ESTIENNE, Charles (1504-c.1564) - фото 1
ESTIENNE, Charles (1504-c.1564) - фото 2
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ESTIENNE, Charles (1504-c.1564)

Лот 151
10.12.2025 12:00UTC +00:00
Classic
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CHRISTIE'S
AuctioneerCHRISTIE'S
Место проведенияВеликобритания, London
Комиссияsee on Website%
ID 1514504
Лот 151 | ESTIENNE, Charles (1504-c.1564)
Оценочная стоимость
£ 15 000 – 20 000
ESTIENNE, Charles (1504-c.1564)
De dissectione partium corporis humani libri tres, à Carlo Stephano, doctore Medico, editi. Unà cum figuris, & incisionum declarationibus, à Stephano Riverio chirurgo compositis. Paris: Simon de Colines, 1545.
First edition of the finest anatomical work of the French Renaissance: a tall, crisp copy. Charles Estienne, third son of the printer Henri I Estienne, studied botany, horticulture, and classical philology before concentrating exclusively on medicine. From 1544 to 1547 he held the post of lecturer in anatomy at the Faculté de médecine in Paris; during this same period his stepfather Simon de Colines carried out the printing of both the Latin and French editions of this anatomy, his major scientific work. Estienne was later obliged to give up his medical practice in order to manage the family printing business, but he continued to edit and compile scientific texts in such diverse areas as diet, zoology, philology, and rural economy.

Although published after Vesalius's Fabrica, the preparation of De dissectione was undertaken no later than 1530, the earliest date to appear on one of the woodcuts, and in 1536 a formal publication contract was drawn up between Estienne, still a medical student at the time, his stepfather de Colines, and the barber-surgeon Etienne de la Riviere, who agreed to supply the 'portraits' of bones, ligaments and other anatomical details, as well as the depictions of dissections. The bulk of the work was completed by 1539, when printing was interrupted by a lawsuit brought by de la Riviere, who accused Estienne of plagiarizing one of his manuscripts and of claiming exclusive credit for the work. The dispute dragged on for six years, during which time Vesalius published the first edition of the Fabrica, until it was finally resolved by a special commission of doctors and surgeons appointed by the Parlement, resulting in a parliamentary judgement in March 1545 ordering Estienne to include de la Riviere's name on the title, and obliging the latter to hand over the remainder of the outstanding illustrations and reimburse Estienne for the expenses incurred by the litigation.

This delay in publication was significant, for it permanently obscured the importance of Estienne's work. Not only was his treatise the first printed book to illustrate in its entirety the external venous and nervous systems, but it reaffirmed before Vesalius the empirical principle formulated by Berengario of the necessity of basing the study of anatomy on the physician's observations of his own dissections. It was in fact the 'first work to show detailed illustrations of dissection in serial progression, the first to discuss and illustrate the whole human body, the first to publish instructions on how to mount a skeleton, and the first to set the anatomical figures in a fully developed panoramic landscape, a tradition begun by Berengario da Carpi in his Commentaria' (Norman p. 262). The fact that most of the illustrations seem to have been completed by the mid-1530s supports the view that Vesalius was influenced by Estienne's work, which he would have seen during his stay in Paris in 1533-36 (cf. Herrlinger p. 87).

Other original contributions of De dissectione, not featured in the Fabrica, include descriptions of the morphology and function of the 'feeding holes' of bones, the three-part composition of the sternum, and the most detailed early illustrations of brain dissections. The illustrations include a group of 38 cuts in books II and III in which the anatomical depictions of the internal organs are printed from separate pieces inserted into the larger blocks showing male or female figures. The sensual nature of the poses of the female figures in Book III has led to the speculation that the blocks may have been copied from a series of erotic engravings by Gian Giacomo Caraglio after drawings by Perino del Vaga, while the male figures in Book II, showing corpses reclining against trees and masonry, may be based on a series of unpublished drawings by Giovanni Battista Rosso. The insets are believed to be the work of Etienne de la Riviere. Adams S-1725; Choulant-Frank pp. 152-155; Garrison-Morton 378; Renouard Colines pp. 409-410; Schreiber Colines 222 and pp. xxxiv-xxxvi; Stillwell Science 626; Wellcome 6076; Norman 728.

Large folio (360 x 247 mm). Roman type, side-notes and index in italic. Printer's woodcut device (Schreiber's 'Tempus I') on title. 62 full-page woodcut illustrations printed from 56 blocks, one signed S.R. (Stephanus Riverius), 7 others signed by Jean Jollat, either with his name or with his Mercury symbol, a few dated 1530, 1531 or 1532, 4 of these plus one other cut signed with the Lorraine cross and cut by the Tory master (Jacquemin Woeiriot?), 101 small woodcut diagrams in the text (including repeats). 9-, 6- and 3-line white-on-black criblé initials, a few 3-line woodcut initials, a few early annotations (title somewhat stained, other occasional stains, marks or dampstaining, M6 with repaired blank marginal tear). 18th-century calf (rebacked and corners repaired, upper cover detached, lower joint split, rubbed and marked, later endpapers). Provenance: Charles Gillot (doctor at Paris, 1749, inscription on title) – Alberto Morelli (signature on title) – Albert John Chalmers (British colonial physician and pioneer in tropical medicine research, 1870-1920; gift inscription ‘To Dr Albert J. Chalmers in token of the deepest gratitude L. W. [?Camber]’; bookplate recording bequest from Mrs Chalmers in the year of his death, to:) – Royal Society of Medicine (ink stamps on title).
Место происхождения:Западная Европа, Франция, Европа
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