VICQ D'AZYR, Félix (1748-1794). Traité d'anatomie et de physiologie, avec des planches coloriées représentant au naturel les divers organes de l'homme et des animaux... Tome premier [all published]. Paris: François Ambroise Didot l'aîné, 1786.
VICQ D'AZYR, Félix (1748-1794). Traité d'anatomie et de physiologie, avec des planches coloriées représentant au naturel les divers organes de l'homme et des animaux... Tome premier [all published]. Paris: François Ambroise Didot l'aîné, 1786. Large 2 o (477 x 312 mm). Half-title, allegorical aquatint frontispiece, printed in color and finished by hand, engraved explanation leaf by Beaublé, typographic dedication leaf to Louis XVI, "Discours sur l'anatomie en générale" (pp. [1]-54), "Vocabulaire anatomique, augmenté d'un grand nombre de termes nouveaux" (pp. [55]-123), "Explication des planches" (pp. [1]-111, with 5 divisional titles of which numbers 1, 2 and 5 not included in the pagination). 69 plates, numbered 1-35, consisting of 34 number-keyed line engravings and 34 aquatints, some with stipple engraving, printed in two or more colors, and representing the same figures as the line engravings but printed from different plates, plus a single line-engraved plate (18) copied from Soemmering, De basi encephali (Göttingen 1778), the frontispiece and plates by and after Angélique Briceau. (Slight marginal dampstaining to frontispiece and to last few plates, some light mostly marginal discoloration, occasional minor marginal tears or repairs.) Modern half red morocco antique, spine gilt, by Bernard Middleton (free endpapers creased). Provenance : illegible purple ink-stamped signature on half-title; Haskell F. Norman (his sale part II, Christie's New York, 16 June 1998, lot 840). FIRST EDITION of "the most accurate neuroanatomical work produced before the advent of microscopic staining techniques" (Garrison-Morton). Vicq d'Azyr, permanent secretary to the Société Royale de Médecine and personal physician to Marie-Antoinette, was a skilled comparative anatomist, eminent veterinarian, and prolific writer of medical articles and treatises, those on comparative anatomy and public health being of the most lasting importance. The interest of the present work, projected as a multi-volume study of human anatomy and physiology but never finished, lies in its intelligent utilization of the new print-making technique of aquatint for the purpose of accurate anatomical illustration. "These coloured aquatints may be seen as remarkable examples of sophisticated intaglio technique, giving the impression of painting in water-colours. Most were printed using pale-coloured inks, with additional colour added by hand. Vic d'Azyr's artist and engraver was Angélique Briceau, leter to become Mme. A. Allais" (Roberts & Tomlinson p. 531). Vicq d'Azyr's principal original contributions to the understanding of human anatomy lay in his studies of the brain, the subject of this first volume. He developed a technique of brain dissection using the hardening effect of alcohol, which avoided damage to the delicate surfaces (fixatives such as formalin having not yet been developed). "Like Steno before him, Vicq d'Azyr attached great importance to the structure of the fibers in the white matter of the brain... He also described the mammillothalamic bundle and Reil's ribbon. Rejecting the views of Malpighi and Vieussens, who attributed no functional importance to the cerebral cortex, Vicq d'Azyr attempted to systematize its complex morphology. In particular he isolated the convolution of the corpus callosum, the cuneus, and the sulcus separating the frontal lobe from the parietal, later described by Rolando (1829)" ( DSB ). One of his principal concerns was the absence of a standard nomenclature for the cerebral convolutions, a problem that he attempted to remedy in the present work, which contains the entire corpus of his work on the brain. Vicq d'Azyr had commenced publication of the work in parts, undoubtedly at his own expense. The Revolution prevented its completion, and, since the instructions for binding the work were probably never issued, copies differ in the order in which they are bound. COMPLETE COPIES ARE RARE. Anatomie de la Couleur 123; Brunet V, 1
VICQ D'AZYR, Félix (1748-1794). Traité d'anatomie et de physiologie, avec des planches coloriées représentant au naturel les divers organes de l'homme et des animaux... Tome premier [all published]. Paris: François Ambroise Didot l'aîné, 1786.
