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Medical and Scientific Library of W. Bruce Fye Part IV / BIDLOO, GOVARD 1649-1713. Anatomia humani corporis, centum et quinque tabulis per artificiosiss. Amsterdam for the widow of Joannes van Someren, the heirs of Joannes van Dyk, Henry Boom and widow of Theodore Boom, 1685.

LOT 1028
BIDLOO, GOVARD 1649-1713.
Anatomia humani corporis, centum et quinque tabulis per artificiosiss. Amsterdam: for the widow of Joannes van Someren, the heirs of Joannes van Dyk, Henry Boom and widow of Theodore Boom, 1685.
20 – 29 June 2022, 12:00 EDT
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BIDLOO, GOVARD 1649-1713.

Anatomia humani corporis, centum et quinque tabulis per artificiosiss. Amsterdam: for the widow of Joannes van Someren, the heirs of Joannes van Dyk, Henry Boom and widow of Theodore Boom, 1685.
Folio (507 x 355 mm). Extra engraved title page, portrait, and 105 plates. Contemporary blindstamped pigskin. Head and tail of spine chipped, hinges cracked, some paper repairs, some tears to plates.

FIRST EDITION. "The value of Bidloo's Anatomia lies chiefly in the 105 fine copperplate engravings drawn by G. de Lairesse" (Garrison-Morton-Norman 385). "Anatomic illustration reached a high point of perfection in the striking plates in such works as Govert Bidloo's Anatomia" (Garrison, 1929, 250). "The plates that illustrate Bidloo's Anatomia are original in pattern and are artistic in design. The Vesalian era was one in which each new author attempted to outdo its founder in accuracy and beauty of illustration. Bidloo attempts originality by introducing a new style in the pattern of his plates, and he chooses for his collaborator an artist with outstanding ability. This atlas of anatomy is a fine book and has hardly received the attention that it deserves" (Beekman, AMH ns 7:113, 1935). "Bidloo's chief work was his anatomical atlas. The first large scale anatomical atlas since Vesalius' De Humani Corporis Fabrica (1543)" (DSB 15:28). "For Lairesse, the anatomical illustrations Bidloo asked him to undertake were an occasion for an artistic meditation on anatomy: he displayed his figures in an emotional, almost tender manner, contrasting the raw dissected parts with the full, soft surfaces of uncut flesh, placing flayed, bound figures in ordinary nightclothes or bedding, setting ordinary household objects such as books, jars, or cabinets in the same scene as cut-up torsos or limbs. His illustrations brought the qualities of Dutch still-life painting into anatomical illustration, and gave a new, darker spiritual expression to the significance of the act of dissection" (Norman 231). Roberts and Tomlinson, The Fabric of the Body, pp 308-319.

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