universalium inspectionum ad canonem mathematicum (with separate titles) giving the computational methods used in the construction of the canon and explaining the computation of plane and spherical triangles. Only 4 copies sold at auction in over 30 years. Norman, 2151; Adams V‐717 and V‐724; BM/STC French p. 439; Dibner, Heralds of Science, 105. Euro 160.000 6
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Booth No.8
FÖLDVÁRI BOOKS
Henszlmann Imre utca 3. Budapest, 1053. Hungary
+36 20 356 8888
[email protected] www.foldvaribooks.com
THE MOST IMPORTANT AND SPECTACULAR BOOK BY KASSÁK
KASSÁK, LAJOS
TISZTASÁG KÖNYVE. [BOOK OF PURITY.]
Budapest, 1926. Horizont. 115, (1) p., 4 plates.
First edition. In the original illustrated (black and red) cover.
Cover design and lay out by Lajos Kassák. One of the most important and spectacular books by
Kassák.
Published in Budapest, although Kassák still lived in Vienna as an émigré. This book could be
understood as a preparation of the author for the “homecoming” and for launching his modernist,
constructivist periodical the “Dokumentum” (Document). The book’s format and typography is similar
to the format of “MA” (Kassák’s periodical, published in Vienna), and also the content is akin to an art
review: poems, proses, essays, a manifesto of the modern art, and reproductions of Kassák’s
paintings, stage-designs, sculptures and advertisement.
A very important and scarce book of Kassák and the Hungarian Avant-garde.
3000 EURO
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Booth No.8
FÖLDVÁRI BOOKS
COVER BY WŁADYSŁAW STRZEMIŃSKI
PRZYBOŚ, JULIAN
OBURĄCZ. [WITH BOTH HANDS.]
Kraków, 1926. Zwrotnica (Zorza; Drukarnia Związkowa). (16) p.
First edition. In original typographically illustrated paper, designed by Władysław Strzemiński. Cover
artistically restored at edges, otherwise in fine condition.
Julian Przyboś (1901–1970) was the leading figure of “Awangarda Krakowska” the avant-garde
literary movement that began in Kraków 1922. It’s main organ was the periodical “Zwrotnica” (Switch)
that published this book too.
Władysław Strzemiński (1893–1952) was a Polish avant-garde painter, and an outstanding
typographer, well-known for his constructivist typographical designs.
9000 EURO
93
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FÖLDVÁRI BOOKS
PRODUCER’S COPY OF THE FILM SCRIPT
BURGESS, ANTHONY
A CLOCKWORK ORANGE. FIRST DRAFT SCREENPLAY BY -- FROM HIS NOVEL. (A MAX L.
RAAB – SI LITVINOFF PRODUCTION.)
(London, after 1966). Max L. Raab – Si Litvinoff Films Ltd. (1), 89 leaves.
In original orange cover. Title in ink on spine. Number 7 written in ink on cover. With Si Litvinoff’s
ownership signature on title page.
Si Litvinoff’s copy, who was the executive producer of the 1971 Stanley Kubrick movie.
Litvinoff optioned Burgess’ book “A Clockwork Orange” in 1966. The first version of the script was
written by Terry Southern, but Litvinoff commissioned a new screenplay by Anthony Burgess. This
version is mentioned in John Baxter’s book about Kubrick as a 300 pages screenplay but Litvinoff
explodes this myth in an interview, saying that “a British critic named Adrian Turner saw the Burgess
screenplay and it was more than 300 pages long. More nonsense. The Burgess screenplay, which I
have, is 89 pages long”.
An important and unique memorabilia of Kubrick’s legendary movie.
[Luke Ford’s interview with Si Litvinoff in 2002 (http://www.lukeford.net/profiles/profiles/
si_litvinoff.htm); McDougal, Stuart Y.: Stanley Kubrick’s A Clockwork Orange. Cambridge, New York,
2003. Cambridge University Press.; Baxter, John: Stanley Kubrick. A Biography. New York, 1997.
Caroll & Graf Publishers.]