VICQ D'AZYR, Félix (1748-1794). Traité d'anatomie et de physiologie, avec des planches coloriées représentant au naturel les divers organes de l'homme et des animaux... Tome premier [all published]. Paris: François Ambroise Didot l'aîné, 1786. Large 2 o (477 x 312 mm). Half-title, allegorical aquatint frontispiece, printed in color and finished by hand, engraved explanation leaf by Beaublé, typographic dedication leaf to Louis XVI, "Discours sur l'anatomie en générale" (pp. [1]-54), "Vocabulaire anatomique, augmenté d'un grand nombre de termes nouveaux" (pp. [55]-123), "Explication des planches" (pp. [1]-111, with 5 divisional titles of which numbers 1, 2 and 5 not included in the pagination). 69 plates, numbered 1-35, consisting of 34 number-keyed line engravings and 34 aquatints, some with stipple engraving, printed in two or more colors, and representing the same figures as the line engravings but printed from different plates, plus a single line-engraved plate (18) copied from Soemmering, De basi encephali (Göttingen 1778), the frontispiece and plates by and after Angélique Briceau. (Slight marginal dampstaining to frontispiece and to last few plates, some light mostly marginal discoloration, occasional minor marginal tears or repairs.) Modern half red morocco antique, spine gilt, by Bernard Middleton (free endpapers creased). Provenance : illegible purple ink-stamped signature on half-title; Haskell F. Norman (his sale part II, Christie's New York, 16 June 1998, lot 840). FIRST EDITION of "the most accurate neuroanatomical work produced before the advent of microscopic staining techniques" (Garrison-Morton). Vicq d'Azyr, permanent secretary to the Société Royale de Médecine and personal physician to Marie-Antoinette, was a skilled comparative anatomist, eminent veterinarian, and prolific writer of medical articles and treatises, those on comparative anatomy and public health being of the most lasting importance. The interest of the present work, projected as a multi-volume study of human anatomy and physiology but never finished, lies in its intelligent utilization of the new print-making technique of aquatint for the purpose of accurate anatomical illustration. "These coloured aquatints may be seen as remarkable examples of sophisticated intaglio technique, giving the impression of painting in water-colours. Most were printed using pale-coloured inks, with additional colour added by hand. Vic d'Azyr's artist and engraver was Angélique Briceau, leter to become Mme. A. Allais" (Roberts & Tomlinson p. 531). Vicq d'Azyr's principal original contributions to the understanding of human anatomy lay in his studies of the brain, the subject of this first volume. He developed a technique of brain dissection using the hardening effect of alcohol, which avoided damage to the delicate surfaces (fixatives such as formalin having not yet been developed). "Like Steno before him, Vicq d'Azyr attached great importance to the structure of the fibers in the white matter of the brain... He also described the mammillothalamic bundle and Reil's ribbon. Rejecting the views of Malpighi and Vieussens, who attributed no functional importance to the cerebral cortex, Vicq d'Azyr attempted to systematize its complex morphology. In particular he isolated the convolution of the corpus callosum, the cuneus, and the sulcus separating the frontal lobe from the parietal, later described by Rolando (1829)" ( DSB ). One of his principal concerns was the absence of a standard nomenclature for the cerebral convolutions, a problem that he attempted to remedy in the present work, which contains the entire corpus of his work on the brain. Vicq d'Azyr had commenced publication of the work in parts, undoubtedly at his own expense. The Revolution prevented its completion, and, since the instructions for binding the work were probably never issued, copies differ in the order in which they are bound. COMPLETE COPIES ARE RARE. Anatomie de la Couleur 123; Brunet V, 1
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