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                <text>An anatomist meditates on the corpse of a beautiful young woman, laid out on a table next to his desk</text>
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                <text>"A print after a painting by Gabriel von Max of 1869, painted in Munich and subsequently in the Neue Pinakothek/Bayerische Staatsgemäldesammlungen in Munich. An anatomist meditates, chin in hand, the body of a young, beautiful woman, pulling back the cloth that covers her body in order to gaze upon her. On the desk beside him are open books, a lamp, and human and animal skulls. As well as being tools of study they function as symbols of "vanitas", as does the moth that has alighted next to the cadaver. For similar scenes of meditation on female beauty and apparent life in death, see this catalogue, nos 25532i and 25570i"</text>
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                <text>Lithograph by F. Hanfstaengl after G. C. von Max, 1869.&#13;
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&#13;
&#13;
The name of the artist appears twice. His signature is at the lower right of the image and his name is printed at the lower left of the sheet, below the image&#13;
&#13;
Lettering&#13;
The anatomist ; G. Max 1869 ; Gabriel Max pinx. ; Gravure Hanfstaengl</text>
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                <text>Wellcome&#13;
https://wellcomecollection.org/works/ur55wd86</text>
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                <text>G. Wolf-Heidegger and A. M. Cetto, Die anatomische sektion in bildlicher Darstellung, Basel and New York 1967, no. 88, pp. 182-183</text>
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                <text>An anatomist, "Mr Le Professeur C...", dissecting a cadaver laid out on a trestle table, while a seated man looks on</text>
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                <text>"An anatomist, identified by an inscription below the etching only as "Mr Le Professeur C....", stands by a cadaver on a trestle table. He is wearing an apron and a top hat and holds a scalpel. In front of a door behind him sits a man, probably an assistant, who is also wearing an apron. From the table two buckets are suspended, in easy reach for the disposal of dissection waste. Between the legs of the cadaver is another waste receptacle, a transparent bowl"</text>
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                <text>1 print : etching ; image 23.4 x 16.1 cm&#13;
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                <text>Rousseau, Jean-Jacques, 1861-1911.</text>
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                <text>Wellcome&#13;
https://wellcomecollection.org/works/rnn7ekx2</text>
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                <text>1889</text>
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&#13;
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&#13;
STC 1358&#13;
Copy 1 Note: Also reprinted with separate t.p. and pagination in his Works. 1633. Lacks preliminary pages?&#13;
Copy 1 Manuscript book-label of John, 11th Earl of Westmoreland&#13;
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                <text>London : Imprinted by Thomas Orwin for Thomas Man, 1589.&#13;
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                <text>An audience of people throwing handkerchiefs (containing money?) onto a stage where an itinerant medicine vendor has been successfully selling his wares.</text>
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                <text>(people actually throwing their gloves, not handkerchiefs)</text>
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                <text>Lettering continues: "T is geen diogenes die hier staatvoor syn ton, die gemelyke vent, die gisper van de zeden, die gek, die metsyn bek geen enkele stuyver won, 't is Tiatjeron, messieurs, begaast met taal en reden, die salf en oly venten vrolyk lagt en liegt, en nimand als die wil bedrogen syn bedriegt, en menig schellinkjen ontsangt voor zulke prulle, en die weer ligt ver bruyt met pronken en met smullen."&#13;
&#13;
1 print : line engraving and etching ; image 24.6 x 16.8 cm&#13;
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https://wellcomecollection.org/works/hxnfcpqz</text>
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                <text>An elderly anatomist contemplates the heart that he has excised from the corpse of a beautiful, young woman</text>
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                <text>"This photogravure is after an oil painting, now in the Museo de Belles Artes in Malaga, Spain, painted by the Spanish artist Enrique Simonet y Lombardo, while he was in Rome, in 1890. Its original title is ¡Y tenía corazón!, or "She had a heart". An elderly anatomist is shown holding the heart of the corpse of a beautiful, young woman which is laid out, half-draped, on a table before him, bathed in light entering through the window on the facing wall. In his right hand he holds the blood-stained scalpel which he has used to remove the heart. On the wall behind him, next to the lantern, is the lower half of a crucifixion - an indication that the scene takes place in a hospital under religious administration. On the window ledge are arranged distillation bottles and on a table in the right foreground are two scalpels, a large sponge and a bowl. The theme of the contemplation of death, the apparently living corpse, and youthful, feminine beauty is also the subject of catalogue nos 25532 and 25570. For another example of this print, see catalogue no. 25615"</text>
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                <text>lettering: L'anatomie du coeur ; E. Simonet Rom&lt;a '90&gt; ; E. Simonet pinx. ; Rud. Schuster, Heliogr. The artist's name appears twice: signature and date at the lower left of the image on the wooden stretcher; at the lower left of the sheet, below the image&#13;
&#13;
1 print : photogravure ; image 31 x 54 cm&#13;
&#13;
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                <text>Photogravure by R. Schuster, 1907, after a painting by E. Simonet (1864-1927), 1890</text>
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                <text>Wellcome&#13;
https://wellcomecollection.org/works/vd38basb</text>
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                <text>Berlin : Rud. Schuster, 1906.&#13;
***check for distribution***</text>
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                <text>References note&#13;
G. Wolf-Heidegger and A. M. Cetto, Die Anatomische Sektion in bildlicher Darstellung, Basel and New York 1967, no. 89, p. 183&#13;
C. Reyero and M. Freixa, Pintura y escultura en España, 1800-1910, Madrid 1995, p. 236, fig. 139&#13;
K. Linker, Love for sale. The words and pictures of Barbara Kruger, New York 1990, "No radio", p. 39&#13;
D.J. Rothman, S. Marcus and S. Kiceluk, Medicine and western civilization, New Brunswick 1995, p. 422</text>
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