15000 EURO
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FÖLDVÁRI BOOKS
PRESENTATION COPY TO THE “HUNGARIAN SOLZHENITSYN”
СОЛЖЕНИЦЫН, АЛЕКСАНДР [SOLZHENITSYN, ALEKSANDR]
ОДИН ДЕНЬ ИВАНА ДЕНИСОВИЧА. РОМАН-ГАЗЕТА. NO. 1 (277) 1963. [ONE DAY IN
THE LIFE OF IVAN DENISOVICH. ROMAN-GAZETA. NO. 1 (277) 1963.]
(Moscow 1963. Goslitizdat). 46, (2) p.
Presentation copy. First separate edition. In photographically illustrated cover. With a foreword by
Aleksandr Tvardovsky. Inscribed to the Hungarian Gulag survivor János Rózsás. With Rózsás’
collection stamp on title and last pages.
With the inscription “To dear János Rózsás, for his deep affection to Russian literature and to
commemorate our friendship. A. Solzhenitsyn. 4. 2. 63.”
János Rózsás (1926–2012) was a Hungarian author, known as the “Hungarian-Solzhenitsyn” (his
memoirs were published in 1986 in Germany), who as a young soldier was captured by the Red
Army in 1944 and sentenced to ten years in the Gulag. During his imprisonment in the early 50s, at
the camp in the town of Ekibastuz in Kazakhstan, he met with Solzhenitsyn at the library of the camp
and the two became lifelong friends.
Solzhenitsyn’s experiences at Ekibastuz formed the basis for “One Day in the Life of Ivan
Denisovich” which was first published in the late 1962 in Novy Mir. Rózsás was subscriber of the
literary magazine in Hungary, read the novel, and decided to write a letter to his friend in the Soviet
Union. With the response Solzhenitsyn sent this, inscribed copy of his novel. They were
corresponded until 1967, because of the censorship they ceased it until 1989.
6000 EURO
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Antiquariat INLIBRIS
Gilhofer Nfg. GmbH
Rathausstr. 19, VIENNA 1010 AUSTRIA
Tel. +43 1 409 619 00 Fax +43 1 409 619 09
E-mail: [email protected] (www.antiquariat.at)
KOTTE Autographs GmbH
Klösterle 2, ROSSHAUPTEN
87672 GERMANY
Tel. +49 8367 913227 Fax +49 8367 9139157
E-mail: [email protected]
(www.autographenhandlung.de)
Ludwig van Beethoven, composer (1770–1827). Autograph musical manuscript. No place,
[c. 1821]. 2 pp. on a single leaf (110 × 95 mm). Ink and pencil on paper.
€ 650,000
Beethoven pens his ideas for the Sanctus, Benedictus, and Gloria sections of the Missa Solemnis. The earliest
material, written on both sides in ink, is for the Sanctus and consists of modulatory material in D major in ¾
time – a notable difference from the finished work, which is in 2/4. Beethoven added the pencil portions of
the manuscript later – likely after he began carrying this page as a pocket leaf, as evidenced by the central fold
– with the passages on staves three through six on the front being part of the Gloria, and a section of the
Benedictus on the lower half of the reverse, identified in Beethoven’s own hand as “2te Theil Benedict.”
Unknown until 1996, this manuscript was discovered among the papers of Anton Schindler, Beethoven’s
private secretary and earliest biographer. Schindler added a few ink and pencil marginal notations, labelling the
piece along the bottom of the front (translated): “Sketch for the Sanctus of the Second Mass in ¾ meter.” He
also identifies the sketches on the reverse in the left border (translated): “Idea for the Benedictus of the
Second Mass.” The respected musicologist and Beethoven scholar William Kinderman describes this
sketchleaf as “a noteworthy source that documents the genesis of the Sanctus as well as aspects of the genesis
of the Benedictus and the Gloria.” This manuscript represents a stage in the development of the Missa
Solemnis where the opening section and tonal balance begin to resemble the completed composition, despite
the disparity in meter. A remarkable, once-in-a-lifetime piece: rarely does an item arise that offers such great
insight into the creative process of genius – essentially unmatched in magnificence, this Beethoven manuscript
is a true historical treasure. – In very good condition, with a central vertical fold, various edge chips and small
tears, and two small toned tape remnants to edges of the front. Provenance: Sotheby’s, London, December 5,
1996.
