Bellini, Vincenzo.

first edition, first issue, without a continuous pagination, each number paginated separately (with 5 blank final pages), oblong folio (c.23.5 x 32cms), engraved throughout, plate numbers 5900=5775 (Sinfonia) & 5901-5911, cast list with Pasta and Grisi, contemporary green quarter calf gilt & marbled boards, red gilt label ("di Augusto Thomas"), ownership annotations to a few numbers, some staining at lower corners, [Lippmann, p.542]

Condition is described in the main body of the cataloguing, where appropriate
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This is the earliest issue of Norma that we have seen: made up from the individual separate numbers, before the continuous pagination was added to the plates for the complete vocal score.  The separate numbers here all start on new gatherings, with blank versos at the end of five numbers: Pollione and Adalgisa (plate 5905), Act 1 finale (5906 ),  the start of Act 2 (5907), "Guerra, guerra" (5909) and the final duet (5010).  Later issues, such as that at the British Library, have a continuous pagination throughout (1-173) without final blanks and with some of the original separate paginations moved to the inside margins.  Here only three of the twelve numbers have this double pagination: the other nine are in their original state. 

We know that Bellini was already sending individual numbers to Ricordi for engraving whilst still composing the opera (see Charles Brauner, 'Textual Problems in Bellini's Norma and Beatrice di Tenda' , in Journal of the American Musicological Society, xxvi, 1976, pp.99-118); therefore some of these plates probably date from before the opera was actually completed.  There are six engravers identified by initials. The full score was first published only in 1915.