VALVERDE de Hamusco, Juan. Anatomia del corpo humano. Translated by Antonio Tabo. Rome: printed in Venice by Niccolo Bevilacqua for Antonio Salamanca and Antoine Lafréry 1560. 2° (305 x 205mm). Engraved title and 42 full-page engraved illustrations, 5 small marginal woodcuts. (Title repaired at lower and at inner margins, M2 holed with loss, some old dampstaining.) Old vellum over pasteboard (spine and upper joint slightly torn, bowed). Provenance : unidentified ?cardinal (title stamped in red with early ecclesistical armorial). FIRST EDITION of the Italian translation. Second issue, with the date on the title changed from 1559 to 1560. "The design of the title-page and the illustrations is attributed to Gaspar Becerra The copperplates are engraved by Nicolas Beatrizet" (Mortimer). Valverde was keen to issue an Italian translation of his work to prove to a wider audience that the text was his own and not merely a version of that of Vesalius: his justification for using copies (engraved, reduced and reversed versions) of Vesalius' woodcuts was that enabled him to more clearly demonstrate the differences in their two theories. Mortimer Italian 513; Brunet V.1068; Durling 4532.
VALVERDE de Hamusco, Juan. Anatomia del corpo humano. Translated by Antonio Tabo. Rome: printed in Venice by Niccolo Bevilacqua for Antonio Salamanca and Antoine Lafréry 1560. 2° (305 x 205mm). Engraved title and 42 full-page engraved illustrations, 5 small marginal woodcuts. (Title repaired at lower and at inner margins, M2 holed with loss, some old dampstaining.) Old vellum over pasteboard (spine and upper joint slightly torn, bowed). Provenance : unidentified ?cardinal (title stamped in red with early ecclesistical armorial). FIRST EDITION of the Italian translation. Second issue, with the date on the title changed from 1559 to 1560. "The design of the title-page and the illustrations is attributed to Gaspar Becerra The copperplates are engraved by Nicolas Beatrizet" (Mortimer). Valverde was keen to issue an Italian translation of his work to prove to a wider audience that the text was his own and not merely a version of that of Vesalius: his justification for using copies (engraved, reduced and reversed versions) of Vesalius' woodcuts was that enabled him to more clearly demonstrate the differences in their two theories. Mortimer Italian 513; Brunet V.1068; Durling 4532.
.jpg "Quelle: Christie's")
.jpg "Quelle: Christie's")
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.jpg "Quelle: Christie's")