Johann Wolfgang von Goethe, German poet (1749–1832). Letter signed. Weimar, 6 Feb.
1817. Folio. 1 p. on bifolium. With address.
€ 6,500
To the German actor and singer Anton Genast (1765–1831), releasing him from his duties as actor and
director at the Court Theatre at Weimar, and assuring him of his pension entitlements. – Counter-signed by
Franz Kirms (1750–1826, Goethe’s most valuable assistant in the Directorate), Minister of State Albert Cajetan
von Ebling (1772–1841), and Goethe’s son Julius August Walther von Goethe. – Multiply folded and slightly
foxed. – Small tear due to breaking seal (touching signature). An important document for the history of
Weimarian and German theatre.
Lenin (Vladimir Ilyich Ulyanov), Marxist thinker, founder of the Soviet Union (1870–1924).
Autograph document signed (as “Membre du Bureau S. Int. Lénine”). Copenhagen, 30 Aug.
1910. 4to. 1 p. On headed paper “Internat. Socialist Kongres 1910”.
€ 180,000
“Je certifie par la présente que le camarade Pokrovsky est désigné par le groupe parlementaire socialdémocrate
de la troisième Douma comme delegué au Bureau Socialiste international”. – Bolshevik Russian historian
Mikhail Nikolayevich Pokrovsky (1868–1932) was head of the Institute of Red Professors from 1921 to 1931.
In 1929, he was elected to the Soviet Academy of Sciences. Pokrovsky played a major role in the destruction of
the non-Marxist historical tradition in Russia.
Karl Marx, philosopher and economist (1818–1883). Autograph manuscript. [Bruxelles, April–
July 1845, with additional notes London 1861/63]. Oblong 4to (205 × 155 mm). Ink and pencil
on paper. 49 pp., mostly written in two columns on both sides, on 27 ff. Sewn. In custom-made
giltstamped morocco clamshell case with moirée silk lining.
€ 2,500,000
The long-lost “Fourth Brussels Notebook”: a substantive manuscript, mainly in French, written during the
highly productive spring of 1845, when Marx in his Brussels exile embarked on the preliminary studies for his
“Kritik der politischen Ökonomie” and the “Kapital”. Nearly two decades later, while preparing the “Kapital”
manuscript, Marx added ten pages of calculations and mathematical notes: like most of the excerpts in the
earlier portions of the volume, they would be included to a large extent in his magnum opus. One of the last
great Marx manuscripts in private hands and the most extensive specimen to appear in the trade for 80 years.
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Extraordinarily important autograph sketchleaf for Beethoven’s “Missa Solemnis”
Preliminary studies for “Das Kapital”: the most important Marx manuscript in private hands
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The unifying theme of this excerpt book based on French and British economists is clearly that of money,
trade, and credit, as well as the concept and role of capital. “Indeed, Marx was not only interested in abstract,
theoretical notions, but also in specific information as to various countries. Material about France he found in
Dupré de Saint Maur, about the Netherlands in De Pinto, about Russia especially in Storch” (cf. MEGA IV/3,
p. 463). His attention was focused on “the basic concerns of classical political economy: the nature of wealth
and its sources, the role of work, the nature of value and its relation to price, the role of money etc.” Marx’s
desire to “acquire as extensive a knowledge as possible” is evident (p. 461). The notebook links up with a
slightly earlier, similar volume in which Marx had collected excerpts, ending with extracts from the GermanBaltic economist Heinrich von Storch. The present ms. begins with excerpts from Storch’s “Cours d’économie
politique” (Paris 1824 f.), namely from the “Considérations sur la nature de revenu national” and from the final
volume. These are followed by brief extracts from Dupré de St. Maur’s “Essai sur les monnoies” (Paris 1746).
After this, he prepared extensive extracts from Isaac de Pinto’s “Traité de la circulation et du credit”
(Amsterdam 1771) – an influential work that endorsed public debt, division of labour, the issue of bank notes,
and stock exchange trading. The “Traité” included several additional, shorter works, and Marx prepared
extracts of varying length from all of them. He would quote from these in several of his own works, including
the first volume of the “Kapital”. These passages are followed by similarly extensive extracts from Josiah
Child’s “Traites sur le commerce” (Berlin 1754, a French translation of the 1693 “New Discourse About
Trade”). This work, widely read until well into the second half of the 18th century, argued for low interest rates
and for strengthening the balance of foreign trade. Marx made excerpts from the entire work and used them in
the third book of his “Kapital”. He occasionally interrupts these excerpts to include short notes of his own –
comments that explain the reason for including each text and that are invaluable for understanding Marx’s
creative method. Ten additional pages contain mathematical calculations probably penned during the years
1861/63 while Marx was working on the “Kapital” manuscript and which relate to the rates of surplus value
and profit (second book). Some, however, refer to the 1850s housekeeping costs of the Marx family and thus
are of biographical interest. – The year 1845 also marks the beginning of the collaboration between Marx and
Engels. The Brussels years produced groundbreaking works such as “Thesen über Feuerbach” and “Die
deutsche Ideologie”. While not published until much later, they first formulated central elements of historical
materialism. Brussels is also the place where principal parts of the “Communist Manifesto” were drafted. –
First 3 ff. loose with slight edge damage (no loss to text); generally tightly bound with insignificant edge defects
and without any loss to text. Compared with the original condition which still prevailed in the 1920s, the final
3 ff. are missing: these contained extracts from Benjamin Bell’s “De la disette” (Geneva 1804, not used by
Marx in his own publications or manuscripts) as well as a few calculations, all probably penned somewhat later.
Of these leaves, the final and third-last leaf are today kept at the Moscow RC (Rossijskij centr chranenija i
izucenija dokumentov novejsej istorii; Russian Centre for the Preservation and Study of Documents of Recent
History); the penultimate leaf is considered lost. – Provenance: In American private collection since 1990;
directly acquired from the collector in 2012.
¶ MEGA IV/3 (Berlin 1998), pp. 273–321 and 690–712 (based on a 1920s photocopy).
Giacomo Puccini, composer (1858–1924). 21 autograph letters, lettercards and postcards3),
mostly signed. Various places, 1921 and 1922. 4to and 8vo. 37 pp. altogether.
€ 58,000
Very comprehensive collection of private letters written to his last love, Rose Ader (1890–1955). “Between
1921 and 1923, Puccini enjoyed what was likely his last romantic fling when he fell passionately in love with a
young German soprano, Rose Ader, for whom he created the part of Liù in his final work, ‘Turandot’” (The
New Grove Dictionary). “My good and sweet Rosa”, Puccini wrote on April 17, 1921, on one of his earliest
letters to Rose, “I am deeply moved as I write you. I would wish to be able to tell you what I have in my heart
– if only you could understand! Besides the distance which separates us there is the matter of the language
which prevents us from saying all that we have in our hearts – what good fortune that I should have met you
and what misfortune not to be able to speak together! I would have such riches in expression with which to
express my great love! A love which will be with me all my life – you cannot imagine what an impression you
made on me! Your languid eyes which when they looked at me strike my heart as though to seek an echo of an
immense affection. I shall never be able to forge you – my Rosa what will happen to me. How can I bear being
so far away. Yet it is necessary to suffer and to wait. Life is all one waiting and one suffering! Study, study, I
beg you on my knees. Study with ardor and feverishly a little of my language. I believe that guided by the love
that you have for me you will soon succeed in understanding me. That day will be one of the most beautiful
ones of our life. Write to me even in German. I shall have your letter translated. If with the help of Mrs. S...
you wish to write in French I shall not let the eyes of a stranger see your letter. I shall write you every week and
even more often than that. How clearly I write! Never have I written in this manner – for you, my joy, I do
everything [...]” (transl. from the Italian original). – Accompanied by 3 telegrams.
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On philosophy and natural science:
the most extensive Schopenhauer manuscript to appear on the market for over a decade
Arthur Schopenhauer, philosopher (1788–1860). Autograph manuscript. No place or date.
Folio. 12 pp. on 3 bifolia, numbered 140–142.
€ 225,000
The ms. discusses cosmogony and the movement of the planets, mentioning the contributions made by
Immanuel Kant and especially Laplace, as well as Keplers’ Laws, then expanding these considerations to the
level of metaphysics. The working manuscript for vol. 2, chapter 6 (“Zur Philosophie und Wissenschaft der
Natur”) of Schopenhauer’s collection of philosophical reflections, “Parerga und Paralipomena” (“Appendices
and Omissions”) – the philosopher’s final work, published in 1851. The “Paralipomena” volume, from which
this is taken, contains short ruminations arranged by topic under 31 subheadings. In view of the less-thanenthusiastic reception of the philosopher’s earlier publications, publishers were reluctant to commit to this
work; it was only after significant difficulty (and through the persuasion of the philosopher’s disciple Julius
Frauenstädt) that Hayn of Berlin consented to publish the two volumes in a print run of 750 copies – with a
honorarium of only ten copies for the author. The subject matter and stylistic arrangement of the
“Paralipomena” were significant influences on the work of philosopher and psychologist Paul Ree, and
through him most notably on the philosopher Friedrich Nietzsche, whose later work explores – following
Schopenhauer – the relation of man to himself, the universe, the state, and women through the art of
aphorism. – In the present ms. Schopenhauer writes: “The truth of cosmogony, however, is based not only on
the space-relationship upon which Laplace insisted, namely, that 45 celestial bodies circle in a uniform
direction and at the same time rotate likewise; more firmly still is it rooted in the time-relationship, expressed
by the first and third Law of Kepler [...] These thoughts on cosmogony give rise to two metaphysical
reflections [...] Even such a far-reaching physical explanation of the world’s creation can never satisfy the
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desire for a metaphysical one, or indeed take its place. On the contrary! The closer you come to tracking down
a phenomenon, the more clearly it appears that it is precisely that: a mere phenomenon, an apparition, and not
at all the essence of the thing in itself [...]” (transl.). – The present text begins with the final paragraph of § 85.
It corresponds with the printed text in the Sämtliche Werke, ed. by A. Hübscher, vol. 6, p. 142, line 4 up to
p. 150, line 19, with the exception of two sections not yet present in this draft (p. 146, lines 11–16, and p. 146,
line 32–p. 147, line 7). Most of the parts which Schopenhauer deleted are published in vol. 7, pp. 138–130 and
p. 138. – Slight edge damage. Provenance: On loan to the Dresden State Library until 1945; later in a foreign
private collection. Sold at Stargardt’s auction on Oct. 4, 1989. Schopenhauer manuscripts are of the utmost
rarity: auction records since 1975 list only five other autograph manuscripts, only one of which was of
comparable length.
A complete composition signed in full
Franz Schubert, composer (1797–1828). [Waltz in G major, D. 844]. Autograph musical
manuscript signed (“Franz Schubert mpria”). No place, 16 April 1825. 1 p. Oblong 8vo (108 ×
181 mm).
€ 185,000
The complete Waltz in G Major for piano (D. 844, “Albumblatt”): 17 bars for piano, written in the album of
Miss Anna Hönig, later Mrs. Mayerhofer von Grünbühel (in which same album the painter Moritz von
Schwind, Schubert’s friend, penned another piece on August 7, 1827). – In pristine condition; accompanied by
a fine engraving of the composer. Provenance: Xaver Mayerhofer von Grünbühel, Völkermarkt (Carinthia);
Colonel Hauger, Grünbühel; later in the collection of Gustav Mahler, who presented it to Rudolf F. Kallir.
While the present original was considered lost by Deutsch, a photocopy is kept at the SPK Berlin (N. Mus.
Nachl. 10,126. Brown, Ms. 57), and the Nachlass of Ludwig von Köchel is known to have contained a nowlost manuscript copy which at one time was kept in the archive of the Gesellschaft der Musikfreude, Vienna. –
While autograph manuscript music by Schubert taken from the composer’s sketchbooks does occasionally
appear at auction, complete compositions signed in full are virtually non-existent.
¶ Deutsch 844 (“verschollen”). NGA VII/2, 6. First published: Alte Gesamtausgabe (1897) XXI, 31;
published again: Max Friedlaender, Funde und Forschungen. Eine Festgabe für Julius Wahle zum 15. Februar
1921 (Leipzig 1921), p. 11f. Reproduced in: R. F. Kallir, Autographensammler – lebenslänglich (Zürich 1977),
p. 111 (illustration).
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The birth of modern anatomy
Andreas Vesalius. De humani corporis fabrica libri septem. Basel, (Johannes Oporinus, June
1543). Folio (428 × 282 mm). Woodcut title-page depicting a lecture hall with the dissection of
a corpse, woodcut portrait of Vesalius (aged 28) with a dissected arm on *6v, woodcut initials
(depicting cherubs conducting dissections or robbing graves), woodcut illustrations (some fullpage), woodcut and letterpress double-sided folding plate at m3, with another sheet signed m3,
woodcut and letterpress folding plate at p4, woodcut printer’s device on final verso. Early 18thc. speckled calf with contemp. marbled pastedowns and later endpapers, spine with raised
bands marked by double gilt fillets, red morocco lettering-piece, edges speckled but retaining
contemporary title lettered on foot of text-block. Modern slipcase.
€ 350,000
First edition of the most famous anatomical work ever published. – With the publication of “De humani
corporis fabrica” (when he was only twenty-eight) Vesalius revolutionised both the science of anatomy and
how it was taught. In his preface, he describes his disappointing experiences as a student in Paris and Louvain,
stating his intention to reform the teaching of anatomy by giving in this book a complete description of the
structure of the human body and thereby drawing attention “to the falsity of Galen’s pronouncements”.
Vesalius also broke with tradition by performing dissections himself instead of leaving this task to assistants:
the striking and dramatic title-page illustration shows him conducting such a dissection, his hand plunged into
a female cadaver (striking in itself, as only the cadavers of executed criminals could be legally dissected and
female criminals were rarely executed), surrounded by a seething mass of students. – The “Fabrica” is also
revolutionary for “its unprecedented blending of scientific exposition, art and typography” (Norman). Vesalius
took great care with every aspect of his book: his letter to Joannes Oporinus, reproduced in the prefatory
matter (*5r–v), discusses the layout of the book, the system of reference between text and image, and the
delivery of the woodcut blocks. The numerous and elegant illustrations, including the title-page and the
frequently disarming woodcut initials, were entrusted to Jan Stephan van Calcar (1499–1546), a student of
Titian who had also worked on Vesalius’s “Tabulae anatomicae sex” of 1537/38. The beauty and accuracy of
these woodcuts led to frequent piracy, despite Vesalius’s attempts to protect his work with various privileges
(as stated at the foot of the title-page). – B2–5 and B3–4 transposed. Light dampstaining to upper corner of
textblock. Title-page very slightly soiled with a few small holes (one affecting image) and laid down; a few
small marginal paper repairs (that on Q5 touching image but without loss). A few small abrasions and repairs
on lower cover; extremities repaired; small tear to head of spine. A tall copy.
¶ PMM 71. VD 16, V 910. Cushing VI.A.1. Eimas 281. Norman 2137. Wellcome 6560. Graesse VI, 288.
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